Generated by All in One SEO Pro v5.0.1.1, this is an llms-full.txt file, used by LLMs to index the site. # nollycritic.com Nollywood News and Reviews ## Posts ### [Ordinary People Review: An Extraordinary Premise Buried Under Elementary Execution](https://nollycritic.com/ordinary-people-review-an-extraordinary-premise-buried-under-elementary-execution/) **Published:** September 8, 2026 **Author:** Shalom O. Obisesan **Excerpt:** The concept behind Ordinary People, created, written, and directed by Moses Inwang, has enough material for a genuinely compelling Netflix series **Content:** The concept behind *[Ordinary People](https://nollywire.com/films/ordinary-people)*, created, written, and directed by [Moses Inwang](https://www.youtube.com/watch?v=oGOLTikbXO0&t=14s), has enough material for a genuinely compelling Netflix series. And for some, it is. An estate of seemingly normal people who are anything but: a wanted Niger Delta warlord and his wife hiding in plain sight, two undercover intelligence officers posing as a married couple, a domestically abused woman married to a comedian everyone outside their home adores, a Nollywood actress in psychological crisis, a Ghanaian couple on the run from fraud charges, a medical doctor entangled in a patient’s death. Stack all of that inside a single estate and appoint a hacker as the story’s wandering eye, and the architecture of a gripping ensemble thriller is genuinely there. What *Ordinary People* does with that architecture is where it falls apart, episode by episode, until the weight of its own ambition becomes a liability rather than a promise. Streaming now on Netflix. ## Ordinary People Directed by: Moses Inwang Produced by: Moses Inwang Genre: Crime Thriller Released on: September 4, 2026 (Netflix) Language: English ## A World Built Around Masks, With a Story That Wears Too Many The thematic spine of Ordinary People is coherent and genuinely interesting when observed closely. The series centers on concealment and the secrets people keep. In the prologue, Tornado, the warlord played by Ramsey Nouah, and his wife Chinelo, played by Adunni Ade, are shown as Niger Delta people with dark-skin makeup to reflect their identities. When they return in the present day, they have taken on lighter appearances and European identities, Jonas and Luka Sommers. The intelligence officers Tolu and Margaret, played by Chidi Mokeme and Michelle Dede, perform a happy marriage for the benefit of the estate while hunting the very people they live beside. The abusive comedian Pere, played by Lasisi Elenu, maintains a public persona of warmth and likeability while his wife Audrey, played by Uche Montana, absorbs the violence behind closed doors. Even Dare, the hacker played by Shawn Faqua, is not the aimless tech enthusiast he appears to be. The series is, at its structural core, about people who are something different from what the surface shows. That idea has thematic weight. Identity, performance, and the distance between what we present and what we hide are rich materials for a crime thriller. The problem is that *Ordinary People* does not trust this idea to carry itself. Instead of allowing the audience to discover these hidden lives through careful revelation and accumulating tension, the series announces them through Dare’s persistent inner monologue, which narrates, explains, restates, and then restates again what the camera has already shown. The result is a storytelling mode that treats the audience as passive recipients of information rather than active participants in a mystery. The female characters, in particular, carry the marks of writing that understands their circumstances better than their interiority. Audrey’s abuse is depicted with sufficient visual clarity, but we are given considerably less of who she is beyond her suffering. Emilia’s mental health crisis drives several of the series’ most tense domestic scenes, but the contours of her inner world are shaped more by her condition than by any developed sense of her as a person. ## Eight Episodes in Search of a Coherent Rhythm The series’ structural decisions compound the storytelling problems at almost every point. The inner monologue that opens the first episode and persists through much of the series is the most immediately damaging choice. Rather than establishing Dare as an intelligent observer whose intelligence is communicated through action and implication, it hands the audience a guided tour of a world that would have been more compelling to explore without the commentary. The narration does not create atmosphere. It substitutes for it. The non-linear approach to the narrative, moving between the 2017 prologue and the present-day events, could have generated productive suspense if deployed with more precision. The series returns to past events as context rather than as revelation, which reduces the structural technique to a delivery mechanism for backstory rather than a tool for building tension. The pacing is erratic across all eight episodes. Slow-motion is deployed so frequently, and with such frequency in scenes that do not earn its use, that it loses whatever emotional amplification it might have contributed to isolated moments. There are also what appear to be AI-generated sequences threaded into the visual fabric of the series, visible enough to disrupt the production’s otherwise high-standard aesthetic and raise questions about why they were included at all. The surveillance camera question the series raises but never properly addresses is another structural gap. Dare has access to interior camera footage from his neighbours’ private spaces, which is presented as a given without the story earning or explaining how an estate would be equipped with cameras inside residents’ homes. The logical gap sits under the series for eight episodes without resolution. Some subplots are introduced, maintained for several episodes, and then effectively dropped from the narrative for long stretches before resurfacing near the finale. The cumulative effect is a series that is wider than it is deep, adding plots and secrets in volume while giving few of them the development their premises warrant. The hacking sequences, which should function as Dare’s most convincing moments of competence, occasionally stray into implausibility. A flash drive inserted into a computer without any login, password interaction, or confirmation that the system is even active, producing immediate results, is the kind of narrative convenience that breaks the internal logic of a character whose credibility depends on technical authenticity. ## A Cast That Earns More Than the Writing Gives The series is well cast.[ Ramsey Nouah](https://nollycritic.com/?s=+Ramsey+Nouah)‘s Tornado is the most kinetically charged presence in the ensemble, and the prologue version of the character, crude, commanding, and visibly dangerous, is more arresting than the version the present-day narrative constructs. The transformation to a disguised European identity is the series’ most unusual visual decision, and Ramsey’s wig having a habit of inconsistent continuity between scenes is a production detail that undermines the illusion it is supposed to sustain. Sharon Ooja as Emilia is among the series’ strongest individual performances. The character’s mental health crisis is communicated with an unnerving specificity, and Ooja sustains the character’s volatility across multiple registers without reducing her to a single note of distress. Uche Montana as Audrey brings genuine feeling to scenes that the writing handles primarily at the level of situation rather than character, and her work there is more considered than the material demands. [Chidi Mokeme](https://nollycritic.com/?s=Chidi+Mokeme)‘s Tolu carries the intelligence subplot with the kind of quiet competence that the character requires, even if the subplot itself never quite achieves the urgency that a seven-year manhunt ought to generate. Adjetey Anang and Jackie Appiah as the Ghanaian couple bring an energy that distinguishes their subplot from the more pedestrian narrative surrounding them, particularly Appiah’s Mercy, whose resourcefulness in crisis is the subplot’s most watchable quality. Shawn Faqua’s Dare does not fully convince, and the writing around the character deserves the larger share of that blame. A character positioned as the series’ moral and narrative centre, watching from above while everyone below him reveals their secrets, requires a charisma and depth that the inner monologue device specifically works against. By the time Dare’s motivation is finally revealed, the audience has been patient through too much of his aimless observation for the explanation to carry the weight the series expects it to. ## High Production, Uneven Execution The production values of *Ordinary People* are among the strongest in recent Nigerian streaming output. The estate itself is a convincingly constructed physical world, and the series’ action set pieces, particularly the opening helicopter sequence and the finale’s confrontational scenes, demonstrate a command of scale. Money and effort went into this series and it shows. The technical inconsistencies are therefore more noticeable, not less, against that backdrop. The AI-generated montages, the wig continuity, and the CGI in the final episode that visibly degrades in quality are all the more jarring in a production that otherwise carries itself with ambition. Sound design is another area where the series occasionally undersells its own visual work, creating a tonal gap between what the images are doing and what the audio environment is communicating. The score at the series’ conclusion is a notable exception. It carries more atmospheric intelligence than much of the musical work preceding it, and the decision to end the series in a way that withholds the conventional payoff is the most creatively courageous thing the series does. ## Final Thoughts *Ordinary People* is a series that illustrates a specific and recurring problem in Nigerian streaming production: the gap between what a story contains and how it is told. The content of this series is compelling. A cast of recognisable faces, each carrying a genuinely dangerous secret, living within the radius of a man hunting the most wanted person in the estate while pretending to be his neighbour, is not a premise that should produce a frustrating viewing experience. But the mode of storytelling, the inner monologue, the constant re-explanation, the slow-motion deployed without restraint, the structural tendency to announce rather than reveal, produces a series that is considerably less than the sum of its many parts. The ending earns something back. The refusal to close every loop, the sense that the world of Mirage Estate continues with questions unanswered and consequences still unfolding, is the right creative instinct. If a second season follows, the fundamental storytelling choices would need to change for that instinct to produce the thriller *Ordinary People* was trying to be. ## Verdict *Ordinary People* is best appreciated as a proof of ambition rather than a fully realised project. The concept, the cast, and the production scale all point toward something that Nigeria’s streaming output needed to attempt. The execution makes it hard to recommend without reservations. Go in for the performances and the action. Accept that the storytelling will test your patience in ways that a tighter, less self-explaining version of the same story would not. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ordinary-people-review-an-extraordinary-premise-buried-under-elementary-execution/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ordinary-people-review-an-extraordinary-premise-buried-under-elementary-execution/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ordinary-people-review-an-extraordinary-premise-buried-under-elementary-execution/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ordinary-people-review-an-extraordinary-premise-buried-under-elementary-execution/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ordinary-people-review-an-extraordinary-premise-buried-under-elementary-execution/?share=linkedin) - **Categories:** Reviews **Tags:** 2026 Nigerian series, Adjetey Anang, Adunni Ade, Bimbo Manuel, Chidi Mokeme, crime thriller, Disguise, domestic violence, Eddy Watson, Ensemble Drama, Gbenga Titiloye, hacker, Identity, Jackie Appiah, Lasisi Elenu, Margaret Echeghe, Michelle Dede, Moses Inwang, Netflix, Netflix Nigeria, Niger Delta, nollywood, Ordinary People, Ramsey Nouah, series critique, series review, Sharon Ooja, Shawn Faqua, Uche Montana --- ### [A Land Apart: See The Official Trailer of Bem Pever's Political Drama](https://nollycritic.com/a-land-apart-see-the-official-trailer-of-bem-pevers-political-drama/) **Published:** September 5, 2026 **Author:** Esther Adamu **Excerpt:** A Land Apart is set in an alternate version of Nigeria, imagining a country where agriculture, rather than crude oil, became the... **Content:** *[A Land Apart](https://www.imdb.com/title/tt31776257/) i*s an upcoming Nigerian drama directed by Bem Pever and written by Emil Garuba and Echobu Michael Garuba. The film’s tagline is *What if Nigeria had never discovered oil?* It is set in an alternate version of Nigeria, imagining a country where agriculture, rather than crude oil, became the foundation of its economy and global influence. The story revolves around Ahura, a powerful agribusiness mogul who has built an enormous agricultural empire based on AX-103, a formula that is credited with saving a continent from famine. His success has established him as one of the most influential men in an alternate Nigeria. However, his empire and legacy come under threat when his secret daughter, Dooshima Bida Ahura, portrayed by Princess Mufeedah, is poised to inherit what he has built. According to the NIF Summit and an [NTA article](https://www.nta.ng/news/entertainment/cannes-opened-conversations-that-would-have-taken-years-to-initiate-through-conventional-channels-filmmaker-bem-pever) with the filmmaker, *A Land Apart* premiered at the Zanzibar International Film Festival on June 27, 2026, where it was recognized as a feature film lasting 120 minutes. The film also won the award for Best Feature Film at ZIFF 2026. The official synopsis for its showcase at Cannes states that Dekera is killed just before a major international trade deal, leaving Dooshima to confront superpowers, a hostile family, and corporate assassins as she fights to secure her inheritance. Additionally, *A Land Apart* was selected for the NiFS x CACOP Best of Africa Film Showcase at Cannes. A Land Apart is a movie that combines family conflict, politics, agriculture, corporate power, and international intrigue to imagine a very different Nigeria. The film features an impressive ensemble cast, including Richard Mofe-Damijo, Daniel Etim Effiong, Sam Dede, Frank Donga, Onyeka Onwenu, Ummi Baba-Ahmed, Adam Garba, Iveren Antiev, Ronya Man, and Preach Bassey. The film is scheduled to hit [Nigerian](https://nollycritic.com/) cinemas nationwide on October 23, 2026, with [Nile Entertainment ](https://nollycritic.com/?s=Nile+Entertainment+)handling its theatrical distribution. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-land-apart-see-the-official-trailer-of-bem-pevers-political-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-land-apart-see-the-official-trailer-of-bem-pevers-political-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-land-apart-see-the-official-trailer-of-bem-pevers-political-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-land-apart-see-the-official-trailer-of-bem-pevers-political-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-land-apart-see-the-official-trailer-of-bem-pevers-political-drama/?share=linkedin) - **Categories:** Nollywood News **Tags:** A Land Apart, Adam Garba, and Preach Bassey., CACOP, cannes, Daniel Etim Effiong, Echobu Micheal Garuba, Emil Garuba, film, Frank Donga, Iveren Antiev, Nif Summit, NIFS, nigerian cinema, nile entertainment, nollycritic, nollywood, NTA, Onyeka Onwenu, Richard Mofe-Damijo, Ronya Man, Sam Dede, Ummi Baba-Ahmed, Zanzibar International Film Festival, ZIFF --- ### [A Father's Secret Review: A Gentle Family Drama That Takes Its Time](https://nollycritic.com/a-fathers-secret-review-a-gentle-family-drama-that-takes-its-time/) **Published:** September 4, 2026 **Author:** Shalom O. Obisesan **Excerpt:** A Father's Secret, directed by Adeoluwa Owu from a screenplay by Moshood Yakubu Olawale, works within that architecture without being imprisoned by it. **Content:** Family drama in Nollywood has a familiar architecture: buried truths, disrupted stability, the return of someone who was supposed to stay gone. *[A Father’s Secret](https://www.cinemaxdr.com/news/ada-omo-daddy-joins-the-digital-release-slate)*, directed by [Adeoluwa Owu](https://nollycritic.com/?s=Adeoluwa+Owu) from a screenplay by Moshood Yakubu Olawale, works within that architecture without being imprisoned by it. The film follows a woman whose life, rebuilt with effort over a decade of her father’s absence, is unsettled by his unexpected return. It is not a premise that announces itself as urgent, and for a significant portion of its two-hour runtime, the film moves with the kind of deliberateness that asks the audience to trust that what is being built has somewhere to go. For much of that time, that trust is earned. The film’s final act is where the bill for that patience comes due, and the payment falls slightly short. ## *A Father’s Secret* Directed by: Adeoluwa Owu Written by: Moshood Yakubu Olawale Genre: Drama Released on: August 21, 2026 (Cinemas) Language: English ## What A Father’s Secret Is Actually About *A Father’s Secret* is, on its surface, about a father’s return. Beneath that, it is a film about what absence does to the people it leaves behind, and what the person who caused it owes on returning. There is a question the film keeps alive through its slower passages: when someone who caused significant damage eventually reappears, what does accountability actually look like, and is forgiveness a destination or a performance? The film organises its emotional argument across the relationships that the father’s absence shaped. The woman at the centre of the story has built a life in the space that his absence created, and the arrival of characters tied to that earlier failure begins dismantling those arrangements in ways both expected and not. The screenplay understands that this kind of story lives in the texture of small revelations rather than a single dramatic confrontation, and it distributes those revelations with enough patience to maintain the audience’s investment. The themes, neglect and the long shadow of parental failure, are present throughout and are generally legible without being overexplained. The film’s thematic clarity is one of its more consistent qualities. ## A Slow Start The plot takes its time. That is both a description and a fair criticism. At two hours, the film carries at least twenty minutes that could have been trimmed without losing any emotional or narrative substance. The prologue, which uses a church setting to open the story, is functional rather than compelling, and a stronger opening might have provided the film with more goodwill to spend during its more patient sequences. That said, the film eventually settles into its rhythm. It is a slow burn, and viewers looking for immediate conflict may find the early stretches uneventful. The story gradually reveals where it is going, however, and some of the later developments make the patience easier to understand. The bigger issue is the runtime. At roughly two hours, *A Father’s Secret* feels longer than it needs to be. There are stretches where the narrative could have moved more efficiently without losing the simplicity that appears to be central to its approach. A tighter runtime would likely have made the film feel more purposeful. The plot twist, when it arrives, does what effective structural surprises should do: it recasts what the audience has already watched, prompting the kind of retrospective recalibration that good mystery plotting generates. The surprise itself appears to land for most viewers without having been obviously telegraphed. ## Where the Film Finds Its Best Self The casting is one of the film’s more interesting choices. Alongside recognisable names, it gives room to performers who may not yet be as familiar to audiences, and that helps the film retain a sense of freshness. Princess Nkwocha, who plays young Ize, makes a strong impression. She brings an assuredness to the role that makes her scenes particularly engaging, and her performance is one of the easier elements of the film to remember. The rest of the cast generally handles the material well, particularly in scenes where the drama depends on believable reactions rather than heightened performances. ## The Technical Picture *A Father’s Secret* does not appear interested in making its technical elements the main attraction, and that largely works for the kind of film it is. The cinematography is adequate for the story. The same can be said of the soundtrack, which supports the film without leaving a particularly strong impression. The screenplay is similarly straightforward. It does not attempt to do too much, and that restraint can be both a strength and a limitation. The simplicity keeps the story accessible, but it also means there are fewer layers for the film to explore. The score by Tolu Obanro supports the film’s tonal range without overreaching. ## Final Thoughts *A Father’s Secret* is an uncomplicated family drama that takes a deliberately measured route to its story. Its strongest qualities are found in its performances, conversational dialogue and the moments where its characters are allowed to interact naturally. Its biggest drawback is the amount of time it takes to get there. The film could have benefited from a sharper opening and a more economical runtime, particularly because its straightforward narrative does not require such an extended running time. Still, there is something pleasant about its approach. It is the kind of film that can be watched without demanding too much from its audience, allowing the family dynamics and gradual revelations to carry the experience. It may not be a particularly demanding watch, but sometimes that is exactly the point. ## Verdict *A Father’s Secret* is a relaxed family drama with solid acting and an accessible story. Its slow pace and extended runtime keep it from being as efficient as it could be, but the performances and natural dialogue give it enough warmth to remain an easy watch. **Rating**: 2.55/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-fathers-secret-review-a-gentle-family-drama-that-takes-its-time/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-fathers-secret-review-a-gentle-family-drama-that-takes-its-time/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-fathers-secret-review-a-gentle-family-drama-that-takes-its-time/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-fathers-secret-review-a-gentle-family-drama-that-takes-its-time/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-fathers-secret-review-a-gentle-family-drama-that-takes-its-time/?share=linkedin) - **Categories:** Reviews **Tags:** 2026 Nollywood film, A Father’s Secret, Adeoluwa Owu, Ajala Adedayo, Bryan Nonso Okoye, Fadekemi Olumide, family drama, Film Critique, Film review, forgiveness, Moshood Yakubu Olawale, neglect, nollywood, Odunlade Adekola, Olukemi Gold Aluko, parental abandonment, Princess Nkwocha, Remi Surutu, Thriller, Timini Egbuson, Tolu Obanro --- ### [See the Teaser For ​Adenike Adebayo's Tele x Zikora](https://nollycritic.com/see-the-official-trailer-of-adenike-adebayos-tele-x-zikora/) **Published:** September 3, 2026 **Author:** Esther Adamu **Excerpt:** Directed, written, and produced by Adenike Adebayo-Esho, Tele x Zikora is a campus film Co-produced by Imagine Media and May Day Studios... **Content:** Directed, written, and produced by [Adenike Adebayo-Esho](https://www.imdb.com/name/nm12981172/), *Tele x Zikora* is a campus film co-produced by Imagine Media and May Day Studios. *Tele x Zikora* is a young adult campus romantic drama that focuses on two individuals from contrasting backgrounds, Tele and Zikora, whose lives intersect at a university campus. The film explores themes such as romance, identity, secrets, and the challenges of navigating adulthood. The Cast of *Tele x Zikora* features a diverse group of young Nollywood actors, including Mike Afolarin, Genoveva Umeh, Olumide Oworu, Chimezie Imo, Tomi Ojo, Layi Wasabi, Mercy Aigbe, Angel Unigwe, Toluwani George, Gbubemi Ejeye, Adeoluwa Akintoba, Oluwande Adetula, Omowonuola Lanre, and Etta Jomania. *Tele x Zikora* will premiere in cinemas on October 23rd, 2026. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-official-trailer-of-adenike-adebayos-tele-x-zikora/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-official-trailer-of-adenike-adebayos-tele-x-zikora/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-official-trailer-of-adenike-adebayos-tele-x-zikora/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-official-trailer-of-adenike-adebayos-tele-x-zikora/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-official-trailer-of-adenike-adebayos-tele-x-zikora/?share=linkedin) - **Categories:** Nollywood News **Tags:** adeoluwa akintoba, Angel Unigwe, Chimezie Imo, cinemax, Gbubemi Ejeye, Genoveva Umeh, Layi Wasabi, May Day Studios, Mercy Aigbe, Mike Afolarin, nigerian cinema, nollycritic, nollywood, Olumide Oworu, Oluwande Adetula, Omowonuola Lanre, Telex Zikora, Toluwani George, Tomi Ojo --- ### [Alahun - The Weaver Review: All the Right Parts, Not the Right Rhythm](https://nollycritic.com/alahun-the-weaver-review-all-the-right-parts-not-the-right-rhythm/) **Published:** September 2, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Alahun: The Weaver follows Adeboriiku, the son of a Balogun, whose name carries the whole of his story within it. Ade, crown; Bori, to conquer... **Content:** Dare Olaitan directing a Yoruba epic is the kind of creative alignment that should produce something memorable. His eye for atmosphere, his comfort with the psychologically unsettling, his documented ability to build dread from the ordinary, these are exactly the qualities that the genre, at its best, demands. The opening sequence of [*Alahun: The Weaver* ](https://nollycritic.com/?s=Alahun%3A+The+Weaver+)confirms this immediately. Produced by Singularity Media and Film Tribe, with cinematography by Emmanuel Igbekele and distributed by Genesis, *[Alahun: The Weaver](https://letterboxd.com/film/alahun-the-weaver/crew/)* follows Adeboriiku, the son of a Balogun, whose name carries the whole of his story within it. Ade, crown; Bori, to conquer; Iku, death. He was born into illness, frequently close to the edge of life, and advised by a herbalist to be kept from the strains of battle. In a community where the Balogun’s son is expected to inherit the warrior’s mantle, Adeboriiku grows into something else entirely: a weaver of baskets, a plaiter of hair. That rejection by his society, and the question of what destiny actually asks of a person whose gifts do not match their inheritance, is the film’s most interesting subject. ## *Alahun: The Weaver* Directed by: Dare Olaitan Produced by: Kayode Kasum Genre: Epic, Fantasy Released on: August 21, 2026 (Cinemas) Language: Yoruba ## A Name That Carries a Story Before the Film Begins In Yoruba naming convention, a name is not a label but a declaration. It carries the circumstances of the named person’s arrival, the hopes or prayers of those who gave it, sometimes the conditions they were born to overcome. Adeboriiku’s name is a complete biography in three syllables, the crown that conquered death. That the film understands this, and uses it to establish the character before any scene has asked us to know him, is an early indication of the thoughtfulness behind the project. What the character then navigates is the specific cruelty of being misread by your own community. He is not weak. He is not without depth or ambition. He simply expresses his gifts through means that his world has gendered into shame. The hairdressing and weaving that his father regards as failure are, in the film’s larger architecture, the very capabilities that will matter. There is something genuinely interesting in the idea that the hero of this story is someone whose community has spent his entire life dismissing him, and that the journey ahead will require exactly the qualities they have scorned. The hero’s journey the film lays out is structurally classic: an ordinary world disrupted, a call to something larger, a threshold crossed into the preternatural, trials and tests, and the possibility of transformation. The screenplay places two characters in parallel pursuit of the same goal, one driven by genuine love, one by the acquisition of status, and the contrast between their motivations is the film’s most coherent thematic device. The romance that initiates the entire quest, however, is built on a relationship where the feeling is largely one-sided and the object of that feeling is drawn as a flawed and somewhat self-interested figure. This is not necessarily a problem, but the film asks its audience to invest in a love strong enough to drive a man into the spirit world without first building the audience’s belief in that love. The servant Omokeinde, close to Adeboriiku and kept deliberately at a distance by the social order, suggests an emotional reality that the film circles rather than settles into. The dynamic between them says more about who Adeboriiku is than most of the scenes built around the romance he is journeying to restore. ## A Hero Who Arrives Late to His Own Story At one hundred and twenty minutes, *Alahun* asks for commitment, which is a reasonable ask for an epic. What it owes in return is forward momentum from a point early enough in the runtime to justify that commitment. The film’s first act is generous to the point of indulgence, laying out the world, the social dynamics, and the backstory of the father-son conflict in considerable detail before the story’s central event occurs. By the time Adeboriiku finally crosses the threshold into the spirit world, a significant portion of the runtime has already been spent in Irepewole’s ordinary concerns. The film acknowledges, in its own dialogue, that time is urgent. Characters say it. The pacing does not reflect it. This disconnect between what the story tells us is happening and what the rhythm of the scenes communicates is the screenplay’s central failure. An epic can sustain a long first act if that act generates tension and revelation in proportion to its length. *Alahun* generates character and context in its first act but not enough tension to justify the duration. The character motivations occasionally compound this problem. Decisions that should feel urgent are made slowly. Information that should drive action is withheld past the point where it would have changed outcomes. These are not narrative subtleties but structural hesitations, the screenplay taking the least efficient route between points that the story needs to connect. Once the quest itself begins, the film improves. The world of the Égúngún is visually ambitious, and there are sequences in the spirit realm that deliver on the opening’s promise. The pacing does not fully recover, and certain conflicts are resolved with a speed that contrasts unfavourably with the deliberateness of everything that came before. But the journey has enough visual distinction and enough specific cultural texture to earn its second half. ## A Cast That Rises and One Notable Absence [Moshood Fattah](https://www.imdb.com/name/nm11269189/) as Adeboriiku navigates the dual demands of the role, the social embarrassment of his ordinary world and the growing weight of the quest, with controlled understatement. He is particularly effective in the quieter confrontations with his father, communicating the specific injury of being misread by a parent with something between resignation and persistence. The father-son dynamic is the film’s most emotionally credible relationship, and Olarotimi Fakunle as the Balogun matches Fattah’s restraint with the particular brittleness of a man whose pride has never been examined. Their scenes together are the screenplay at its most human. Imotunde Adeyemo as Odépàdéórò is a standout. His presence sharpens every scene he occupies, and his character’s function as a parallel to Adeboriiku, the hero’s dark mirror pursuing the same goal with entirely different motives, is handled with sufficient distinction that the contrast lands. Lateef Adedimeji as the Demon King commits to a register of theatrical menace that suits the character, and while it occasionally tilts into pantomime, the film seems aware of this and uses it deliberately. ## What the Eye Sees and What the Hair Says *Alahun* is, production-wide, one of the more visually considered Yoruba epics in recent memory. The cinematography manages scale without losing intimacy, and the decision to shoot in the Yoruba language rather than reach for an English translation of its cultural specificity gives the film an identity that feels earned. The VFX, which reportedly involved over four hundred effects shots, functions as atmosphere rather than spectacle, which is the correct priority for this kind of material. The hairstyle design deserves specific attention. In a film whose hero is defined partly by his skill with hair, the visual attention given to this element is meaningful beyond the decorative. Certain groups of characters share hairstyles that communicate their spiritual unity or collective identity without dialogue having to make it explicit. The three witches, whose hair is physically interconnected in a zigzag formation, communicate through that shared design something essential about their nature that costume alone could not achieve. The Yoruba women of the spirit realm carry hairstyles that are specifically and unmistakably of their cultural origin. These are not styling choices but interpretive ones, hair as symbolic language, and they reflect the care and intelligence behind the film’s production design. The title card’s placement deserves note. It does not arrive at the film’s opening, where titles conventionally establish. It arrives after the prologue has set the atmospheric tone and after Adeboriiku’s character has been established with sufficient specificity, the title falling into place like the naming of someone you have been watching long enough to recognise. That timing transforms the title from a label into a statement of identity, which is exactly what the Yoruba naming tradition holds a name to be. ## Final Thoughts The Yoruba epic as a genre has been producing films long enough to have its own fatigue patterns, its own set of expectations that each new entry either confirms or disturbs. *Alahun: The Weaver* is neither the genre’s most thrilling entry nor a hollow exercise in its conventions. It is a film that has something genuinely to say about identity, masculinity, and the gap between the gifts a person is born with and the ones their community is prepared to receive. It says these things clearly and consistently. What it does not always do is dramatise them with sufficient urgency. The tension between content and execution is the film’s defining characteristic. The ideas justify the story. The story does not always justify the runtime. Olaitan has made a film that is culturally intelligent, visually capable, and thematically coherent, and has made it drag where it should move. ## Verdict *Alahun* earns its place in the Yoruba epic conversation. It is too carefully made, and its central argument too considered, to be dismissed as genre exercise. But it asks the audience to wait considerably longer than they should before the story becomes the story it promises to be. Audiences with patience for deliberate world-building and genuine interest in the cultural registers the film inhabits will find much to appreciate. Those who come for the adventure will find it too, but later than expected. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/alahun-the-weaver-review-all-the-right-parts-not-the-right-rhythm/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/alahun-the-weaver-review-all-the-right-parts-not-the-right-rhythm/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/alahun-the-weaver-review-all-the-right-parts-not-the-right-rhythm/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/alahun-the-weaver-review-all-the-right-parts-not-the-right-rhythm/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/alahun-the-weaver-review-all-the-right-parts-not-the-right-rhythm/?share=linkedin) - **Categories:** Reviews **Tags:** 2026 Nollywood film, adventure fantasy, Alahun: The Weaver, Amanda Ugoh, cultural cinema, Dare Olaitan, Emmanuel Igbekele, Faithia Balogun, Film Critique, Film review, Film Tribe, Genesis, hero's journey, Ibrahim Chatta, Identity, Imotunde Adeyemo, Kayode Kasum, kunle remi, Lateef Adedimeji, masculinity, Moshood Fattah, nollywood, Odunlade Adekola, Olarotimi Fakunle, Omowunmi Dada, Peter Fatomilola, Ronke Oshodi Oke, Singularity Media, Tope Tedela, Yoruba Epic --- ### [The Takers Review: A Film That Looks Its Best Before It Begins](https://nollycritic.com/the-takers-review-a-film-that-looks-its-best-before-it-begins/) **Published:** August 29, 2026 **Author:** Shalom O. Obisesan **Excerpt:** he cold open of The Takers is the film at its most assured. Before the title card appears, the film places us inside the logic... **Content:** The cold open of *[The Takers](https://www.imdb.com/title/tt15980434/?ref_=ttfc_ov_bk "The Takers")* is the film at its most assured. Before the title card appears, the film places us inside the logic of its world through action rather than explanation. The takers arrive. Someone is taken. Someone is killed. The rule of this world is established in two gestures: either you lose your freedom, or you lose your life. It is a clean and arresting opening, backed by sound design that does more atmospheric work than most of the dialogue that follows. The problem *The Takers* never fully overcomes is that the film does not sustain the authority of its own beginning. Directed and co-written by [Toka McBaror](https://www.imdb.com/name/nm8867677/?ref_=tt_ov_1_1 "Toka McBaror"), a filmmaker from Kaduna with a documented visual track record across over two decades of Nigerian filmmaking, *[The Takers](https://nollycritic.com/toka-mcbarors-the-takers-is-now-streaming-on-prime/ "The Takers")* is set in a world where a group of people terrorise surrounding communities through slave raiding. At the story’s centre is a woman taken along with her lover by the sheikh who leads these raids, and the man known as Master Rufus, who employs the labourers of a nearby community and whose household becomes the site of an alternate social world as the captives’ fate unfolds elsewhere. ## *The Takers* Directed by: Toka McBaror Produced by: Toka McBaror, Chloe Coko Genre: Drama Released on: August, 2026 (Prime Video) Language: English ## Tyranny and What It Asks of the People Under It The film’s most coherent emotional argument is embedded in its opening device. The takers are defined not by complexity but by function: they take. What the story then tries to do is build a world around those who have been taken or fear being taken, exploring what that sustained threat does to people’s choices, relationships, and sense of possibility. There are genuine ideas in this premise. The way fear of a group can poison how communities receive even innocent individuals from that group is something the film touches on when northerners arrive at Rufus’s compound and are met with suspicion. The film also gestures at the economic dimensions of the slave trade, the way labour extraction and human trafficking occupied a shared moral universe in which ordinary people made transactions that their circumstances had made thinkable. What the *The Takers* does not do is develop these ideas into a story with sufficient emotional architecture. The central female protagonist’s arc is the narrative spine the film needs. But the decisions around her are not built carefully enough for her final act to land with the force it requires. We understand what happens to her. We do not feel it in the way the film needs us to. This goes the same way for other characters and the film in general. ## A World That Collapses Between Its Events The film runs seventy-nine minutes, a length that should work in the favour of a story this focused. It does not. The pacing problem is not one of duration but of rhythm. Scenes that have made their point continue past the point of making it. Dialogue is delivered at a tempo that suggests the film is uncertain of its own material and is therefore giving the audience additional time to receive what has already been communicated. Actions that should be completed in one scene bleed into the next. The cumulative effect is a film that feels considerably longer than its runtime while also leaving significant narrative gaps unexplained. Some subplots are introduced and some are completely unnecessay. The film raises questions it does not answer, and these are not the productive ambiguities of confident storytelling but the unintended gaps of a screenplay that lost track of what it started. A character whose access to crucial information drives the story toward its resolution is never given a credible reason for possessing that information. He is convenient rather than earned, and the plot’s dependence on him becomes a liability precisely at the moment the film needs to feel most assured. There is also a late revelation, arriving close to the film’s conclusion, that appears designed to add dramatic weight but is introduced and then immediately abandoned without the thematic development that would justify its inclusion. A story beat that arrives without consequence is not a twist but a detour. It seems deployed for shock value rather than thematic substance. A revelation that does nothing to deepen our understanding of the characters or the story’s argument is simply plot machinery wearing the costume of meaning. ## Performances That Cannot Carry What the Script Will Not Build The performances share the film’s general problem of deliberateness without purpose. Delivery is slow where it should be careful, which are different things. Careful delivery communicates interiority and weight. Slow delivery communicates that the scene is not entirely certain of itself. The result is an ensemble that functions more as visual presence than as lived characterisation. This is not necessarily the fault of the individual actors, who are working within a film that has not given the performances the material they would need to be striking. When everything the cast says is delivered at the same measured pace, the texture of human difference between characters begins to flatten. The note is general because the film does not give sufficient individual distinction to its characters for individual performance notes to be entirely fair. What can be said is that the opening sequence, which requires almost no dialogue and operates on physical action and reaction, is the most convincing performance of the film’s running time. When the script retreats and the visual language takes over, the film finds its most natural register. ## The Eye That Works and the Costumes That Don’t Toka McBaror’s visual instincts are the film’s most defensible quality. His cinematography has been recognised at the award level across multiple projects, and the craft is visible in *The Takers* even where the story fails to use it well. The film’s understanding of space, light, and atmosphere is genuine. The AMAA nominations the film received were for Best Production Design, Best Makeup, and Best Visual Effects, and the visual ambition behind those nominations is evident. The costume question, however, is the film’s most significant cultural misstep. The aesthetic language of the enslaved characters references American antebellum plantation imagery: the dungaree-style trousers with suspender straps, the particular vocabulary of visual poverty that Hollywood’s slave narratives have established as the visual code for captivity. This is not what the northern Nigerian slave trade, or the broader West African experience of enslavement, looked like. The Trans-Saharan slave trade that operated through what is now northern Nigeria had its own material culture, its own visual reality. Hausa-Fulani traditional dress of that era was robes, embroidered kaftans, wrapped cloth: a visual language entirely different from the one borrowed here. For a film trying to tell a specific Nigerian story of human trafficking and captivity, dressing its subjects in the visual language of a different continent’s history of slavery is a failure of cultural research. It distances the film from the very authenticity it is reaching for. ## Final Thoughts The historical subject matter this *The Takers* approaches has genuine weight however. Northern Nigeria’s history of slave raiding is a part of the country’s past that has insufficiently, or not, been examined in its cinema. A film that committed fully to that history, in its visual language, its structural discipline, and its character work, would be a significant contribution. *The Takers* has the opening of such a film and the intentions of such a film. ## Verdict Watch this if you find value in seeing how Nigerian cinema approaches the slave trade as historical subject matter. The opening sequence is worth the first five minutes. What follows might test your patience considerably more than that. The visual ambition of *The Takers* deserves a better story than it was given. **Rating**: 1.5/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-takers-review-a-film-that-looks-its-best-before-it-begins/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-takers-review-a-film-that-looks-its-best-before-it-begins/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-takers-review-a-film-that-looks-its-best-before-it-begins/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-takers-review-a-film-that-looks-its-best-before-it-begins/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-takers-review-a-film-that-looks-its-best-before-it-begins/?share=linkedin) - **Categories:** Reviews **Tags:** AMAA 2021, Chloe Coko, Clara Otawa, Doe Jnr. Otse, Dolly Steven, Film Critique, Film review, Fortune Fadason, Gabriel Akhuetie, George Chux, historical drama, Josephine Sunday, Maxwell Simon Adeyin, nigerian cinema, nollywood, Northern Nigeria, period piece, slave trade, The takers, Toka McBaror, Trans-Saharan slave trade --- ### [The Headies Unveils Best Original Song for Visual Media Nominees](https://nollycritic.com/the-headies-unveils-best-original-song-for-visual-media-nominees/) **Published:** August 26, 2026 **Author:** Esther Adamu **Excerpt:** Nollywood Soundtracks takes centre stage at the 18th Headies Awards, unveiling Best Original Song for Visual Media Nominees **Content:** Nollywood Soundtracks takes centre stage at the [18th Headies Awards](https://theheadies.com/ "18th Headies Awards"), unveiling Best Original Song for Visual Media Nominees. This is a non-voting category celebrating music written for feature films. It recognises music written and composed specifically for feature films, television shows, and other visual media projects. Ayo Animashaun, founder of Hip Hop World Magazine, established The Headies Awards in 2006. Since its creation to honour artistic achievements, The Headies has expanded internationally to showcase African music, culture, and creative genius. In 2025, [Funke Akindele’s](https://nollycritic.com/the-four-funke-akindele-announces-new-film/ "Funke Akindele's") *A Tribe Called Judah*, comprising Abbey Wonder and TCJ, won the Soundtrack of the Year at the 17th Headies Awards, according to Punch Newspaper. This year’s 18th Headies edition introduced Best Original Song for Visual Media. Previously, awards were given under Best Soundtrack or Best Original Soundtrack, which recognised iconic movie compositions that bridged the film and music industries. Posted on The Headies’ official account on Instagram the official nominees for the 18th Edition include a panel-evaluated category featuring four compelling tracks created for Nollywood motion pictures and television series; this list includes: The original soundtrack for the motion picture [Evi](https://www.bellanaija.com/2026/01/evi-movie-cast-reveal-2026/ "Evi"), *All My Love* features compositions by Osas Okonyon and Abbey Wonder. Next is *Behind the Scenes*, a piece composed by Tolu Obanro and Funke Akindele. *Save Me*, from *[To Kill a Monkey](https://nollycritic.com/to-kill-a-monkey-a-gritty-tale-of-betrayal-and-survival/ "To Kill a Monkey")*, is created by Oscar Heman-Ackah and 2Baba. Finally, *Only in Lagos*, from *Christmas in Lagos*, is composed by WurlD and Liya. According to the Headies website, the 18th Headies Awards will take place in Toronto, featuring a simultaneously live watch party and selected broadcast presentations hosted in Lagos, Nigeria, from October 17th-23rd, 2026. The Inclusion of screen music categories at major global platforms like the Headies highlights how rapidly Nigerian cinema is gaining global and cross industry recognition ![HEADIES](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/08/ORIGINAL-SONG-4-VISUAL-02.webp?resize=640%2C797&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/08/ORIGINAL-SONG-4-VISUAL-04.webp?resize=640%2C797&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/08/ORIGINAL-SONG-4-VISUAL-03.webp?resize=640%2C797&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/08/ORIGINAL-SONG-4-VISUAL-02.webp?resize=640%2C797&ssl=1) ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-headies-unveils-best-original-song-for-visual-media-nominees/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-headies-unveils-best-original-song-for-visual-media-nominees/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-headies-unveils-best-original-song-for-visual-media-nominees/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-headies-unveils-best-original-song-for-visual-media-nominees/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-headies-unveils-best-original-song-for-visual-media-nominees/?share=linkedin) - **Categories:** Nollywood News **Tags:** 18th Headies Award Edition, 2Baba, A Tribe Called Judah, Abbey Wonder, Abbey Wonder TCJ, All My Love, Ayo Animashaun, Behind the Scenes, Best Original Song for visual Media Nominees, Best Original Soundtrack, Best Soundtrack, Christmas in Lagos, Evi, film, Funke Akindele, Headies Award, nigerian cinema, nollycritic, nollywood, Only in Lagos, Osas Okonyon, Oscar Heman-Ackah, Save Me, To kill a monkey, Tolu Obanro, WurlD and Liya --- ### [Invitation to Kill: First Look Images of Chuks Obaze's New Thriller](https://nollycritic.com/invitation-to-kill-first-look-images-of-chuks-obazes-new-thriller/) **Published:** August 17, 2026 **Author:** Esther Adamu **Excerpt:** Chuks Obaze's new Nollywood title, Invitation to Kill, is a suspense-driven thriller and family drama set to premiere in September. **Content:** [Tribe Nation Theatrical Distribution](https://www.tntheatrical.com/ "Tribe Nation Theatrical Distribution") has announced the upcoming theatrical release of *Invitation to Kill*. Chuks Obaze’s new Nollywood title,[ ](https://www.nollywoodtimes.com/2026/08/invitation-to-kill-set-to-hit-nigerian.html)*[Invitation to Kill](https://www.nollywoodtimes.com/2026/08/invitation-to-kill-set-to-hit-nigerian.html),* is a suspense-driven thriller and family drama set to premiere in September. Produced by Big Tiger Production, the film promises a deeply emotional narrative combined with gripping suspense and is expected to premiere in cinemas across Nigeria and Ghana. *Invitation to Kill* explores profound themes such as loss, betrayal, resilience, and the severe consequences of unresolved pain. According to Miss Iyasara’s Instagram post, the narrative centers on a devoted father and agro-businessman named Julian, portrayed by the acclaimed actor [Kalu Ikeagwu](https://nollycritic.com/?s=Kalu+Ikeagwu "Kalu Ikeagwu"). Julian’s carefully constructed life is unexpectedly thrown into absolute turmoil following a series of tragic events. First, his primary source of livelihood, and then his marriage fell apart, leaving him to navigate financial ruin and deep emotional trauma. Forced to confront his painful reality of starting a new life entirely from scratch, while remaining a steadfast, devoted father to his young daughter. The story captures his intense vulnerability while gradually revealing the profound strength and determination that emerges from his suffering. Directed by [Chuks Obaze,](https://www.tntheatrical.com/post/first-look-kalu-ikeagwu-returns-to-the-big-screen-in-thriller-invitation-to-kill-in-cinemas-sep "Chuks Obaze,") the film boasts a talented ensemble cast, which includes Kalu Ikeagwu, Greg Ojefua, Omo Iyasara, Tonia Chukwurah, Annabel Thaddeus, and Efua Bona. Co-written by Akin Smith and Austin Kings, Invitation to Kill will be distributed by Tribe Nation Theatrical Distribution. *[Invitation to Kill](https://www.nollywoodtimes.com/2026/08/invitation-to-kill-set-to-hit-nigerian.html)* will be in cinemas across Nigeria and Ghana from Friday, September 11, 2026. ![](https://nollycritic.com/wp-content/uploads/2026/08/Invitation-to-Kill-88.avif)![](https://nollycritic.com/wp-content/uploads/2026/08/Invitation-to-Kill-5.avif)![](https://nollycritic.com/wp-content/uploads/2026/08/Invitation-to-Kill-4.avif)![](https://nollycritic.com/wp-content/uploads/2026/08/Invitation-to-Kill-3.avif)![](https://nollycritic.com/wp-content/uploads/2026/08/Invitation-to-Kill-2.avif)![](https://nollycritic.com/wp-content/uploads/2026/08/Invitation-to-Kill.avif) ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/invitation-to-kill-first-look-images-of-chuks-obazes-new-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/invitation-to-kill-first-look-images-of-chuks-obazes-new-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/invitation-to-kill-first-look-images-of-chuks-obazes-new-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/invitation-to-kill-first-look-images-of-chuks-obazes-new-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/invitation-to-kill-first-look-images-of-chuks-obazes-new-thriller/?share=linkedin) - **Categories:** Nollywood News **Tags:** Akin Smith, Annabel Thaddeus, Austin Kings, Chuks Obaze, Efua Bona, film, Greg Ojefua, Invitation to Kill, Kalu Ikeagwu, nigerian cinema, nollycritic, nollywood, Omo Iyasara, September 11 2026, Tonia CHukwurah --- ### [Adanne: Melon House Unveils Poster For New Feature Film](https://nollycritic.com/adanne-melon-house-releases-poster-for-debut-feature-film/) **Published:** September 4, 2026 **Author:** Esther Adamu **Excerpt:** Written and produced by Gold Gerry, Adanne tells the story of three generations of Igbo women navigating family tension... **Content:** Melon House’s debut feature film, [*Adanne*](https://nollycritic.com/adanne-cast-reflections-on-new-melon-house-movie/), now has an official poster. *Adanne* has been selected to participate in two film festivals: the All African Independent Film Festival (AAIFF) occurring in Kigali and the Women of Lens Festival in London. Written and produced by Gold Gerry, *[Adanne](https://www.imdb.com/title/tt40650669/)* tells the story of three generations of Igbo women navigating family tension, love, and duty. Performed in English and Igbo, the movie centers on a young woman caught between her creative ambitions and the traditions she is expected to uphold. Directed by Orobosa Ikponmwen in her feature-film debut, *Adanne* stars Mmesomachi Chilaka as the lead, alongside [Onyinye Odokoro,](https://nollycritic.com/?s=Onyinye+Odokoro%2C) Kelvinmary Ndukwe, and Jennifer Umenwa. The film examines how patterns of behaviour, belief, and survival pass through generations of women; it also looks closely at the quiet negotiations, sacrifices, and tenderness that shape mother-daughter relationships within a shared home. Adanne will screen at[ AAIFF in Kigali](https://aaiffafrica.com/), Rwanda, on October 15 to 17, 2026. The film has also been accepted into the [Women of the Lens Festival](https://womenofthelens.com/) in London, screening in November 2026. These selections mark early stops on *Adanne’s* international festival run, with further screenings planned across the EMEA region as the film progress towards a theatrical release. [Melon House Production ](https://melonhouse.co/blog)is an independent film and entertainment company rooted in telling culturally resonant African stories that captivate global audiences. ![adanne movie](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/09/adanne.jpg?resize=640%2C960&ssl=1)*Adanne* Official Poster ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/adanne-melon-house-releases-poster-for-debut-feature-film/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/adanne-melon-house-releases-poster-for-debut-feature-film/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/adanne-melon-house-releases-poster-for-debut-feature-film/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/adanne-melon-house-releases-poster-for-debut-feature-film/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/adanne-melon-house-releases-poster-for-debut-feature-film/?share=linkedin) - **Categories:** Nollywood News **Tags:** Adanne, All African Independent film festival, and Jennifer Umenwa, EMEA region, Gold Gerry, Kelvinmary Ndukwe, Melon House, Mmesomachi Chilaka, nollycritic, nollywood, Onyinye Odokoro, Orobosa Ikponmwen --- ### [New Nollywood Movies and Series to See in September 2026](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-september-2026/) **Published:** September 2, 2026 **Author:** Esther Adamu **Excerpt:** August was great, but September is where things really get hotter. This month's Nollywood Lineup includes thrillers, romance, drama... **Content:** Welcome to September, and don’t forget to pull up a chair, because Nollywood is turning up the heat. [August ](https://nollycritic.com/new-nollywood-movies-to-see-this-august-2026/ "August ")was great, but September is where things really get hotter. This month’s Lineup includes a film festival, Thrillers, romance, cultural drama, chaos, comedy, suspense, and an attempt to break the Guinness World Record with 50,000 attendees. September isn’t just busy – it is a month when Nollywood will make history. Let’s delve into this September’s Lineup. **A Mama Deola’s Wedding Story – September 3rd** Directed by Femi Adebayo and produced by Folagade Banks, *A Mama Deola’s Wedding Story* is a Nollywood comedy-drama that follows Mama Deola, who goes to extreme lengths and handles endless chaos to fund her son’s dream wedding. This marks the feature film debut of popular content creator Folagbade Banks. The movie, which explores themes such as Family, humour, and the chaos of weddings in Nigeria, features Nollywood veterans and upcoming Nollywood talents. The cast includes Shaffy Bello, Toyin Abraham, Omowunmi Dada, Rotimi Salami, Bukky Wright, Erica Nlewedim, Iya Rainbow, and Akin Lewis. *A Mama Deola’s Story* will stream exclusively on [Kava TV](https://www.kava.tv/). See the trailer! **Confusion Na Wa – September 3rd** This is a 2013 dark comedy -drama following a chain reaction of random, intertwined events over 24hours in a Nigerian city, triggered when a lost phone falls into the wrong hands. The film won the Best Picture award at the 9th African Movie Academy Awards. Directed by Kenneth Gyang, the film feature and ensemble cast including Ramsey Nouah, Ali Nuhu, OC Ukeje, Tunde Aladese, and Tony Goodman Confusion Na Wa will stream on Kava starting from September 3rd **Ordinary People – September 4th** Produced by Moses Inwang, this crime thriller explores the themes of secrets, survival, ambition, and redemption. The story revolves around a peaceful neighbourhood where a web of stolen money, deceit, betrayal, and deep-rooted paranoia began to unravel. As pasts resurfaces, loyalty, ambitions, and survival collide. The series features a star-studded Nollywood ensemble, including Ramsey Nouah, Adunni Ade, Chidi Mokeme, Michelle Dede, Lasisi Elenu, Sharon Ooja, Jackie Appiah, Uche Montana, Eddy Watson, Shawn Faqua, and Gbenga Titiloye. Moses Inwang’s *[Ordinary People](https://nollycritic.com/ordinary-people-moses-iwangs-new-8-part-thriller-set-for-netflix/)* will stream on Netflix from September 4th. See the trailer! **Nne Mgbafor – September 4th** Inspired by Ohafia warrior traditions, Nne Mgbafor follows a woman who defies societal customs to change her people’s destiny. Described as an historical epic, Nne Mgbafor is produced by Kingsley Uma Kalu Mmecha and directed by Edward Emeka The movie features Femi Branch, Zubby Michael, and Sam Dede. It explores themes like courage, sacrifice, defiance, and cultural heritage *Nne Mgbafor* will be available in cinemas on September 4th **Properties of the Gods – September 4th** Joseph Okechukwu’s *Properties of the Gods* is a historical drama exploring the Igbo caste system, focusing on forbidden love and family betrayal. The central storyline follows a young couple whose love is tested by rigid traditions of the Osu caste and Freeborn relationship. Directed by Uzodinma Okpechi and Okechukwu Oku, the cast includes Pete Edochie, Enyinna Nwigwe, Maria Chike Benjamin, Hilda Dokubo, Zack Orji, Elvina Ibru, Onyeka Onwenu (final role), and Cynthia Okereke. *Properties of the Gods* will premiere in cinemas nationwide on September 4th. **Teni’s Big Day – September 10th** On what was supposed to be Teni’s dream wedding day, her unpredictable ex-boyfriend crashes the event, turning the celebration upside down. The cast are Nancy Isime, Eyinna Nwigwe, Ik Ogbonna, Erica Nlewedim, and Uche Nwaefuna. Directed by Desmond Elliot the movie will stream on Kava from September 10th **Ajosepo – September 10th** Directed by Kayode Kasum, the story follows a young couple’s upcoming wedding, which descends into chaos as long-buried secrets, strained sibling relationships, and unexpected scandals surface during the preparations. The cast of *Ajosepo* includes Mike Afolarin, Tomike Adeoye, Timini Egbuson, Bisola Aiyeola, Ronke Oshodi Oke, Yemi Solade, Mercy Aigbe, and Muyiwa Ademola. The movie will stream on Kava starting from September 10th. **19 – September 11** Directed and written by Tola Odunsi, *19* is a movie that explores cybercrime and fraud. T Ndubuisi Madueke, a young man whose rise into Nigeria’s cybercrime world leads to his arrest and a reckoning with the choices that shaped his life. The themes explored in this movie are corruption, ambition, deception, and tech crime. Starring Ademola Adedoyin, Bisola Aiyeola, Stan Nze, Sola Sobowale, Deyemi Okanlawon, Charles Okafor, Boma Akpore, and William Benson. *[19](https://www.imdb.com/title/tt36196199/)* is coming to cinemas on September 11th. **Invitation to Kill – September 11th** In this thriller, an agro-businessman loses his livestock business and marriage. As he struggles to rebuild his life, he faces betrayal and suspenseful twists. The themes include betrayal, resilience, family, suspense, and ambition. Produced by Big Tiger Production, the cast includes Kalu Ikeagwu, Greg Ojefua, Oma Iyasara, Tonia Chukwurah, Annabel Thaddeus, and Efua Bona. [*Invitation to Kill*](https://nollycritic.com/invitation-to-kill-first-look-images-of-chuks-obazes-new-thriller/) will be released in cinemas in Nigeria and Ghana on September 11th. **One Gigi Night – September 11th** Directed and written by James Abinibi, *One Gidi Night* is a crime thriller following a single tense night in Lagos. The story centers on high-stakes desperation, survival, and family dynamics. The cast includes Gabriel Afolayan, Uzor Arukwe, Wumi Toriola, Ibrahim Yekini, Idia Aisien, Kelvin Ikeduba, and Ali Nuhu. Distribution will be handled by FilmOne Entertainment. It debuts exclusively in cinemas on September 11th, 2026. **Ajosepo 2 – September 24th** This is the continuation of the family drama and chaos from *Ajosepo 1*. The family is back for another wedding, but a central conflict arises when the event planner mysteriously disappears with the 30-million-naira wedding budget. Directed by Kayode Kasum, Ajosepo 2 stars Mike Afolarin, Tomike Adeoye, Timini Egbuson, Bisola Aiyeola, Mercy Aigbe, and Yemi Solade. *Ajosepo 2* will stream on Kava starting from September 24th **Starlomo – September 25th** Directed by Kayode Kasum, Starlomo is an upcoming cinema movie by Nigerian comedian and actor Kamo State. The movie, which will be distributed by FilmOne Entertainment, explores themes such as breakthrough, ambition, and resilience. The cast includes Oluwabukunmi Adeaga-Ilori, Odunlade Adekola, Ibrahim Chatta, Kamo State, Lateef Adedimeji, Abiola Adebayo, Olakanmi Adepeju Itunnu, Ajibola Akindele, Samuel Bankole, and Rooboy. *Starlomo* premieres in cinemas nationwide on September 25th **Black Market – September 26th** *Black Market* is an upcoming movie aiming to break a Guinness World Record. Directed by Fatimah Binta Gimsay, the film follows five market women who, amidst fuel scarcity, become involved in a smuggling operation. When a rival kidnaps a child, their survival and loyalty are put to the test. The film features an ensemble cast including Lateef Adedimeji, Linda Ejiofor-Suleiman, Omowunmi Dada, Scarlet Gomez, Itele D Icon, Teniola Aladese, Susan Pwajok, and Uzor Arukwe. Produced by Nora Awolowo and Nicole Ofoegbu; co-produced by Omowunmi Dada and Abdul Tijani-Ahmed. *Black Market* is set to premiere at Tafawa Balewa Square (TBS) on September 26th. September isn’t just another page on the calendar; it’s a celebration of [Nollywood’s](https://nollycritic.com/ "Nollywood’s") creativity, resilience, and global reach. This list will be updated as more Nollywood titles are announced. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-september-2026/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-september-2026/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-september-2026/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-september-2026/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-september-2026/?share=linkedin) - **Categories:** Articles, Movies **Tags:** 19, 3 wise men, A Mama Deola wedding story, Abiola Adebayo, Ademola Adedoyin, Adunni Ade, Ajosepo 2, Akin Lewis, Annabel Thaddeus, Antar Laniyan, Baaj Adebule, Bimbo Akintola, Bisola Aiyeola, Black Market, bukky wright, Chidi Mokeme, Chioma ‘Chigul’ Omeruah, Confusion na wa, Damilola Orimogunje, Dear Ajayi, Directed by Fatimah Binta Gimsay, Eddy Watson, Erica Nlewedim, Femi Branch, Gbenga Titiloye, Greg Ojefua, Guinness World Record, Ibrahim Chatta, Invitation to Kill, Itele D Icon, Iya Rainbow, Jackie Appiah, Joseph Okechukwu, Kalu Ikeagwu, Kamo State, Lanre Hassan (Mama Awero), Lasisi Elenu, Lateef Adedimeji, Linda Ejiofor-Suleiman, Michelle Dede, Netflix, Nne Mgbafor, Oma Iyasara, Omowunmi Dada, One Gidi Night, Ordinary People, Pete Edochie, Properties of the Gods, Ramsey Nouah, Rotimi Salami, Scarlet Gomez, Shaffy Bello, Sharon Ooja, Shawn Faqua, Stan Nze, StarLomo, Strangers, Susan Pwajok, Teni's big day, Teniola Aladese, Tonia CHukwurah, Tope Tedela, Tosin Adeyemi, Toyin Abraham, Uche Montana, Uzoamaka Power, Uzor Arukwe, Venice Film Festival, William Benson, Zack Orji, Zubby Michael --- ### [New Nollywood Movies to See This August 2026](https://nollycritic.com/new-nollywood-movies-to-see-this-august-2026/) **Published:** August 5, 2026 **Author:** Esther Adamu **Excerpt:** Welcome to August, Nollywood Fam! This month features a diverse range of genres, including Fantasy, psychological thriller, romance **Content:** Welcome to August, [Nollywood](https://nollycritic.com/nollywood-in-2026-half-a-year-in-and-the-gaps-are-showing/ "Nollywood") Fam! This month features a diverse range of genres, including Fantasy, psychological thriller, romance, adventure, crime thriller, historical, and cultural drama. With such variety, there’s truly something to captivate every type of audience. This August, Nollywood turns up the summer heat with a lineup of films guaranteed to entertain and inspire. See your list below. **The Almajiri – August 1** A crime thriller directed by Toka McBaror, this film deals with child trafficking and organized crime. Set in the north, [Almajiri ](https://www.nollywood.com/movies/almajiri "Almajiri ")is based on real events where two young children are separated from their parents and are trapped in an exploitation scheme. It explores themes such as human trafficking, child exploitation, systemic poverty, and resilience. The cast of Almajiri includes Ayo Makun, Alexx Ekubo, Rahama Sadau, Ali Nuhu, and Segun Arinze. The Almajiri will streaming on [Prime Video](https://www.primevideo.com/ "Prime Video"). **Colours of Fire – August 7** Directed by Niyi Akinmolayan, *[Colours of Fire](https://nollycritic.com/colours-of-fire-a-dazzling-epic-that-burns-bright-but-struggles-to-cohere/ "Colours of Fire")* follows a warrior hunting a mystical beast, who uncovers a dark truth that entangles him in a forbidden romance across clashing tribal clans, forcing him to choose between clan honor and love. This Fantasy stars Uzor Arukwe, Osas Ighodaro, Femi Branch, Gabriel Afolayan, Ibrahim Chatta, and Mercy Aigbe. **Properties of the Gods – August 7** *Properties of the Gods* is a historical drama centered around the deep-seated cultural origins, social dynamics, and the reality faced by people in the Osu caste system in Igboland. It encompasses themes such as social discrimination, caste traditions, human dignity, cultural reforms, and identity. Directed by Joseph C. Okechukwu, the movie features Stan Nze, Nancy Isime, Pete Edochie, and Zubby Michael. The movie is scheduled for Nationwide cinema release on August 7, 2026. **Sweet 16 – August 14** Sweet 16, directed by Willis Ikedum and produced by Wheels Pictures, follows the story of a spoiled rich brat tricked into spending her summer holidays in a village. The film will feature Kalu Ikeagwu, Uche Jombo, Mercy Aigbe, Alexx Ekubo, Denrele Edun, Yemi Alade, Julius Agwu, Eronini, and Angel Unigwe. Did she survive the summer in the village? Find out when Sweet 16 hits cinemas nationwide on August 14, 2026. **Alahun: The Weaver – August 21** When a kingdom’s throne is thrown into jeopardy, and a princess goes missing, a young weaver embarks on a hero’s quest to rewrite his destiny. Produced by Kayode Kasum, it explores themes such as redefining masculinity, heroism, craftsmanship, and courage. The movie features a star-studded Nollywood ensemble, including Odunlade Adekola, Ibrahim Chatta, Kunle Remi, Omowunmi Dada, and Tope Tedela. [*Alahun: The Weaver*](https://nollycritic.com/alahun-the-weaver-coming-to-cinemas-in-august/ "Alahun: The Weaver") will stream in cinemas nationwide on August 21, 2026. **Abujaa – August 21** Directed by Adebayo Salami and Allwell Ademola, Abujaa is an epic Yoruba tale that explores struggles for royal succession, ancient prophecies, and high-stakes political maneuvers within an ancient kingdom. The cast of Abujaa includes Lateef Adedimeji, Femi Adebayo, Bimbo Oshin, and Ibrahim Chatta. It explores themes such as Ambition, political corruption, royal legacy, and destiny. The movie is scheduled for Nationwide cinema release on August 21, 2026. **Ikenga: The Last Festival – August 21** Set in a traditional Igbo community where tradition is law and honor, a man discovers a forbidden power connected to the ancient Ikenga symbol, a power that threatens to upend long-standing customs and alter the community’s future. Key themes in this movie include Heritage, ancestral power, tradition, and honor. The cast includes Pete Edochie, Nkem Owoh, Kanayo O Kanayo, Patience Ozokwor, Jidekene Achufusi, Beverly Osu, and Regina Daniels. Distributed by FilmOne Entertainment, Ikenga: The Last Festival will be in cinemas nationwide on August 21, 2026. **King Kosoko: The Battle for Lagos – August 28** The upcoming Nollywood epic *King Kosoko: The Battle for Lagos* dramatizes the turbulent reign of Oba Kosoko, exploring his fight for power, resistance against foreign influence, and the legacy of pre-colonial Lagos. The cast biographical movie depicting the life, power struggles, and anti-colonial resistance of King Kosoko of 19th-century Lagos includes Richard Mofe-Damijo (RMD), Lateef Adedimeji, Jide Kosoko, and Taiwo Hassan. King Kosoko: The Battle for Lagos is coming to cinemas nationwide on August 28th, 2026. **The Night of June 7th – August 28** Written and produced by Linda Ikeji, The Night of June 7th is a dramatic true-crime retelling of the Apo Six incidents, focusing on the extrajudicial tragedy and the subsequent fight for justice. It explores themes such as Justice, police accountability, state power, grief, and loss. Directed by Toka McBaror, The Night of June 7th features Jide Kene Achufusi, Segun Arinze, Blossom Chukwujekwu, and Uche Jombo. This movie is scheduled for release on August 28th, 2026. Which of these [movies](https://nollycritic.com/new-nollywood-movies-to-see-in-may-2026/# "Lineups") are you anticipating seeing? This list will be updated as more Nollywood titles are announced. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-nollywood-movies-to-see-this-august-2026/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-nollywood-movies-to-see-this-august-2026/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-nollywood-movies-to-see-this-august-2026/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-nollywood-movies-to-see-this-august-2026/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-nollywood-movies-to-see-this-august-2026/?share=linkedin) - **Categories:** Movies **Tags:** ABUJAA, Alahun: The Weaver, Alexx Ekubo, Ali Nuhu, Ayo Makun, Bimbo Oshin, Blossom Chukwujekwu, Cinemas, colours of fire, Denrele Edun, Eronini, Femi Adebayo, Femi Branch, film, Gabriel Afolayan, Ibrahim Chatta, Ikenga: The Last Festival, Jide Kene Achufusi, Julius Agwu, King Kosoko: The Battle for Lagos, Lateef Adedimeji, Linda Ikeji, Mercy Aigbe., Movies to see in August, Nancy Isime, Netflix, nigerian cinema, Niyi Akinmolayan, nollycritic, nollywood, Osas Ighodaro, Pete Edochie, Pink Diary, Prime Video, Properties of the Gods, Rahama Sadau, Segun Arinze, Stan Nze, Sweet 16, The Almajiri, The Night of June 7th, Toka McBaror, Yemi Alade --- ### [Where Is Mr. Right?: A Twisted Story on Marriage and Societal Pressure](https://nollycritic.com/where-is-mr-right-a-twisted-story-on-love-and-societal-pressure/) **Published:** August 25, 2026 **Author:** Uju Okosieme **Excerpt:** Funke Akindele Network's latest offering, Where Is Mr. Right? directed by Tunde Olaoye, starring Omowunmi Dada, Blossom Chukwujekwu, Bisola Aiyeola... **Content:** Funke Akindele Network’s latest offering,[ **Where Is Mr. Right?**](https://nollywire.com/titles/where-is-mr-right/ " Where Is Mr. Right?") directed by Tunde Olaoye, starring Omowunmi Dada, Blossom Chukwujekwu, Bisola Aiyeola, [Funke Akindele ](https://nollycritic.com/?s=funke+akindele "Funke Akindele ")and Nosa Rex, recently landed on Prime Video. At first, the plot seems to be a straightforward search for love. It soon takes a much darker turn. Here’s what we think. ## Where is Mr Right? Directed by: Tunde Olaoye Produced by: Funke Akindele Genre: Drama Released on: August 15, 2026 (Prime Video) Language: English ## A Search for Love Takes a Dark Turn The synopsis reads: *“Successful event planner Bunmi longs for love and a family. Drawn into the seemingly perfect marriage of her neighbors, Bridget and Femi. When Bridget introduces her to her charming brother, Dexy, and draws her into a dark secret involving her husband, Bunmi is forced to confront the dangerous illusion of ‘perfect love,’ as she is caught in a web of deception where love, illusion and danger collide.”* The film’s central storyline follows Bunmi’s seemingly endless search for love after being hurt in a previous relationship. Her desperation to find a partner and settle down leads her into a series of questionable relationships and increasingly dangerous situations. Supporting storylines involving Femi’s father’s political ambitions, Bunmi’s string of unfortunate romantic encounters, and the violent relationship between Femi and Bridget gradually expand the story beyond a simple romance. The premise is genuinely intriguing, although there are several questionable choices along the way. ## From Relatable Romance to Something Much Darker **Where Is Mr. Right?** starts from a place that feels very familiar. Bunmi is a woman under pressure to find love and get married, constantly comparing her life to the seemingly perfect relationships around her. Her desperation makes her susceptible to people and situations she probably should have avoided. What begins as a relatable Nigerian story about the pressures of marriage gradually snowballs into something much darker and more unexpected. The story is actually well constructed, particularly in the way the different plot lines eventually intersect. Unfortunately, the writing doesn’t always match the story being told. The dialogue frequently leans into cringe territory, which creates an odd disconnect with the darker direction of the film. That style might have worked in a straightforward romantic comedy, but here it takes away from some of the more serious moments and makes certain scenes feel less believable than they should, which makes sense when you find out Bunmi was dreaming. ## Omowunmi Dada Leads a Solid Cast The cast delivers decent performances overall, with Omowunmi Dada and Blossom Chukwujekwu standing out. Dada gives a compelling performance as Bunmi, effectively portraying her character’s desperation, vulnerability, and increasingly questionable decision-making. She makes Bunmi easy to root for even when we’re questioning some of her choices. Blossom Chukwujekwu’s Dexy isn’t particularly different from the kinds of characters we’ve seen him play before, but he still brings enough personality to the role to make it work. The supporting cast also holds its own, helping the film maintain its momentum as the story becomes increasingly complicated. ## Bright Visuals for a Darker Story The film is visually polished and straightforward in its approach. The bright colour grade fits the lighter, more romantic tone established at the beginning, although it becomes somewhat disconnected from the deeper themes the story eventually explores. There aren’t many ambitious visual choices here, but the simple approach works for the film and allows the story to remain the primary focus. ## When the Search for Mr. Right Goes Too Far Several moments had us questioning Bunmi’s choices. The film portraying her as someone who would become completely distracted whenever she sees an attractive man was a little ridiculous. In the beginning, the film also conveniently places romantic or dramatic encounters in Bunmi’s path. Encounters that feel as though they only happen because the story needs it to happen, rather than because it naturally would. And then there are the decisions that genuinely make us question Bunmi’s common sense. After hearing all that noise, why would she still go inside? And with everything happening around her, why would she still go ahead with the work trip? However, the dream revelation puts these into perspective. ## Verdict **Where Is Mr. Right?** takes a familiar Nollywood theme—the pressure women face to find love and get married—and gives it an unexpectedly darker twist. Its central message that all that glitters isn’t gold is one Nollywood has explored many times, but the film also does a good job highlighting how societal pressure and desperation can push people into making problematic decisions. It is unpredictable, different from what we initially expected, and manages to hold our attention despite some questionable character decisions and overly cringe dialogue. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/where-is-mr-right-a-twisted-story-on-love-and-societal-pressure/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/where-is-mr-right-a-twisted-story-on-love-and-societal-pressure/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/where-is-mr-right-a-twisted-story-on-love-and-societal-pressure/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/where-is-mr-right-a-twisted-story-on-love-and-societal-pressure/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/where-is-mr-right-a-twisted-story-on-love-and-societal-pressure/?share=linkedin) - **Categories:** Reviews **Tags:** Blossom Chukwujekwu, Funke Akindele, Funke Akindele Network, Nosa Rex, Omowunmi Dada, Prime Video, Tunde Olaoye, Where is Mr. Right? --- ### [See The Official Trailer of Damilola Orimogunje's Dear Ajayi](https://nollycritic.com/see-the-official-trailer-of-damilola-orimogunjes-dear-ajayi/) **Published:** August 29, 2026 **Author:** Esther Adamu **Excerpt:** The official trailer of Damilola Orimogunje's Dear Ajayi has been released. "Dear Ajayi" is a feature film directed and written by the acclaimed Nigerian... **Content:** The official trailer of Damilola Orimogunje’s *[Dear Ajayi](https://nollycritic.com/damilola-orimogunjes-dear-ajayi-selected-for-the-hubert-bals-fund/ "Dear Ajayi")* has been released. *Dear Ajayi* is a feature film directed and written by the acclaimed Nigerian filmmaker Damilola Orimogunje, who is best known for *Maria Ebun Pataki.* The film is set in southwestern Nigeria during the 1990s and was produced under Orimogunje’s film banner in collaboration with Mayana Films, Zynox Production, and Depth & Optics Productions. *Dear Ajayi*, filmed primarily in Ibadan, focuses on the lives of two estranged sisters, Ade and Titi Ajayi. Their very different lives converge when they are compelled to return to the same household to care for their paralyzed mother. As they navigate living together, the sisters must confront their unresolved family issues, cope with loss, explore their faith, and deal with love and ambition, all while managing the complex societal expectations placed on women. The cast features Bimbo Akintola and Tosin Adeyemi in the lead roles, along with Williams Benson and Uzoamaka Power. Additionally, the film includes veteran Nigerian actors such as Lanre Hassan, Antar Laniyan, Idowu Phillips, Michelle Dede, Chioma Omeruah, Kalu Ikeagwu, Tope Tedela, and Baaj Adebule. According to [What Kept Me Up](https://whatkeptmeup.com/nigerian-film-news/damilola-orimogunjes-dear-ajayi-sets-world-premiere-at-venice-2026/ "What Kept Me Up") *Dear Ajayi*‘*s* dialogue spans across English, Yoruba, French, and Igbo. Following an eight-year development journey that included support from the Hubert Bals Fund and the World Cinema Fund, Dear Ajayi made history as the first Nigerian production selected for the competitive Giornate degli Autori section at the 83rd Venice International Film Festival. See the official Trailer of *Dear Ajay*i. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-official-trailer-of-damilola-orimogunjes-dear-ajayi/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-official-trailer-of-damilola-orimogunjes-dear-ajayi/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-official-trailer-of-damilola-orimogunjes-dear-ajayi/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-official-trailer-of-damilola-orimogunjes-dear-ajayi/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-official-trailer-of-damilola-orimogunjes-dear-ajayi/?share=linkedin) - **Categories:** Nollywood News **Tags:** 83rd Venice International Film Festival., Antar Laniyan, Baaj Adebule., Bimbo Akintola, Chioma Omeruah, Damilola Orimogunje, Dear Ajayi, Depth & Optics Productions, Giornate degli Autori, Idowu Phillips, Kalu Ikeagwu, Lanre Hassan, Mayana Films, Michelle Dede, nigerian cinema, nollycritic, nollywood, Tope Tedela, Tosin Adeyemi, Zynox Production --- ### [Living in Colors: NFVCB Moves to Stop the Premiere of LGBTQ Film](https://nollycritic.com/living-in-colors-nfvcb-moves-to-stop-premiere-of-lgbtq-film/) **Published:** August 28, 2026 **Author:** Esther Adamu **Excerpt:** NFVCB is taking action to prevent the premiere and press call of the feature film Living in Colors due to allegations of explicit... **Content:** The [National Film and Video Censors Board](https://www.tvcnews.tv/nfvcb-moves-to-stop-premiere-of-living-in-colors-over-unclassified-content/ "National Film and Video Censors Board") (NFVCB) is taking action to prevent the premiere and press call of the feature film *Living in Colors* due to allegations of explicit and illegal content. This follows a preliminary investigation into the movie’s promotional trailers circulating across digital platforms, which the Board claims depict explicit pornography and promote same-sex relationships. The National Film and Video Censors Board (NFVCB) is a statutory regulatory body established by the Federal Government in 1993. Its primary purpose is to classify, monitor, and regulate film and video works distributed or exhibited across the country, ensuring they adhere to national standards, laws, and cultural values. Recently, the NFVCB issued a warning to content creators, media platforms, and digital distributors, advising them against facilitating the distribution of a film ahead of its scheduled digital release. According to official statements issued by the Board, the film directed by Tega Idogho was never submitted, vetted, or classified by regulatory authorities prior to its public marketing. Under existing federal guidelines, particularly section 33, the exhibition, distribution, or promotion of unclassified [film](https://nollycritic.com/?s=film "film") content within Nigeria constitutes a direct violation of the NFVCB Act. According to [Nollywoodtimes](https://www.nollywoodtimes.com/2026/08/nfvcb-moves-against-unclassified-living.html?m=0 "Nollywoodtimes"), beyond shutting down the physical premiere, the Board confirmed that legal proceedings are being initiated against Prism House Studio alongside individual producers and promoters involved in the project. Authorities cited both the NFVCB Act and the Same-Sex Marriage (Prohibition) Act, noting that public distribution of legally prohibited or unapproved media content carries severe criminal penalties. To ensure full compliance, the NFVCB is collaborating with federal and state security agencies to halt the planned theatrical event in Lagos. Additionally, the regulatory body has issued direct warnings to cinema operators and venue managers connected to the event, clarifying that hosting unclassified productions will result in immediate facility closure and the revocation of operational licenses. See the trailer below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/living-in-colors-nfvcb-moves-to-stop-premiere-of-lgbtq-film/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/living-in-colors-nfvcb-moves-to-stop-premiere-of-lgbtq-film/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/living-in-colors-nfvcb-moves-to-stop-premiere-of-lgbtq-film/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/living-in-colors-nfvcb-moves-to-stop-premiere-of-lgbtq-film/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/living-in-colors-nfvcb-moves-to-stop-premiere-of-lgbtq-film/?share=linkedin) - **Categories:** Nollywood News **Tags:** Federal Government, Living in Colors, NFVCB, nigerian cinema, nollycritic, nollywood, Same-Sex Marriage (Prohibition) Act, Tega Idogho, The National Film and Video Censors Board (NFVCB) --- ### [The Man Died Review: Soyinka's Silence and the Film That Dares to Speak It](https://nollycritic.com/the-man-died-review-soyinkas-silence-and-the-film-that-dares-to-speak-it/) **Published:** August 24, 2026 **Author:** Shalom O. Obisesan **Excerpt:** The Man Died chronicles Soyinka's imprisonment without trial by the military government of General Yakubu Gowon in the years of the Nigerian... **Content:** > “The man dies in all who keep silent in the face of tyranny.” [Wole Soyinka](https://nollycritic.com/?s=Wole+Soyinka "Wole Soyinka") wrote those words from inside a military prison, on scraps of paper smuggled out under conditions that could have cost him what remained of his health. The sentence is not a metaphor. It is a philosophy with biographical weight, and it is the premise from which [Awam Amkpa](https://www.imdb.com/name/nm0025025/?ref_=tt_ov_1_1 "Awam Amkpa")‘s *The Man Died*, adapted from Wole Soyinka’s prison memoir of the same title, has to begin. To make a film from this material is to accept a particular kind of obligation: the story cannot be comfortable, and the man at its centre cannot be made small. It is demanding, sometimes unwieldy, and consistently necessary. ## *The Man Died* Directed by: Awam Amkpa Written by: Bode Asiyanbi Genre: Drama Released on: August, 2026 (Prime Video) Language: English ## The Writer as Political Body *The Man Died* chronicles Wole Soyinka’s imprisonment without trial by the military government of General Yakubu Gowon in the years of the Nigerian Civil War. He had attempted to mediate between the Federal Government and the Biafran secessionist leadership, meeting with Ojukwu and others in the hope of preventing or shortening the war. The interpretation placed on that mediation by the government was not neutrality but treachery, and the result was nearly two years of incarceration, much of it in solitary confinement, under conditions designed to break the mind as thoroughly as any physical punishment. The film’s central story is not, at its deepest level, a story about what was done to Wole Soyinka. It is a story about what Soyinka did with what was done to him. Writing, imagination, and the stubborn maintenance of moral clarity become the instruments through which he refuses the collapse that solitary confinement is designed to produce. The prison writings smuggled out on scraps of paper are not simply political documentation. They are acts of survival, the mind insisting on its own irreducibility while the body is being systematically diminished. What surrounds this central story is an education in Nigerian history delivered through flashbacks, radio broadcasts, and the specific texture of political relationships. Wole Soyinka’s friendships with Christopher Okigbo and Bola Ige, his admiration for Victor Banjo, his encounters with Ojukwu and the complex moral landscape of the Biafran struggle: all of these circle the imprisonment and illuminate what was at stake. *The Man Died* does not balk from identifying the atrocities committed against Igbo people as genocide. That it says what Nigerian public discourse has long found difficult to say clearly is itself a political act, and one that belongs to the tradition Soyinka’s life has embodied. The text it draws from is layered in the specific way that a Wole Soyinka work must be, and the screenplay’s ambition to honour that layering is both the film’s greatest strength and its most demanding quality. There are passages where history is delivered more as information than as drama. These are the moments when the film asks the most of its audience, and when that audience’s willingness to meet it determines whether the film succeeds for them. ## A Structure Built for Endurance *The Man Died* is long, running past two and a half hours, and its chosen form serves the subject even when it tests the viewer. Amkpa frames the narrative through Soyinka’s voiceovers and the crackle of radio broadcasts from outside the prison walls, a device that keeps the civil war alive as both context and pressure even when we are locked inside the cells and interrogation rooms. The flashbacks to earlier life, to friendship and political engagement and the world before imprisonment, do the necessary work of showing us the man before the state began its work of diminishment. The structure is effectively a collage, reflecting the nature of the source material, which was itself written in fragments and assembled from different registers of memory and observation. For a film, this creates a particular kind of momentum: not the rising tension of conventional plot but the accumulation of experience and understanding over time. This serves the material. Wole Soyinka’s imprisonment was not dramatic in the conventional sense. It was a sustained act of endurance against conditions designed to make endurance impossible. Where the film occasionally falters is in the scenes that should carry the most emotional charge. The war itself, the violence that Wole Soyinka was trying to prevent and that ultimately imprisoned him, is rendered more through implication and dialogue than through any visceral cinematic confrontation. The film’s restraint is largely a virtue, but in the moments that should land with force, that restraint can become a missed opportunity. The meeting between Soyinka and Victor Banjo, for instance, carries historical weight that the scene does not fully charge with dramatic electricity. --- ## What Two Actors Make Possible The weight of *The Man Died* falls most heavily on [Wale Ojo](https://nollycritic.com/?s=wale+ojo "Wale Ojo"), and he carries it without apparent effort. His Wole Soyinka is not an impersonation, not the mimicry of mannerisms in service of recognition. It is a portrait of a particular kind of man: one whose self-possession is so constitutive that even systematic deprivation cannot strip it away. The physicality of the performance tracks the body’s decline under imprisonment while keeping the mind’s resistance legible in every scene. A face in a dim cell, saying nothing, becomes a more eloquent statement than any monologue, and Ojo earns those moments repeatedly. Sam Dede as Yisa, the officer managing Soyinka’s detention, gives the film its most compelling antagonist. His menace does not require aggression to communicate itself. He is a man at home in the mechanisms of power, which makes him more genuinely threatening than any performer reaching for fury could be. The scenes he shares with Ojo create a dynamic that the film returns to repeatedly and never exhausts, two men in a contest that only one of them recognises as such. Segilola Ogidan as Morenike brings the film its most kinetic energy, a necessary injection of lightness and movement in an otherwise sombre work. Ropo Ewenla’s brief turn as Olusegun Obasanjo captures something specific about the man without turning him into caricature. Kelvin Mary’s Christopher Okigbo, in his scenes with Wale Ojo, produces the film’s warmest passages, a friendship between two men who would subsequently make very different decisions about where their convictions required them to stand. *The Man Died* ‘s historical figures carry varying degrees of success. Some are inhabited with enough specificity to feel like portraits. Others remain closer to illustrations, moving through the historical record rather than fully occupying it. This unevenness is perhaps unavoidable in a film that must accommodate so many real people, each of whom brings their own biographical weight. ## A Period Rendered Without Apology The production’s commitment to its historical period is one of its most consistent achievements. The look and texture of late-1960s Nigeria, the clothing, the spaces, the specific quality of light and darkness in the scenes, communicates an era without straining for it. The cinematography is particularly effective in the prison sequences, where the visual language of confinement makes the physical reality of Soyinka’s isolation felt without resorting to the kind of heightened stylisation that would distance the viewer from the experience. The nighttime scenes are among the film’s finest visual work, using limited light sources with the specificity that this kind of material demands. Faces emerge from darkness, reactions are caught in the glow of available light, and the result is an atmosphere that reflects the morally obscured period the film is depicting. The radio broadcasts that run beneath the visual narrative add historical texture without becoming intrusive, functioning as the film’s way of keeping the larger catastrophe present without interrupting the intimacy of its central story. ## Final Thoughts Nigeria’s relationship with its civil war is still, sixty years later, a contested and unresolved thing. The war ended. The reckoning has not. Films, books, and testimonies that address the conflict directly are not simply historical records. They are interventions in an ongoing argument about what Nigeria is and what it has refused to become. Soyinka understood this when he wrote his prison memoir. Amkpa understands it in bringing that memoir to screen. The man dies in all who keep silent. The film exists as a refusal of silence. It places the camera inside the experience of a man who chose his conviction over his comfort and paid for that choice in years of his life. It does not make him a saint or a symbol. It makes him a specific human being, and in doing so, it makes the political history it contains feel personal rather than documentary. That is the harder and more important achievement. *The Man Died* is demanding in the way that serious art about serious things has to be. It will lose some viewers in its density and test others with its length. For those who stay with it, the film offers what Wole Soyinka’s memoir offered: the record of a mind that could not be broken, and the reminder that such minds are exactly what the silence always wants to extinguish. ## Verdict Watch this, and watch it with the patience it deserves. It is not entertainment in the casual sense. It is something closer to testimony, translated into the language of cinema by a director who respects his material and a cast that rises to meet it. For anyone trying to understand what Nigeria was, what it lost, and what it has chosen to keep forgetting, *The Man Died* is essential. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-man-died-review-soyinkas-silence-and-the-film-that-dares-to-speak-it/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-man-died-review-soyinkas-silence-and-the-film-that-dares-to-speak-it/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-man-died-review-soyinkas-silence-and-the-film-that-dares-to-speak-it/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-man-died-review-soyinkas-silence-and-the-film-that-dares-to-speak-it/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-man-died-review-soyinkas-silence-and-the-film-that-dares-to-speak-it/?share=linkedin) - **Categories:** Reviews **Tags:** Abraham Amkpa, adaptation, AFRIFF 2024, Awam Amkpa, Biafra, Bode Asiyanbi, Christinah Oshunniyi, Femi Odugbemi, Film Critique, Film review, freedom of expression, historical drama, intellectual resistance, Kelvin Mary, literary adaptation, Nigerian Civil War, nollywood, Norbert Young, Prime Video, prison memoir, Ropo Ewenla, Sam Dede, Segilola Ogidan, Similoluwa Hassan, Temilolu Fosudo, the man died, Wale Ojo, Williams Idakwo, Wole Soyinka, Zuri24 --- ### [Ordinary People: Moses Iwang's New 8 Part Thriller Set For Netflix](https://nollycritic.com/ordinary-people-moses-iwangs-new-8-part-thriller-set-for-netflix/) **Published:** August 19, 2026 **Author:** Esther Adamu **Excerpt:** Netflix has announced the release of Ordinary People, a new  eight-episode series set to premiere globally on the platform this September. **Content:** Netflix has announced the release of *Ordinary People*, a new eight-episode series set to premiere globally on the platform this September. The project, which was formally unveiled through [Netflix’s](https://www.netflix.com/browse "Netflix’s") official page, had an intriguing tagline: *Ordinary people, but there’s nothing ordinary about their lives*. The project promises an action-packed and suspense-filled narrative. Directed by [Moses Inwang,](https://www.imdb.com/name/nm4657969/) the plot is set in an affluent residential community where neat lawns and carefully maintained façades conceal complicated private lives. Residents who appear ordinary in daily interactions carry pasts that begin to collide with present dangers. As old secrets re-emerge, the neighbours are forced to weigh loyalty against self-preservation, ambition against redemption, and the lives they have built against the cost of protecting them. The cast for *Ordinary People* includes Ramsey Nouah, Chidi Mokene, Adunni Ade, Sharon Ooja, Genga Titiloye, Uche Montana, Adjetey Anang, Jackie Appiah, Lasisi Elenu, Michelle Dede, Shawn Faqua, Eddy Watson, Henry Orakwe, Bimbo Manuel, Chinonso Egemba, and Chidi Dike. *Ordinary People* will be available on Netflix starting September 4, 2026. See the trailer below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ordinary-people-moses-iwangs-new-8-part-thriller-set-for-netflix/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ordinary-people-moses-iwangs-new-8-part-thriller-set-for-netflix/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ordinary-people-moses-iwangs-new-8-part-thriller-set-for-netflix/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ordinary-people-moses-iwangs-new-8-part-thriller-set-for-netflix/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ordinary-people-moses-iwangs-new-8-part-thriller-set-for-netflix/?share=linkedin) - **Categories:** Nollywood News **Tags:** Adjetey Anang, Adunni Ade, and Chidi Dike., Bimbo Manuel, Chidi Mokene, Chinonso Egemba, Eddy Watson, film, Genga Titiloye, Henry Orakwe, Jackie Appiah, Lasisi Elenu, Michelle Dede, Moses Inwang, Netflix, netflix naija, nigerian cinema, nollycritic, nollywood, Ordinary People, Ramsey Nouah, Sharon Ooja, Shawn Faqua, Uche Montana --- ### [A Happy Ending Review: Dika Ofoma Closes Zikoko Life 2 with Its Bravest Film](https://nollycritic.com/a-happy-ending-review-dika-ofoma-closes-zikoko-life-with-its-bravest-film/) **Published:** August 18, 2026 **Author:** Shalom O. Obisesan **Excerpt:** A happy ending, in the language of the massage industry, is a service that extends beyond its stated purpose. In the language of... **Content:** A happy ending, in the language of the massage industry, is a service that extends beyond its stated purpose. In the language of storytelling, it is the resolution audiences are trained to want: difficulty navigated, goodness rewarded, the right people walking away into something better than where they started. [Dika Ofoma’s ](https://www.imdb.com/name/nm9556517/ "Dika Ofoma's ")thirty-five-minute film, the final entry in [Zikoko Life’s](https://nollycritic.com/?s=zikoko "Zikoko Life's") second outing, holds both meanings in tension from its title to its last scene, and the generosity it finds in that tension is what makes it the strongest of the three films the anthology has produced this year. Tatiana, played by Ifeoma Obinwa, arrives in Lagos from the southeast with a specific skill and a specific ambition. She is a trained masseuse who has come for better opportunities, and what she finds at the spa her friend Ginika has arranged for her is a particular kind of Lagos reality: a business that presents one thing on its signage and quietly offers another through arrangement. Three days into the job, a senator becomes a regular client. And then the root of all evil sets in. ## *A Happy Ending* Directed by: Dika Ofoma Written by: Dika Ofoma Genre: Drama Language: English, Igbo ## A Woman Who Made a Choice What makes this *A Happy Ending’s* approach to its subject significant is the decision Dika Ofoma made before a single scene was shot. He refused to write Tatiana as a victim. Tatiana is an adult who looks at her options and chooses the one that keeps her ambitions alive. The choice has costs. The film is honest about every one of them. But she enters the situation with her eyes open, and the film treats that as the truth of the matter rather than a moral failing to be corrected. This is a more radical decision than it might appear. It means the film cannot reach for the traditional Nigerian storytelling comfort of the punished woman, the sinner who suffers so that the audience can be reassured that the moral order holds. Three actresses reportedly turned down the role because the character was not written with enough suffering to justify her choices in their view. What that tells us about the society in which this film exists is arguably as interesting as the film itself. The willingness to follow a woman who made a difficult, imperfect, economically rational choice, and to let her find her own way to something better, is a meaningful creative position. Ginika, played by Ruby P. Okezie, is Tatiana’s friend and her entry point into this world. Their friendship is the film’s emotional constant. It bends, strains, and at one point very nearly breaks, but it holds. Madam Ngozi, played by Anne Njemanze, manages the spa with the pragmatic authority of someone who has seen this story from both sides. The film’s most humanising choice, and its most honest, is the decision not to write her as the villain. She is an enabler of an exploitative arrangement, but she is also a woman who has navigated the same city and the same pressures by different means, and her passing of contraception to Tatiana before the arrangement deepens reads as genuine, if limited, care. The film understands that most people doing damage are not doing it with malice. They are doing it with rationalisation, which is a more uncomfortable truth. ## The Familiar Path, Taken Differently The plot moves through territory that Nollywood has visited before: the young woman from the southeast, the powerful older man, the corrupting influence of money, the friend drawn in against her better judgment. What changes is the destination. The film does not dramatise what ensues as violence. It dramatises it as power, which is both more accurate and more disturbing. The senator does not need to threaten or coerce because the economic architecture of the arrangement has already done that work. Tatiana’s agency was intact when she entered. It narrowed incrementally as the money deepened the dependency. The film traces that narrowing with care, showing how each convenience functioned as a gift and as a leash simultaneously. Ginika and Tatiana’s decision is the film’s central act of reclamation. The ending is not triumphant in the way of a moral parable. It is quiet and warm and aware of what it cost to get there. A happy ending, the film suggests, is not the absence of difficulty. It is arriving somewhere of your own making. ## Performances That Know the Territory Ifeoma Obinwa’s Igbo is the first thing that distinguishes her in the role. In a film where the language is a cultural statement as much as a narrative choice, the authenticity of her speech communicates that Tatiana belongs to a specific place and carries that place with her. Obinwa plays the character’s naivety not as stupidity but as inexperience with a particular kind of city sophistication. Tatiana never fully adapts to the world she enters because she was never entirely comfortable in it. Her wide-eyed quality is not vacuousness. It is the look of someone who is enjoying what the money makes possible while staying slightly outside the thing producing it. Ruby P. Okezie as Ginika has the film’s most interesting character arc precisely because Ginika is the more pragmatic of the two. Her eventual choice is the film’s most morally complex beat. The ambiguity of that moment is genuine: did she stay out of fear, calculation, or a decision she was making for herself? The film does not answer cleanly, and Okezie does not play it clean. That unresolved quality is the right choice for a character who is making her own compromises on her own terms. Anne Njemanze as Madam Ngozi gives the film’s most textured supporting performance. The character manages a harmful arrangement while believing she is managing it responsibly. That self-deception is human and recognisable, and Njemanze plays it without irony or condescension. ## The Music and the Memory of a Different Nollywood The choice to use Oriental Brothers and Dwin the Stoic in the film’s musical texture is specific and deliberate. This is music that carries the sound of an older Igbo cultural world, and its presence in a film about young women navigating contemporary Lagos creates a productive friction. It suggests continuity, that these women are part of a long lineage of women who have navigated difficult circumstances with what they had, while simultaneously refusing to moralise that lineage in the way older Nollywood often did. The cinematography and pacing are the film’s most consistent technical achievements. Dika Ofoma knows where to cut and where to hold, and the editing rhythm contributes to the film’s emotional intelligence in ways that less disciplined short filmmaking would have forfeited. There is a visual warmth to the film, particularly in the friendship scenes, that does not romanticise the circumstances but refuses to render them only as grim. The Igbo language running through the film is both a cultural anchor and an aesthetic pleasure, giving the story a specificity that generic casting in generic Lagos English would have eliminated. ## Final Thoughts Watching all three films in Zikoko Life’s second outing together reveals something about what the anthology has been attempting. *[Siraam](https://nollycritic.com/siraam-review-uzoamaka-powers-short-might-be-too-real-for-you/ "Siraam")* opened with a woman navigating what happens to the self after a man who was never hers moves on. *Before We Fall Asleep* followed a couple whose assumed arrangements became visible and unstable when one source of income disappeared. *A Happy Ending* closes the series with a woman who chooses a path fully knowing where it leads and finds, eventually, a different way through. All three films are about the same thing, in the end: what it costs Nigerian women to exist inside economic and emotional systems that were not designed with their wellbeing as the primary concern. And what it looks like when they find their way through those systems on their own terms. The consistency of care, in the writing, in the visual language, and in the choice not to moralize what it depicts, marks Zikoko Life as one of the more meaningful short film spaces currently operating in Nigerian storytelling. *A Happy Ending* is the best of the three. It is also, by its own admission and by the logic of its own title, the most hopeful. ## Verdict Watch this, ideally after watching *Siraam* and [*Before We Fall Asleep*,](https://nollycritic.com/before-we-fall-asleep-review-zikoko-lifes-most-honest-film-yet/ "Before We Fall Asleep,") though it stands on its own. It is thirty-five minutes of filmmaking that takes its characters seriously, uses the Igbo language as both culture and pleasure, and earns its ending without sentimentality. Dika Ofoma closes the series with the most mature and formally assured film of the outing. It is a complete film: beginning, middle, and a happy ending that actually feels like one. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-happy-ending-review-dika-ofoma-closes-zikoko-life-with-its-bravest-film/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-happy-ending-review-dika-ofoma-closes-zikoko-life-with-its-bravest-film/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-happy-ending-review-dika-ofoma-closes-zikoko-life-with-its-bravest-film/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-happy-ending-review-dika-ofoma-closes-zikoko-life-with-its-bravest-film/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-happy-ending-review-dika-ofoma-closes-zikoko-life-with-its-bravest-film/?share=linkedin) - **Categories:** Reviews, Short Films **Tags:** 2026 Nigerian short film, A Happy Ending, agency, Anne Njemanze, Big Cabal Media, Bluhouse studios, Dika Ofoma, economic vulnerability, female friendship, Film Critique, Ifeoma Obinwa, Igbo language, Kuchi Chris, Nigerian short film, Nkiru Ifezue, Nonso Odogwu, Oriental Brothers, Ruby P. Okezie, sex work, short film, short film review, Youtube, Zikoko, Zikoko Life --- ### [Toka McBaror's The Takers is now streaming on Prime](https://nollycritic.com/toka-mcbarors-the-takers-is-now-streaming-on-prime/) **Published:** August 15, 2026 **Author:** Esther Adamu **Excerpt:** The Takers follows a deep tribal and family conflict where an army of farmers goes to war to end a long-standing period... **Content:** Nearly seven years since its trailer drop [Toka McBaror](https://www.imdb.com/name/nm8867677/?ref_=tt_ov_1_1 "Millions")‘s *The Takers* is now streaming on Prime Video. Produced by Evolution Studio 66, *The Takers* follows a deep tribal and family conflict where an army of farmers goes to war to end a long-standing period of tyranny and dominance. Set in the north, the plot of *The Takers* centers on a vicious conflict over power, identity, and liberation. Written by Chloe Coko and Toka McBaror, the film boasts an ensemble cast featuring Josephine Sunday, Doenn Otse Chia, Tiga George Francis Gandah, Kwazu, Gabriel Akhuetie, and Kiyan To. Behind the scenes, the production brings together key technical talents, including sound design by Henry Seth, music by Orfega Bezaleel Uzuwa, and costume design directly managed by Evolution Studio 66. Recognised for his high-stakes narratives and thrillers, Toka McBaror has built a reputation for expanding visual storytelling in Nigerian cinema. He prioritizes high-contrast, moody colour palettes and meticulous shot composition. *The Takers* appears to build on this signature approach, inviting audiences into a narrative driven by high emotional stakes and moral compromise. His earlier works include *The Millions, Dark October* and *[The Waiter.](https://nollycritic.com/the-waiter-ay-makun-needs-to-be-retire-akpos/ "The Waiter.")* *The Takers* is now streaming on Amazon Prime Video. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/toka-mcbarors-the-takers-is-now-streaming-on-prime/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/toka-mcbarors-the-takers-is-now-streaming-on-prime/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/toka-mcbarors-the-takers-is-now-streaming-on-prime/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/toka-mcbarors-the-takers-is-now-streaming-on-prime/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/toka-mcbarors-the-takers-is-now-streaming-on-prime/?share=linkedin) - **Categories:** Nollywood News **Tags:** and Kiyan To. Behind the scenes, Doenn Otse Chia, Evolution Studios 66, Gabriel Akhuetie, including sound design by Henry Seth, Josephine Sunday, Kada River, Kwazu, music by Orfega Bezaleel Uzuwa, nigerian cinema, nollycritic, nollywood, Prime Video, The Millions, the production brings together key technical talents, The takers, Tiga George Francis Gandah, Toka McBaror --- ### [Njem Review: A Relatable Dream That Gets Lost in Its Own Suffering](https://nollycritic.com/njem-review-a-relatable-dream-that-gets-lost-in-its-own-suffering/) **Published:** August 5, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Uche Chukwu's Njem: The Journey plants its story directly inside that reality. Its protagonist, Ochuko, is a young man in a... **Content:** The desire to leave Nigeria is not a character quirk. For an entire generation of young Nigerians, it is a survival instinct, a rational response to a country whose systems consistently fail the people living inside them. Uche Chukwu’s *[Njem: The Journey](https://www.imdb.com/title/tt38866749/?ref_=nm_flmg_job_1_accord_1_cdt_t_1 "Njem: The Journey")* plants its story directly inside that reality. Its protagonist, Ochuko, is a young man in a riverine community with a single driving ambition: to get out. The [japa syndrome](https://nollycritic.com/?s=japa), as Nigerians have come to call it, is the emotional engine of the film, and it is a powerful one. The film knows why Ochuko wants to leave, and it trusts that the audience will understand without explanation. That instinct is the film’s best quality, and it is enough to make the first act compelling. What follows is two hours and twenty-three minutes of the story working hard against its own momentum. ## *Njem: The Journey* Directed by: Uche Chukwu Written by: Ayomide Olatunbosun Genre: Drama Released on: July 24, 2026 (Cinemas) Language: English ## The Dream and the Weight of Others Ochuko is not a passive man. He is trying. The distinction matters because the film is not interested in a character who has given up. It is interested in one who keeps pushing against a system that keeps pushing back, and the weight of that pushing comes through in Chimezie Imo’s performance, which grounds the character’s frustration without tipping into self-pity. What makes Ochuko immediately accessible is not his specific circumstances but the feeling behind them: the sense of a person who has looked at everything around him and concluded that leaving is the only path forward. The film is not content to leave the story there, and this is where it becomes more interesting than a simple emigration narrative. As Ochuko moves toward his exit, people around him pay the price of his circumstances. An elderly woman, played by Tina Mba with the quiet authority that characterises her best work, loses her son and then her own life in situations where Ochuko could not intervene. A young woman suffers a fate he cannot prevent. The film is building toward an argument: that the cost of one person’s survival is rarely borne by that person alone, and that the pursuit of individual escape exists within a web of obligations to people who cannot escape alongside you. By the time Ochuko is finally positioned to leave, and the news about his girlfriend’s family pulls him back, the film has assembled the components of a genuinely powerful conclusion. He returns not because he has abandoned his dream but because he has arrived, slowly and at great cost, at the understanding that he carries responsibilities he cannot emigrate away from. The moral arc makes sense. The problem is that the accumulation of loss the film uses to build toward that arc eventually works against the emotional connection it needs to land. ## When the Suffering Outruns the Story *Njem* operates on a logic of escalation. Each act adds a new obstacle, a new loss, a new complication between Ochuko and his exit. Don Vasco, the local landlord and loan shark played by Kelechi Udegbe, is the film’s most consistent instrument of obstruction. He is threatening, and the performance makes him believably dangerous. But the character exists almost entirely as a mechanism for keeping Ochuko trapped. Every time the protagonist appears to make progress, Don Vasco and others find a new way to close the door. This is effective as a structural device for the first hour. By the second, it begins to feel like a story that has confused frustration with tension. The distinction matters. Tension creates engagement. Frustration, when sustained long enough, creates distance. By the time the film reaches its most emotionally significant moments, the accumulated weight of watching Ochuko’s every effort undone has made it difficult to fully feel what those moments are asking for. The events still register intellectually. The emotional investment that would make them devastating has been gradually depleted. A film about suffering can still move you, but it requires moments of genuine relief between the blows, connections that are allowed to breathe before they are taken away. Njem does not always give itself those moments, and the audience’s emotional capacity empties before the story is done demanding it. The emotional arc that the film is building toward, is the right ending for the story it has been telling. It completes the argument about responsibility and connection. Whether it lands with the force it should is another matter, and one that the plot’s construction determines more than the story’s conception. ## The Emotional Cost of One Man’s Exit Beneath its emigration premise, *Njem* is really a film about what it costs to want something that the people around you cannot have. Ochuko’s desire to leave is the surface. The question the film is actually asking is deeper: who pays for an individual’s escape, and what does that payment demand of the person leaving? The film answers this through accumulation. As Ochuko moves toward his exit, people around him pay the price of his circumstances. People are affected around Ochuko, not because of any direct fault of his, but because the circumstances trapping him also trap them. Tina Mba’s Mama Bako represents the generation that has already accepted what Ochuko refuses to, and her experience carries a specific grief because her devotion to him is one of the few uncomplicated goods the film allows. When that devotion ends, the film is making its clearest statement about the collateral weight of individual ambition in a broken system. Cynthia is both the film’s most important character and one of its more complex ones, even if the film does not always give that complexity the space it deserves. Goodness Emmanuel commits to the role fully, and the relationship between her and Ochuko carries the texture of two people with genuine history. Cynthia’s devotion to Ochuko is not abstract. It is rooted in action: it is her sister, Tinuke, a drug addict and sex worker, whose connections provide the first real opening for Ochuko’s emigration plans. Cynthia does not simply cheer from the sidelines. She leverages the most difficult and painful parts of her own life to move his forward, and she does it repeatedly. The film gives her that much, and it is not nothing. What remains underdeveloped is who Cynthia is outside of that giving. Her inner life, her own relationship with what her sister’s circumstances cost her, her ambitions beyond helping Ochuko succeed, these exist at the edges of the film without ever moving to the centre. A character who gives this much of herself to another person’s story, at considerable personal risk, deserved to have her own story told alongside his with equal depth. ## A Location That Earns Its Place The riverine community setting is one of the film’s most considered choices, and it is used with genuine intelligence. The environment is not simply backdrop. It reinforces the central emotional argument of the story: a place that feels cut off, bounded by water on all sides, where the limits of the geography mirror the limits of opportunity. Ochuko’s desire to break out of this community is felt not just as a personal ambition but as a response to a physical environment that communicates confinement. The setting does the thematic work of the story without announcing it. Cinematically, the location is handled with enough care to sustain the atmospheric demands of the material. The visual language communicates a world that is real and specific rather than generic poverty, and that specificity gives the film its most persuasive quality: it feels like a place and a situation that exists, not a constructed illustration of hardship. ## Final Thoughts *Njem: The Journey* has the right instincts for the story it wants to tell. The central idea, that the dream of escape and the responsibility to those who cannot escape alongside you are in genuine tension, is a mature and necessary one. Chimezie Imo grounds the film in a protagonist the audience can follow even when the material around him is testing their patience. And the setting gives the film a visual and symbolic vocabulary that sustains it through its better passages. What the film does not manage is the calibration between suffering and emotional resonance. A story about hardship can accumulate loss and still build toward catharsis, but it requires moments of genuine relief, of joy that is not immediately cancelled, of human connection that is allowed to breathe before it is taken away. Without those moments, the audience’s emotional capacity fills up before the story has finished demanding it. *Njem* keeps reaching for the audience’s feelings in a well that it has already drained. ## Verdict Watch this if the japa narrative speaks to you personally, or if Chimezie Imo’s work has earned your attention across his recent projects. The setting and premise are worth the first hour. Come prepared for a film that earns its emotional destination intellectually but does not always make you feel the journey that led there. The cumulative frustration of watching its protagonist continually thwarted is both the point of the film and the thing that most limits its impact. **Rating**: 2.35/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/njem-review-a-relatable-dream-that-gets-lost-in-its-own-suffering/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/njem-review-a-relatable-dream-that-gets-lost-in-its-own-suffering/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/njem-review-a-relatable-dream-that-gets-lost-in-its-own-suffering/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/njem-review-a-relatable-dream-that-gets-lost-in-its-own-suffering/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/njem-review-a-relatable-dream-that-gets-lost-in-its-own-suffering/?share=linkedin) - **Categories:** Reviews **Tags:** 2026 Nollywood film, AFRIFF 2025, Ayomide Olatunbosun, Chimezie Imo, Drama, Film Critique, Film review, Goodness Emmanuel, Japa Syndrome, Kelechi Udegbe, Migration, Njem The Journey, nollywood, poverty, riverine community, Rivers State, Rotimi Salami, Tana Adelana, Tina Mba, Tomi Ojo, Uche Chukwu --- ### [Patrick Diabuah: The Thespian Who Balanced Stage and Screen](https://nollycritic.com/patrick-diabuah-the-thespian-who-balanced-stage-and-screen/) **Published:** August 13, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Patrick Diabuah did not arrive at acting. Acting arrived at him. His father played the trumpet. His mother told stories and sang... **Content:** [Patrick Diabuah](https://www.imdb.com/name/nm9702923/ "Patrick Diabuah") did not arrive at acting. Acting arrived at him. His father played the trumpet. His mother told stories and sang. He grew up in a house where music came from a record player every morning and where narratives were a form of daily life. “There was something about those songs,” he told the Guardian in 2021. “You could almost see the story of the songs happening before your eyes.” The two things he grew up with, music and storytelling, became, in his own words, “the foundation of theatre,” laid by parents who did not intend it but did it anyway. He attended Mobolaji Bank-Anthony High School in Sabo and later studied Theatre Arts at the University of Lagos, though he has said he entered secondary school as a science student. The shift was inevitable. By the time he graduated, the question was never whether he would perform but only where. That early recognition shaped everything that followed. Patrick Diabuah is, by his own consistent description, a thespian first. The screen came later, and he has never pretended otherwise. Over a career that began formally in 1998 and now spans more than two decades, he has built one of the most quietly substantial portfolios in Nigerian performance, one that moves between stage and screen without losing its centre of gravity. ## The Stage as Foundation Patrick trained in Theatre Arts at the University of Lagos, an institution that has produced a significant portion of Nigeria’s most technically rigorous stage performers. His formal entry into professional performance came in 2001 when he co-produced his first stage play, *[Trials of Brother Jero](https://www.amazon.co.uk/Trials-Brother-Strong-Theater-Productions/dp/0822210908 "Trials of Brother Jero")*, Wole Soyinka’s satirical examination of religious manipulation. The choice of material was telling. Bro Jeroboam, the sly, self-serving prophet at the centre of the play, is a character that demands an actor capable of holding two registers simultaneously: the comic and the morally unsettling. Diabuah has described it as “an actor’s delight,” and as the most fun character he has ever played. He has also said, without qualification, that it stretched his acting range further than anything before or since. Over the following two decades, he accumulated more than fifty stage credits. The range is considerable. Wole Soyinka’s *Madmen and Specialists*, *Shaka Zulu*, *Marriage of Anansewa*, *Fela Arrest the Music*, *Saro: The Musical*, *Wakaa: The Musical, Kakadu. London Life Lagos Living, [Fela and the Kalakuta Queens](https://bapproduction.com/fela-the-kalakuta-queens/ "Fela and the Kalakuta Queens"), Sankara*, Commissioned productions for NLNG. Works presented through Live Theatre Lagos. Appearances at the Lagos Fringe Festival. The list documents not a performer chasing opportunity but one operating from a genuine artistic home. The stage, for Diabuah, is where he puts his skills to the test most directly. It is where, as he has said, there is nowhere to hide. ![patrick diabuah](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/08/patrick-diabuah.webp?resize=640%2C953&ssl=1)![patrick diabuah](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/08/SnapInsta.to_654228167_18090537419138973_3194367918112556761_n.webp?resize=640%2C640&ssl=1)![patrick diabuah](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/08/SnapInsta.to_655289935_18128068480555549_504549116761601976_n.webp?resize=640%2C640&ssl=1)![patrick diabuah](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/08/SnapInsta.to_649817362_17998912466858013_7588972534974786411_n.webp?resize=640%2C640&ssl=1)![patrick diabuah](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/08/SnapInsta.to_661482749_18403462309198454_2834864861479460278_n.webp?resize=640%2C640&ssl=1)His approach to the craft carries the discipline that stage work requires. In interviews, he has spoken about the practice of stepping back and observing people, of trying to understand why people are the way they are, of using that understanding to build characters from the inside out. That instinct, rooted in theatre training, is what makes his screen performances land with the specificity they do. He is not simply learning lines. He is constructing a person. ## The Screen Arrives His film debut came with *93 Days* in 2016, Steve Gukas’s dramatisation of the Ebola crisis in Lagos, in which he played Dr. Adejoro Ige Adewale. The film remains one of the most clinically precise and emotionally restrained Nigerian productions of the decade, and Diabuah’s work in it reflected both qualities. He was not a lead, but he was present with the kind of attention to detail that marks a performer who takes the work seriously regardless of the size of the role. A year later came *[Banana Island Ghost](https://www.imdb.com/title/tt8149090/?ref_=nm_knf_c_1 "Banana Island Ghost")*, BB Sasore’s supernatural romantic comedy, in which Diabuah played the lead role of Patrick, a man who dies in a car accident and returns as a ghost assigned three days to complete an act of goodwill. The role required something unusual: a performance that had to be simultaneously comedic, emotionally sincere, and physically precise, since the character’s supernatural state demanded a specific kind of presence in every scene. He carried it. The film became one of the more commercially successful Nigerian productions of that year and introduced him to a screen audience that his stage work had not yet reached. What followed was a decade of consistent, varied screen presence. *Seven* (2019), *Ile Owo* (2022), *Vanity* (2022), in which he played a lead role as a Priest. *God Calling* (2018), working again with [BB Sasore](https://nollycritic.com/bb-sasore-and-the-cinema-of-the-sacred-ordinary/ "BB Sasore"). The television series *EVE* (2018–2022), in which he played Barrister Adelomo across multiple seasons. *The Smart Money Woman* (2020–2024). *Princess on a Hill* (2024). *Dear Diane* (2024). *Grown* (2024). *Close of Business* (2025), in which he appeared across sixteen episodes as Jide. *The Wives* (2025). *After 30* (2025). *Where Love Lives* (2025). *Amanyanabo: The Eagle King* (2025), in which he played King Ibanichuka in a lead role. He also appeared in Akinola Davies Jr.’s [*My Father’s Shadow* (2025)](https://nollycritic.com/my-fathers-shadow-an-intriguing-24-hour-odyssey/ "My Father's Shadow (2025)"), playing Felix. The film, a co-production between Element Pictures, Fatherland Productions, BBC Film, BFI, and Crybaby, premiered in the Un Certain Regard section at the 2025 Cannes Film Festival, making it the first Nigerian-backed feature selected for the festival’s official lineup. FilmOne Entertainment handled its Nigerian release. Patrick Diabuah’s appearance in it, even in a supporting role, places him inside a production that has moved through some of the most significant platforms in international arthouse cinema. ## Recognition and the LITF Theatre Trailblazer Award On opening night of the[ Lagos International Theatre Festival 2025](https://app.lagosinternationaltheatrefestival.ng/ " Lagos International Theatre Festival 2025"), held on November 10 at the MUSON Centre in Lagos, Patrick Diabuah received the Theatre Trailblazer Award. The award was presented to him by Efe Irele and Mike Afolarin. He was one of two recipients that evening, with Uche Chika Elumelu also receiving the same honour, presented by Omowunmi Dada. LITF 2025, founded by Bolanle Austen-Peters, ran from November 10 to 16 and featured 20 productions across five stages, with companies from Nigeria, South Africa, and the United States. In his acceptance remarks, Diabuah said, “This award really means a lot to me, and I thank God my art keeps paving the way for me.” ![Two presenters stand on a brightly lit stage at Lagos International Theatre Festival 2025, speaking to a crowded audience as a large screen shows event details behind them.](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/08/lagos-international-theatre-festival-2026.webp?resize=640%2C427&ssl=1)![Patrick Diabuah](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/08/SnapInsta.to_583797304_18539095867031654_4434252269430198565_n.jpg?resize=640%2C853&ssl=1)Heavens Obule, Co-Founder and Head of Productions at Takeone Productions, said of him: “Patrick’s dedication to his art is inspiring. His growth, consistency, and authenticity make him a standout talent.” Abiodun Odu, Creative Director and Co-Founder at Takeone Productions, added: “Patrick is a once-in-a-generation kind of talent. His emotional depth, his discipline, and his fearless approach to both stage and screen storytelling set him apart.” He had previously been nominated for Best Young Actor at the 2014 [Africa Movie Academy Awards (AMAA)](https://ama-awards.com/ "Africa Movie Academy Awards (AMAA)"), an early recognition of what would become a sustained pattern of quality across both platforms. ## Blood Debt and the Career’s Most Visible Moment In 2026, Chukwuka Kenechukwu Ndife’s crime thriller *[Blood Debt](https://nollycritic.com/blood-debt-justice-cuts-both-ways-in-this-gripping-thriller/ "Blood Debt")* gave Patrick Diabuah the most technically demanding lead role of his screen career. As Superintendent Danjuma Okoro, a man holding himself together through the rigour of his work while his marriage quietly unravels, he delivered a performance in which the character’s internal architecture was communicated almost entirely through what was not said. The silences were as legible as the dialogue. The performance was not a departure. It was the logical outcome of more than two decades of training, of fifty stage productions, of the discipline of a performer who has always understood that the work of acting is not display but excavation. ## Beyond Performance Diabuah’s engagement with the craft extends beyond his own performances. Since March 2017, he has worked as an acting coach, helping professional and emerging performers analyse scripts, develop characters, and deliver authentic performances on film and television sets. His voice work includes the First Bank at 100 audio documentary and the 2018 Access Bank Lagos Marathon Radio Advert, among others. He is also a sculptor and musician, dimensions of his creative life that he has described not as hobbies but as extensions of the same artistic sensibility. ## Where the Story Stands Patrick Diabuah has been building this career since 1998. He has done it largely without the commercial machinery that creates household names in [Nollywood](https://nollycritic.com/?s=Nollywood "Nollywood"). He has no franchise, no single breakout role that became a cultural moment, no viral presence. What he has instead is a body of work that holds up to close inspection across every medium he has worked in, and a reputation among directors and producers for being the kind of performer who shows up prepared and delivers precisely what the role requires. His career is not over. It is, if *Blood Debt* is any indication, in one of its most productive phases. But what the story so far reveals is a performer who understood from very early that the work was the thing, and who has spent more than two decades proving it quietly, consistently, and without much fuss. The stage found him first. It has never really let him go. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/patrick-diabuah-the-thespian-who-balanced-stage-and-screen/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/patrick-diabuah-the-thespian-who-balanced-stage-and-screen/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/patrick-diabuah-the-thespian-who-balanced-stage-and-screen/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/patrick-diabuah-the-thespian-who-balanced-stage-and-screen/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/patrick-diabuah-the-thespian-who-balanced-stage-and-screen/?share=linkedin) - **Categories:** Articles, Story So Far **Tags:** 93 Days, acting coach, Africa Movie Academy Awards, Akinola Davies Jr., Amaa, Amanyanabo (The Eagle King), Banana Island Ghost, BAP Productions, bb sasore, Before 30, Blood Debt, Bolanle-Austen Peters, Close of Business, EVE series, Evi, Fela and the Kalakuta Queens, Funmilayo Ransome-Kuti, God Calling, Lagos International Theatre Festival, LITF, My Father's Shadow, Nigerian actor, Nigerian theatre, nollywood, Nollywood actor, Patrick Diabuah, Saro The Musical, sculptor, Seven, stage actor, Story So Far, Takeone Talent, The smart money woman, The Wives, theatre, Theatre Trailblazer Award, University of Lagos, Vanity, voice actor, Wakaa The Musical, Where Love Lives --- ### [Kate Henshaw, Linda Ejiofor & Gideon Okeke to Star in Stage Adaptation of "London Life, Lagos Living"](https://nollycritic.com/kate-henshaw-linda-ejiofor-gideon-okeke-to-star-in-stage-adaptation-of-london-life-lagos-living/) **Published:** August 14, 2026 **Author:** Michael Arowoselu **Excerpt:** Kate Henshaw, Linda Ejiofor-Suleiman and Gideon Okeke lead the ensemble cast of a stage adaptation of Bobo Omotayo's 2011 collection London Life, Lagos Living... **Content:** Kate Henshaw, [Linda Ejiofor-Suleiman](https://nollycritic.com/?s=Linda+Ejiofor-Suleiman "Linda Ejiofor-Suleiman") and Gideon Okeke lead the ensemble cast of a stage adaptation of Bobo Omotayo’s 2011 collection *[London Life, Lagos Living](https://www.amazon.co.uk/London-Life-Lagos-Living-Observations/dp/9789170602 "London Life, Lagos Living")*, which will run for three days at the Black Diamond Hotel in Victoria Island, Lagos, from Friday, August 28 to Sunday, August 30, 2026. The musical play also features Olarotimi Fakunle, Chioma “Chigul” Omeruah, Sola Roberts and others. Omotayo’s original collection follows a generation moving between London and Lagos, using humour to examine questions of love, class, ambition and identity. The stage version adapts that material into interwoven monologues performed alongside movement and original music, staged in the round so that the audience sits within the performance space rather than facing a conventional stage. Artistic director [Kenneth Uphopho](https://www.imdb.com/name/nm5420049/ "Kenneth Uphopho"), who has adapted the work for the stage before, said the source material lent itself readily to performance. > Adapting *London Life, Lagos Living* for the stage was simple. Bobo Omotayo’s book already made people laugh because it is true. So we took his British residency plus NEPA, traffic, jollof, put it on a stage, and added a band. This musical theatre ensemble adaptation is about navigating two worlds: one where you queue, and one where you ‘manage.’ About greetings that last 10 minutes, and ‘how far’ that means everything. We use humour as our translator because sometimes the only way to explain ‘why is everyone shouting and smiling at the same time’ is to sing about it. So, if you’ve ever packedBritish politeness and tried to use it in Lagos traffic, welcome. You’re not alone The production is a collaboration between[ Temple Productions](https://www.templeproductions.net/ " Temple Productions") and Pawstudios Africa. Ego Boyo, lead producer and managing director of Temple Productions, framed the story as one about identity and homecoming. > At Temple Productions, we tell Nigerian stories that travel. London Life, Lagos Living is exactly that — a story about identity, laughter, and the beautiful friction of coming home to a place that feels both new and familiar. This book makes us laugh at ourselves. On stage, we’re turning that laughter into music, into community, into a mirror. If you’ve ever lived between two worlds, this show is for you. If you haven’t, come and see what you’ve been missing.” Co-producer Brenda Fashugba, co-founder of Pawstudios Africa, said the show reflects the texture of the city. > Pawstudios Africa was built to platform bold, new voices. This show is why. I believe theatre should feel like Lagos — loud, layered, surprising, and full of heart. London Life, Lagos Living takes the culture shock we all live and turns it into song. It’s diaspora, it’s home, it’s traffic, it’s jara. And it belongs on this wonderful stage. Performances are scheduled for 7:00 p.m. on Friday, and at 4:00 p.m. and 7:00 p.m. on both Saturday and Sunday. Tickets are available at [Tix Africa](https://tix.africa/discover/llll-b159883f-6192-4b8e- 8c03-f795cb4de9b7 "Tix Africa"). *London Life, Lagos Living* has previously been adapted for the stage by Kenneth Uphopho to critical acclaim. ![london life, lagos living](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/08/Full-Cast-LLLL-2.jpg-1.jpeg?resize=640%2C800&ssl=1) ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kate-henshaw-linda-ejiofor-gideon-okeke-to-star-in-stage-adaptation-of-london-life-lagos-living/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kate-henshaw-linda-ejiofor-gideon-okeke-to-star-in-stage-adaptation-of-london-life-lagos-living/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kate-henshaw-linda-ejiofor-gideon-okeke-to-star-in-stage-adaptation-of-london-life-lagos-living/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kate-henshaw-linda-ejiofor-gideon-okeke-to-star-in-stage-adaptation-of-london-life-lagos-living/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kate-henshaw-linda-ejiofor-gideon-okeke-to-star-in-stage-adaptation-of-london-life-lagos-living/?share=linkedin) - **Categories:** Nollywood News **Tags:** Chioma ‘Chigul’ Omeruah, Kate Henshaw, Kenneth Uphopho, Lagos Living, Linda Ejiofor-Suleiman, London Life, london life Lagos Living, Olarotimi Fakunle, Pawstudios Africa --- ### [See the Official trailer For Fatimah Binta Gimsay's Black Market](https://nollycritic.com/see-the-official-trailer-of-fatimah-gimsays-black-market/) **Published:** August 13, 2026 **Author:** Esther Adamu **Excerpt:** The official trailer for Black Market, a crime thriller directed written by Fatimah Binta Gimsay has been released. Black Market represents a major... **Content:** The official of Trailer of Nollywood crime thriller directed and co-written by [Fatimah Binta Gimsay](https://www.imdb.com/name/nm10496128/ "Fatimah Binta Gimsay") has been released. [*Black Market* ](https://nollycritic.com/tag/black-market/ "Black Market ")represents a major milestone in Fatimah Binta Gimsay’s career, serving as her debut feature-length film following her extensive career as a writer and short filmmaker. Set in Abeokuta, Ogun State, *Black Market* follows five market women who run a covert and highly disciplined fuel-smuggling ring across international borders. Operating with military-like precision, their lucrative network runs smoothly until a ruthless rival syndicate abducts the daughter of one of the women. The women are forced to fight not only for their survival and the continuation of their profitable operation, but also to protect their unbreakable bond. The thriller features both classic and contemporary Nigerian talent including ​Linda Ejiofor-Suleiman, Omowunmi Dada, Scarlet Gomez, Susan Pwajok, Teniola Aladese, Lateef Adedimeji, Ibrahim Yekini, Uzor Arukwe, Folagade Banks, Tomiwa Tegbe, Andrew Yaw Bunting, Shamz Garuba, and Adeoluwa Akintoba. The film will screen on September 26, 2026, with a massive outdoor event at Tafawa Balewa Square (TBS) in Lagos. The organizers are aiming to set an official Guinness World Record for the largest film screening in a single location by assembling 50,000 attendees for a single viewing, surpassing the long-standing record of 43,000 people set in the Philippines. *[Black Market](https://blackmarketmovie.com/ "Black Market ")* is produced by Nora Awolowo and Nicole Ofoegbu in partnership with FilmOne Studios, Signet Ring Studios. See the trailer below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-official-trailer-of-fatimah-gimsays-black-market/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-official-trailer-of-fatimah-gimsays-black-market/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-official-trailer-of-fatimah-gimsays-black-market/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-official-trailer-of-fatimah-gimsays-black-market/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-official-trailer-of-fatimah-gimsays-black-market/?share=linkedin) - **Categories:** Nollywood News **Tags:** Adeoluwa Akintoba., and Switch Visuals, Andrew Yaw Bunting, Black Market, Filmone Studios, Folagade Banks, Ibrahim Yekini, Lateef Adedimeji, Linda Ejiofor-Suleiman, Nicole Ofoegbu, nollycritic, nollywood, Nora awolowo, Omowunmi Dada, Scarlet Gomez, Shamz Garuba, Signet Ring Studios, Susan Pwajok, Tafawa Balewa Square, Teniola Aladese, Tomiwa Tegbe, Uzor Arukwe --- ### [See Nollywood Movies Screening at TIFF 2026](https://nollycritic.com/see-nollywood-movies-screening-at-tiff-2026/) **Published:** August 13, 2026 **Author:** Esther Adamu **Excerpt:** The 51st edition of the Toronto International Film Festival (TIFF) prepares to welcome a powerhouse selection of Nigerian features this September. **Content:** The 51st edition of the [Toronto International Film Festival (TIFF)](https://nowtoronto.com/ "Toronto International Film Festival (TIFF)") prepares to welcome a powerhouse selection of Nigerian features this September. TIFF typically receives over 4,000 submissions annually from more than 100 countries. From the thousands of submissions, only 293 films made it into this year’s official selection. This information comes from TIFF’s official schedule release and press announcement on Now. The Toronto International Film Festival 2026 will feature three Nollywood projects. Leading the wave is Daniel Oriahi’s [*The Secret Lives of Baba Segi’s Wives*](https://nollycritic.com/the-secret-lives-of-baba-segis-wives-see-official-trailer/ "The Secret Lives of Baba Segi's Wives"), an adaptation of Lola Shoneyin’s 2010 novel produced by EbonyLife Films.The story explores themes such as marriage, patriarchy, secrecy, and female agency within a polygamous household in Nigeria, will star Odunlade Adekola, Omowunmi Dada, Bimbo Ademoye, Iyabo Ojo, and Mercy Aigbe. The film has been selected to premiere in TIFF’s Centrepiece section and will premiere in cinemas this december. Next on this lineup is *[Clarissa](https://nollycritic.com/?s=clarissa "Clarissa")*, a highly anticipated drama directed by the Esiri Brothers. It had it’s world premiere at Cannes’ Directors’ Fortnight and NEON acquired the distribution rights. *[Clarissa](https://www.imdb.com/title/tt33335610/ "Clarissa")* which is a contemporary Lagos-set reimagination of Virginia Woolf’s [*Mrs. Dalloway*,](https://www.imdb.com/title/tt0119723/ "Mrs. Dalloway,") stars an international cast including Sophie Okenedo, David Oyelowo, India Amarteifio, and Ayo Edebiri. Rounding out the selections is Kaelo Iyizoba’s *[The Spectacular Death of Prisca](https://www.imdb.com/title/tt43748763/?ref_=nm_flmg_job_1_accord_1_unrel_cdt_t_1 "The Spectacular Death of Prisca")*, chosen to premiere in TIFF’s competitive shorts formats lineup. The Spectacular Death of Prisca, framed as a retro, fever-dream love letter to the 1980s and early 2000s, stars Rita Dominic, Genevieve Umeh, Shamz Garuba, and Kenzy Udosen. The story about a mother’s high-stakes quest to save her daughter on the day of the wedding. The festival will run from September 10th to the 20th in Toronto, Canada. As Nollywood filmmakers continue to secure prominent positions in several festivals, they amplify Nigeria’s presence and influence worldwide. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-nollywood-movies-screening-at-tiff-2026/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-nollywood-movies-screening-at-tiff-2026/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-nollywood-movies-screening-at-tiff-2026/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-nollywood-movies-screening-at-tiff-2026/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-nollywood-movies-screening-at-tiff-2026/?share=linkedin) - **Categories:** Nollywood News **Tags:** 51st edition, and Ayo Edebiri., and Kenzy Udosen, and Mercy Aigbe., Bimbo Ademoye, Clarissa, Daniel Oriahi, David Oyelowo, Ebonylife films, Esiri Brothers, Genevieve Umeh, India Amarteifio, Iyabo Ojo, Kaelo Iyizoba, Lola Shoneyin, nigerian cinema, nollycritic, nollywood, Odunlade Adekola, Omowunmi Dada, rita dominic, Shamz Garuba, Sophie Okenedo, The Secret Lives of Baba Segi's Wives, The Spectacular Death of Prisca, Toronto International Film Festival (TIFF) --- ### [Ifeoma Chukwuogo's Phoenix Fury Heads to Cinemas This October](https://nollycritic.com/phoenix-fury-is-coming-to-nigerian-cinemas-on-october/) **Published:** August 12, 2026 **Author:** Esther Adamu **Excerpt:** Following a successful festival run at the African International Film Festival (AFRIFF) 2024, Ifeoma Chukwuogo’s debut feature, Phoenix Fury,... **Content:** Following a successful festival run at the [African International Film Festival (AFRIFF) 2024,](https://whatkeptmeup.com/nigerian-film-news/ifeoma-chukuwogos-phoenix-fury-to-make-next-stop-at-silicon-valley-african-film-festival-since-afriff-2024/ "African International Film Festival (AFRIFF) 2024,") Ifeoma Chukwuogo’s debut feature, Phoenix Fury, is officially heading to Nigerian cinemas.​ According to reports from Premium Times Nigeria and West Africa Weekly, out of the 160 films screened, only 64 made it to the competitive nominations list, with Phoenix Fury receiving the top honours. Written, directed, and produced by [Ifeoma Chukwuogo](https://www.imdb.com/name/nm7434847/?ref_=tt_ov_1_1 "Ifeoma Chukwuogo"), *Phoenix Fury* follows two women, Ewura-Ama and Ifeatu, who embark on a quest for justice and closure against Yali, the man who has wrecked and tormented their lives. The highly anticipated drama, distributed by Nile Entertainment, features a star-studded ensemble cast, including Richard Mofe-Damijo (RMD), Uzoamaka Aniunoh, Ama K. Abebrese, Ijeoma Grace Agu, Onyinye Odokoro, Adjetey Anang, and Tina Mba. *[Phoenix Fury ](https://nollycritic.com/?s=Phoenix+Fury+ "Phoenix Fury ")*won the Best Film and Best Director awards at AFRIFF, is scheduled to hit theatres nationwide on October 30, 2026. See the teaser below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/phoenix-fury-is-coming-to-nigerian-cinemas-on-october/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/phoenix-fury-is-coming-to-nigerian-cinemas-on-october/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/phoenix-fury-is-coming-to-nigerian-cinemas-on-october/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/phoenix-fury-is-coming-to-nigerian-cinemas-on-october/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/phoenix-fury-is-coming-to-nigerian-cinemas-on-october/?share=linkedin) - **Categories:** Nollywood News **Tags:** Adjetey Anang, African International Film Festival (AFRIFF) 2024, Ama K. Abebrese, and Tina Mba, ARIFF 2024, film, Ifeoma Chukwuogo, Ijeoma Grace Agu, nigerian cinema, nollycritic, nollywood, Onyinye Odokoro, Phoenix Fury, Premium Times Nigeria and West Africa Weekly, Richard Mofe-Damijo (RMD), Uzoamaka Aniunoh --- ### [The Four: Funke Akindele Announces New Film](https://nollycritic.com/the-four-funke-akindele-announces-new-film/) **Published:** August 10, 2026 **Author:** Esther Adamu **Excerpt:** Funke Akindele has announced her next blockbuster feature film titled The Four: No One Fights Alone, scheduled for a global cinema... **Content:** Nollywood actor, director, and filmmaker [Funke Akindele](https://www.imdb.com/name/nm2481000/ "Funke Akindele") has unveiled her new film, *The Four: No One Fights Alone*. According to multiple reports, the project will focus on friendship, resilience, and motherhood, sacrifice, and emotional strength. The film centres on Esosa and three fiercely loyal women who unite to fight for the future of a young man they love. Produced by Funke Akindele Network (FAAN) and to be distributed by[ FilmOne Entertainment](https://www.filmoneng.com/home " FilmOne Entertainment") the project features an ensemble cast including Funke Akindele, Bisola Aiyeola, Chioma Akpotha, Richard Mofe-Damijo (RMD), Timini Egbuson, Lateef Adedimeji, Ali Nuhu, Uzor Arukwe, singer Waje, and Shoday. Funke Akindele continues to dominate the Nigerian box office like no other. Ever since her 2019 directorial debut Your Excellency, she has delivered blockbuster after blockbuster—including *Omo Ghetto: The Saga, Battle on Buka Street,* and *A Tribe Called Juda*h. Her recent December 2025 hit, *[Behind The Scenes](https://nollycritic.com/behind-the-scenes-a-masterclass-in-saying-everything-out-loud/ "Behind The Scenes")*, was the highest-grossing Nollywood film in history. Now, this 2026 she’s gearing up to raise the bar again with her newly announced title, *The Four*. Funke Akindele’s blockbuster *The Four: No One Fights Alone*, is scheduled for a global cinema release on December 11, 2026. > [View this post on Instagram](https://www.instagram.com/reel/Db2s-iItWWS/?utm_source=ig_embed&utm_campaign=loading) ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-four-funke-akindele-announces-new-film/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-four-funke-akindele-announces-new-film/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-four-funke-akindele-announces-new-film/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-four-funke-akindele-announces-new-film/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-four-funke-akindele-announces-new-film/?share=linkedin) - **Categories:** Nollywood News **Tags:** A Tribe Called Judah, Ali Nuhu, Battle on Buka Street, Behind the Scenes, Bisola Aiyeola, Chioma Akpotha, FAAN, film, Filmone entertainment, Funke Akindele, Lateef Adedimeji, nollycritic, nollywood, Omo Ghetto: The Saga, Richard Mofe-Damijo (RMD), Shoday, singer Waje, The Four, The Four: No One Fights Alone, Timini Egbuson, Uzor Arukwe --- ### [Colours of Fire: A Dazzling Epic That Burns Bright but Struggles to Cohere](https://nollycritic.com/colours-of-fire-a-dazzling-epic-that-burns-bright-but-struggles-to-cohere/) **Published:** January 5, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Colours of Fire is an ambitious Nigerian epic fantasy written and directed by Niyi Akinmolayan, produced by Busayo Olayiwola... **Content:** [*Colours of Fire* ](https://www.imdb.com/title/tt38673107/ "Colours of Fire ")is an ambitious Nigerian epic fantasy written and directed by [Niyi Akinmolaya](https://nollycritic.com/?s=niyi+akinmolayan "Niyi Akinmolaya")n, produced by Busayo Olayiwola, and starring Osas Ighodaro as Moremi, Uzor Arukwe as Akinbode, Mercy Aigbe, Femi Branch, Gabriel Afolayan, and Ibrahim Chatta. Running over two hours, it introduces Afrofusion: a cinematic blend of African mythology, fashion, music, ritual, and advanced technology, as a new visual language for Nollywood. The story unfolds in a fictional ancient world divided between the Blue Tribe (masters of sacred blue magic and harmony) and the rising Red Tribe (feared for rumoured dark power). A young warrior, Akinbode, is sent to slay a monstrous threat, only to discover truths that unravel inherited hatreds. The film is a bold spectacle of cultural pride and technical ambition, but uneven storytelling and pacing prevent it from fully realising its promise. ## *Colours of Fire* Directed by: Niyi Akinmolayan Written by: Niyi Akinmolayan Genre: Epic, Fantasy Released on: December 26, 2025 (Cinemas) Language: Yoruba, English ### A World Divided by Colour and Fear The Blue Tribe was once thriving in peace. Their sacred Elu magic woven into fabric (literally) and daily life. Blue is not just a colour. It is a symbol of harmony, skill, and divine favour. That balance shatters as red emerges. A colour tied through fearful rumours to blood, dark magic, and disorder. As the Red Tribe prospers, fear replaces admiration. Tales spread of a monstrous being attacking farmers during the harvest of Esu, hardening into justification for violence. The Blue Tribe sends Akinbode, a warrior trained from childhood for war, to slay the threat. Armed with a sacred sword and absolute faith in inherited stories, he sets out convinced his destiny is written in blood. Instead, he finds no monster. He finds another community burdened by its own fears, and Moremi, prophesied to bring down Badero, son of Abifarin. She becomes the emotional and moral bridge between two worlds built on deception. As truth slowly unravels, Akinbode learns that the hatred between the tribes is rooted in myths, fear, and deliberate fabrications. The real enemy is not colour, magic, or tribe, but the lies that have kept them apart for generations. ### **Themes of Inherited Hatred and Spiritual Cost** The romance between Akinbode and Moremi is heavy and consequential. Love here is political, destabilising, and dangerous forcing a choice between personal truth and communal obedience. Dialogue leans on proverbs and metaphor, concealing explicit meaning beneath cultural phrasing, especially in intimate and violent scenes. *Colours of Fire* explores inherited hatred, rivalry sustained by misinformation, and the danger of tradition used to silence truth. Characters are trained to fear the other long before meeting. When contact happens, everything taught unravels. Honour, reputation, loyalty become traps, because truth threatens structures reliant on myth. ### **Performances That Shine and Strain** The language choice in the film is thoughtful. While most of its cultural and aesthetical choices come from the Yoruba, it includes English. This is a film where English and Yoruba exist, a fictional environment that doesn’t add the absurdity of them fighting over “colours”. The choice is very sensible given its fictional roots. That’s why actors who aren’t Yoruba can act in it and not feel misplaced. It works for the fictional world they are establishing. Osas Ighodaro’s Moremi is one of the film’s strongest presence. She embodies a seductive, dangerous aura that aligns with the mythic tone. Her physicality, controlled accent, and dance ability enhance credibility. Horn-shaped braids visually communicate beauty and menace. Ibrahim Chatta’s oracle Baba Agba is compelling, grounded by controlled delivery and convincing ritual presence. Gabriel Afolayan delivers emotional sincerity, though occasional excess appears in monologues. Femi Branch offers competent royal authority, performing a familiar role without redefining it. Uzor Arukwe’s Akinbode is serviceable but restrained by the role’s demands. Mercy Aigbe feels disconnected from the ensemble, her line delivery occasionally rehearsed. ### **Technical Craft That Dazzles and Divides** Cinematography is deliberate from the opening sequence. Camera movement, framing, and composition allow environments to breathe, making them feel like living entities. The cinematography allows the environment to breathe, making it part of the frame, like an existing entity. A few instances the shots allowed for eyes to focus on various elements on the screen, allowing viewers to choose what to look at. It captures moral tension and mythic weight, lingering on faces, landscapes, and conflict. Lighting uses blue and orange tones to create striking evening scenes, though contrast sometimes overwhelms. Costumes and makeup ground the story in historical texture. Although the costuming was visually strong and aligned with the film’s title, the concept of “Colours of Fire” could have been explored further through a more deliberate use of colour symbolism. Sound design and music are major strengths. The score, performed by Adam Songbird and Mr Magick and composed by Oludamilola Adewale Aluko, is immersive and purposeful, guiding emotion through the narrative. Diegetic sound adds texture to the magical atmosphere. Visual effects initially complemented the set design, but became inconsistent as the film progressed. The combination of green screen, AI-generated visuals, and animation created tonal confusion. Instead of enhancing the fantasy elements, the mix eventually felt excessive and distracting. The beast; Agedengbe is a missed opportunity for practical effects. Slow motion emphasises physicality and creates memorable images, but frequent repetition diminishes its power, shifting from expressive tool to ornamental habit. The slow motion helps to turn moments into memorable, “hangable” still images, focusing on the physicality and impact of action. It allows audiences to clearly see the unfolding action, rather than it being obscured by fast camera work, and also for emphasis to highlight the intensity and weight of a pivotal event or happening. It just felt overused even though not unnecessary to the unfolding action. ### **Final Thoughts** *Colours of Fire* is a statement of intent. A visually ambitious and polarising film, best suited for viewers who enjoy epic storytelling and cutting-edge technology. While it may stumble narratively, it succeeds as a bold, eye-catching production that pushes Nollywood’s technical boundaries. It defines what Afrofusion looks like: myth, fashion, technology, music, spectacle woven together. It pushes Nollywood’s technical boundaries forward, sketching a bold future. From the outset, the film treats cinema as spectacle and art, aiming to expand what Nollywood looks and feels like on screen. The screenplay is the weakest element. Central conflict is referenced more than dramatized. Motivations remain vague, villages suffer off-screen, character arcs lack depth. The antagonist never fully asserts presence, weakening tension. Romantic scenes are excessive and repetitive, failing to deepen relationships. The ending attempts sequel potential through cliffhanger but introduces twists without emotional grounding, leaving confusion rather than anticipation. The film succeeds in establishing an aesthetic but struggles with narrative integration. It dazzles through sound, costume, cinematography, and scale, while frustrating through weak writing, uneven performances, and inconsistent effects. It falls short as a complete narrative experience, yet stands as a significant step. The future it sketches urgently requires stronger storytelling to match its visual ambition. ### **Verdict** *Colours of Fire* suits viewers who love Yoruba mythology and visual spectacle, even if narrative coherence takes a backseat. It rewards those who appreciate ambitious experimentation in Nollywood. Dazzling yet uneven, it makes a bold step forward. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/colours-of-fire-a-dazzling-epic-that-burns-bright-but-struggles-to-cohere/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/colours-of-fire-a-dazzling-epic-that-burns-bright-but-struggles-to-cohere/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/colours-of-fire-a-dazzling-epic-that-burns-bright-but-struggles-to-cohere/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/colours-of-fire-a-dazzling-epic-that-burns-bright-but-struggles-to-cohere/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/colours-of-fire-a-dazzling-epic-that-burns-bright-but-struggles-to-cohere/?share=linkedin) - **Categories:** Reviews **Tags:** Afrofusion, Cinema, colours of fire, critique, Femi Branch, Gabriel Afolayan, Ibrahim Chatta, Mercy Aigbe, Niyi Akinmolayan, Nollywood epic, Osas Ighodaro, power and loyalty, Review, supernatural drama, Uzor Arukwe, Yoruba mythology --- ### [The Return of Omotara Johnson Review: OJ Is Back, But Her Edge Stayed Home](https://nollycritic.com/the-return-of-omotara-johnson-review-oj-is-back-but-her-edge-stayed-home/) **Published:** August 8, 2026 **Author:** Shalom O. Obisesan **Excerpt:** The Return of Omotara Johnson marks Bukky Wright's return to one of her most defining roles, a woman whose first appearance in... **Content:** Legacy sequels carry a particular kind of pressure. They are not simply asked to tell a new story. They are asked to justify the existence of a beloved one. *[The Return of Omotara Johnson](https://www.imdb.com/title/tt43307825/ "The Return of Omotara Johnson")* marks [Bukky Wright’s](https://nollycritic.com/?s=bukky+wright "Bukky Wright's") return to one of her most defining roles, a woman whose first appearance in the home-video era left an impression that nearly two decades have not erased. OJ, as she is known, was not simply a memorable character. She was a particular kind of woman that Nollywood rarely permitted itself to build: manipulative, emotionally volatile, capable of astonishing cruelty, and somehow impossible to dismiss. The sequel arrives with a substantial cast, high production values, and the weight of everything that came before it. What it does not arrive with, unfortunately, is the one quality that made Omotara Johnson worth returning to. ## *The Return of Omotara Johnson* Directed by: Adeoluwa Owu Written by: Abdul Tijani-Ahmed Genre: Drama Released on: July 10, 2026 (Cinemas) Language: Yoruba, English ## A Woman Who Gave Love a Chance The film’s emotional premise is built on a genuinely interesting question. What becomes of a woman whose identity has been shaped entirely by survival and vengeance when she tries to lay all of that down? Omotara appears to have found a version of peace at the film’s opening. Her son Raymond, played by Timini Egbuson, is trying to build a future as an aspiring music star, and Omotara’s energies are, for the first time, directed inward rather than outward. That equilibrium breaks when Raymond becomes the prime suspect in a murder investigation, forcing Omotara back into a familiar defensive posture. Simultaneously, she falls for Temisan, played by Richard Mofe-Damijo, a man she believes represents the love she has never fully known. His concealed marriage, and the connections between his family and Raymond’s legal trouble, steadily unravel the life she has been trying to build. Babatunde, played by Chidi Mokeme, carries a history with Omotara that the film uses to reopen emotional wounds on both sides. The story has genuine interest as a concept. A woman who has spent her life dictating events to others now finds herself caught in a web she did not design. The idea that motherhood has become both her vulnerability and her transformation is a worthwhile dramatic premise. The difficulty is that the film uses this transformation to domesticate a character whose power was rooted precisely in her unwillingness to be domesticated. The emotional arc, Omotara choosing love, losing it, and being driven back to vengeance, is coherent on paper. In execution, it leaves the character feeling smaller than we remember her, and smaller than she deserves to be. ## A Story That Holds Its Shape But Loses Its Grip The plot moves across several storylines: Raymond’s murder investigation, Omotara’s romance with Temisan, Rolake’s complicated loyalty, and the connections between Babatunde’s family and the crime at the film’s centre. As an architecture, it holds. The film manages multiple threads without losing the audience entirely. Where the pacing becomes an issue is in the middle section, where certain emotional confrontations resolve with a tidiness that the original Omotara Johnson would never have allowed. The original’s chaos was part of its texture. This sequel is considerably more measured, and that restraint, while understandable for a cinematic production, occasionally flattens the dramatic temperature when it should be rising. The film’s opening action sequence is a particular misstep. It arrives with the energy of something important and concludes without connecting meaningfully to what follows. A stronger editorial decision would have removed or restructured it entirely, as its primary function appears to be establishing tone, a function the rest of the film then has to re-establish from scratch. There are also moments where the plot asks the audience to accept certain conveniences, a location that should have witnesses and surveillance producing neither, a series of events whose resolution requires characters not to notice things they should easily notice. These are not catastrophic breaks, but they accumulate in a film whose credibility depends on a certain kind of seriousness being maintained. ## Veterans Who Give and a Language That Was Taken The film’s most valuable asset is its ensemble, and more specifically, what happens when its veteran performers are given the right material. Bukky Wright retains her commanding screen presence. There are moments, particularly when Omotara’s temper surfaces unexpectedly, when you see exactly why this character has remained in people’s memories. A scene with a pen is the film’s single most electrifying moment, proof that OJ is still in there somewhere. The problem is not Wright’s performance. It is the version of Omotara she was asked to inhabit. Nse Ikpe-Etim as Meg Williams is the film’s standout. She brings an elegance to the role that never tips into softness, and in the scenes that demand the most from her, she delivers with a specific self-awareness that makes Meg feel genuinely dangerous even in moments of vulnerability. This is a performance that understands how to command a room without announcing it. Richard Mofe-Damijo’s Temisan is notable for a different reason. Watching RMD play a man at the mercy of a woman’s anger, reduced and exposed by circumstances he cannot control, is a genuinely fresh sight. He handles the victimisation without losing the character’s dignity entirely, which is a more difficult balance than it might appear. Chidi Mokeme is good. Shaffy Bello as Rolake brings a warmth and watch-ability to the role that makes certain later developments land more effectively. Ali Nuhu and Uzee Usman add texture to the ensemble without being given enough room to be truly remarkable. The younger cast, with the exception of Timini Egbuson who handles Raymond’s emotional transitions with appropriate sincerity, struggles in places with dialogue that doesn’t suit either the register of the film or the accents some of them attempt. This is where a significant creative decision reveals its cost: the shift from a predominantly Yoruba film to a predominantly English one changes the nature of everything. The authority that made the original OJ terrifying was inseparable from the language in which she delivered it. Yoruba carries a weight in certain kinds of confrontation that English approximates but rarely matches. The sequel’s choice to speak mostly English in pursuit of a wider audience distances the film from the very quality that made Omotara Johnson worth returning to. When certain characters reach for an English accent that doesn’t suit them naturally, the gap between the performance and the dialogue becomes widens, and the film loses the grounded menace it needs to sustain its drama. ## Polished to a Sheen That Hides the Edge The production is among the most handsome things Bukky Wright has attached her name to. Costume design by Yolanda Okereke is exceptional throughout, with a specificity and luxury that communicates character and status without needing dialogue to explain it. The cinematography is intentional. The locations are attractive. The lighting works. The money spent on this production is visible in every department. The issue is that technical excellence and emotional intensity are different things, and this film is stronger on the first than the second. A film carrying this character’s name should feel, at every moment, like something volatile could happen. The direction keeps things controlled where they should be combustible, measured where they should be dangerous. The production communicates a filmmaker and a star who are serious about what they are making. What it does not fully communicate is a story that has kept its original nerve. The Tope Alabi soundtrack is a meaningful thread connecting old to new, and its inclusion does carry genuine emotional weight for audiences familiar with what that music meant in the original context. Even for those without that history, the score works to establish an atmosphere the rest of the film doesn’t always sustain. ## Final Thoughts *The Return of Omotara Johnson* arrives at a particular moment in Nollywood’s relationship with its own history. The industry is increasingly reaching back into its catalogue, reviving characters that older audiences carry personal histories with and introducing them to newer ones. There is something valuable in that project, but it places an obligation on the returning production: if the audience came back because they remember something specific, the film owes them a reckoning with that memory, not a comfortable distance from it. The OJ people remember was not comfortable. She was not soft. She was not someone who gave love a chance and was hurt by it in the recognisable ways that romantic dramas give us. She was someone whose choices frightened people, including the people watching. The sequel has found Omotara at a different stage of her life, which is a legitimate artistic choice. What it hasn’t done is find a way to make that stage as compelling as what came before. She has been given vulnerability without being given new danger. She has been given a son without being given the ferocity that would make a mother’s protection terrifying rather than sympathetic. The film is a competent, well-produced, beautifully dressed entry into Nollywood’s growing library of legacy revivals. It is also, for those who remember what Omotara Johnson meant, a version of the character that asks considerably less of the audience than she once did. ## Verdict If you have seen the original, go in knowing that the film you are returning to is a softer place than the one you left. If you haven’t, you will find a watchable, well-made drama with strong performances and occasional flashes of the electricity the character is famous for. Either way, OJ is back. She just left some of herself behind. **Rating**: 2.35/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-return-of-omotara-johnson-review-oj-is-back-but-her-edge-stayed-home/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-return-of-omotara-johnson-review-oj-is-back-but-her-edge-stayed-home/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-return-of-omotara-johnson-review-oj-is-back-but-her-edge-stayed-home/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-return-of-omotara-johnson-review-oj-is-back-but-her-edge-stayed-home/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-return-of-omotara-johnson-review-oj-is-back-but-her-edge-stayed-home/?share=linkedin) - **Categories:** Reviews **Tags:** 2026 Nollywood film, Adeoluwa Owu, Ali Nuhu, bukky wright, Chidi Mokeme, crime drama, female protagonist, Film Critique, Film review, legacy sequel, nollywood, Nse Ikpe-Etim, OJ, Omotara Johnson, Richard Mofe-Damijo, Shaffy Bello, Sola Sobowale, The Return of Omotara Johnson, Timini Egbuson, Tolu Asanu, Tomi Ojo, Tope Alabi, Uzee Usman, Yolanda Okereke, Yoruba cinema revival, Yoruba film --- ### [The Almajiri: A Heartfelt Drama Elevated by Outstanding Child Actors](https://nollycritic.com/the-almajiri-a-heartfelt-drama-elevated-by-outstanding-child-actors/) **Published:** August 7, 2026 **Author:** Uju Okosieme **Content:** [Native Filmworks ](https://www.nativesfilmworks.com/ "Native Filmworks ")and MichelAngelo Productions close out their [*First Features* slate](https://nollycritic.com/?s=FIRST+FEATURES "First Features slate") with **[The Almajiri](https://www.imdb.com/title/tt43739155/?ref_=nm_flmg_job_1_accord_1_cdt_img_1 "The Almajiri")**, directed by accomplished Nollywood actor Jammal Ibrahim. Now on[ Prime Video](https://www.primevideo.com/ " Prime Video"), the film presents a deeply Nigerian story. Told through the eyes of a young Almajiri, he seeks to change his future. Does the final entry in the First Features project end the slate on a high note? Let’s get into it. ## *The Almajiri* Directed by: Jammal Ibrahim Written by: Kynene Oma Genre: Drama Released on: August 1, 2026 (Prime Video) Language: Hausa, English ## A Dream Bigger Than Circumstance The official synopsis reads: *“In the ancient city of Kano, a gifted almajiri defies poverty and dogma in pursuit of education, risking everything to become a tech engineer. Raised on scripture and survival, Rabiu’s extraordinary mind cannot stay hidden. When a teacher sees his genius and fights for his future, he must choose between the only world he knows and the one he was born to build.”* At its core, the film follows Rabiu’s relentless pursuit of a better future as he desperately searches for a way to reach Abuja and fulfil his dream of becoming an engineer. Along the way, supporting story lines involving the country’s tense political climate, Mallam Bala’s strict control over the children, bullying within the community, and the friendship between Lami and Safiya all shape the obstacles standing between Rabiu and his future. These parallel story lines don’t simply exist to fill time—they each influence Rabiu’s journey in meaningful ways, making the world around him feel lived in and authentic. ## A Story That Reflects the Realities of Nigeria The film follows Rabiu, an exceptionally bright young Almajiri whose passion for engineering stretches far beyond the education he currently receives. His personal journey unfolds against the backdrop of political unrest, insecurity, and election season—issues that are all too familiar within the Nigerian landscape. One of the film’s greatest strengths is how naturally it plants important story elements long before they become relevant. Casual conversations about kidnappings, insecurity, and the country’s instability initially feel like world-building, only for those same issues to become major obstacles that derail both Lami’s attempts to help the children and Rabiu’s pursuit of his dreams. It’s thoughtful storytelling that rewards the audience for paying attention. The emotional core of the film remains consistently engaging, although the pacing begins to drag in its latter half. By the final stretch, the story starts feeling longer than necessary, slightly reducing the impact of an otherwise compelling narrative. ## The Children Steal the Show The performances are undoubtedly led by the younger cast, who consistently exceed expectations. Ahmed Isa, Muhammad Abdullahi Ashraf, Abdullahi Ibrahim Ramadan, and Abubakar Saleem Mohammed deliver remarkably natural performances as Rabiu, Sanni, Mustapha, and Hamisu, respectively. There’s an authenticity to their interactions that makes the friendships and hardships feel genuine, and it’s difficult not to become emotionally invested in their journey. Not every dramatic moment lands quite as effectively. The sequence where Rabiu is lynched by a mob was poorly executed considering how significant that event later becomes to the story. Likewise, the emotional confrontation between Ijapari Ben-Hirki’s Safiya and Jamila Ibrahim’s Lami following the alleged kidnapping lacks the emotional weight the moment calls for. On the other hand, Safiya’s confrontation with Mallam Bala on Rabiu’s behalf is one of the film’s standout scenes. It feels like the emotional payoff the story has been carefully building towards, with both performers delivering one of the strongest exchanges in the film. ## A World That Feels Authentic The film makes excellent use of it setting, allowing the location to become an essential part of the storytelling rather than simply a backdrop, the language also helped to authenticate the story makind the dialogue flow naturally and flawlessly. It’s refreshing to see *First Features* once again move away from Lagos and spotlight another part of the country with such care. The film’s Hot-dry gritty look complements its themes of hardship, survival, and resilience without becoming overly stylised. Its’s mood, tone and everything about the visual presentation feels grounded, allowing the story and performances to remain the focus. ## A Story That Needed to Be Told One of the film’s biggest achievements is its willingness to humanise a community that is often misunderstood. Rather than reducing the Almajiri system to headlines or stereotypes, **The Almajiri** presents the children as individuals with dreams, humour, intelligence, and enormous potential. The comedy woven throughout the children’s interactions provides welcome moments of relief, making the emotional scenes even more effective when they arrive. The young cast’s chemistry makes these quieter moments just as memorable as the film’s heavier themes. That said, we do wish certain events surrounding Lami’s alleged kidnapping of the children—particularly Laila’s death—had happened on screen. Those moments carry enormous emotional consequences, and keeping them off-screen lessens some of their impact. ## Verdict **The Almajiri** is exactly the kind of film Nollywood needs more of. It shines a light on a part of Nigeria that is too often misunderstood, replacing stereotypes with empathy and reminding us that every child deserves the opportunity to dream beyond their circumstances. While the film occasionally overstays its welcome, its heartfelt storytelling, thoughtful social commentary, authentic setting, and outstanding performances from its young cast make it a rewarding watch. It not only explores the resilience of the Almajiri community but also highlights how easily children can become casualties of politics, insecurity, and the agendas of those in power. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-almajiri-a-heartfelt-drama-elevated-by-outstanding-child-actors/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-almajiri-a-heartfelt-drama-elevated-by-outstanding-child-actors/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-almajiri-a-heartfelt-drama-elevated-by-outstanding-child-actors/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-almajiri-a-heartfelt-drama-elevated-by-outstanding-child-actors/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-almajiri-a-heartfelt-drama-elevated-by-outstanding-child-actors/?share=linkedin) - **Categories:** Reviews **Tags:** Abdullahi Ibrahim Ramadan, Abubakar Saleem Mohammed, Ahmed Isa, First features project, Jammal Ibrahim, Kynene Oma, Muhammad Abdullahi Ashraf, nollycritic, nollywood, Prime Video, Steve Gukas, The Almajiri --- ### [Before We Fall Asleep Review: Zikoko Life's Most Honest Film Yet](https://nollycritic.com/before-we-fall-asleep-review-zikoko-lifes-most-honest-film-yet/) **Published:** August 6, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Before We Fall Asleep is a thirty-minute portrait of a relationship tested by the thing most relationships are not built... **Content:** Before we fall asleep. The phrase holds something specific. It names the hour when the day’s performances come off, when whatever you have been holding together through work and obligation and the determined maintenance of composure begins to loosen. It is the time when conversations that were deferred all day finally have to be had, or not had, which is its own answer. *[Before We Fall Asleep ](https://www.zikoko.com/her/before-we-fall-asleep-kaelo-iyizoba/ "Before We Fall Asleep ")*is a thirty-minute portrait of a relationship tested by the thing most relationships are not built to survive: the moment when one person’s ability to provide disappears overnight, and everything that was quietly unequal about the arrangement becomes visible. ## *Before We Fall Asleep* Directed by: Kaelo Iyizoba Written by: Blessing Uzzi Genre: Drama Language: English ## What Holds and What Fractures The film opens in a particular kind of ease. Nazo and Tola share a household, a new baby, and the working rhythm of two people who have found a manageable version of things. The baby is months old. Nazo’s mother has come for omugwo. Everyone is thriving, exactly, but nobody is in crisis either. The distribution of taking care of the baby already leans toward Nazo, as it tends to in these arrangements, but the weight is containable. Then an email arrives, and everything that was containable stops being so. What the film is emotionally about is not the job loss. That is the trigger. What the story is actually tracing is the way a relationship can appear balanced while quietly being built around one person carrying more than they acknowledge, and another carrying less than they realise. When the financial stability shifts, all the unspoken agreements about who does what and who matters how much suddenly have to be spoken. The film is interested in what those conversations sound like when they finally happen, and it does not sanitise them. When Tola and Nazo’s argument finally breaks open, they are both coming into the light. Hurt and pride and fear and resentment surface without the usual protective covering of politeness. It is uncomfortable to watch. It is also the most honest thing either of them has done in the film to that point. The title suggests that this is the kind of conversation that can only happen at the edges of the day, when the defences are down and the masks have been left at the door. ## A Domestic Architecture That Slowly Collapses The plot moves efficiently because it does not overload. One couple. One crisis. One escalating series of collisions. After the big hit, the film becomes an accumulation of small pressures rather than a sequence of dramatic events, and this is exactly right for the story it is telling. The film earns its confrontation because it builds toward it without rushing. What the film does not attempt, and does not need to, is any moral equivalence between the two positions. Nazo is carrying more. The film acknowledges this without dismissing the difficulty of what Tola is experiencing. A man’s sense of identity tied to providing is a real psychological condition, not an excuse, and the film holds both things simultaneously. His ego is real. Its consequences are also real. The film asks the audience to understand both without being required to forgive either prematurely. ## Two Performances That Earn Their Chemistry Onyinye Odokoro carries Nazo with the specific quality of someone who has decided to be reasonable for as long as possible and is running out of capacity to sustain it. Her restraint in the film’s earlier passages is not passive. It is effortful, visibly so, and Odokoro communicates that effort without announcing it in the dialogue. By the time the argument arrives and the restraint breaks, it feels entirely inevitable because she has been holding it all together with visible effort since the second scene. The release is not melodrama. It is relief. Tobi Bakre makes Tola genuinely infuriating in the way that good dramatic performance requires. The character’s self-absorption is specific enough to be recognisable without being cartoonish. The bath scene, where Tola performs one childcare task and considers himself to have fulfilled his contribution, is a small masterclass in the kind of behaviour that drives partners to the edge of their tolerance without ever doing anything that can be clearly named as wrong. Bakre plays this with the unsettling ease of someone who has observed this character type closely. Rita Edochie as Nazo’s mother brings cultural texture and unexpected dimension, one rooted in cultural expectation. It lands because Edochie plays it without caricature, as a mother with a position that is both traditional and entirely logical within the world this film is depicting. The chemistry between Odokoro and Bakre is the film’s most consistent asset. It communicates a relationship with actual history behind it, not two people performing love at each other for the camera. ## A Camera That Knows the Temperature of the Room The cinematography is the film’s most formally considered achievement. What makes it notable is not any single choice but the consistency of a visual strategy that mirrors the relationship’s emotional state. In the opening scenes, the camera is steady. Shots are balanced. Movement is controlled. The household looks settled. As the pressures build, the camera’s stability degrades alongside the relationship’s. The shift is gradual and deliberate, and it means that by the time the confrontation arrives, the visual language has already primed the audience’s body for what is about to happen. This is direction in service of story, which is the definition of the job. The film look complements the genre. The set design, as with the Zikoko Life series consistently, is lived-in. The dripping tap, the fan, the spatial cramping of a home that feels slightly too small for everything being demanded of it: these details do the character work that dialogue alone cannot accomplish. The score knows when to fill and when to leave space, which is a harder balance to strike than it appears. The film’s quieter passages, where characters sit with something they have not yet said, are not underscored into significance. They are allowed to sit. ## Final Thoughts Reviewing this film a week after *[Siraam](https://nollycritic.com/siraam-review-uzoamaka-powers-short-might-be-too-real-for-you/ "Siraam")*, the difference in execution between the two [Zikoko Life](https://nollycritic.com/?s=zikoko+life "Zikoko Life") entries is instructive. *Siraam* had ambition and a performance that carried it through its structural problems. *Before We Fall Asleep* has the tighter screenplay and the more disciplined direction, which gives the performances room to do what they are capable of without having to compensate for what the film hasn’t built. Both are concerned with the private lives of young Nigerian women navigating specific kinds of difficulty. Both are worth watching. This one lands harder. The title holds more than it initially suggests. Before we fall asleep is when the conversations we deferred all day either happen or don’t. It is the threshold between what a day was and what it meant. For Tola and Nazo, the film traces the cost of deferral, what accumulates when the necessary conversations are not had, what they become when they finally are. The film ends not with resolution in the easy sense but with two people who have finally, uncomfortably, been honest with each other. That is not a small thing. It is, in fact, the only place from which anything better can begin. ## Verdict Thirty minutes that earn every one of them. Whether you have lived through this specific situation or not, the film speaks in a language that is precise enough to be specific and grounded enough to feel universal. It is the strongest of Zikoko Life’s second outing so far, and among the better [short films Nigeria has produced](https://nollycritic.com/category/short-films/ "short films Nigeria has produced") in this current cycle of intimate, character-driven storytelling. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/before-we-fall-asleep-review-zikoko-lifes-most-honest-film-yet/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/before-we-fall-asleep-review-zikoko-lifes-most-honest-film-yet/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/before-we-fall-asleep-review-zikoko-lifes-most-honest-film-yet/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/before-we-fall-asleep-review-zikoko-lifes-most-honest-film-yet/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/before-we-fall-asleep-review-zikoko-lifes-most-honest-film-yet/?share=linkedin) - **Categories:** Reviews, Short Films **Tags:** 2026 Nigerian short film, Before we fall asleep, Big Cabal Media, Blessing Uzzi, Bluhouse studios, domestic life, Film Critique, Johnny Drille, Kaelo Iyizoba, masculinity, Nigerian short film, Onyinye Odokoro, parenthood, partnership, relationship drama, Rita Edochie, role reversal, short film, short film review, Tobi Bakre, Youtube, Zikoko, Zikoko Life --- ### [Siraam Review: Uzoamaka Power's Short Might Be Too Real For You](https://nollycritic.com/siraam-review-uzoamaka-powers-short-might-be-too-real-for-you/) **Published:** August 3, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Siraam follows a young creative, ambitious, emotionally bruised, and stuck in a situationship that is slowly consuming her sense of self... **Content:** Uzoamaka Power is having a year. [*Call of My Life* ](https://nollycritic.com/call-of-my-life-the-nollywood-romcom-that-finally-found-its-whimsy/ "Call of My Life ")is still being talked about months into its release, and now she returns to the [Zikoko Life ](https://nollycritic.com/zikoko-life-returns-with-three-new-shorts/ "Zikoko Life ")anthology format that gave her *My Body God’s Temple* last year, this time as writer and director of *Siraam*, the first of three short films in Zikoko Life’s second outing. *[Siraam](https://www.imdb.com/title/tt39133050/ "Siraam")* follows a young creative, ambitious, emotionally bruised, and stuck in a situationship that is slowly consuming her sense of self. The film stars Genoveva Umeh in the title role, tackles sexual and reproductive health with a directness Nigerian screens rarely permit, and wraps its thesis in a visual aesthetic that is among the most distinctive things Power has put on camera. *This review contains plot details.* ## *Siraam* Directed by: Uzoamaka Power Written by: Uzoamaka Power Genre: Drama Language: English ## A Woman Trying to Hold Herself Together *Siraam* opens with its protagonist looking into a mirror and saying, “I see you clearly…” It is an arresting image, a woman addressing her own reflection in a moment that feels like it is setting up a recurring motif about identity and self-recognition. The problem is that the mirror does not return. The idea it plants never develops into a thread that runs through the film and transforms by the end. It sits at the opening as an image with potential and nowhere to go, which is a small but telling symptom of the film’s larger difficulty: it reaches for meaning before it has built the structures to hold it. What the film does establish clearly is the emotional architecture of its protagonist. Siraam is in a situationship with Zubee, a man who gives her exactly enough intimacy to prevent her from leaving but not enough commitment to give her anything to hold on to. He refuses to use protection, and she allows it because the connection feels like too much to lose. When a pregnancy scare arrives and reveals exactly how little Zubee is prepared to take responsibility, and when he later turns up engaged to someone else, Siraam’s emotional life scatters. She begins filling the absence with whoever is available, until the physical consequences of those choices arrive in the form of an STI. This is a story about what happens when a woman organises her sense of worth around a man who was never going to reciprocate. It is also, more quietly, a story about learning to advocate for yourself, sexually, professionally, and relationally. The closing image of Siraam choosing better, buying her own protection and beginning to take charge of her health rather than outsourcing it to a man’s preferences, is the most honest statement the film makes. Power’s instinct to treat these choices without a moralising lens is the right one. The female friendship between Siraam and Chidaalu produces the film’s strongest writing. When Chidaalu tells Siraam, “You don’t have to wait for men to hate you before you love yourself,” the film locates its thesis in a single line. Their dynamic, with its quarrels and its loyalty that survives them, is where the screenplay feels most grounded. ## Too Many Threads, Too Little Time A short film’s primary obligation is to know what it is about and to say that one thing well. *Siraam* has at least four things it wants to say: sexual and reproductive health, the emotional fallout of the undefined relationship, female friendship, and the quiet presence of a man who has been watching *Siraam* with genuine feeling all along. Each of these is a real theme. Together, in thirty-two minutes, they compete more than they cooperate. The result is a film that feels choppy where it should feel continuous. Character beats arrive and are resolved before they have had time to settle. The friendship between Siraam and Chidaalu has a fight and a reconciliation that happens quickly enough to feel like a summary rather than an event. Olisa, Chidaalu’s brother, is introduced with restrained, attentive energy that signals feeling without announcing it. His eventual declaration, however, does not land with the weight it could carry because the film has not given him enough room to develop from a presence into a person. The ending suggests that Siraam choosing him is an act of choosing herself better. That is a worthwhile idea. It needed more runway to earn the emotional resonance it reaches for. The pregnancy scare sequence also has a structural problem. The doctor communicates that Siraam is pregnant, allows a moment of terror to land, and then reverses the information. A medical professional with a patient in that state of vulnerability has a responsibility the film sidesteps by using the moment primarily for dramatic punctuation. It is a small thing that shakes the film’s credibility at an emotionally important juncture. The middle section, where Siraam processes Zubee’s departure by making a series of poor choices, is where the pacing loses its grip most visibly. Events stack rather than build. The film is moving through its checklist of consequences without the kind of scene-to-scene momentum that makes you feel the downward pull of a character’s choices. ## What the Camera and Cast Carry The visual style of *Siraam* is its most immediately pleasurable quality. Pop-art colours, expressive production design, a palette that communicates Siraam’s world as vibrant even while her interior life is in disarray. The set design is meticulous in the way Power’s work has consistently been, and the lived-in details of Siraam’s apartment, its cramped warmth, its small domestic textures, do the work of establishing character before dialogue arrives. A woman speaking into a blowing fan, drying her underwear on it, stubbing her toe while walking through her own space, these are the kinds of details that make a character feel inhabited rather than constructed. Genoveva Umeh is exactly what the film needs at its centre. She brings a quicksilver quality to Siraam that keeps the character from becoming either a victim or a cautionary type. Umeh can be funny about Siraam’s pain because she lets you see the pain first, which means the humour reads as coping rather than deflection. She carries the film’s emotional range without effort and makes even the more schematic moments feel like something a real person might live through. Shawn Faqua does genuine work with Zubee in limited screen time. The character’s selfishness is specific rather than generic: not cruelty but a comfortable non-commitment that expects no accountability. Natse Jemide’s Olisa communicates longing with restraint, which is the correct choice for a character whose feelings are supposed to be felt before they are stated. Amara Nnanna as Chidaalu has the film’s warmest dynamic with Umeh, their friendship rendered with the natural texture of two people who have been arguing and forgiving each other for years. The pharmacist scenes, played for comedy, earn their laughs without overreaching. ## Final Thoughts *Siraam* iis the kind of short film that shows a filmmaker’s instincts are sound even when the execution is uneven. Power knows what she is doing with visual language, she knows how to write women with specificity and genuine affection, and she understands that stories about female sexuality belong inside the experience rather than at a cautionary distance from it. Those qualities are real and present throughout the film. What is also present is the limitation of trying to honour too many ideas in thirty-two minutes. The mirror motif that opens the film and does not return, the crying that recurs without sufficient psychological grounding for an audience encountering Siraam for the first time, the subplot that ends without being fully built, these are not failures of vision. They are failures of editing and directorial discipline, the kind that come from a filmmaker who cares deeply about her subject and has not yet made the harder cuts that a short film format demands. The story knows where it wants to go. The film does not always find the most direct path there. ## Verdict Watch this, particularly if [*My Body God’s Temple* ](https://nollycritic.com/my-body-gods-temple-makes-sexy-a-lot-more-than-nudity/ "My Body God's Temple ")or *Call of My Life* resonated with you. Genoveva Umeh’s performance and the visual design justify the thirty-two minutes. Come understanding that the film reaches for more than its runtime can fully hold, and that its best moments are real achievements within a format that punishes over ambition. For a free watch on YouTube, it gives more than it withholds. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/siraam-review-uzoamaka-powers-short-might-be-too-real-for-you/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/siraam-review-uzoamaka-powers-short-might-be-too-real-for-you/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/siraam-review-uzoamaka-powers-short-might-be-too-real-for-you/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/siraam-review-uzoamaka-powers-short-might-be-too-real-for-you/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/siraam-review-uzoamaka-powers-short-might-be-too-real-for-you/?share=linkedin) - **Categories:** Reviews, Short Films **Tags:** 2026 Nigerian short film, Amara Nnanna, Amber May Joseph, Blessing Uzzi, Coming of Age, female friendship, Film Critique, Genoveva Umeh, Kayode Rufai, Natse Jemide, Nigerian short film, nollywood, reproductive health, sexual health, Shawn Faqua, short film, short film review, Siraam, situationship, Uzoamaka Power, Youtube, Zikoko, Zikoko Life --- ### [New Nollywood Movies to See this July](https://nollycritic.com/new-nollywood-movies-to-see-this-july/) **Published:** July 6, 2026 **Author:** Esther Adamu **Excerpt:** July is here, and it brings another exciting lineup of Nollywood releases to anticipate, featuring returning stars, fresh faces, and stories that... **Content:** With June behind us, we can say we have officially crossed the halfway mark of the year. The first six months delivered gripping thrillers, heartfelt dramas, and unforgettable performances, and as we step into July, the momentum continues to grow with no signs of slowing down. July is here, and it brings another exciting lineup of [Nollywood](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-june/ "Nollywood") releases to anticipate, featuring returning stars, fresh faces, and stories that will keep you entertained, on the edge of your seat, and spark conversations. Here are Nollywood movies you should keep an eye on this July. **The Anniversary – July 1** The Anniversary is a Nollywood romantic drama that dives into the complexities of marriage and long-term relationships. The film follows a couple preparing to celebrate their wedding anniversary, but instead of joy, the occasion brings hidden truths to the surface. It centers on love, betrayal, and the complexities of marriage. The Anniversary stars Anthony Monjaro, Linda Osifo, and Obehi Aburime. It centers on love, betrayal, and the complexities of marriage. The characters wrestle with whether love can survive deception. The Anniversary is streaming on Prime Video. **The Cartel – July 2** *The Cartel* is a high-stakes Nollywood action thriller exploring drugs, power struggles, betrayals, and family violence. Produced by acclaimed filmmaker Elvis Chucks. The Cartel immerses audiences in the dark world of crime, drug trafficking, and power dynamics, where loyalty is fragile, and survival is paramount. The movie features a star-studded Nollywood ensemble, including: Bolanle Ninalowo, Broda Shaggi, Clarion Chukwurah, Eniola Badmus, Chika Ike, and Nkechi Blessing. *The Cartel* is streaming on [Kava TV](https://www.kava.tv/ "Kava TV"). **Alechenu – July 3rd** [*Alechenu*](https://www.nollywoodtimes.com/2026/06/alechenu-set-for-cinemas-as-biodun.html) is an upcoming Nollywood drama directed by the award-winning filmmaker [Biodun Stephen](https://nollycritic.com/heres-how-biodun-stephen-is-redefining-the-drama-genre/). The story follows a young boy who goes to Lagos with just a picture and a backpack to find his mother, whom he has never met. The storyline of Alechenu tackles questions of social acceptance, parental relationships, and the consequences of long-hidden secrets. The cast features Bimbo Ademoye, Mike Ezuruonye, Femi Adebayo, Biodun Stephen, Adeniyi Johnson, and Blessing Obasi. Expect a story that blends vulnerability with authentic human experiences. The movie is scheduled for Nationwide cinema release on July 3rd, 2026. **Love and New Notes – July 9** Love and New Note is a romantic drama directed by Kayode Kasum, set against the 1984 currency reforms, focusing on love, life choices, and socio-economic challenges. It follows the story of Bomo and a young couple navigating love, survival, and moral dilemmas amid rapidly changing economic circumstances. The cast of Love and New Notes includes Odunlade Adekola, Ayoola Akinyoola, Sophie Alakija, and Eniola Badmus Kayode Kasum’s Love and New Notes is now streaming on Kava See Trailer! **The Return of Omotara Johnson – July 10** Haunted by her criminal past, Omotara Johnson has built a quiet life around her son. But when her son is accused of murder, old enemies resurface and hidden betrayals explode, Omotara Johnson may have to step into the old life that she left behind. The film will feature Bukky Wright reprising her role as Omotara Johnson, with a new storyline that explores the consequences of her past actions. The cast includes Richard Mofe-Damijo, Shaffy Bello, Chidi Mokeme, Ali Nuhu, and Toyin Abraham. [Bukky Wright](https://nollycritic.com/red-circle-an-intriguing-crime-drama-weaved-in-red/) has announced that her movie *[The Return of Omotara Johnson](https://shockng.com/bukky-wright-omotara-johnson-nigerian-movie-2026/)*, which is a sequel to her 2008 originally produced Movie Omotara Johnson, is coming to cinemas Nationwide in July 10th. **Okanjuwa – July 23rd** Okanjuwa is a Nigerian drama-comedy that follows the lives of Yoruba Muslim couples in Lagos as they navigate ambition, family pressure, financial struggles, and social expectations, highlighting moral choices against the backdrop of cultural celebrations. Okanjuwa has a stellar cast, including Kunle Remi, Tomike Adeoye, Uzor Arukwe, Omowunmi Dada, Kamo State, and Maame Abena Pokuaa. See Trailer! **King of Thieves 2 ( Agesinkole) – July 24th** The sequel continues the story of Agesinkole, the legendary bandit whose myth influenced the kingdom of Ajeromi. The King of Thieves vows to return if injustice arises again. Audiences should expect epic battles, enchantment, betrayal, and power struggles, all intricately woven into the rich tapestry of Yoruba cultural storytelling. Starring Femi Adebayo as Agesinkole, Odunlade Adekola, Ibrahim Chatta, Toyin Abraham, and Yekini Bakare. **NJEM: The Journey – July 24th** [*NJEM: The Journey*](https://www.qed.ng/rotimi-salami-chimezie-imo-tomi-ojo-to-star-in-njem-the-journey/ "NJEM: The Journey") follows a young hustler whose pursuit of migration as a means of escaping life’s struggles is complicated by a difficult choice that could cost him someone he loves. This tension drives the story, highlighting themes of aspiration, sacrifice, love, and the difficult decisions that often come with personal ambition. Directed by Uche Chukwu and produced by Abazee Productions in association with Campfire Studios, the film features notable actors such as Rotimi Salami, Chimezie Imo, Tomi Ojo, Tina Mba, Tana Adelana, and Goodness Emmanuel. The distribution of this movie will be handled by Cinemax. *NJEM: The Journe*y is set for a nationwide cinema release on July 24th, 2026. We have reached the end of our July list for now. Stay updated, as we will add more Nollywood movies to this list. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-nollywood-movies-to-see-this-july/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-nollywood-movies-to-see-this-july/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-nollywood-movies-to-see-this-july/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-nollywood-movies-to-see-this-july/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-nollywood-movies-to-see-this-july/?share=linkedin) - **Categories:** Articles, Movies **Tags:** Adeniyi Johnson, Ali Nuhu, and Blessing Obasi, and Obehi Aburime, and Toyin Abraham., and Yekini Bakare., Anthony Monjaro, Bimbo Ademoye, Biodun Stephen, Biodun Stephens, bukky wright, Chidi Mokeme, Femi Adebayo, Ibrahim Chatta, King of Thieves 2, Linda Osifo, Mike Ezuruonye, New Nollywood Movies to See this July, nigerian cinema, nollycritic, nollywood, Odunlade Adekola, Richard Mofe-Damijo, Shaffy Bello, The Return of Omotara Johnson, Toyin Abraham --- ### [The Secret Lives of Baba Segi's Wives: See Official Trailer](https://nollycritic.com/the-secret-lives-of-baba-segis-wives-see-official-trailer/) **Published:** August 5, 2026 **Author:** Esther Adamu **Excerpt:** The Secret Lives of Baba Segi's Wives is a 2010 debut novel by Nigerian poet Lola Shoneyin that explores polygamy, female agency, and family dynamics in Nigeria **Content:** The official trailer for *[The Secret Lives of Baba Segi’s Wives](https://nollywire.com/titles/the-secret-lives-of-baba-segis-wives/ "The Secret Lives of Baba Segi's Wives")*, originally published in 2010 by Nigerian poet Lola Shoneyin, was released earlier today. The work, adapted into a screenplay by Adze Ugah and produced by EbonyLife Films in collaboration with Genesis Group, Nile Group, and Silverbird, is coming to cinemas in December. Set in modern-day Ibadan, the story of Baba Segi follows a prosperous yet unsophisticated man who defines his masculinity by his wealth and the number of children he has. He is married to four wives: Iya Segi, Iya Tope, Iya Femi, and Bolanle, who is university-educated, along with their seven children. His wives are keeping a secret that could not only disrupt his household but also undermine his sense of manhood. The Secret Lives of Baba Segi’s wives explores themes of polygamy, female agency, and family dynamics in Nigeria Directed by Daniel Oriahi, the movie will feature a star-studded cast including Odunlade Adekola who plays the polygamist Baba Segi, Iyabo Ojo, Mercy Aigbe, Bimbo Ademoye, Shaffy Bello, Bolaji Ogunmola and Omowunmi Dada. The Official Trailer was released today by the CEO of[ Ebonylife Group](https://nollycritic.com/tag/ebonylife-films/ " Ebonylife Group"), Mo Abudu, to give audiences what to expect against its global release on December 4, 2026. See Teaser below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-secret-lives-of-baba-segis-wives-see-official-trailer/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-secret-lives-of-baba-segis-wives-see-official-trailer/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-secret-lives-of-baba-segis-wives-see-official-trailer/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-secret-lives-of-baba-segis-wives-see-official-trailer/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-secret-lives-of-baba-segis-wives-see-official-trailer/?share=linkedin) - **Categories:** Nollywood News **Tags:** Bimbo Ademoye, Bolaji Ogunmola, Ebonylife films, Iyabo Ojo, Lola Shoneyin, Mercy Aigbe, Mo Abudu, nigerian cinema, nollycritic, nollywood, Odunlade Adekola, Omowumi Dada, Shaffy Bello, The Official teaser of The secret lives of Baba Segi's Wives --- ### [See The Official Trailer For Femi Adebayo's King Kosoko](https://nollycritic.com/see-the-official-trailer-for-femi-adebayos-king-kosoko/) **Published:** August 3, 2026 **Author:** Esther Adamu **Excerpt:** King Kosoko delves into the reign and resistance of Kosoko of Lagos, exploring themes such as power, political rivalry... **Content:** This August, history comes to life with the release of [*King Kosoko*: *The Battle of Lagos*](https://thenollywoodreporter.com/film/king-kosoko-arrives-cinemas-on-august-28/ "King Kosoko: The Battle of Lagos"), a historical biopic directed by Femi Adebayo. The film delves into the rain and resistance of Oba Kosoko of Lagos, exploring themes such as power, political rivalry, betrayal, loyalty, and cultural heritage. The movie explores the life, reign, and turbulent era of *King Kosoko*, one of the most prominent Obas of Lagos State. Known for his fierce resistance to British colonial intervention, naval clashes along the Lagos lagoon, and complex politics. The film features a star-studded cast including Odunlade Adekola, Femi Adebayo, Jide Kosoko, Gabriel Afolayan, Femi Branch, Dele Odule, Taiwo Hassan, Yinka Quadri, Debo Adebayo, Shola Kosoko, Tina Mba, and Fathia Williams. The primary shooting of *King Kosoko* occurred at Isale Eko, with a secondary location at Epe and along the coastal areas of the Lagos Lagoon, which played a crucial role in the film’s story. Directed by Adebayo Tijani, the film is set in mid-19th century West Africa, specifically between the 1840s and 1850s, during the pre-colonial era. Distributed by [FilmOne Entertainment](https://nollycritic.com/?s=FilmOne+Entertainment "FilmOne Entertainment"), *King Kosoko* is Coming to Cinemas Nationwide this August 28th, 2026. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-official-trailer-for-femi-adebayos-king-kosoko/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-official-trailer-for-femi-adebayos-king-kosoko/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-official-trailer-for-femi-adebayos-king-kosoko/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-official-trailer-for-femi-adebayos-king-kosoko/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-official-trailer-for-femi-adebayos-king-kosoko/?share=linkedin) - **Categories:** Nollywood News **Tags:** Adebayo Tijani, and Fathia Williams, Cinemas, Debo Adebayo, Dele Odule, Femi Adebayo, ​Femi Branch, Filmone entertainment, Gabriel Afolayan, ​Jide Kosoko, Odunlade Adekola, Shola Kosoko, ​Taiwo Hassan, Tina Mba, Yinka Quadri --- ### [19: Tola Odunsi Announces New Crime Thriller](https://nollycritic.com/19-tola-odunsi-announces-new-crime-movie/) **Published:** August 2, 2026 **Author:** Esther Adamu **Excerpt:** Nigerian filmmaker and director Tola Odunsi is making his big-screen return with his new film titled 19. After years of creating popular series like **Content:** Nigerian filmmaker and director Tola Odunsi is making his big-screen return with his new film titled *19*. After years of creating popular series like [*The Men’s Club* ](https://nollycritic.com/the-mens-club-next-gen-new-chapter-or-missed-opportunity/ "The Men's Club ")and *Flawsome*, the acclaimed director is stepping back into cinema with his feature film, his first since the 2018 release of *From Lagos with Love.* [Tola Odunsi ](https://www.imdb.com/name/nm10219734/ "Tola Odunsi ")announces via his Instagram page that the movie *19* is set against the backdrop of Nigeria’s early internet era, and the film examines how ambition, opportunity, and influence can blur the line between survival and criminality. 19 will offer a nuanced and thought-provoking look at 419 and the consequences it drags along. The upcoming thriller’s poster hints at a suspense-filled mystery centered around a high-stakes investigation, complete with sticky notes asking Who? How? and why. 19 is packed with a stellar ensemble cast featuring Stan Nze, Sola Sobowale, Bisola Aiyeola, Deyemi Okanlawon, and Williams Uchemba. The [film](https://nollycritic.com/ "film"), directed by Tola Odunsi, will be distributed by Nile Entertainment. *19* is officially set to hit cinemas nationwide on September 11, 2026. > [View this post on Instagram](https://www.instagram.com/p/Dba8vU2NGhT/?utm_source=ig_embed&utm_campaign=loading) ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/19-tola-odunsi-announces-new-crime-movie/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/19-tola-odunsi-announces-new-crime-movie/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/19-tola-odunsi-announces-new-crime-movie/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/19-tola-odunsi-announces-new-crime-movie/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/19-tola-odunsi-announces-new-crime-movie/?share=linkedin) - **Categories:** Nollywood News **Tags:** and Williams Uchemba., Bisola Aiyeola, Cinemas, Deyemi Okanlawon, Flawsome, nigerian cinema, nile entertainment, nollycritic, nollywood, Sola Sobowale, Stan Nze, The Mens Club, Tola Odunsi --- ### [Agesinkole 2 Review: The Legend Returns, But His Story Struggles](https://nollycritic.com/agesinkole-2-review-the-legend-returns-but-his-story-struggles/) **Published:** July 29, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Three years on, King of Thieves: Agesinkole 2, directed by Adebayo Tijani and now streaming on Netflix, returns to that world... **Content:** When *[Agesinkole](https://nollycritic.com/how-agesinkole-2-changed-the-nollywood-distribution-playbook/ "Agesinkole")* first rode into the fictional kingdom of Ajeromi in 2022, he arrived on a wave of genuine surprise. Directed by Tope Adebayo Salami and Adebayo Tijani, the first *King of Thieves* was a statement film, proof that a Yoruba-language epic could command cinemas, sustain a mythology, and carry the cultural weight of its subject without apology. Rich with ijinlé Yoruba dialogue, the kind thick with proverbs and incantations that root the language in its own authority, the film established Femi Adebayo’s Agesinkole as one of Nollywood’s most arresting screen presences: a man of few words whose silences said everything. Three years on, [**King of Thieves*: Agesinkole 2*,](https://www.imdb.com/title/tt39029586/ "King of Thieves: Agesinkole 2,") directed by Adebayo Tijani and now streaming on Netflix, returns to that world with a cast that has only grown in stature and ambitions that have clearly expanded in scale. What it brings back with less certainty is the narrative coherence that gave the first film its weight. ## *Agesinkole 2* Directed by: Adebayo Tijani, Tope Adebayo Written by: Olugbemiga, Soyombo-Oluyombo, Adebayo Tijani Genre: Drama Released on: June 24, 2026 (Netflix) Language: Yoruba ## The First Kingdom: What the Original Built *Agensinkole* established its world with a confidence that [Nollywood epics](https://nollycritic.com/the-evolution-of-yoruba-epic-movies/ "Nollywood epics") had not always demonstrated. The first film was a story of betrayal and vengeance set in pre-colonial Yoruba society, following an all-powerful bandit whose reign of terror on the kingdom of Ajeromi concealed a deeper reckoning. The cultural immersion was among its strongest qualities: the wardrobe, the proverbs, the palace architecture, the invocation of Sango, the masquerades. Cinematographer Idowu Adedapo gave the film a visual sweep that made its world feel inhabited rather than constructed, and the Yoruba language itself performed as a character, carrying meaning that a translation could only gesture at. Its limitations were real but containable. The king, Oba Adegbite as played by Odunlade Adekola, remained largely reactive across the film’s runtime. A man whose kingdom is being terrorised should, at some point, act like a commander-in-chief. The film gave him worry and pain without giving him agency, and the absence of that agency created a vacuum at the dramatic centre that the bandit’s own energy could not entirely fill. The framing device of a narrator in a present-day gallery also sat awkwardly, an overlay the story did not require and which the ending redeems only partially, with a glimmer in the narrator’s eye that signals Agesinkole’s imminent return. That glimmer is exactly where part two begins. ## A New Kingdom, A Familiar Problem **Agensinkole* 2* opens with something unexpected and immediately arresting: images of protest, of people pushing back against a system that has turned against them, drawn deliberately close enough to [Nigeria’s 2020 EndSARS protests](https://en.wikipedia.org/wiki/End_SARS "Nigeria's 2020 EndSARS protests") to be felt in the body before they are processed in the mind. The connection between the injustice of the ancient kingdom and the injustice of the present is made visible in those opening frames, and it is the most politically charged thing the film attempts. Corruption, the film suggests, is not a historical problem. It is a living inheritance. The promise of that opening is considerable. A Yoruba epic that uses its mythological framework to interrogate contemporary Nigerian power structures, the silence of institutions, the complicity of those who benefit from rot, could be something genuinely resonant. The drums of Agesinkole’s return positioned as a response to EndSARS-era injustice is a powerful idea. The film, however, does not follow through on it with the commitment the idea deserves. The political undercurrent runs below the surface of the story rather than through it, felt in atmosphere but rarely acted upon in plot or character. What Ajeromi faces in this sequel is a familiar diagnosis: peace has made its rulers comfortable, comfortable has made them corrupt, and corruption has returned so thoroughly that the balance Agesinkole once restored is once again undone. A new king reigns. New betrayals have taken hold. A forbidden love between Pero and Ishola sets off a chain of events that intersects with the kingdom’s larger crisis. And somewhere in the background, the old forces that sealed Agesinkole away are being tampered with. The story as a premise is sound enough. The execution is where the film loses its footing. Several subplots are introduced with urgency and resolved without the earned development that would justify their proportion of the runtime. Pero and Ishola’s dynamic is the clearest example: a romance between characters whose connection is established quickly and whose emotional logic never quite convinces. There is a moment near the film’s end where Pero explains that she fled because she discovered she was to be sold into marriage. The audience, however, was never shown her discovering this. The information reaches her between scenes, without a moment of revelation that would let the audience witness it alongside her. It is one of several instances where the film jumps emotional transitions it should have constructed. The ending compounds the problem. Agesinkole’s return, the event the entire film has been building toward, is triggered by a motivation that the story has not prepared us for. When the reason is finally given, it arrives as an afterthought dressed as explanation. The audience deserved a different architecture for this moment, one in which the characters who have been most wronged by the kingdom’s rot are the ones who, through their own agency, set the reckoning in motion. That version of the story would have completed the character arcs the film spent ninety minutes establishing. What the film gives us instead feels like a shortcut to an ending that the plot had not earned. ## The Cast in a Kingdom That Needed More from Its Writing Femi Adebayo remains a commanding presence whenever *Agesinkole* is on screen. The character operates at the level of myth, which means the performance must sustain both the physical authority of the bandit and the symbolic weight of what he represents. Adebayo does this with the same controlled intensity as the first film, speaking sparingly, filling silences with presence. Among the supporting cast, Yemi Solade, Gabriel Afolayan, and Kolawole Ajeyemi each bring a level of control and screen presence that elevates the scenes they occupy. They do the work of making their characters feel like people with interior lives even when the script has not given those lives enough room. Bimbo Akintola brings the kind of seasoned specificity that reminds you why a single experienced performer can change the temperature of any scene they enter. ## When the World Looks Better Than It Sounds The production design in **Agensinkole** *2* is the film’s most consistent achievement. The period detailing, the textures of the environment, the material choices for costumes and props, communicates a world that has been built carefully. The crowds populating the kingdom feel like communities rather than staging. This matters more than it might seem: how African stories render their own historical spaces on screen is, for many watching internationally, how those spaces get imagined and remembered. The film understands this responsibility. The direction also demonstrates a genuine improvement in staging. Characters move with intention in relation to each other, their positions in a scene communicating power and tension without needing dialogue to explain it. The CGI has its inconsistencies, the limitations of budget rather than ambition, and they are less distracting than in the first film. The cinematography carries its visual ambitions competently. Where the technical work falls short is in the sound design. A story this deeply rooted in myth, ritual, and ancestral menace needed its audio layer to do considerably more work than it does. The score supports the mood without overreaching, which is the right instinct, but the silences between action and dialogue needed to be filled with dread, the sense of something old and powerful moving beneath the surface of the world. That atmospheric pressure is mostly absent, and its absence is felt precisely in the moments the film most needs it. ## Final Thoughts **Agensinkole* 2* is a film caught between what it wants to be and what its writing can sustain. The opening frames show a filmmaker aware that the legend of Agesinkole carries contemporary resonance, that injustice in a fictional Yoruba kingdom rhymes with injustice in a present-day Nigerian street. That awareness is the most exciting thing about this sequel. It is also the thing the film most thoroughly fails to honour. The franchise has built a world worth returning to. Femi Adebayo’s *Agesinkole* is a genuinely compelling figure, and the cultural texture of these films, the language, the ritual, the visual grammar of pre-colonial Yoruba life, gives them a specificity that distinguishes them within Nigerian cinema. What the second film reveals is that spectacle and world-building alone cannot carry the weight of a story whose emotional and political potential has not been fully written. ## Verdict Disappointing and mildly enjoyable. It ultimately does not live up to the standards set by the first instalment. **Rating**: 1.85/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/agesinkole-2-review-the-legend-returns-but-his-story-struggles/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/agesinkole-2-review-the-legend-returns-but-his-story-struggles/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/agesinkole-2-review-the-legend-returns-but-his-story-struggles/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/agesinkole-2-review-the-legend-returns-but-his-story-struggles/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/agesinkole-2-review-the-legend-returns-but-his-story-struggles/?share=linkedin) - **Categories:** Reviews **Tags:** 2025 Nollywood film, 2026 Netflix, Adebayo Salami, Adebayo Tijani, Agesinkole 2, Ajeromi, Anthill Studios, Bimbo Akintola, Broda Shaggi, EndSARS, Euphoria 360, Femi Adebayo, Film Critique, Film review, Gabriel Afolayan, historical drama, Ibrahim Chatta, Ibrahim Yekini, Jide Kosoko, king of thieves, King of Thieves 2, Kolawole Ajeyemi, Lateef Adedimeji, mythology, Netflix, nollywood, Odunlade Adekola, sequel, Tope Adebayo Salami, Toyin Abraham, Yemi Solade, Yoruba Epic, Yoruba language film --- ### [See The Nollywood Actors in Children of Blood and Bone](https://nollycritic.com/see-the-nollywood-actors-in-children-of-blood-and-bone/) **Published:** March 8, 2025 **Author:** Fisayo Adekoya **Excerpt:** The much-anticipated film adaptation of Children of Blood and Bone has taken an exciting turn with the official reveal of Nigerian actors joining the cast **Content:** The much-anticipated film adaptation of *[Children of Blood and Bone](https://nollycritic.com/children-of-blood-and-bone-see-the-full-cast-list/ "Children of Blood and Bone")* has taken an exciting turn with the official reveal of Nollywood actors joining the cast. This announcement comes after an open casting call that sought fresh talent from Nigeria. While the initial cast list sparked disappointment due to the absence of Nigerian actors, the latest update has reignited excitement among fans. Afrobeats sensation Ayra Starr is set to make her acting debut in the film, marking a significant career milestone. Known for her chart-topping songs and electrifying performances, her presence adds a new layer of intrigue to the movie. Joining her is Nollywood veteran Richard Mofe-Damijo (RMD), a powerhouse performer with decades of experience in the industry. His inclusion not only strengthens the cast but also brings a level of authenticity that fans of African cinema will appreciate. In addition to these well-known figures, the film will introduce fresh Nigerian talents. Pamilerin Ayodeji and Shamz Garuba emerged as winners from the highly competitive open casting call, securing their spots in what is expected to be one of the biggest fantasy films in recent years. Moreover, Kola Bodunde and Temi Fagbenle have also joined the project, further reinforcing the film’s deep connection to its African roots. ![children of blood annd bone](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/03/shams-ad-pamilerin.jpg?resize=640%2C360&ssl=1)children of blood annd bone castProduced by Paramount and Lucasfilm, *Children of Blood and Bone* is based on the bestselling novel by [Tomi Adeyemi](https://www.goodreads.com/author/show/16642745.Tomi_Adeyemi "Tomi Adeyemi"). The story follows Zélie, a determined young girl fighting to restore magic to Orïsha while resisting the oppressive rule of a power-hungry monarchy. Inspired by West African mythology, the book has been praised for its rich storytelling, compelling characters, and immersive world-building. Since its release, it has drawn comparisons to fantasy franchises like *Black Panther* and *Harry Potter*, setting high expectations for its film adaptation. The newly announced actors will join the previously revealed cast to bring Adeyemi’s vision to life. With a star-studded lineup, an experienced production team, and groundbreaking visuals, the film is shaping up to be a major cinematic event. Given the widespread anticipation, *Children of Blood and Bone* is already generating buzz among fantasy lovers and movie enthusiasts alike. Scheduled for release in January 2027, the film is on track to be a game-changer in the industry. Fans of the book are eager to see how the beloved characters will be portrayed on screen, while newcomers to the story can expect a thrilling mix of action, magic, and emotional depth. The inclusion of Nigerian actors not only adds authenticity but also reflects Hollywood’s growing recognition of African narratives in mainstream cinema. As the release date draws closer, excitement continues to build. Every new announcement adds to the film’s momentum, making it one of the most highly anticipated fantasy adaptations of the decade. If executed well, *Children of Blood and Bone* could set a new standard for African representation in Hollywood, proving that stories rooted in African culture have the power to captivate global audiences. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-nollywood-actors-in-children-of-blood-and-bone/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-nollywood-actors-in-children-of-blood-and-bone/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-nollywood-actors-in-children-of-blood-and-bone/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-nollywood-actors-in-children-of-blood-and-bone/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-nollywood-actors-in-children-of-blood-and-bone/?share=linkedin) - **Categories:** Nollywood News **Tags:** Ayra Starr, Cast reveal, Children of Blood and Bone, Kola Bodunde, Nigerian actors, nollycritic, nollywood, Pamilerin Ayodeji, Paramount, Richard Mofe-Damijo, RMD, Shamz Garuba, Temi Fagbanle, Tomi Adeyemi --- ### [Children of Blood and Bone: See the Official Trailer For the New Fantasy Drama](https://nollycritic.com/children-of-blood-and-bone-see-the-official-trailer-for-the-new-fantasy-drama/) **Published:** July 28, 2026 **Author:** Esther Adamu **Excerpt:** The official trailer of the upcoming film Children of Blood and Bone, co-written by the book's author, Tomi Adeyemi, alongside director Gina... **Content:** The official trailer of the upcoming film *[Children of Blood and Bone](https://nollycritic.com/children-of-blood-and-bone-see-the-first-look-pictures-of-new-fantasy-drama/ "Children of Blood and Bone")*, co-written by the book’s author, Tomi Adeyemi, alongside director Gina Prince-Bythewood, has been released after an exclusive trailer launch event at the Brooklyn Academy of Music (BAM). The story of *Children of Blood and Bone* is set in Orïsha, a kingdom where magic once flourished. The Maji, those born with magical abilities, faced brutal oppression after the king ordered the slaughter of their people and stripped magic from the land. The trailer offers a glimpse into Tomi Adeyemi’s fantasy novel, influenced by West African culture, that combines magic, oppression, and rebellion as it transitions into a screenplay. The film adaptation set for release January 15, 2027, features a star-studded cast led by Thuso Mbedu as Zélie, alongside Damson Idris, Amandla Stenberg, Tosin Cole, Chiwetel Ejiofor, Regina King, Idris Elba, and Viola Davis. Gina Prince-Bythewood directs with a talented cast and crew, bringing Tomi Adeyemi’s fantasy world of Orïsha to life. [*Children of Blood and Bone* ](https://www.imdb.com/title/tt6779038/ "Children of Blood and Bone ")premieres in cinemas in January 15, 2027. See Trailer Below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/children-of-blood-and-bone-see-the-official-trailer-for-the-new-fantasy-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/children-of-blood-and-bone-see-the-official-trailer-for-the-new-fantasy-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/children-of-blood-and-bone-see-the-official-trailer-for-the-new-fantasy-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/children-of-blood-and-bone-see-the-official-trailer-for-the-new-fantasy-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/children-of-blood-and-bone-see-the-official-trailer-for-the-new-fantasy-drama/?share=linkedin) - **Categories:** Nollywood News **Tags:** Amandla Stenberg, Cynthia Erivo, Damson Idris, Gina Prince-Bythewood, Idris Elba, Pa, Pamilerin Ayodeji, RMD, Tomi Adeyemi, Viola Davis --- ### [Colours of Fire Set For Netflix Premiere This August](https://nollycritic.com/colours-of-fire-set-to-netflix-premiere-this-august/) **Published:** July 25, 2026 **Author:** Esther Adamu **Excerpt:** Niyi Akinmolayan’s Nollywood epic Colours of Fire, which blends African mythology, pan-African fashion, and cutting-edge visual effects, is coming to Netflix **Content:** Niyi Akinmolayan’s Nollywood epic *[Colours of Fire](https://africanmoviedb.com/title/colors-of-fire-2025? "Colours of Fire")*, which blends African mythology, pan-African fashion, and cutting-edge visual effects, is coming to Netflix in August. Initially released in theatres in December 2025, the film now makes its global streaming debut, bringing with it the promise of a new cinematic language that Akinmolayan calls Afrofusion cinema. The story of [*Colours of Fire* ](https://nollycritic.com/colours-of-fire-a-dazzling-epic-that-burns-bright-but-struggles-to-cohere/ "Colours of Fire ")follows around two rival tribes: the Blues, who have long held dominance through their expertise in fabric-making and their sacred blue magic known as Elu, and the Reds, who are rising with their own colours and methods. Rumours spread that the Red Tribe’s power is derived from blood and dark magic, fueling paranoia and mistrust among the tribes. When reports of a monstrous creature terrorizing blue farmers reach the tribe’s leaders, warrior Akinbode is sent to slay the beast. However, he instead encounters Moremi, a woman whose very existence challenges the lies and propaganda that have long divided the tribes. The film’s themes extend well beyond its mythological setting. It addresses issues such as inherited hatred, propaganda, love, reconciliation, cultural identity, deception, and sacrifice. *Colours of Fire* explores how misinformation and fear can divide communities, while also highlighting how love and truth can unite them. The story centers around Moremi, played by Osas Ighodaro, whose performance adds depth to the film with a mix of strength and vulnerability. Uzor Arukwe delivers a compelling portrayal of Akinbode, a warrior torn between his duty and a newfound truth. The cast also features Mercy Aigbe, Gabriel Afolayan, Shaffy Bello, and Femi Jacobs. Netflix’s acquisition of *Colours of Fire* signals the growing global appetite for African cinema. By bringing the film to a worldwide audience, the platform amplifies [Nollywood’s](https://nollycritic.com/ "Nollywood’s") voice and showcases its ability to tell stories that are both culturally specific and universally resonant. *Colours of Fire* directed by Niyi Akinmolayan will start streaming on Netflix August 7th, 2026. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/colours-of-fire-set-to-netflix-premiere-this-august/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/colours-of-fire-set-to-netflix-premiere-this-august/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/colours-of-fire-set-to-netflix-premiere-this-august/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/colours-of-fire-set-to-netflix-premiere-this-august/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/colours-of-fire-set-to-netflix-premiere-this-august/?share=linkedin) - **Categories:** Nollywood News **Tags:** 2026, August 7, colours of fire, Femi Jacobs, Gabriel Afolayan, Mercy Aigbe, Netflix, nigerian cinema, Niyi Akinmolayan, nollycritic, nollywood, Osas Ighodara, pan-African fashion, Uzor Arukwe --- ### [Ekun Iyawo: A Tale of a Runaway Bride Now Streaming on Homi TV](https://nollycritic.com/ekun-iyawo-a-tale-of-a-runaway-bride-now-streaming-on-homi-tv/) **Published:** July 23, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Meta4 Films has announced that its short film Ekun Iyawo: A Tale of a Runaway Bride has been acquired by Homi TV... **Content:** Meta4 Films has announced that its short film *Ekun Iyawo: A Tale of a Runaway Bride* has been acquired by [Homi TV](https://homitv.com/ "Homi TV") for streaming distribution. The film is now available to rent globally on the platform at $2.99, with Nigerian viewers able to pay the naira equivalent via bank card, Apple Pay, or Google Pay. The agreement is a non-exclusive licensing arrangement for a period of one year, with rental revenue shared between Meta4 Films and Homi TV. Written, directed, and produced by Moses Ipadeola, *Ekun Iyawo* is a 12-minute romance-drama set against a historical backdrop. The acquisition marks the film’s first standalone commercial streaming debut. The romance-drama is now available to rent on Homi TV at $2.99, with viewers in Nigeria able to pay the naira equivalent via bank card, Apple Pay, or Google Pay. The agreement is a non-exclusive license for a period of one year, with rental revenue shared between Meta4 Films and the platform. ## Background: The Film and Its Festival Run *Ekún Ìyàwó* was produced through the inaugural [British Council Film Lab Africa ](https://nollycritic.com/?s=British+Council+Film+Lab+Africa+ "British Council Film Lab Africa ")programme, launched in 2023. The programme attracted over 600 applications for its first cohort, with 60 participants selected for training. Ten filmmakers from that group each received a £5,000 production grant to produce original short films. Ipadeola was among the recipients. The film subsequently ran on MultiChoice Nigeria and WapTV in 2025 as part of a broadcast package featuring all ten films from the cohort, but the Homi TV release is its first individual commercial streaming appearance. Before the Homi TV deal, *Ekun Iyawo* completed an international festival circuit spanning Africa, Europe, and North America. It received Best Short Film at Quramo Fest 2024, the Audience Cheese Prize and Best Cinematography at The Annual Film Mischief 2024, and at the FilmJoint Awards 2025 it received Best Picture, Best African Film, Best Indigenous Film Nigeria, and Best Production Design. The Accra Indie Film Festival 2025 awarded it an additional Best Production Design prize. Official festival selections included Film Africa in London, the [African International Film Festival (AFRIFF)](https://www.afriff.com/ "African International Film Festival (AFRIFF)"), [NollywoodWeek ](https://nollycritic.com/?s=nollywood+week "NollywoodWeek ")Paris, the Barbados Indie Film Festival, the RTF Realtime International Film Festival in London, Noir Fest at Harvard and Yale, and the 7 Resilient Women Showcase in Nairobi, Kenya. ### The Film Set against an imagined historical backdrop, *Ekún Ìyàwó* follows Omolewa, a young bride forced at gunpoint to shed her tears at a “Bridal Tears” ceremony steeped in dark rumour. Faced with an arranged marriage to Balogun, a man whose intentions for those tears are the subject of alarming speculation, she must choose between submitting to tradition and escaping with her secret lover, David. When her tears are secretly swapped by an accomplice, Omolewa and David flee toward the river, only to be pursued by Balogun’s armed men. Ugoh Amanda leads the film as Omolewa, with Soledayo Adegbite as David. The film’s production design, recognised with awards at both the FilmJoint Awards 2025 and the Accra Indie Film Festival 2025, is among its most celebrated qualities, and the cinematography, which earned the film a prize at The Annual Film Mischief 2024, grounds its historical world in visual specificity that belies its short runtime and modest budget. ### On the Acquisition For Ipadeola, the Homi TV deal represents more than a distribution milestone. It signals a widening of opportunity for independent Nigerian short films that have historically struggled to find streaming homes despite strong festival performances. “*Ekún Ìyàwó* was born from a desire to tell a unique story that honours our culture while asking timeless questions about duty, courage, and self-determination,” Ipadeola said. “I’m excited that it is now streaming on Homi TV where audiences everywhere can discover this Trado-Fiction and connect with its message.” He added: “Not only does this open more opportunities for *Ekún Ìyàwó*, but for more beautiful Nigerian indie films to be discovered regardless of their form; short or feature length. Because before now, it has proven to be a hustle getting distributions for many beautiful short films from this part of the world even with multiple festival runs.” Enoch Mensah, CEO of Homi TV, framed the acquisition as a statement of intent for the platform. “At Homi TV, we believe every great story deserves a global stage, and *Ekun Iyawo* is exactly that kind of story,” he said, adding that the platform is committed to championing narratives that are rooted in culture yet universally resonant. ### About Homi TV Founded in 2021 and launched in Africa in September 2022, Homi TV is a streaming platform headquartered in Middletown, Delaware, with its operational office in Ghana. The platform streams content from over 40 African countries, including movies, documentaries, lifestyle shows, and originals, available in major African ethnic languages. It is accessible via web, iOS, Android, and smart TV apps. *Ekun Iyawo: A Tale of a Runaway Bride* is now available to stream on [Homi TV](https://homitv.com/video/ekun-iyawo-a-tale-of-a-runaway-bride "Homi TV"). See the trailer below! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ekun-iyawo-a-tale-of-a-runaway-bride-now-streaming-on-homi-tv/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ekun-iyawo-a-tale-of-a-runaway-bride-now-streaming-on-homi-tv/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ekun-iyawo-a-tale-of-a-runaway-bride-now-streaming-on-homi-tv/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ekun-iyawo-a-tale-of-a-runaway-bride-now-streaming-on-homi-tv/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ekun-iyawo-a-tale-of-a-runaway-bride-now-streaming-on-homi-tv/?share=linkedin) - **Categories:** Nollywood News **Tags:** Accra Indie Film Festival, african cinema, afriff, Barbados Indie Film Festival, British Council Film Lab Africa, Ekún Ìyàwó, Ekun Iyawo A Tale of a Runaway Bride, Enoch Mensah, Film Africa London, Film Festival, FilmJoint Awards, Homi TV, independent Nigerian cinema, Meta4 Films, Moses Ipadeola, Nigerian indie film, Noir Fest Harvard Yale, Nollywood short film, NollywoodWeek Paris, Quramo Fest, short film distribution, Soledayo Adegbite, streaming acquisition, TAFM, The Annual Film Mischief, Trado-Fiction, Ugoh Amanda --- ### [22Summers, Nile Media, and Action Xtreme Form New Film Production Partnership](https://nollycritic.com/22summers-nile-media-and-action-xtreme-form-new-film-production-partnership/) **Published:** July 22, 2026 **Author:** Esther Adamu **Excerpt:** Idris Elba and Gina Carter's 22Summers, Moses Babatope's Nile Media Entertainment Group, and Chee Keong Cheung's Action Xtreme have announced a production... **Content:** Three major international production companies have allied to achieve a goal not only in Nigeria but across West African countries. Idris Elba’s 22Summers, Moses Babatope’s [Nile Media Entertainment Group](https://thenileworld.com/ "Nile Media Entertainment Group"), and Chee [Keong Cheung](https://nollycritic.com/?s=Keong+Cheung "Keong Cheung")‘s Action Xtreme have announced a production partnership to develop a slate of [action films](https://shockng.com/idris-elba-nile-media-action-xtreme-west-african-action-films-2026/ "action films") originating from West Africa. The announcement builds on the first-look agreement signed by [Action Xtreme](https://businessday.ng/bd-weekender/article/idris-elbas-22summers-partner-nile-group-action-xtreme-to-build-west-africas-action-cinema-pipeline/ "Action Xtreme") and Nile in September 2025, which produced Son of the Soil, an action thriller set in Lagos, directed by Cheung and starring Razaaq Adoti. Nile Entertainment will handle all distribution, just like they handled Son of the Soil of the movies produced in Africa. The partners view this venture not only as a film production but also as an effort to establish a long-term framework for action genre filmmaking on the continent. They aim to combine production with training and mentorship programs for local creatives. Chee Keong Cheung will direct the first film and serve as a producer for Action Xtreme, while Babatope will produce for Nile Motion Pictures. Elba, along with Gina Carter, the creative director of 22Summers, will take on the role of executive producer. Additionally, Elba is scheduled to direct one of the films in this collaboration. Cheung believes that: > Production is the catalyst, and making the film in Nigeria has made him appreciate the depth of talents and stories on the continent, deserving a global stage Elba said today: > The journey continues, strengthening the African film industry is about collaboration and shared perspectives. I am fortunate to have these partners (Action Xtreme And Nile) and aim to have global success with this slate. Success breeds data and data breeds investment.” Moses Babatope, Group CEO of The Nile Media Entertainment Group, added: > This partnership represents a significant step in our vision of building globally competitive African cinema. Action is one of the world’s most commercially powerful genres, yet Africa remains largely underrepresented in that space despite the incredible stories, talent, and creative energy that exist across the continent.” One of the main objectives of the partnership is to establish a sustainable pipeline for African action content that can reach global theatrical and streaming audiences. This collaboration will enable numerous African stories to reach the global stage more easily. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/Idris-Elba-GinaCarter-Moses-Babat-and-Chee-Keon.webp?resize=640%2C360&ssl=1) ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/22summers-nile-media-and-action-xtreme-form-new-film-production-partnership/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/22summers-nile-media-and-action-xtreme-form-new-film-production-partnership/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/22summers-nile-media-and-action-xtreme-form-new-film-production-partnership/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/22summers-nile-media-and-action-xtreme-form-new-film-production-partnership/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/22summers-nile-media-and-action-xtreme-form-new-film-production-partnership/?share=linkedin) - **Categories:** Nollywood News **Tags:** action, Action Xtreme, african cinema, Chee Keong Cheung, Idris Elba, Moses babatope, nigerian cinema, Nile Media, nollycritic, nollywood, Razaaq Adoti, Son of the Soil --- ### [Inside Life: The Interstice of Fractured Realism and Ambitious Undertones](https://nollycritic.com/inside-life-the-interstice-of-fractured-realism-and-ambitious-undertones/) **Published:** October 21, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Inside Life immediately sets itself apart as a work of non-conformist cinema, a bold departure from traditional narratives. **Content:** [*Inside Life* ](https://www.imdb.com/title/tt23576760/ "Inside Life ")immediately sets itself apart as a work of non-conformist cinema, a bold departure from traditional narratives. Clarence Peters, renowned primarily for his work directing Afrobeat music videos, makes his Netflix directorial debut with a bold vision that defies conventional storytelling norms, inviting viewers to engage with film in an entirely new and transformative way. Let us delve into how *Inside Life* embraces its not-so-new approach and unpack the layers of the film itself. # *Inside Life* Directed by: Clarence Peters Written by: Olumide Kuti, Tonia Chukwurah Genre: Supernatural Crime Drama Released on: October 11, 2024 (Netflix) Language: English and Yoruba ### Story *Inside Life* follows three to four parallel stories, all merging with a prison at the center of it—hence, “inside life,” as in “inside prison.” The series comprises independent yet interconnected stories exploring different genres, including drama, horror, and light comedy. The narrative brings together a diverse set of characters, bound by a series of tragic, escalating circumstances, leading them toward a dark and unforeseen conclusion. The series delves into heavy, thought-provoking themes such as death, myths, human trafficking, love, and marriage, offering a layered and complicated viewing experience. Through these various stories, *Inside Life* invites audiences to grapple with complex issues, while blending suspense, mystery, and real-life elements. While the story begins by focusing on the harsh realities of life and how anyone can face such hardships, it falters when it introduces a new narrative involving supernatural mysticism. This shift, which becomes more pronounced in Episodes 5 and 6, feels disconnected and isn’t effectively tied to the earlier themes, making the story feel disjointed. From this point, melodrama and unnecessary repetitions emerge, causing the narrative to lose momentum and falter just as it should be reaching its peak. ### Plot The plot centers on various characters such as Ade, who struggles to take care of his ailing and dying mother, and Chiamaka, a young woman driven to kill her abusive stepfather. These individual arcs intersect at a prison motif, serving as both a literal and symbolic representation of captivity and victimhood, reflecting the harsh realities of life. In its initial episodes, the series adeptly employs multi-threaded storytelling, exploring themes such as hardship, crime, and existential suffering. Utilizing various perspectives and backstories, this narrative structure enhances the plot’s early complexity. However, as the series unfolds, it introduces an unexpected shift toward spiritual mysticism, rooted in African spiritualism. This transition becomes problematic as it feels abrupt and forced. The reliance on expository dialogue to explain these supernatural elements detracts from the narrative’s pacing and subtlety, disrupting the grounded realism established earlier. As we move into Episodes 5 and 6, the series embarks on a tonal shift, veering away from its grounded themes and thought processes. This sudden pivot introduces narrative dissonance, complicating the viewer’s ability to reconcile the established realities with the newly introduced supernatural elements. While the initial multi-threaded narrative was a hallmark of its strength, it now falters under the weight of disjointed transitions and unresolved plotlines. Rather than maintaining a cohesive story arc, the series devolves into melodrama, characterized by unnecessary scenes to explain the story causing repetitions, that diminish their emotional impact. The once-engaging exploration of human struggles becomes overshadowed by an unfocused narrative that sacrifices clarity in the pursuit of ambition. To fully grasp the intricacies of the plot requires multiple viewings; the convoluted storytelling and abrupt tonal shifts can easily leave viewers disoriented. What could have been a masterful interplay of interconnected subplots instead resembles a series of disparate stories awkwardly stitched together, leaving audiences yearning for coherence amid the tangled web of plots. ### Technical Aspects The series showcases a blend of impressive cinematography and perplexing editing choices that often work against the narrative’s flow. The cinematography, particularly in Episode 1, displays a strikingly innovative aesthetic that captures the viewer’s attention. However, its approach occasionally sacrifices continuity for the sake of visual flair. It also appears as though the filmmakers were eager to showcase an abundance of compelling shots, leading to an editing conundrum where the sheer volume of visually striking moments overshadows cohesive storytelling. This stylistic choice creates a visual metaphor for the harsh realities that the characters endure, yet it detracts from the overall narrative coherence. The editing in this initial episode raises concerns, particularly regarding the transitions between shots. This overindulgence not only disrupts the rhythm of the storytelling but also risks alienating the audience, who may find themselves lost amidst the visual exuberance that mostly lacks meaningful integration into the plot. On a more positive note, the sound design deserves commendation for its meticulous attention to detail. Every sound, from the subtle rustling of fabric to the distant echoes of the environment, enhances the immersive quality of the film. Additionally, the manipulation of colour throughout the series is nothing short of remarkable, effectively conveying mood and emotion while reinforcing the overarching themes. This masterful integration of sound and colour elevates the viewing experience, offering a glimpse into the film’s deeper intentions. ### Performances Conversely, the film opens with a naturalistic flow of dialogue that enhances the authenticity of its world. This organic dialogue lends a sense of realism to the characters, making them feel like living, breathing entities rather than mere constructs for the camera. This grounding quality contrasts sharply with the film’s otherwise gritty, grimy, and grotesque aesthetic, which serves as a visual representation of the character’s struggles and the thematic weight of the story. *Inside Life* features a commendable cast, yet it is [Gabriel Afolayan’s performance](https://nollycritic.com/the-versatile-faces-of-nollywood-celebrating-range-and-talent/ "Gabriel Afolayan's performance") that truly captivates. His portrayal is a masterclass in authenticity, showcasing a nuanced understanding of his character that breathes life into the dialogue. It is through his performance that the naturalness of the dialogue becomes apparent. However, this naturalness begins to wane in Episodes 5 and 6, where the overall dialogue’s organic flow falters, losing some of its initial charm. Despite this decline, the brilliance of the dialogue in the earlier episodes can largely be credited to Afolayan’s skill. He is a remarkably talented and versatile actor, unafraid to embrace diverse and challenging roles, which speaks volumes about his commitment to his craft. Meg Otanwa delivers a powerhouse performance that demands attention, embodying her character’s struggles with an intensity that resonates deeply. Her portrayal adds layers of complexity, pulling the audience into her emotional journey. The chemistry among the cast further enriches the narrative, allowing their interactions to feel authentic. The supporting cast, including Egu Sylvia Chis, Rachael Emem Isaac, and Tomisin Ayoade, also contributes significantly to the film’s realism. Their performances complement the central themes, yet some moments are overshadowed by the series’ narrative disjointedness. The emotional gravity intended by the actors sometimes fails to land due to the overarching confusion in the plot, yet their dedication ensures that *Inside Life* retains its human essence amid structural challenges. ### Final Thoughts In hindsight, had *Inside Life* been marketed as an avant-garde series, it might have served the project more effectively. This framing could have recalibrated audience expectations, allowing viewers to approach the series with a more open mindset regarding its narrative intricacies. This genre often prioritizes experimentation and thematic exploration over traditional storytelling, which might have encouraged viewers to appreciate the series’ visual and conceptual artistry rather than scrutinizing its coherence. While many avant-garde films embrace fragmented narratives or non-linear storytelling, it is important to note that not all lack cohesion. A well-executed avant-garde piece can effectively blend innovation with clarity, guiding the audience through a discernible journey while provoking thought and emotion. In this context, framing *Inside Life* as a free-form work could have mitigated criticisms surrounding its narrative challenges. ### Verdict *Inside Life* is a bold exploration of narrative complexity in Nigerian cinema that attempts to redefine storytelling conventions. While its aspirations showcase an innovative approach, the series struggles with coherence, particularly in the later episodes, where disjointed narratives and abrupt tonal shifts disrupt the viewer’s engagement. The ambition to tackle profound themes is commendable, yet the lack of a clear and cohesive plot ultimately undermines the impact of the film. In its attempt to push boundaries, Inside Life reveals the delicate balance between creativity and narrative clarity, reminding audiences that even the most innovative ideas must be anchored in a coherent story to resonate fully. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/inside-life-the-interstice-of-fractured-realism-and-ambitious-undertones/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/inside-life-the-interstice-of-fractured-realism-and-ambitious-undertones/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/inside-life-the-interstice-of-fractured-realism-and-ambitious-undertones/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/inside-life-the-interstice-of-fractured-realism-and-ambitious-undertones/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/inside-life-the-interstice-of-fractured-realism-and-ambitious-undertones/?share=linkedin) - **Categories:** Reviews **Tags:** clarence peters, Inside Life, Netflix, nollycritic, nollywood, Olumide Kuti, Rachael Emem Isaac, Scarlet Gomez, Tonia CHukwurah, Uzoamaka Onuoha --- ### [Scratch Review: This Gritty Drama is the Most Absorbing Nigerian Show on YouTube](https://nollycritic.com/scratch-review-this-gritty-drama-is-the-most-absorbing-nigerian-show-on-youtube/) **Published:** July 21, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Scratch is a drama series from one of Nigeria's most formally accomplished filmmakers, a man who has spent over two decades learning... **Content:** Five people share a flat in Lagos. From the outside, their lives look ordinary. [Clarence Peters’](https://nollycritic.com/?s=clarence+peters "Clarence Peters'") *Scratch* makes it its purpose to show what is happening on the inside, and it does not look away from what it finds there. Streaming on [Capital Dreams Pictures’ YouTube channel,](https://www.youtube.com/c/capitaldreamspictures "Capital Dreams Pictures' YouTube channel,") *Scratch* is a drama series from one of Nigeria’s most formally accomplished filmmakers, a man who has spent over two decades learning to make every frame count across thousands of music videos and his Netflix debut *[Inside Life](https://nollycritic.com/inside-life-the-interstice-of-fractured-realism-and-ambitious-undertones/ "Inside Life")*. What he brings to *Scratch* is that same discipline at a slower pace and greater emotional depth, building an immersive, character-driven portrait of five Lagos housemates whose wounds run deeper than any one episode can contain. ## *Scratch* Directed by: Clarence Peters Produced by: Clarence Peters Genre: Drama Released on: June 12, 2026 (Youtube) Language: English The show is not for the faint-hearted. It announces this from its very first minutes. Themes of sex and sexual trauma, economic desperation, religious hypocrisy, abuse, and moral compromise run through all five episodes with the kind of unflinching commitment that Nigerian storytelling rarely permits itself. *Scratch* is adult in the most honest sense of the word: it takes adult lives seriously, with all of their contradiction and cost. **Spoilers ahead**. ## Episode 1: The Surprise Visit **Rating: 3.8/5** *Scratch* opens by introducing us to FayFay, whose real name is Ifedayo. She earns her living through online webcam work, a fact that the episode establishes without sensationalism and without apology. The first thing the series asks us to do is resist the conclusion we might immediately reach about who FayFay is, and the episode earns that ask by revealing the layers beneath the surface one by one. She sends money home. She supports her sister’s children. She is, against everything visible, a virgin. She is doing what she is doing because no one else is. The sister, Tope, is where the episode finds its sharpest irony. Tope is deeply religious, the kind of religious that announces itself in every room. She benefits directly from FayFay’s income while preaching against the means by which it is generated. The dynamic between the two women is one of the most recognisable in Nigerian family life: the one who provides is judged by the one being provided for. Peters does not make Tope entirely monstrous. He makes her human, which is more devastating. We also meet the other housemates in glimpses: Runo, who carries a maternal instinct for the household and gathers everyone into morning devotion; Onaka, whose appetites are introduced with wry economy; and the presence of a mysterious tenant whose room faces them all but whose face is never seen. The moral, the series suggests from the very beginning, is not which of these people is good. It is what circumstances have made of each of them. ## Episode 2: Oyiza’s Hidden Past **Rating: 3.4/5** The second episode belongs to Oyiza, the quietest presence in the house, and what it uncovers about her past is among the most harrowing material the series offers. Oyiza is a survivor of sexual violence perpetrated by a man who should have been her protector. The grief she carries as a result of this, including losses that compound each other without mercy, is handled with a restraint that makes it more painful, not less. A scene where she sits in her car during a robbery and simply cannot engage with the threat in front of her communicates dissociation more precisely than any amount of dialogue could. The episode also gives us more of Runo, whose role as the household’s spiritual centre begins to take on greater definition. She is the woman who insists on prayer, who holds the house together with a kind of mothering instinct that everyone else seems to lean into even when they do not say so. There are moments where the episode raises questions it does not fully answer, particularly around the fate of a child and the nature of what causes that fate, whether spiritual or biological. The ambiguity may be intentional but it creates a slight gap in the episode’s emotional logic. It is still powerful. It just falls slightly short of the episode that follows it. In this episode, we also hear for the first time the name of the mysterious tenant: Dubem. ## Episode 3: Runo’s Dark Secrets **Rating: 4/5** This is the finest episode of the five, and one of the finest hours of Nigerian serialised storytelling in recent memory. Runo is a believing Christian who has, under the weight of financial desperation, crossed into work she considers sinful. She is a masseuse whose circumstances, partly through the reckless influence of a drug-addicted friend, draw her toward more compromising territory. The episode shows us what happens when a woman in that situation encounters a client who does not respect the limits she has set. What makes the episode exceptional is not the darkness of what occurs, significant as it is, but the texture of Runo’s interior life. She is not portrayed as a hypocrite. She is portrayed as someone genuinely fighting the contradiction between her faith and her survival, praying immediately after making choices she believes are wrong, continuing to cherish God in the same breath as she doubts herself. This is a complexity that Nollywood almost never makes space for: the person of faith who is also a person of flesh, choosing badly under impossible pressure and not being condemned for it. The score places itself alongside this theme with remarkable precision. As the thought settles that these characters, all of them, are struggling not because they are bad people but because the world has placed them in positions that good people cannot navigate cleanly, the music enters with a line: Shebi gbogbo wa ni Elese, roughly translated as, are we not all sinners. It is a moment of alignment between sound, theme, and character that the series earns entirely. ## Episode 4: The Life-Changing News **Rating: 3.2/5** Onaka’s episode brings the most shocking revelation of the series so far, one that reframes everything we have seen of him across the previous three. Bolaji Ogunmola appears in a role markedly different from her familiar range, and she inhabits it with a cold specificity that makes the character uncomfortable in exactly the right way. The revelation of what has connected her character to Onaka, and for how long, lands with genuine impact. The episode also touches on the subject of abortion with enough seriousness to avoid feeling exploitative, largely because Runo is present to articulate what is at stake morally and emotionally for the woman involved. Her intervention is one of the clearest examples of the show’s understanding that its characters are not isolated but interconnected through the shared space they inhabit. The one place where the episode loses its grip is in the moment of Onaka’s change. He has lived for fifteen years under the influence of this dynamic. The thing that finally breaks it happens quickly, and the script does not build toward that break with enough development to make it feel earned. We understand intellectually why the moment matters. We do not feel it with the weight it deserves. ## Episode 5: Dubem’s Identity **Rating: 3/5** All five episodes of *Scratch* have been, among other things, a slow build toward the figure behind the door that no one opens. Dubem has been a presence and an absence simultaneously, heard but never seen, hinted at but never revealed. Episode five is where the series shows its hand, and the reveal, when it comes, connects the threads of the series in ways that satisfy the narrative curiosity the earlier episodes have built. The episode itself takes a different tonal register from what has come before, moving into something that resembles a murder mystery in its atmosphere. This shift works in places and feels slightly rushed in others. The ending does not quite achieve the cliffhanger the series needs to make the wait for a second season feel urgent. The personal stories of the five housemates have been told. Their wounds have been shown and, to varying degrees, examined. What happens next is not yet compelling enough as a premise to replace the question the series has now answered. This is the weakest episode of the five but it is not weak in absolute terms. It is simply working with less than what came before it. ## Faces You Will Not Forget The series made a deliberate choice to cast almost entirely new faces, and that choice pays off continuously. Favour Etim as FayFay carries the burden of the series’ most complex introductory character and does not flinch from any of it. Her FayFay is funny, abrasive, impulsive, and deeply human in ways that make you want to stay in every scene she occupies. Celia Okechukwu as Runo gives the series its emotional core, navigating the contradiction between her character’s faith and her choices with a delicacy that keeps the performance from ever tipping into martyrdom. Hauwa Issa as Oyiza demonstrates how to communicate grief without words, letting her face and body carry what the script cannot always name. Mofehintola Jebutu as Onaka brings enough warmth to the role to make the episode four revelation feel genuinely destabilising rather than merely shocking. Tony Sunmola’s contribution to the series is something the audience will understand fully only by the end, but his presence registers across every episode in ways that are more meaningful in retrospect than they are in the moment. The performances are across the board brilliant, which matters enormously in a series whose entire emotional weight depends on whether you believe these people. ## The World Clarence Peters Built The visual language of *Scratch* is where Peters’ twenty years of formal training announce themselves most clearly. Warm colours run through the series like a consistent signature: the interior of the apartment, the world outside it, the spaces in between, all carry a palette that makes the environment feel inhabited and lived in rather than constructed. The lens choices bring a closeness to the subjects that communicates intimacy without intrusiveness. Peters makes the audience feel like they are in the apartment, not watching it from a distance. The sound design is the series’ quietest triumph. Home environment sounds, a child’s voice from somewhere nearby, the ambient texture of a Lagos neighbourhood coming alive, run beneath the action with enough specificity to replace the world outside the cinema screen with the world inside the series. Watching *Scratch* at home with full attention, it becomes difficult to remember you are watching. The sound makes you feel present. This is the mark of sound design that is serving the story rather than illustrating it. The score carries a soulful quality with jazz and Afrobeat influences that periodically reach the emotional temperature of the characters’ lives. The song that enters during Episode three is the most precise example of music doing what music does at its best: confirming a feeling the audience has arrived at before they have found the words for it. The cinematography in Episode two includes a car sequence using two cameras from different angles that captures the same passing pedestrian across two separate cuts. It is the kind of deliberate visual consistency that signals a production thinking in terms of craft, not just content. ## Final Thoughts *Scratch* sits in an interesting position in Nigerian storytelling. It is a YouTube series with the production values and thematic ambition of a premium streaming release. It is a drama about five people whose traumas all connect, in different ways, to what has been done to them or what they have had to do to survive. It is asking the audience to hold compassion for all of them simultaneously, including the ones whose choices they might not endorse, and it mostly succeeds. The show is guided by the understanding, communicated most clearly in Runo’s episode but present throughout, that moral failure is rarely simple. These are not bad people. They are people for whom the world has arranged a series of conditions that good people cannot navigate cleanly. FayFay is supporting her family. Runo is supporting her mother. Onaka is caught in something that started long before he had the capacity to understand it. The series does not offer easy verdicts. It offers understanding, which is the more demanding and more valuable thing to offer. ## Verdict Watch *Scratch* alone or with someone who can sit with difficult things, because this series will ask you to. It is challenging not in what it shows you but in what it makes you feel about what you see. For audiences willing to engage with complex human lives told with genuine craft, this is one of the most rewarding Nigerian series currently available. It is on YouTube. There is no excuse. **Rating**: 3.75/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/scratch-review-this-gritty-drama-is-the-most-absorbing-nigerian-show-on-youtube/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/scratch-review-this-gritty-drama-is-the-most-absorbing-nigerian-show-on-youtube/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/scratch-review-this-gritty-drama-is-the-most-absorbing-nigerian-show-on-youtube/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/scratch-review-this-gritty-drama-is-the-most-absorbing-nigerian-show-on-youtube/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/scratch-review-this-gritty-drama-is-the-most-absorbing-nigerian-show-on-youtube/?share=linkedin) - **Categories:** Reviews **Tags:** 2026 Nigerian series, adult drama, black tax, Bolaji Ogunmola, Capital Dreams Pictures, Celia Okechukwu, clarence peters, drama series, faith, family obligation, Favour Etim, Hauwa Issa, Inside Life, Lagos, Mofehintola Jebutu, Nigerian Web Series, nollycritic, nollywood, religious hypocrisy, Review, Scratch, series critique, sexual trauma, Tony Sunmola, Youtube, YouTube series --- ### [The Best Nollywood Movies of 2026 So Far](https://nollycritic.com/the-best-nollywood-movies-of-2026-so-far/) **Published:** July 8, 2026 **Author:** Shalom O. Obisesan **Excerpt:** At NollyCritic, we have reviewed over 29 Nollywood titles between January and June 2026, spanning cinema releases, streaming originals... **Content:** At [NollyCritic](https://nollycritic.com/ "NollyCritic"), we have reviewed over 29 Nollywood titles between January and June 2026, spanning cinema releases, streaming originals, series, and short films. The slate has been busy, occasionally exciting, and frequently frustrating in ways that feel depressingly familiar. Big casts, recognisable names, and ambitious premises have arrived with reliable regularity. The storytelling craft needed to carry those ambitions has arrived considerably less often. **Love and New Notes – 3.5/5** The year’s best cinema release so far. [Kayode Kasum](https://www.imdb.com/name/nm10050155/ "Kayode Kasum")‘s period romantic thriller, set during Nigeria’s 1984 currency swap crisis, gave Nollywood something it rarely produces: a film that earns its genre fusion. The 1984 setting grounds the tension in real historical pressure. The romance between Boma and Chioma has stakes that feel structural rather than decorative. The film opened with a ₦106.5 million Valentine’s weekend, the biggest non-December cinema opening in recent Nollywood memory, and went on to gross between ₦328 and ₦380 million. Commercial success and critical quality aligning in one package remains rare in this industry. *Love and New Notes* is what that looks like when it happens. **Call of My Life – 3.35/5** Dammy Twitch’s feature debut is a warm, unabashedly female-gazey romantic comedy that trusts its audience and its lead. Uzoamaka Power’s Soluchi, a heartbroken call centre agent who finds the possibility of love in a routine phone call, is written and played with a self-awareness that the genre does not always afford its heroine. The film earns its clichés, mostly. It is colourful, funny, sometimes awkward in ways that feel intentional, and emotionally honest about what it costs to open yourself to love after being publicly humiliated. *Call of My Life* went on to debut at number ten on the all-time highest grossing Nollywood films list, a commercial landmark that reflects both its quality and the appetite audiences have for films that treat women’s desire as a story worth telling. **Blood Debt – 3.2/5** Chukwuka Kenechukwu Ndife’s crime thriller is the kind of film that rewards close watching. Set against the backdrop of Nigeria’s vigilante justice culture, [*Blood Debt* ](https://nollycritic.com/blood-debt-justice-cuts-both-ways-in-this-gripping-thriller/ "Blood Debt ")follows Superintendent Danjuma Okoro and the volatile Detective Nwagu as they investigate murders targeting corrupt politicians and former vigilantes. Patrick Diabuah gives the year’s most controlled lead performance so far: a man whose internal architecture is communicated entirely through what he does not say. The film has a stretched middle and a score that actively works against its atmosphere, but its visual storytelling is confident and precise, its moral argument is properly earned, and its final twenty minutes restore everything the middle briefly loosened. **To Adaego With Love – 3.35/5** One of the most emotionally satisfying films of the half, and one that arrived early enough in the year to set a standard several films since have failed to meet. Directed by Nwamaka Chikezie and a winner at AFRIFF 2025, the film delivered grounded storytelling and strong performances in a romantic drama that felt genuinely inhabited rather than assembled from genre parts. **The Boy Who Gave – 3/5** An intimate drama about duty, poverty, and the particular weight of being the person everyone else leans on. Allison Precious Emmanuel’s Idah, a teenager from Bonny Island who drops out of school to raise his younger siblings after their parents’ death, is rendered without sentimentality. The film trusts suffering without wallowing in it, and that trust is the source of its emotional power. **Evi – 3.1/5** One of the quieter highlights of the half, *Evi* brings careful character work and thematic ambition to territory that Nollywood does not always handle with this kind of restraint. The Nollywood films that scored highest had one thing in common across very different genres: they knew what they were trying to say and committed to saying it. *Love and New Notes* committed to its thriller mechanics and its period setting. *Blood Debt* committed to its moral argument about the limits of revenge. *The Boy Who Gave* committed to its refusal of sentimentality. *Call of My Life* committed to its heroine’s interiority. That commitment is not a technical quality. It is a writing quality, a directorial quality, a quality of intention that either exists at the conception of a film or cannot be added in post-production. What’s your best Nollywood movie of 2026 so far? Drop it in the comments and let’s talk about it. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-best-nollywood-movies-of-2026-so-far/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-best-nollywood-movies-of-2026-so-far/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-best-nollywood-movies-of-2026-so-far/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-best-nollywood-movies-of-2026-so-far/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-best-nollywood-movies-of-2026-so-far/?share=linkedin) - **Categories:** Articles, Movies --- ### [Chaos Returns as Visa on Arrival Season 9 Opens the Doors to Nigeria's Most Hilarious Visa Office](https://nollycritic.com/chaos-returns-as-visa-on-arrival-season-9-opens-the-doors-to-nigerias-most-hilarious-visa-office/) **Published:** July 21, 2026 **Author:** Michael Arowoselu **Excerpt:** The embassy is officially open once again. Visa on Arrival returns with an all-new Season 9, bringing audiences back to... **Content:** After eight hugely successful seasons, hundreds of millions of views and a loyal fanbase across Africa and beyond, [**Visa on Arrival** ](https://www.imdb.com/title/tt27072200/ "Visa on Arrival ")returns with an all-new Season 9, bringing audiences back to the country’s most chaotic Visa office… where nothing ever goes according to plan. Known for its unforgettable characters, razor-sharp comedy and hilarious take on everyday [Nigerian](https://nollycritic.com/?s=Nigerian "Nigerian") life, the award-winning series continues to turn ordinary visa interviews into extraordinary moments of madness. Whether it’s impossible applicants, office politics, unexpected scams, or the endless struggle to keep order, every visit to the embassy guarantees laughs. Season 9 reunites viewers with the characters they’ve grown to love. Officer Charity and Officer Flora resume their legendary rivalry with even more explosive confrontations, while Officer Okoro is back with new ways to squeeze an “appreciation” out of unsuspecting applicants. Officer Hope continues to find ways to earn an extra buck a day, Officer Francis remains convinced he’s the most important man in the office and Supervisor once again finds himself trying and usually failing, to keep the peace. Alongside returning favourites, the new season introduces fresh stories, bigger surprises and exciting guest appearances that keep every episode unpredictable. Since its debut, **Visa on Arrival** has become Nigeria’s most successful digital comedy series, amassing more than **187 million views**, **22 million hours watched**, and **over one billion impressions**, while earning multiple industry accolades including AMVCA and Pitcher Awards recognition and more. Its unique blend of relatable humour, memorable characters and social satire has made it a favourite among audiences across the continent and the diaspora. Whether you’ve followed the series from the very beginning or you’re discovering the embassy for the first time, Season 9 promises everything fans have been waiting for… bigger laughs, fresh chaos and the unmistakable comedy that has made *Visa on Arrival* a household name. **Visa on Arrival Season 9** is now streaming on the Accelerate TV YouTube Channel. Follow @Accelerate\_TV across all social platforms for exclusive content, cast updates and the latest news on Season 9. #### **ABOUT ACCELERATE MEDIA GROUP** #### Africa’s Stories. Crafted with Purpose. Shared with the World. Accelerate Media Group is one of Africa’s leading media and entertainment companies, creating premium films, television, documentaries, branded content and digital experiences for audiences across Africa and beyond. Through **Accelerate Studios**, its production arm, **Accelerate Plus**, its streaming platform, **Accelerate Agency**, its integrated creative agency and **The Accelerate Filmmaker Project**, the Group is committed to telling authentic African stories, developing creative talent and advancing Africa’s creative economy. Follow **@Accelerate\_TV** on Instagram, YouTube, Facebook and X for the latest productions, projects and announcements. See the links to the first two episodes below! ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/chaos-returns-as-visa-on-arrival-season-9-opens-the-doors-to-nigerias-most-hilarious-visa-office/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/chaos-returns-as-visa-on-arrival-season-9-opens-the-doors-to-nigerias-most-hilarious-visa-office/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/chaos-returns-as-visa-on-arrival-season-9-opens-the-doors-to-nigerias-most-hilarious-visa-office/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/chaos-returns-as-visa-on-arrival-season-9-opens-the-doors-to-nigerias-most-hilarious-visa-office/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/chaos-returns-as-visa-on-arrival-season-9-opens-the-doors-to-nigerias-most-hilarious-visa-office/?share=linkedin) - **Categories:** Nollywood News **Tags:** 2026, accelerate tv, nollycritic, nollywood --- ### [Zikoko Life Returns With Three New Shorts](https://nollycritic.com/zikoko-life-returns-with-three-new-shorts/) **Published:** July 18, 2026 **Author:** Esther Adamu **Excerpt:** Zikoko Life 2 features a blend of returning and new filmmakers, each providing a distinct viewpoint on contemporary Nigerian experiences... **Content:** [Zikoko Life](https://amxafrica.com/blog/2026/07/17/zikoko-life-returns-with-three-new-stories/ "Zikoko's Life") is back with a second edition, bringing another anthology that explores the complexities of love, relationships, identity, and choices. Building on the success of its [first installment](https://nollycritic.com/big-cabal-media-goes-cinematic-with-zikoko-life/ "first installment"), *Zikoko Life 2* features a blend of returning and new filmmakers, each providing a distinct viewpoint on contemporary Nigerian experiences. The three new short films are *[Siraam](https://whatkeptmeup.com/nigerian-film-news/zikoko-brings-its-widely-read-serials-to-life-in-new-anthology-series-produced-by-bluhouse-studios/ "Siraam")*, directed and written by [Uzoamaka Power](https://nollycritic.com/call-of-my-life-see-the-official-trailer-for-new-rom-com/ "Uzoamaka Power"); *Before We Fall Asleep*, directed by Kaelo Iyizoba and written by Blessing Uzzi; and *A Happy Ending*, written and directed by Dika Ofoma. The Three New Series will be produced by Big Cabal Media in partnership with BluHouse Studios. *Siraam* by Uzoamaka stars Genoveva Umeh, who will play the role of a wild eccentric young woman discovering herself through the lens of sex, power, agency, and her reproductive health. While *A Happy Ending* is a nostalgic ode to classic [Nollywood](https://nollycritic.com/ "Nollywood"), which stars Ifeoma Obinwa and Ruby Okezie, it follows the story of a young woman who navigates the overwhelming choices of moving to a major new city. *Before We Fall Asleep*, is a relationship drama. It follows a couple whose union is thrown into turmoil when the core dynamics of their relationship start to shift. What once seemed like a stable union starts to unravel as changing power dynamics, hidden fears, and unexpressed resentment challenge the couple’s love for one another. These films continue Zikoko Life’s focus on contemporary Nigerian experiences, particularly regarding love, intimacy, and family expectations. The films will begin streaming globally on Zikoko’s YouTube Channel starting July 25, 2026. See the trailer below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/zikoko-life-returns-with-three-new-shorts/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/zikoko-life-returns-with-three-new-shorts/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/zikoko-life-returns-with-three-new-shorts/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/zikoko-life-returns-with-three-new-shorts/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/zikoko-life-returns-with-three-new-shorts/?share=linkedin) - **Categories:** Nollywood News **Tags:** A Happy Ending, Before we fall asleep, Big Cabal Media, Blessing Uzzi, Bluhouse studios, Dika Ofoma, Kaelo lyizoba, nigerian cinema, nollycritic, nollywood, short films, Siraam, Uzoamaka Power, Zikoko, Zikoko mag --- ### [Children of Blood and Bone: See The First Look Pictures of New Fantasy Drama](https://nollycritic.com/children-of-blood-and-bone-see-the-first-look-pictures-of-new-fantasy-drama/) **Published:** July 17, 2026 **Author:** Esther Adamu **Excerpt:** The first look from Tomi Adeyemi's Children of Blood and Bone has been unveiled, showcasing vibrant and high-fantasy attire... **Content:** The first look from Tomi Adeyemi’s [*Children of Blood and Bone*](https://www.bellanaija.com/2026/07/children-of-blood-and-bone-movie-first-photos/ "Children of Blood and Bone") has been unveiled, showcasing vibrant and high-fantasy attire inspired by Yoruba cosmology and the Orisa Kingdom. Adeyemi’s Film adaptation doesn’t simply replicate Yoruba traditions; it reimagines them within a fantasy framework. Directed by [Gina Prince-Bythewood](https://nollycritic.com/tag/children-of-blood-and-bone/ "Gina Prince-Bythewood"), the film stars Thuso Mbedu as Zelie Adebola, with a cast that includes[ Viola Davis](https://www.imdb.com/name/nm0205626/ " Viola Davis"), Idris Elba, Cynthia Erivo, Damson Idris, Amandla Stenberg, and Chiwetel Ejiofor. The production is led by Wyck Godfrey, with Tomi Adeyemi herself serving as an executive producer. Paramount Pictures released the first look at the 2027 fantasy epic. The cast wore attire that is inseparable from their identity, with costumes representing ancestral memory, cultural pride, and resistance against oppression. These costumes embody the Yoruba tradition. Set in the mystical kingdom of Orïsha, the story follows Zélie Adebola played by Thuso Mbedu, a young woman on a dangerous quest to restore the magic violently stripped away from her people by the Maji, a ruthless king. Along the way of her journey, she is joined by her brother Tzain, Princess Amari, and Prince Inan, who helped in an epic battle against oppression. *Children of Blood and Bone*, which uses Yoruba cosmology, language, and attire to craft a world where African heritage is central to the narrative, is set to hit [cinemas](https://nollycritic.com/ "cinemas") and IMAX on January 15, 2027. - ![children of blood and bone](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/blood-and-bone-2-423b29a0e01e4738a29b70b0969529c6.webp?resize=640%2C426&ssl=1) - ![children of blood and bone](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/blood-and-bone-7-be25d3ad6748434d9a5f9c4fdaddff51.webp?resize=640%2C426&ssl=1) - ![children of blood and bone](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/blood-and-bone-11-bb4b93ddc9534f7b9a0a4907955f6fcb.webp?resize=640%2C426&ssl=1) - ![children of blood and bone](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/blood-and-bone-4-125cf5c30863471aae5bb6672f03b77c.webp?resize=640%2C426&ssl=1) - ![children of blood and bone](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/blood-and-bone-5-838a14a75481431f937d18c776c4d254.webp?resize=640%2C426&ssl=1) - ![children of blood and bone](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/blood-and-bone-1-f6623318d790496ba87f8445346747c7.webp?resize=640%2C426&ssl=1) - ![children of blood and bone](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/blood-and-bone-10-9aeb8005412d4209b1482b6cc738af9e.webp?resize=640%2C426&ssl=1) - ![children of blood and bone](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/blood-and-bone-3-36b44962c16e4f43b55b5009c2387da9.webp?resize=640%2C426&ssl=1) - ![children of blood and bone](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/blood-and-bone-8-ef21eee81e1344aea7868c7593d557d5-1024x683.webp?resize=640%2C427&ssl=1) - ![children of blood and bone](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/blood-and-bone-6-6499f88ade764af4b82f3c7abec966fa.webp?resize=640%2C426&ssl=1) - ![children of blood and bone](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/blood-and-bone-9-ce57a717c8454d3cac870beccf3ac96b.webp?resize=640%2C426&ssl=1) ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/children-of-blood-and-bone-see-the-first-look-pictures-of-new-fantasy-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/children-of-blood-and-bone-see-the-first-look-pictures-of-new-fantasy-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/children-of-blood-and-bone-see-the-first-look-pictures-of-new-fantasy-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/children-of-blood-and-bone-see-the-first-look-pictures-of-new-fantasy-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/children-of-blood-and-bone-see-the-first-look-pictures-of-new-fantasy-drama/?share=linkedin) - **Categories:** Nollywood News **Tags:** Amandla Stenberg, Children of Blood and Bones, Chiwetel Ejiofor, Cynthia Erivo, Damson Idris, Gina Prince-Bythewood, Idris Elba, IMAX, nigerian cinema, nollycritic, nollywood, Paramount pictures, Thuso Mbedu, Tomi Adeyemi, Viola Davis --- ### [Afreximbank Launches 1 billion Dollar Pan-African Film Fund](https://nollycritic.com/afreximbank-officially-launches-1-billion-dollars-pan-african-film-fund/) **Published:** July 13, 2026 **Author:** Esther Adamu **Excerpt:** The African Export-Import Bank (Afreximbank) has officially launched a one-billion-dollar Pan-African Film Fund, which is part of its Creative... **Content:** [The African Export-Import Bank (Afreximbank) ](https://afreximbank.africa-newsroom.com/press/afreximbank-launches-us-1-billion-africa-film-fund-to-transform-the-continents-creative-industry?lang=en "The African Export-Import Bank (Afreximbank) ")has officially launched a one-billion-dollar Pan-African Film Fund, which is part of its Creative Africa Nexus Programme (CANEX). Veteran author, editor, and educator Lavaille Lavette will lead the fund as its Chief Executive Officer. The Fund for Export Development in Africa (FEDA), created by the bank’s development impact investment division, aims to tackle several key challenges. These include limited access to production facilities and equipment, a shortage of advanced post-production resources, and insufficient exhibition infrastructure. Currently, there are fewer than 2,000 cinema screens available, and access to digital platforms is also limited. [Professor Benedict Oramah](https://www.afreximbank.com/afreximbank-launches-us-1-billion-africa-film-fund-to-transform-the-continents-creative-industry/ "Professor Benedict Oramah"), President of Afreximbank Said: > Film is a cornerstone of the Creative Africa Nexus (CANEX) programme, and the establishment of the Africa Film Fund is timely as it will help accelerate the growth of Africa’s creative sector, which has witnessed rapid growth but continues to face significant challenges including funding, scaling and accessing global markets. Marlene Ngoyi, CEO of FEDA, also emphasized the Fund’s role in driving inclusive growth, stating that: > The Africa Film Fund is not merely about financing films – it is about building a thriving ecosystem that empowers Global Africa’s creative talent, fosters cultural exchange, and catalyses economic transformation. Also, Co-founder of JVL Media LLC [Viola Davis](https://www.imdb.com/name/nm0205626/bio/ "Viola Davis") and an EGOT winning actress welcomed the initiative saying: > African stories are deeply human and universally powerful. This Fund is an invitation to the world to see Africa through the lens of its own creators — bold, unfiltered, and rich in truth. I am proud to be a part of this momentous step toward a more inclusive global film industry. Afreximbank’s launch of the $1 billion Pan-African Film Fund marks a turning point for the continent’s creative economy. By investing in [African](https://nollycritic.com/ "African") stories, talent, and infrastructure, the initiative not only amplifies Africa’s cultural voice on the global stage but also unlocks new opportunities for economic growth and job creation. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/afreximbank-officially-launches-1-billion-dollars-pan-african-film-fund/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/afreximbank-officially-launches-1-billion-dollars-pan-african-film-fund/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/afreximbank-officially-launches-1-billion-dollars-pan-african-film-fund/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/afreximbank-officially-launches-1-billion-dollars-pan-african-film-fund/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/afreximbank-officially-launches-1-billion-dollars-pan-african-film-fund/?share=linkedin) - **Categories:** Nollywood News **Tags:** CEO of FEDA, Co-founder of JVL Media LLC Viola Davis, Creative Africa Nexus Programme (CANEX), Fund for Export Development in Africa (FEDA), Marlene Ngoyi, nigerian cinema, nollycritic, nollywood, President of Afreximbank, Professor Benedict Oramah, The African Export-Import Bank (Afreximbank) --- ### [Alechenu Review: Biodun Stephen's Heart Is Here, But Her Craft Is Elsewhere](https://nollycritic.com/alechenu-review-biodun-stephens-heart-is-here-but-her-craft-is-elsewhere/) **Published:** July 13, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Biodun Stephen has built a filmography around the emotional weight of ordinary people in extraordinary situations. Alechenu, her second theatrical release... **Content:** [Biodun Stephen ](https://www.imdb.com/name/nm8723905/ "Biodun Stephen ")has built a filmography around the emotional weight of ordinary people in extraordinary situations. *[Alechenu](https://nollycritic.com/alechenu-see-the-trailer-for-the-new-biodun-stephen-movie/ "Alechenu")*, her second theatrical release of 2026, arrives with the kind of premise that should be exactly in her wheelhouse: a young boy, different from the children around him, travels from Oyo to Lagos with a photograph and a backpack, searching for a mother he has never met. On paper, it is the architecture of a Biodun Stephen film. On screen, it is something considerably more muted. The film stars Bimbo Ademoye, Mike Ezuruonye, Femi Adebayo, Blessing Jessica Obasi-Nze, Wumi Toriola, Adediwura Gold, and Royal Aziomaku in the titular role. ## *Alechenu* Directed by: Biodun Stephen Produced by: Biodun Stephen, Tara Ajao Genre: Drama Released on: July 3, 2026 (Cinemas) Language: English ## A Boy in Search of More Than His Mother The emotional premise of Alechenu rests on a familiar but enduring longing: the desire to know where you come from. A child who has grown up without a mother, who carries her image in a photograph and makes his way to a city he does not know to find her, is a story that does not need embellishment to land. The journey itself is the drama. The city is the crucible. The family he stumbles into becomes the mirror through which the film’s secrets are meant to emerge. The film introduces us to Alechenu as a boy who is described, at different points, as special, or as not complete. The film never names what makes him different. Autism, which the film’s promotional materials reference, is never stated within the story itself. What we are shown is a boy who avoids eye contact, speaks rarely, and moves through the world with an interiority the camera rarely penetrates. This ambiguity might have been a deliberate cultural choice, reflecting the reality that autism in many Nigerian communities is not diagnosed but absorbed into the language of difference, the child who is just a certain way. Nigeria, like much of the continent, carries a significant gap between lived neurodivergent experience and formal identification of it. The problem is that the film does not seem to be making a deliberate argument about that gap. It simply presents Alechenu’s difference without interrogating it, using it to make him sympathetic rather than specific. Any child separated from a parent might undertake the journey this film depicts. T he question the writing never answers is what autism specifically contributes to this particular journey, to how Alechenu experiences Lagos, to what he understands and misunderstands about the family he encounters. The neurodivergence is present as context but absent as subject. It is a significant missed opportunity, particularly in a country where representations of autism on screen are rare enough that each one carries weight. ## The Elementary That Blunts the Emotional Biodun Stephen’s signature has always involved a certain maximalism, characters who give fully, emotions that are not asked to be subtle, drama that stretches to where it needs to go. In her strongest work, this maximalism is controlled: she has developed a precision about when to push and when to let silence carry the scene. In Alechenu, that precision loosens. The tonal mismatch between the drama and the comedy is the film’s most consistent problem. Across several scenes, including one where Alechenu faces a threatening situation that should carry genuine menace, the performances drift into a register of light comedy that the subject matter has not invited. The actors are not doing anything technically wrong; they are bringing the natural expressiveness that Biodun Stephen’s work tends to encourage. But without firm directorial calibration, that expressiveness becomes a liability in scenes that require stillness. The audience can tell when the cast is having fun with a scene rather than living in it, and in a film about a child’s vulnerability and a family’s buried grief, that distinction matters. This extends to the performances more broadly. The adult cast operates within the familiar archetypes of a Biodun Stephen ensemble: the Igbo businessman, the woman carrying a secret, the supporting figures who animate the household. These roles are handled with the competence the cast is known for but without the emotional specificity that would make this particular film feel distinct. Bimbo Ademoye is the cast member who stays closest to the film’s emotional centre, and her performance is the most controlled of the ensemble, which matters given where her character’s arc leads. She is the most serious presence in a cast that occasionally mistakes familiarity for depth. Royal Aziomaku as Alechenu is the film’s central challenge. The performance asks a great deal of a young actor: to communicate an interior world primarily through withdrawal, minimal dialogue, and the quality of his attention. What we get is a boy who looks down and speaks little. That may be accurate. But it is not yet a characterisation. The camera needed to find him in those silences, and the direction needed to tell us what his stillness means. Neither quite happens. ## Stephen’s Signature, Without Her Best Biodun Stephen has demonstrated, across works like *Strangers*, *Looking for Baami*, and *Breaded Life*, that her drama is most powerful when she gives her characters something genuinely difficult to reckon with, a wound that resists easy healing, a confrontation that both parties are unprepared for. The emotional engine of her best films is always some form of reckoning. *Alechenu* has a reckoning built into its premise. The family secrets that Alechenu’s arrival brings to the surface carry real dramatic potential. But the film is too comfortable for most of its runtime to build the pressure that such a reckoning requires. The pacing is unhurried in a way that does not accumulate meaning. The dramatic beats are visible before they arrive. The comedy undercuts the moments of tension before they can fully develop. By the time the film reaches the reveals it has been building toward, the emotional ground has not been prepared to receive them. ## Final Thoughts *Alechenu* represents a particular kind of Nollywood film: one whose ambitions exceed what the execution can sustain. The subject matter, autism representation, abandoned children, family secrets, is rich enough to carry a film that takes it seriously. What is on screen instead is a film that takes its subject gently, keeps it comfortable, and trusts its heart to do the work that its craft does not always finish. Biodun Stephen knows how to tell this kind of story. The evidence of that knowledge is in her broader filmography. *Alechenu* is her working within the genre’s familiar rhythms rather than against them, and the result is a film that has warmth where it needed to have weight. ## Verdict Watch this if you are a consistent Biodun Stephen viewer who appreciates her style even when it is operating below its ceiling. The cast is competent, the premise is worthwhile, and the film’s heart is never in question. Approach it as the lighter end of her dramatic range rather than a centrepiece, and you will find enough to keep you company for its runtime. Rating: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/alechenu-review-biodun-stephens-heart-is-here-but-her-craft-is-elsewhere/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/alechenu-review-biodun-stephens-heart-is-here-but-her-craft-is-elsewhere/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/alechenu-review-biodun-stephens-heart-is-here-but-her-craft-is-elsewhere/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/alechenu-review-biodun-stephens-heart-is-here-but-her-craft-is-elsewhere/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/alechenu-review-biodun-stephens-heart-is-here-but-her-craft-is-elsewhere/?share=linkedin) - **Categories:** Reviews **Tags:** 2026 Nollywood film, Adediwura Gold, Alechenu, autism representation, Bimbo Ademoye, Biodun Stephen, Blessing Jessica Obasi-Nze, Drama, family drama, family secrets, Femi Adebayo, Fewchore Studios, Film Critique, Film review, Kamo State, Lagos, Mike Ezuruonye, neurodivergence, nollywood, Oyo, Royal Aziomaku, Tara Ajao, Wumi Toriola --- ### [Where Is Chioma Kalu?: An Engaging Thriller That Keeps You Guessing](https://nollycritic.com/where-is-chioma-kalu-an-engaging-thriller-that-keeps-you-guessing/) **Published:** July 14, 2026 **Author:** Uju Okosieme **Excerpt:** EbonyLife Studios' latest original, Where Is Chioma Kalu?, recently arrived on the EbonyLife ONPlus streaming platform, bringing together familiar... **Content:** EbonyLife Studios’ latest original, **Where Is Chioma Kalu?**, recently arrived on the [EbonyLife ONPlus](https://ebonylifeonplus.com/ "EbonyLife ONPlus") streaming platform, bringing together familiar faces Daniel Etim-Effiong, Nancy Isime, and Blessing Obasi—three actors who also featured prominently in the second season of *Blood Sisters*. With its intriguing premise and mystery-driven narrative, the film wastes little time pulling viewers into its world. But does it deliver on that promise? Let’s get into it. ## *Where is Chioma Kalu?* (2026) Directed by: Kayode Kasum Genre: Thriller Released on: June 19, 2026 (Ebonylife ONPlus) Language: English ### A Mystery That Starts in the Middle The official synopsis reads: *“Chioma Kalu is kidnapped, and the mystery of her disappearance unfolds in a tense, high-stakes game between her and her kidnappers. Secrets, lies, and betrayal blur the lines between victim and mastermind.”* The kidnapping of Chioma Kalu serves as the film’s central plot, while supporting storylines surrounding Alex’s involvement and his complicated relationship with Chioma and Mary gradually expand the mystery. Rather than slowly building towards the kidnapping, the film immediately throws us into the middle of it, trusting the audience to piece together the events as new information is revealed. It’s an approach that immediately creates intrigue, ensuring there are always questions waiting to be answered. ### A Puzzle That Slowly Comes Together The film opens without explanation, introducing us to Alex and Mary as they kidnap Chioma. We know almost nothing about the three characters or why any of this is happening, forcing us to unravel the mystery alongside them. As the story progresses, carefully placed revelations begin to fill in the missing pieces, gradually revealing the motivations behind the kidnapping and the relationships between all the individuals involved. One of the film’s strongest elements is watching the partnership between Mary and Alex slowly deteriorate under the weight of pressure, mistrust, and conflicting motivations. The screenplay does a good job of maintaining suspense, always giving us just enough information to keep us invested without revealing everything too early. However, by the end, it still feels like we’ve been given only part of the picture. While we understand what happened, we don’t always understand enough about how these characters reached this point emotionally, leaving some important background unexplored. ### A Cast That Keeps the Suspense Alive [Nancy Isime ](https://nollycritic.com/?s=Nancy+Isime+ "Nancy Isime ")delivers a convincing performance as Chioma, balancing vulnerability with resilience as the mystery unfolds. Daniel Etim-Effiong steps into territory that feels noticeably different from many of his previous roles. As Alex, he convincingly portrays a man who seems slightly out of his depth—a reluctant participant whose uncertainty makes him one of the film’s more interesting characters. Blessing Obasi also delivers a solid performance as Mary. While the role bears similarities to her portrayal of Mimi in *Blood Sisters* Season 2, she still manages to make the character compelling, particularly as Mary’s carefully controlled exterior begins to crack. One sequence that doesn’t quite work, however, is the struggle between Alex and Chioma over the gun. The choreography and execution lack the tension the scene demands, rendering what should have been one of the film’s most intense moments into a joke. ### Strong Atmosphere Despite One Visual Mismatch Visually, the film is polished, although the bright colour grading occasionally feels at odds with the dark subject matter. For a kidnapping thriller, a moodier visual palette might have strengthened the atmosphere. Where the technical aspects excel is in the score. The music consistently reinforces the tension, helping maintain suspense even during quieter scenes and doing much of the heavy lifting whenever the visuals alone aren’t enough. ### A Risk That Pays Off One of **Where is Chioma Kalu?’**‘s boldest decisions is to begin the kidnapping almost immediately. At first, it feels unusual because we know virtually nothing about Chioma or the reasons behind her abduction. However, as more pieces of the story fall into place, that creative choice starts to make much more sense. Instead of asking us to become invested before the crime happens, the film uses the mystery itself to build our investment. It’s also hard not to notice the timing of the film’s release, arriving shortly after *Blood Sisters* Season 2 with several familiar cast members. Whether intentional or not, it certainly benefits from audiences already being familiar with many of its stars. Perhaps the film’s greatest strength is its ending. Rather than opting for a conventional conclusion, it delivers something that feels surprisingly poetic and fitting, bringing the story full circle in a way that lingers after the credits roll. ### Verdict **Where Is Chioma Kalu?** is an engaging thriller that understands how to keep its audience asking questions. Its decision to drop viewers directly into the middle of the story pays off, with the gradual reveals making for an entertaining and well-structured thriller. While the film could have benefited from deeper character backstories and a little more emotional context, its suspenseful storytelling, committed performances, and satisfying conclusion make it an enjoyable watch from start to finish. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/where-is-chioma-kalu-an-engaging-thriller-that-keeps-you-guessing/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/where-is-chioma-kalu-an-engaging-thriller-that-keeps-you-guessing/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/where-is-chioma-kalu-an-engaging-thriller-that-keeps-you-guessing/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/where-is-chioma-kalu-an-engaging-thriller-that-keeps-you-guessing/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/where-is-chioma-kalu-an-engaging-thriller-that-keeps-you-guessing/?share=linkedin) - **Categories:** Reviews **Tags:** Blessing Obasi, Daniel Etim-Effiong, Ebony Life, EbonyLife ON PLUS, Nancy Isime, nollycritic, nollywood, Reviews --- ### [Gangs of Port Harcourt: Allison Precious Emmanuel's New Series](https://nollycritic.com/gangs-of-port-harcourt-allison-precious-emmanuels-new-series/) **Published:** July 13, 2026 **Author:** Esther Adamu **Excerpt:** Allison Precious Emmanuel has created, produced, and directed a new series, titled Gangs of Port Harcourt. The new drama series will explore themes... **Content:** Nollywood actor/director, Allison Precious Emmanuel (*[The Boy Who Gave](https://nollycritic.com/the-boy-who-gave-a-heavy-film-that-trusts-suffering/ "The Boy Who Gave")* ) has created,a new series, titled *[Gangs of Port Harcourt](https://www.nollywoodtimes.com/2026/07/upcoming-drama-series-gangs-of-port.html "Gangs of Port Harcourt")*. The new drama series will explore themes such as brotherhood, sacrifice, betrayal, and violence through the story of two brothers. Written by Allison Precious Emmanuel, the new [series](https://thenollywoodreporter.com/news/allison-emmanuel-wraps-production-on-gangsof-portharcourt-series/ "series") is expected to provide an authentic portrayal of life in Port Harcourt, where it is set, while focusing on the difficult choices that young people must make in times of hardship. The story of Gangs of Port Harcourt follows Ida, a teenage boy whose life changes dramatically after circumstances force him to become the sole provider for his siblings. Ida had to face responsibilities and navigate the pressures of adulthood far beyond his age. In this new series, Allison Precious Emmanuel will continue his passion for telling stories centred on resilience and everyday struggles. *[Gangs of Port Harcourt](https://nollycritic.com/ "Gangs of Port Harcourt")* is a 13-episode series produced under Allison’s MX14 production label. The show will feature multiple gangs in Port Harcourt, using the city not just as a backdrop but as an integral part of the narrative. It will incorporate the local culture, language, and the everyday experiences of the people in Port Harcourt, making the city the heart of the story and ensuring the narrative itself is relatable and authentic. Though the production of Gangs of Port Harcourt has been wrapped up, there have been no further details on release and distribution. Despite the title, viewers should anticipate a narrative that extends beyond just street life and gang activity. ![gangs of port harcourt](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/SnapInsta.to_741828014_18338112997302144_5927805054553591733_n.jpg?resize=640%2C640&ssl=1)![gangs of port harcourt](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/SnapInsta.to_741649230_18338112973302144_89015790348964204_n.jpg?resize=640%2C640&ssl=1)![gangs of port harcourt](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/SnapInsta.to_733882287_18338112955302144_2418897590221206746_n.jpg?resize=640%2C640&ssl=1)![gangs of port harcourt](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/SnapInsta.to_741373815_18338112946302144_6048967712065186356_n.jpg?resize=640%2C640&ssl=1) ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/gangs-of-port-harcourt-allison-precious-emmanuels-new-series/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/gangs-of-port-harcourt-allison-precious-emmanuels-new-series/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/gangs-of-port-harcourt-allison-precious-emmanuels-new-series/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/gangs-of-port-harcourt-allison-precious-emmanuels-new-series/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/gangs-of-port-harcourt-allison-precious-emmanuels-new-series/?share=linkedin) - **Categories:** Nollywood News **Tags:** Allison Precious Emmanuel, Gangs of Port Harcourt, MX14, New Series of Gangs of Port Harcourt, nollycritic, nollywood, The Boy Who Gave --- ### [Remi & Nneoma Review: A Biblical Story Told With Heart, Held Back by Safety](https://nollycritic.com/remi-nneoma-review-a-biblical-story-told-with-heart-held-back-by-safety/) **Published:** July 12, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Some films arrive already carrying the weight of what they are adapting, and Remi & Nneoma is precisely that kind of film... **Content:** Some films arrive already carrying the weight of what they are adapting, and *[Remi & Nneoma](https://nollywire.com/titles/remi-and-nneoma/ "Remi & Nneoma")* is precisely that kind of film. Directed by Lyndsey F. Efejuku and produced by Bikiya Graham-Douglas and Solate Ovundah-Akarolo, the film reimagines the biblical story of Ruth and Naomi within the textures of contemporary Nigerian and Igbo culture. It premiered in cinemas on the 26th of June 2026, and its intention is clear from the first frame: to honour a timeless story of loyalty and love by grounding it in the realities of widowhood in modern Nigeria. That intention is genuine. The execution is safe, sometimes slow, and ultimately more comfortable than compelling. The story follows Remi, played by [Bisola Aiyeola](https://nollycritic.com/?s=Bisola+Aiyeola "Bisola Aiyeola"), and her mother-in-law Nneoma, played by Liz Benson-Ameye, as they navigate shared grief after losing their husbands and Nneoma’s sons in rapid, devastating succession. Remi’s choice to remain by Nneoma’s side rather than return to her family sets the film’s central moral in motion, and the rest of the story follows both women through the social pressures, cultural expectations, and eventual renewal that the biblical framework has always promised. ## *Remi & Nneoma* Directed by: Lyndsey F. Efejuku Written by: Bikiya Graham-Douglas/Solate Ovundah-Akarolo Genre: Drama Released on: June 26, 2026 (Cinemas) Language: English ## The Story the Script Holds at Arm’s Length The Book of Ruth is not a complicated story, but it is a specific one. Its power comes from the particular texture of its devotion, the specificity of Ruth’s choice to stay, the weight of two women building something from the rubble of loss. Remi & Nneoma understands this thematically but does not always find the dramatic moments that make it felt. The film knows what it wants to say. It is less certain about how to make you feel it. The most grounded adaptation choice in the film is also its most understated. Remi meets Ovundah, this story’s modern Boaz, on his working farm. She is there not as a romantic prospect but as someone offering practical solutions to real agricultural problems. It is a quiet and careful nod to the source text, and it communicates more about both characters than any number of romantic scenes could. This is the adaptation at its most thoughtful: finding the spirit of the original in a contemporary setting without forcing the parallel. The surrounding story adds complications that the biblical source did not require. A romantic rival for Ovundah’s attention, a love triangle that orbits the central relationship without deepening it, characters positioned around Remi and Nneoma whose presence generates drama rather than meaning. These additions are understandable as attempts to sustain narrative tension, but they diffuse the emotional focus that the Ruth and Naomi dynamic at the centre deserves. The film’s most original material is the exploration of Igbo widowhood practices, the cultural expectations placed on both women, including a moment where Remi appears to face a traditional demand related to her status as a widow. This is where the story connects most directly to present-day Nigerian realities, and it is handled with enough seriousness to suggest what the film might have been had it leaned more fully into this territory. Nneoma’s grief, her sense of having been abandoned by God, her withdrawal from faith, maps closely enough to the biblical Naomi that the parallel remains legible throughout. But the emotional progression of her journey is more stated than embodied, moving through its beats with the efficiency of a story that knows its destination without always living in the stops along the way. ## The Long Road to an Ending You Know Is Coming *Remi & Nneoma* is a slow film. Not the kind of slowness that accumulates meaning across its runtime, but the kind that asks for patience without always rewarding it. The pacing is consistent in its deliberateness, which means that the stretches where nothing particularly urgent is happening, and there are several, sit with a weight that the material cannot always justify. Some scene transitions feel unsteady, disrupting the rhythm of a film that needs its continuity to pull the audience deeper into the emotional world. These are production-level decisions that accumulate as small distractions in a film asking for sustained engagement. The performances do more to sustain attention than the plotting does. Bisola Aiyeola works hard to bring Remi’s internal life to the surface, and in the quieter scenes she manages it with a warmth that keeps the character sympathetic even when the script does not give her enough to contend with. Liz Benson-Ameye brings the specific gravitas that the role of Nneoma demands, a woman carrying grief and faith simultaneously, and the dynamic between the two lead performers is the film’s most consistently convincing quality. They blend in the way the story needs them to, their chemistry communicating a bond the dialogue sometimes takes too long to establish. The supporting cast performs within the bounds of what the script requires, without many moments that distinguish individual performances from the ensemble. Some performances lean into a more elementary register that sits visibly beneath the level the two leads are working at. ## A Film That Serves Its Faith Without Challenging It The visual language of *Remi & Nneoma* reflects its priorities. The film presents a careful and respectful portrait of Nigerian funeral traditions and cultural practices, and these sequences carry the authenticity of people who know the world they are depicting. The cinematography is functional rather than expressive, serving the story without complicating it. The production is clean and competent throughout. The direction keeps the film tonally consistent, which is both its strength and its limitation. Efejuku handles the material with sensitivity, and the film never tips into melodrama or emotional manipulation. But the same restraint that keeps the tone steady also keeps the film from the kind of dramatic risk that might have made it memorable. It is made with care. It is not made with surprise. ## Final Thoughts *Remi & Nneoma* is a film of uncomplicated goodwill. It wants to retell a story of love, loyalty, and faith for a Nigerian audience, and it does so without embarrassing either the source or the culture it is drawing from. The performances from its two leads carry a genuine warmth, and the film’s handling of widowhood practices, however briefly explored, gestures toward the kind of cultural specificity that makes Nigerian storytelling valuable. What it does not do is take the risks that would lift it above its own safety. The Book of Ruth is a story whose power comes from its particularity: a specific woman making a specific choice under specific conditions. The film softens those conditions, widens the focus, and adds conventional dramatic apparatus around the central relationship that dilutes rather than deepens it. The result is a film that will satisfy audiences who come to see a faith-rooted story told with decency, and leave other audiences wanting. ## Verdict Watch this if you are drawn to faith-based stories grounded in Nigerian cultural realities, or if the performances of Bisola Aiyeola and Liz Benson-Ameye are reason enough. Come with patience for a film that moves slowly and resolves predictably. For audiences who need a story to push against its own material to feel alive, this one stays well within its own borders. **Rating**: 2.25/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/remi-nneoma-review-a-biblical-story-told-with-heart-held-back-by-safety/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/remi-nneoma-review-a-biblical-story-told-with-heart-held-back-by-safety/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/remi-nneoma-review-a-biblical-story-told-with-heart-held-back-by-safety/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/remi-nneoma-review-a-biblical-story-told-with-heart-held-back-by-safety/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/remi-nneoma-review-a-biblical-story-told-with-heart-held-back-by-safety/?share=linkedin) - **Categories:** Reviews **Tags:** 2026 Nollywood film, biblical adaptation, Bikiya Graham-Douglas, Bisola Aiyeola, Book of Ruth, Bucci Franklin, Eucharia Anunobi, Faith-Based Film, family drama, Film Critique, Film review, grief, Ifeanyi Kalu, Igbo culture, Kelechi Udegbe, Liz Benson-Ameye, Lyndsey F. Efejuku, Martha Ehinome, nollywood, Shalom Obisesan, Solate Ovundah-Akarolo, Tina Mba, Uche Montana, widowhood, Yoruba culture --- ### [The Anniversary: Strong Performances Can't Save This Slow-Burning Drama](https://nollycritic.com/the-anniversary-strong-performances-cant-save-this-slow-burning-drama/) **Published:** July 14, 2026 **Author:** Uju Okosieme **Excerpt:** Native Filmworks and MichelAngelo Productions return with The Anniversary, the eleventh instalment in the First Features project. Directed by Prosper Edesiri... **Content:** [Native Filmworks ](https://nollycritic.com/?s=Native+Filmworks "Native Filmworks ")and MichelAngelo Productions return with *[The Anniversary](https://nollywire.com/titles/the-anniversary/ "The Anniversary")*, the eleventh instalment in the [*First Features* project](https://www.nativesfilmworks.com/first-features-project "First Features project"). Directed by Prosper Edesiri and starring Linda Osifo, Anthony Monjaro, and Obehi Aburime, the film is now streaming on Prime Video. With a premise built around love, betrayal, and unresolved emotions, it promises an intimate relationship drama. But does it make the most of that premise? Let’s get into it. ## *The Anniversary (2026)* Directed by: Prosper Edesiri Written by: Gabriel Odigiri, Paul Rowlston Genre: Drama Released on: June 30, 2026 (Prime Video) Language: English ### A Marriage Hanging by a Thread The official synopsis reads: *“A married couple’s 10th anniversary is tested by the arrival of an old friend, stirring memories and long-buried emotions. Over the course of one intimate night, subtle tensions rise and unspoken truths surface, gently unsettling the rhythm of their life together. The night unspools, forcing each of them to confront what love, trust, and commitment truly mean.”* For the most part, the synopsis accurately reflects the story the film wants to tell. At its heart is the strained marriage between Olije and Risani, while supporting threads—Tefa’s lingering feelings for Olije and Risani’s growing paranoia—add tension to an already fragile relationship. Rather than relying on major twists, the film builds its conflict through conversations, suspicion, and emotional baggage, creating an intimate story where the smallest interactions carry the greatest weight. ### An Intimate Story That Struggles to Hold Attention The story follows Olije and Risani as they celebrate their tenth wedding anniversary while quietly carrying the weight of infertility, betrayal, and unresolved hurt. When their old friend Tefa unexpectedly visits, the evening takes an emotional turn. As Risani remains at work, Olije confides in Tefa about the cracks in her marriage, their unsuccessful attempts to have children, and the affair that permanently altered her trust in her husband. In return, Tefa finally admits that he has loved her for years and deliberately stayed away from her wedding because he couldn’t bear to watch her marry someone else. Meanwhile, Risani becomes consumed by the knowledge that Tefa once loved Olije. His imagination begins filling in the gaps, convincing him that history is about to repeat itself, eventually pushing him to leave the hospital early, expecting to catch them together. The premise is compelling, but the execution doesn’t quite live up to it. Much of the dialogue feels unnatural, with conversations that sound more written than lived. The emotional beats are there, yet the script rarely allows them to land organically. As a result, what should be a tense relationship drama often feels slower than intended, despite the relatively modest runtime. ### Strong Actors Carry a Weaker Script The performances are easily the film’s biggest strength. Anthony Monjaro delivers a convincing portrayal of Risani, effectively capturing a man slowly being consumed by guilt, insecurity, and suspicion. Linda Osifo brings warmth and vulnerability to Olije, making her internal conflict believable even when the dialogue lets her down. Obehi Aburime also gives a solid performance as Tefa, bringing enough sincerity to make his long-hidden feelings believable without turning the character into a cliché. Collectively, the cast elevates material that isn’t always working in their favour. Even when certain conversations feel overly scripted, the performances help maintain the emotional core of the story. ### Simple Filmmaking with Effective Tension From its opening moments, **The Anniversary** establishes its mood through restrained technical choices. The darker colour grade complements the emotional heaviness of the story, while the score quietly builds tension without becoming distracting. One of the film’s strongest visual moments comes as the camera follows behind Risani while he rushes upstairs, convinced he is about to catch Olije cheating. The sequence leading up to that moment is particularly well executed because the film deliberately blurs the line between Risani’s fears and reality, allowing viewers to question whether what they’re seeing is actually happening or simply unfolding inside his imagination. It’s not an ambitious film visually, but its technical choices consistently serve the emotional tension of the story. ### When Suspicion Becomes the Story At its core, **The Anniversary** explores how trust, betrayal, and unresolved pain can quietly erode even the strongest relationships. It reminds us that people often carry emotional wounds long after they’ve chosen to move forward and that appearances rarely tell the full story. Unfortunately, despite those compelling themes and a committed cast, the film simply feels longer than it actually is. At just 88 minutes, it shouldn’t drag, yet the pacing often makes it feel considerably longer. The emotional conflicts repeat themselves without evolving enough to sustain the tension, making sections of the film feel more drawn out than engaging. ### Verdict **The Anniversary** is an impressive directorial debut from Prosper Edesiri, showing confidence in its visual storytelling and atmosphere. The performances from Linda Osifo, Anthony Monjaro, and Obehi Aburime are the film’s strongest asset, helping to elevate material that often feels underwritten. Unfortunately, the weak dialogue, sluggish pacing, and an otherwise unremarkable narrative prevent the film from fully capitalising on its promising premise. While there is enough here to appreciate, particularly from a technical and acting standpoint, the writing ultimately holds it back. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ![Three adults in formal attire pose in a grand, elegant room with a large yellow 'the anniversary' text overlay on the right side.](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/The-Anniversary.jpg?resize=640%2C360&ssl=1) ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-anniversary-strong-performances-cant-save-this-slow-burning-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-anniversary-strong-performances-cant-save-this-slow-burning-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-anniversary-strong-performances-cant-save-this-slow-burning-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-anniversary-strong-performances-cant-save-this-slow-burning-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-anniversary-strong-performances-cant-save-this-slow-burning-drama/?share=linkedin) - **Categories:** Reviews **Tags:** Anthony Monjaro, First features project, Linda Osifo, Michelangelo Productions, Natives Filmworks, nollycritic, nollywood, Obehi Aburime, Prime Video, The Anniversary --- ### [Femi Adebayo's Agesinkole 2 Set For Netflix This July](https://nollycritic.com/femi-adebayos-agesinkole-2-set-for-netflix-this-july/) **Published:** July 8, 2026 **Author:** Esther Adamu **Excerpt:** The movie, which is a sequel to Agesinkole: King of Thieves, will pick up with the return of legendary bandit Agesinkole... **Content:** Femi Adebayo’s *[Agesinkole: King of Thieves 2](https://shockng.com/agesinkole-king-of-thieves-netflix-2026/ "Agesinkole: King of Thieves 2")* will be available for streaming on Netflix starting July 24, 2026, continuing the epic saga of power, betrayal, and supernatural reckoning in the kingdom of Ajeromi. This release gives audiences across Africa what comes next without delay, following its cinema run. The movie, which is a sequel to *Agesinkole*, will pick up with the return of legendary bandit Agesinkole, who promised to return if Injustice arises again in Ajeromi. In the original story, Agesinkole, portrayed by Femi Adebayo, rises as a formidable disruptor within the Ajerome kingdom ruled by King Adegbite. What begins as simple acts of theft quickly escalates into a full-scale conflict, a war that involves warriors, hunters, priests, and mystical forces. Deeply rooted in Yoruba traditions, the narrative explores the powerful themes of injustice, vengeance, loyalty, and the devastating consequences of broken oaths. The cast of[ *Agesinkole 2: King of Thieves*](https://nollycritic.com/new-nollywood-movies-to-see-this-july/ " Agesinkole 2: King of Thieves") includes Ibrahim Chatta, Femi Adebayo, Odunlade Adekola, Kunle Afod, Toyin Abraham, Broda Shaggi, Adebowale Adedayo, Lateef Adedimeji, and Ibrahim Yekini. The movie, directed by Adebayo Tijani and Tope Adebayo and produced by Femi Adebayo, grossed over ₦320 million at the box office. It received acclaim for enhancing Yoruba epic storytelling through high production values while remaining grounded in cultural mythology and history. *Agesinkole* has been streaming on Netflix since June 26, 2026, and is also available on Circuits. This could help audiences who have not seen the movie or who want to refresh their memory before season 2 comes out on Netflix on July 24th. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/femi-adebayos-agesinkole-2-set-for-netflix-this-july/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/femi-adebayos-agesinkole-2-set-for-netflix-this-july/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/femi-adebayos-agesinkole-2-set-for-netflix-this-july/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/femi-adebayos-agesinkole-2-set-for-netflix-this-july/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/femi-adebayos-agesinkole-2-set-for-netflix-this-july/?share=linkedin) - **Categories:** Nollywood News **Tags:** Adebowale Adedayo, Agesinkole: King of Thieves 2, Broda Shaggi, circuits, Femi Adebayo, Ibrahim Chatta, Ibrahim Yekini, July 24th, Kunle Afod, Lateef Adedimeji, Netflix, nollycritic, nollywood, Odunlade Adekola, Toyin Abraham --- ### [Black Market: Rixel Studios Targets Guinness World Record](https://nollycritic.com/black-market-rixel-studios-targets-guinness-world-record/) **Published:** July 11, 2026 **Author:** Esther Adamu **Excerpt:** Rixel Studios, has announced Black Market; its attempt to break the Guinness World Record for the largest film screening in a single location... **Content:** [Rixel Studios,](https://www.bellanaija.com/2026/07/lateefadedimej-lindaejiofor-suleiman-nollywood-guiness-world-record/ "Rixel Studios,") has announced *Black Market*; its attempt to break the [Guinness World Record](https://www.guinnessworldrecords.com/world-records/largest-attendance-at-a-film-screening "Guinness World Record") for the largest film screening in a single location. The current world record stands at approximately 43,624, but for Nigerian cinema, Rixel Studios aims to surpass this by hosting an audience of 50,000 people. On September 26th, 2026, Rixel Studios will host a massive premiere for its latest feature film, *[Black Market](https://guardian.ng/life/lateef-adedemeji-linda-ejiofor-suleiman-lead-new-nollywood-movie-targeting-guinness-world-record/ "Black Market")*, at the Tafawa Balewa Square in Lagos. The event is set to be more than just a standard movie screening; it is an official attempt to break the Guinness World Record for the largest number of people to screen a film in a single location, currently held by Iglesia Ni Cristo in the Philippines. The film, which marks Fatimah Bintu Gimsay’s theatrical directorial debut, follows the story of five market women running a smuggling operation across the Nigerian border. The project will be a collaboration with FilmOne Studios and Switch Visuals Production. Ladun Awobokun, Chief Content Officer at FilmOne said > *We are incredibly excited. This is more than a film project. It’s an opportunity to create history and showcase Nigerian creativity and Nollywood on a global stage*. Abdul Tijani-Ahmed and Fatimah Binta Gimsay write black Market. It is directed by Fatimah Binta Gimsay and produced by Rixel Studios, with Omowumi Dada, Oreoluwa Awolowo, Susan Pwajok, and Mike Afolarin serving as executive producers. The upcoming movie Black Market features a star-studded ensemble cast, including Lateef Adedimeji, Linda Ejiofor-Suleiman, Ibrahim Yekini, Scarlet Gomez, Omowunmi Dada, Susan Pawjok, Teniola Aladese, Uzor Arukwe, Folagabade Banks, and Andrew Yaw Bunting. Shot in Abeokuta, Nigeria, *Black Market* is poised to make history on September 26th at Tafawa Balewa Square in Lagos, where it aims to break a Guinness World Record. This milestone represents yet another powerful step in [Nollywood’s](https://nollycritic.com/ "Nollywood’s") rise on the global stage. ![black market](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/07/Website-31-998x665-1.webp?resize=640%2C426&ssl=1) ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/black-market-rixel-studios-targets-guinness-world-record/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/black-market-rixel-studios-targets-guinness-world-record/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/black-market-rixel-studios-targets-guinness-world-record/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/black-market-rixel-studios-targets-guinness-world-record/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/black-market-rixel-studios-targets-guinness-world-record/?share=linkedin) - **Categories:** Nollywood News **Tags:** Abdul Tijani-Ahmed, Andrew Yaw Bunting, Black Market, Fatimah Binta Gimsay, Filmone Studios, Folagabade Banks, Guinness World Record, Ibrahim Yekini, Iglesia Ni Cristo, Ladun Awobokun, Lateef Adedimeji, Linda Ejiofor-Suleiman, Mike Afolarin, nollycritic, nollywood, Omowumi Dada, Oreoluwa Awolowo, Rixel Studios, Rixel Studios aims to break Guinness World Record, Scarlet Gomez, Susan Pwajok, Switch Visuals Production, Teniola Aladese --- ### [Nollywood in 2026: Half a Year In, and the Gaps Are Showing](https://nollycritic.com/nollywood-in-2026-half-a-year-in-and-the-gaps-are-showing/) **Published:** July 7, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Six months in, and Nollywood has given us a lot to work with. At NollyCritic, we have reviewed 29 titles between January and... **Content:** Six months in, and Nollywood has given us a lot to work with. At [NollyCritic](https://nollycritic.com/ "NollyCritic"), we have reviewed 29 titles between January and June 2026, spanning cinema releases, streaming originals, series, and short films. The slate has been busy, occasionally exciting, and frequently frustrating in ways that feel depressingly familiar. Big casts, recognisable names, and ambitious premises have arrived with reliable regularity. The storytelling craft needed to carry those ambitions has arrived considerably less often. That is the headline from the first half of 2026. Not that Nollywood is struggling, it is not. The industry remains productive, culturally alive, and capable of genuine excellence when the right conditions align. But the average NollyCritic score across this half sits at approximately 2.5 out of 5. Squarely in the territory of films that are watchable without being satisfying, competent without being compelling, present on screen without being fully alive. For an industry that keeps raising its production ambitions, the storytelling consistency is not keeping pace. Here is what the first half looked like, in full. ## The Best Nollywood Films of H1 2026 **Love and New Notes – 3.5/5** The year’s best cinema release so far, and it is not particularly close. [Kayode Kasum](https://www.imdb.com/name/nm10050155/ "Kayode Kasum")‘s period romantic thriller, set during Nigeria’s 1984 currency swap crisis, gave Nollywood something it rarely produces: a film that earns its genre fusion. The 1984 setting grounds the tension in real historical pressure. The romance between Boma and Chioma has stakes that feel structural rather than decorative. The film opened with a ₦106.5 million Valentine’s weekend, the biggest non-December cinema opening in recent Nollywood memory, and went on to gross between ₦328 and ₦380 million. Commercial success and critical quality aligning in one package remains rare in this industry. *Love and New Notes* is what that looks like when it happens. **Call of My Life – 3.35/5** Dammy Twitch’s feature debut is a warm, unabashedly female-gazey romantic comedy that trusts its audience and its lead. Uzoamaka Power’s Soluchi, a heartbroken call centre agent who finds the possibility of love in a routine phone call, is written and played with a self-awareness that the genre does not always afford its heroine. The film earns its clichés, mostly. It is colourful, funny, sometimes awkward in ways that feel intentional, and emotionally honest about what it costs to open yourself to love after being publicly humiliated. *Call of My Life* went on to debut at number ten on the all-time highest grossing Nollywood films list, a commercial landmark that reflects both its quality and the appetite audiences have for films that treat women’s desire as a story worth telling. **Blood Debt – 3.25/5** Chukwuka Kenechukwu Ndife’s crime thriller is the kind of film that rewards close watching. Set against the backdrop of Nigeria’s vigilante justice culture, [*Blood Debt* ](https://nollycritic.com/blood-debt-justice-cuts-both-ways-in-this-gripping-thriller/ "Blood Debt ")follows Superintendent Danjuma Okoro and the volatile Detective Nwagu as they investigate murders targeting corrupt politicians and former vigilantes. Patrick Diabuah gives the year’s most controlled lead performance so far: a man whose internal architecture is communicated entirely through what he does not say. The film has a stretched middle and a score that actively works against its atmosphere, but its visual storytelling is confident and precise, its moral argument is properly earned, and its final twenty minutes restore everything the middle briefly loosened. **To Adaego With Love – 3.35/5** One of the most emotionally satisfying films of the half, and one that arrived early enough in the year to set a standard several films since have failed to meet. Directed by Nwamaka Chikezie and a winner at AFRIFF 2025, the film delivered grounded storytelling and strong performances in a romantic drama that felt genuinely inhabited rather than assembled from genre parts. **The Boy Who Gave – 3/5** An intimate drama about duty, poverty, and the particular weight of being the person everyone else leans on. Allison Precious Emmanuel’s Idah, a teenager from Bonny Island who drops out of school to raise his younger siblings after their parents’ death, is rendered without sentimentality. The film trusts suffering without wallowing in it, and that trust is the source of its emotional power. **Evi – 3.1/5** One of the quieter highlights of the half, *Evi* brings careful character work and thematic ambition to territory that Nollywood does not always handle with this kind of restraint. ### The Middle Pack: Watchable, But Not Enough The majority of the half’s reviewed titles live here, and the density of this band is the story of H1 2026. Films with good ideas, committed casts, and visible production effort that stop short of fully delivering on what they set up. ***Ajosepo: The Gathering*** (2.75/5) earns its laughs and loses its stakes. Kayode Kasum brings the same visual energy that made the first film work, and the KAP Film Village setting gives the sequel genuine scale. But where the original built real dramatic stakes beneath the comedy, the sequel substitutes spectacle for consequence. It is warm and frequently funny, and it leaves you slightly emptier than it found you. ***Onobiren*** (2.75/5) showed that thoughtful, female-driven stories can find a cinema audience when marketed right. Laju Iren’s film ran for seven weeks and closed at ₦138 million. It carries clear ambition in its focus on female resilience and South South cultural identity, but does not always push beyond familiar dramatic territory. ***Son of the Soil*** (2.75/5) lives in similar territory: a film with ideas and performances that do not quite cohere into a fully satisfying experience. ***Okanjuwa*** (2.5/5) translates greed, and delivers exactly the chaos that title promises. The comedy-drama around Waheed and Aaliyah’s Eid celebration has energy and an appealing cast, but the predictability of its moral arc, where the good people win and you always knew they would, is the film’s defining limitation. ***Iwe Ala: An Ojude Oba Story*** (2.5/5) is a film with a visually beautiful festival setting and a story that cannot quite settle into what it wants to be. There is a version of this that works completely. The version released is not quite it. ***Echoes Before the Wedding*** (2.5/5), ***Aba Blues*** (2.5/5), ***The Other Side of the Bridge*** (2.5/5) — all three share the same postcode. Films that have enough going for them to hold attention without having enough going for them to stay in the memory. ***Blood Sisters Season 2*** (2.5/5) returned to Netflix with higher stakes and bigger betrayals, and rushes through both so quickly that neither lands. The pacing is the season’s defining failure: what should be the emotional centrepiece, the trial, is processed in minutes, and the story has already moved on before the audience has had time to feel anything. The Netflix formula has served *Blood Sisters* well commercially. Here it becomes the thing that prevents the story from breathing. ***Efunroye: The Unicorn*** (2.25/5) is the half’s most contested film, and its most telling. A historical epic about Madam Efunroye Tinubu that had the courage to dramatise the drowning of enslaved people and did not have the courage to make that moment the film’s moral reckoning. The sound is the film’s most honest element: the Yoruba musical tradition carries emotional weight the screenplay cannot consistently generate. History gave this film a genuinely complex subject. The writing gave her a softer version of herself. In 2026, with the Tinubu name carrying its specific political charge in Nigeria, a hagiographic film about this particular historical figure is not politically neutral, whether or not it intended to be. ***Alive Till Dawn*** (2.35/5), ***Everything is New Again*** (2.25/5) both occupy the lower edge of the watchable zone. ***On Different Grounds*** (2.2/5) — Mildred Okwo’s return has the right veteran ensemble and the wrong protagonist. Bob-Manuel Udokwu and Jennifer Eliogu do genuinely affecting work as the estranged couple at the film’s emotional centre. Aurora, the daughter who is nominally the film’s lead, passes through scenes without wrestling with them. The second-chance romance at the film’s core deserved a film that committed to it as the primary story. The film that surrounds it does not. ### The Lower End: Where Expectations Met Reality ***Headless*** (1.75/5) and ***Mother’s Love*** (1.75/5): two very different films that land at the same score for very different reasons. *Mother’s Love* arrived as the first major disappointment of the year, familiar tropes handled without the emotional depth the premise seemed to promise. Headless followed. Together they established that 2026 was going to have a lower tier. ***The Creek*** (1.6/5): a film caught, as our review put it, “between urgency and incompletion.” The Niger Delta setting carries genuine weight. The execution does not. ***The Return of Arinzo*** (1.5/5): thirteen years of franchise memory and a build-up that refuses to pay off. Arinzo’s return should have disturbed. It registers as a delay. ***Trade by Bata*** (1.45/5): the half’s lowest rated title, and a film whose problems compound across its runtime in ways that patience cannot rescue. ### Series ***The Covenant*** – 3/5 The strongest series of the half. Clear storytelling intent, confident execution ***Anikulapo: The Ghoul Awakens*** – 2.4/5 The third chapter of Kunle Afolayan’s franchise expands into darker mythology but arrives as an unnecessary addition rather than a bold elevation. The franchise carries weight. This chapter does not quite justify why it needed to exist. ***Blood Sisters Season 2*** – 2.5/5 See above. ### Special Mentions ***Silence is Loud***: We watched this short film and were moved by it. As a short, it falls outside our rating system, but it earns its mention here as evidence that some of the half’s most precise storytelling came in the smallest packages. ***Dust to Dreams***: We reviewed this, and chose not to rate it. Not because the film defied evaluation, but because the evaluation itself became the story: a film that promised more than it had the means or the clarity to deliver, and whose disappointments required a different kind of accounting than a number. Read our full review for the full picture. ### What H1 2026 Is Actually Saying The 2.5 average is not a crisis. It is a pattern. What it describes is an industry that has standardised production values without standardising storytelling quality, that can put together a convincing-looking film without always knowing what the film is actually for. The genres that dominated screens this half were romantic comedies, family dramas, and historical epics. The romantic comedies, when they worked (*Love and New Notes*, *Call of My Life*), worked because they trusted their premises and their performers. When they did not (various entries in the middle pack), it was because the genre mechanics replaced the emotional honesty that makes those mechanics worth sitting through. The historical epics had the most visible gap between ambition and delivery. *Efunroye: The Unicorn* is the clearest example, but not the only one: a genre that demands moral complexity from its material and keeps retreating from it. The Nollywood films that scored highest had one thing in common across very different genres: they knew what they were trying to say and committed to saying it. *Love and New Notes* committed to its thriller mechanics and its period setting. *Blood Debt* committed to its moral argument about the limits of revenge. *The Boy Who Gave* committed to its refusal of sentimentality. *Call of My Life* committed to its heroine’s interiority. That commitment is not a technical quality. It is a writing quality, a directorial quality, a quality of intention that either exists at the conception of a film or cannot be added in post-production. The second half of 2026 has an opportunity to push above this average. The titles already announced suggest both the ambition and the familiar risks. We will be watching, as honestly as we know how. What was your personal Nollywood highlight of the first half? Drop it in the comments and let’s talk about it. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-in-2026-half-a-year-in-and-the-gaps-are-showing/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-in-2026-half-a-year-in-and-the-gaps-are-showing/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-in-2026-half-a-year-in-and-the-gaps-are-showing/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-in-2026-half-a-year-in-and-the-gaps-are-showing/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-in-2026-half-a-year-in-and-the-gaps-are-showing/?share=linkedin) - **Categories:** Articles **Tags:** Aba Blues, Ajosepo: The Gathering, alive till dawn, Aníkúlápó: The Ghoul Awakens, Best Nollywood Films 2026, Blood Debt, blood sisters season 2, Call of my life, Chukwuka Kenechukwu Ndife, Dammy Twitch, Dust To Dreams, Echoes Before the Wedding, efunroye: The Unicorn, everything is new again, Evi, Film Analysis, film criticism, Headless, Iwe Ala (An Ojude-Oba Story), Kayode Kasum, Kunle Afolayan, love and new notes, Mid-Year Review, Mildred Okwo, Mother's Love, nigerian cinema, Nigerian Films, nollycritic, nollywood, Nollywood 2026, Nollywood H1 2026, Nollywood Industry, Nollywood Reviews, Nwamaka Chikezie, Okanjuwa, On Different Grounds, Onobiren, Silence is Loud, Son of the Soil, The Boy Who Gave, the covenant, The Creek, The Other Side of the Bridge, The Return of Arinzo, To Adaego With Love, Trade by Bata --- ### [Blood Debt: Justice Cuts Both Ways in This Gripping Thriller](https://nollycritic.com/blood-debt-justice-cuts-both-ways-in-this-gripping-thriller/) **Published:** July 6, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Chukwuka Kenechukwu Ndife's Blood Debt builds its crime thriller around exactly that unreckoned wound. The film follows Superintendent Danjuma Okoro and the volatile... **Content:** Nigeria’s history of vigilante justice in the 1990s and early 2000s produced a particular kind of wound, one that communities inflicted collectively, often on the innocent alongside the guilty, and then moved on from without reckoning with the cost. Chukwuka Kenechukwu Ndife’s [*Blood Debt* ](https://filmfreeway.com/Blood_Debt "Blood Debt ")builds its crime thriller around exactly that unreckoned wound. Produced by Nnajiofor Oscar Ugwu and Suzie Uzozie, the film follows Superintendent Danjuma Okoro and the volatile Detective Nwagu as they investigate a series of murders targeting corrupt politicians and former vigilantes, each body left with the same warning: “those who live by the sword…”, you know the rest. What begins as a police procedural gradually becomes something heavier, a film about memory, cycles of violence, and what revenge actually costs the person carrying it. ## *Blood Debt* Directed by: Chukwuka Kenechukwu Ndife Written by: Chukwuka Kenechukwu Ndife Genre: Drama, Crime, Thriller Released on: June 12, 2026 (Cinemas) Language: English and Yoruba ## The Debt That Cannot Be Repaid Through Violence From its opening minutes, *Blood Debt* establishes a thematic contract. The phrase those who live by the sword does not function as a clue so much as a thesis, a statement the film will spend its runtime interrogating from every available angle. The writing layers this interrogation carefully, through dialogue that foreshadows without announcing, through a pastor’s observation that lands early and resonates throughout: that redemption may be granted to the soul, but that divine forgiveness does not cancel the earthly repercussions of human actions. This is the film’s moral architecture, and it is precisely built. The killer’s pursuit of justice becomes its own form of consumption. A character observes this in the film, using that specific word, consumed, to describe what is happening to someone who has allowed the need for revenge to override everything else. The film earns that observation rather than merely stating it. By the time the investigation reaches its conclusion and the person at the centre of the violence confronts the man most responsible, the exchange between them does not deliver the catharsis the audience might expect. What it delivers instead is the film’s most honest argument: that revenge pursued as justice often leaves the pursuer emptier than it found him. The last words exchanged before the end carry that emptiness in full. The film’s political undercurrent is present but not laboured. A powerful senator whose position depends on the past staying buried provides the corruption that the investigation must push through. A throwaway joke about political slogans, timed with the precision of a line that knows exactly what it is doing, requires no explanation for a [Nigerian](https://nollycritic.com/?s=nigeria "Nigerian") audience paying attention. The film trusts that audience to feel the weight of a system where justice may reach some levels of a society and never quite arrive at others. ## A Strong Frame With a Stretched Middle *Blood Debt* opens on a sequence that immediately establishes the film’s tonal seriousness. The beheading, rendered with enough visual commitment to be disturbing without becoming gratuitous, sets a standard that the film then has to sustain. What it establishes is not merely shock but context: we are watching what will be gradually explained, a past that is gradually unfolding in the present investigation, and the opening sequence is deliberately withheld until the film is ready to give it meaning. The structure asks for patience. The investigation moves with the deliberate pacing of a film that trusts its audience to remain engaged without constant incident, and for the most part that trust is earned. There are passages in the middle stretch, however, where the momentum loses its edge. Scenes of procedural development arrive without the escalation that would keep them propulsive, and the investigation begins to feel like it is covering ground rather than breaking it. This is where the film would have benefited most from a tighter editorial eye, and where the score’s failings are most acutely felt. One sequence in particular strains credibility. When Okoro confronts his commanding officer, having already identified him as complicit, he announces this identification directly rather than gathering the evidence needed to act on it. For a character written as measured and methodical, the moment registers as a logic gap that the thriller cannot fully recover from. The final twenty minutes restore the film’s grip. Revelations arrive in the right order, the film’s thematic threads pull together, and the closing image of Okoro returning home to an uncertain but possibly warming reception from his wife provides the kind of ending that respects what the story has been doing: not resolving everything neatly, but allowing for the possibility that something might still be repaired. ## The Lead Who Makes You Forget the Actor Patrick Diabuah as Superintendent Okoro is the film’s most complete performance. He disappears into the role in the specific way that the best screen acting operates: without visible effort, without any moment where the seams show. Okoro is a man holding himself together through the rigour of his work, his troubled marriage and distant relationship with his daughter providing the emotional stakes that explain why the job has become both his refuge and his identity. Diabuah communicates this internal architecture without the script having to narrate it. The character’s silences are as legible as his dialogue. Jide-Kene Achufusi brings an appropriate volatility to Detective Nwagu, providing the emotional contrast that the partnership requires. Where Okoro internalises, Nwagu externalises, and Achufusi plays this without slipping into caricature. Segun Arinze is dependable in a role that requires the particular skill of playing menace through apparent normalcy. Norbert Young as the senator carries the weight of his character’s position without over-performing it. ## A Camera That Trusts, A Score That Doesn’t *Blood Debt*‘s visual language is one of its most confident qualities, and one that rewards active watching. A wristwatch introduced in an early scene through deliberate framing, shot from behind as the detectives salute their superior officer, is the clearest example. The camera lingers on it briefly and precisely before the scene continues. The dialogue picks up the wristwatch shortly after, but by then the audience has already been directed. This is visual storytelling that trusts the viewer, and it establishes from early in the film that what you are shown has been placed with intention. The score does not share this confidence. The production quality throughout *Blood Debt* is genuinely high, and the effort invested is visible on screen. But the scoring choices feel disconnected from the film’s emotional register. Where the genre calls for something propulsive to carry the investigation’s momentum, the Afrobeats choices read as external decisions, the product of a practical arrangement, perhaps, rather than one made in the service of the story. The result is a film whose silences are more effective than its music: the passages where dialogue breathes without accompaniment are more atmospheric than the passages with a full score beneath them. Ndife’s direction manages the tension between intimacy and procedural scale more successfully in the first and final thirds than in the middle. The opening sequence’s visual commitment is matched by some precise compositional choices throughout the film, particularly in scenes where what is not shown communicates more than what is. ## Final Thoughts *Blood Debt* arrives at a moment when the question of whether justice actually reaches those most responsible for corruption is one every Nigerian carries personally. The film is set in a specific historical context, the vigilante culture of a past era, but the structures it interrogates, the senator protected by his position, the investigator blocked by his own institution, the community left to carry consequences the powerful never face, are not historical at all. They are present tense. The film’s most haunting observation is embedded in its ending. Justice arrives, of a sort, at a certain level. It closes on the possibility of justice without its confirmation, which is perhaps the most honest thing it could do. In a country where the powerful access a different version of accountability than everyone else, the silence after says more than any verdict would. *Blood Debt* is a film that does the work of making you think rather than telling you what to think. That is rarer than it should be. ## Verdict Watch this if you want a thriller that uses its genre to say something worth saying about violence, accountability, and the limits of revenge as justice. Patrick Diabuah’s performance alone is worth the ticket. Come prepared for a middle stretch that tests your patience and a score that occasionally works against the film’s own atmosphere. If you are the kind of viewer who notices wristwatches and pastor’s lines and carries those details with you into the third act, *Blood Debt* will reward you properly. **Rating**: 3.25/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/blood-debt-justice-cuts-both-ways-in-this-gripping-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/blood-debt-justice-cuts-both-ways-in-this-gripping-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/blood-debt-justice-cuts-both-ways-in-this-gripping-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/blood-debt-justice-cuts-both-ways-in-this-gripping-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/blood-debt-justice-cuts-both-ways-in-this-gripping-thriller/?share=linkedin) - **Categories:** Reviews **Tags:** 2026 Nollywood film, Alaundra Dikese, Blood Debt, Chekwas Michael-Okorie, Chukwuka Kenechukwu Ndife, corruption, crime drama, crime thriller, Ebele Okaro, Ejike Ibedilo, Film Critique, Film review, Jide-Kene Achufusi, mob justice, Nigerian justice system, Nnajiofor Oscar Ugwu, nollywood, Norbert Young, Patience Ujah, Patrick Diabuah, Political thriller, revenge, Segun Arinze, Suzie Uzozie, Uzoamaka Power, vigilante justice --- ### [To Adaego with Love: A Gentle, Contemplative Portrait of Healing](https://nollycritic.com/to-adaego-with-love-a-gentle-contemplative-portrait-of-healing/) **Published:** February 21, 2026 **Author:** Shalom O. Obisesan **Excerpt:** To Adaego with Love, directed by Nwamaka Chikezie and written by Brenda Ogbukaa-Garuba, is a 129-minute romantic drama set in early 1970s Enugu... **Content:** *[To Adaego with Love](https://www.imdb.com/title/tt38866555/ "To Adaego with Love")*, directed by Nwamaka Chikezie and written by Brenda Ogbukaa-Garuba, is a 129-minute romantic drama set in early 1970s Enugu, roughly five years after the Nigerian Civil War. Chisom Agoawuike stars as Adaego Ezekwe, an Igbo school teacher, opposite Adam Garba as Major Balarabe “Bala” Alkali, a Northern Nigerian soldier deployed to rebuild trust between the local Igbo population and the federal government. Bob-Manuel Udokwu plays Adaego’s father, Chief Ezekwe, with Ngozi Ezeonu as her aunt, Onyeka Onwenu as her grandmother (one of her final roles), and Chioma Chukwuka Akpotha as her mother. The film earned Best Feature Film and Best Screenplay at [AFRIFF 2025](https://nollycritic.com/?s=afriff "AFRIFF 2025"). It is a measured, reflective work that prioritises quiet rebuilding over dramatic spectacle, offering a thoughtful exploration of love, reconciliation, and resilience in a society still scarred by conflict. ## *To Adaego with Love* Directed by: Nwamaka Chikezie Written by: Brenda Ogbukaa-Garuba Genre: Romance, Drama Released on: February 6, 2026 (Cinemas) Language: English ### **A Romance Shaped by the Silence After War** *[To Adaego with Love](https://www.imdb.com/title/tt38866555/ "To Adaego with Love")* centres on Adaego and Bala, whose relationship unfolds against the lingering tensions of post-war Nigeria. Bala’s assignment is to restore trust between civilians and the military, a task made delicate by the war’s recent memory. Adaego, having lost family in the conflict, initially appears emotionally insulated from its aftermath. She confronts its weight through her grandmother’s stories of loss and her father’s palpable resentment. The romance is subdued and slow-burning, built on shared routines, small acts of kindness, and collaborative work in the village rather than grand gestures. It is tender yet fraught, shaped by historical and cultural divisions that still simmer. The film deliberately avoids battle sequences or sensational violence. Instead, it focuses on the quieter struggles of rebuilding lives and communities. Reconciliation is presented as slow, imperfect work, not a tidy resolution. The narrative is understated, inviting reflection on the silence after gunfire and the uneasy coexistence between those who survived on opposite sides. ### **Themes of Reconciliation and the Weight of Memory** The film grapples with the aftermath of war rather than the conflict itself. It explores how trauma lingers in ambient resentment, how trust is rebuilt in small acts, and how love can emerge across divides that once seemed unbridgeable. Adaego’s father embodies justified bitterness, while Bala represents the federal effort to mend what was broken. The story acknowledges anger and loss but sometimes softens institutional culpability, presenting soldiers as broadly benevolent. This creates a tension between historical realism and narrative focus: reconciliation feels aspirational yet underdeveloped, with some perspectives sidelined in favour of the central romance. The film’s restraint is intentional. Emotional peaks are muted. Pacing is unhurried. Conflicts are understated. It prioritises observation over excitement, asking viewers to sit with the slow work of healing rather than rush toward catharsis. ### **Performances That Ground the Quiet Moments** Chisom Agoawuike radiates hope and resilience as Adaego, particularly in classroom scenes where her dedication to education underscores the theme of societal healing. Adam Garba’s Bala is stoic yet subtly vulnerable; his reserved demeanor softens in genuine connection moments. Bob-Manuel Udokwu imbues Chief Ezekwe with pride, sorrow, and skepticism, serving as the moral and historical anchor. Ngozi Ezeonu adds levity and wisdom as Adaego’s aunt. Onyeka Onwenu delivers a soulful, affecting presence, especially in musical interludes. Chioma Chukwuka Akpotha conveys maternal depth, though underutilised. Minor characters, such as a resentful villager, underscore ethnic tensions but sometimes feel exaggerated compared to the film’s restrained tone. ### **Technical Craft That Serves Restraint** Cinematography favours naturalistic lighting, wide establishing shots, and tight close-ups for dialogue and intimacy. Handheld camera work adds immediacy to communal and personal scenes. Editing maintains narrative clarity, though flashback transitions occasionally confuse temporal flow. Production and costume design convey post-war austerity through modest wardrobe choices, ankara fabrics, and minimal yet effective set dressing. Music is a central motif. Traditional Igbo instruments (ogene, udu) blend with soft guitar and highlife influences. Era songs, including Nelly Uchendu’s “Love Nwantinti”, serve as storytelling devices and emotional touchstones. The sound mix is occasionally inconsistent, with dialogue sometimes overpowered by music. The overall technical approach mirrors the film’s philosophy: restraint over excess, reflection over urgency. ### **Final Thoughts** *To Adaego with Love* is a contemplative work that places human connection and reconciliation at its core. It consciously steps away from spectacle to focus on the slow, imperfect work of rebuilding after war. The romance grows from shared responsibility and communal healing rather than dramatic passion. The film’s restraint aligns with its vision: it invites reflection rather than excitement. Some may find the pacing slow or the reconciliation arc underdeveloped. Others will appreciate its sincerity and cultural grounding. It is not a high-energy drama. It is a measured one. Its ambition is quiet, its heart earnest, and its message clear: healing takes time, trust must be earned, and love can bridge divides that history once widened. ### **Verdict** *To Adaego with Love* suits viewers who appreciate thoughtful, restrained storytelling and post-war themes. It offers authenticity, cultural depth, and emotional resonance for those open to contemplative cinema. Sincere and grounded, it is a meaningful addition to Nigerian film with a gentle power that lingers. **Rating**: 3.3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/to-adaego-with-love-a-gentle-contemplative-portrait-of-healing/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/to-adaego-with-love-a-gentle-contemplative-portrait-of-healing/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/to-adaego-with-love-a-gentle-contemplative-portrait-of-healing/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/to-adaego-with-love-a-gentle-contemplative-portrait-of-healing/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/to-adaego-with-love-a-gentle-contemplative-portrait-of-healing/?share=linkedin) - **Categories:** Reviews --- ### [New Nollywood Movies to See this June 2026](https://nollycritic.com/new-nollywood-movies-to-see-this-june-2026/) **Published:** June 1, 2026 **Author:** Esther Adamu **Excerpt:** It's a new month, Nollywood fam, and it is time for us to share with you a list of new Nollywood movies you won't want to miss in June. **Content:** It’s a new month, Nollywood fam, and it is time for us to share with you a list of[ new Nollywood movies](https://nollycritic.com/new-nollywood-movies-to-see-in-may-2026/ "new Nollywood movies") you won’t want to miss in June. From Major film festival impact to new movie releases, June is shaping up to be another exciting month for Nollywood lovers. Whether you love suspense, thrillers, romance, family stories, or culturally rich films, this month has plenty to look forward to. Here is a roundup of the new Nollywood movies and series coming out in June. **Blood Sisters (Season 2) – June 5** The Netflix original series *[Blood Sisters](https://www.premiumtimesng.com/entertainment/nollywood/878937-netflix-announces-release-date-for-blood-sisters-season-2.html "Blood Sisters")* is returning with season two. The hit thriller series returns with even more secrets, betrayals, and dangerous family drama. In this new season, Sarah and Kemi find themselves facing new enemies, deeper conspiracies, and emotional consequences that threaten to destroy everything. The film stars an A-list cast, including Ini Dima-Okojie, Nancy Isime, Kate Henshaw, Uche Jombo, Kehinde Bankole, Genoveva Umeh, Bolaji Ogunmola and Anita Asuoha (Real Warri Pikin). The Film will premiere on Netflix June 5, 2026. **My Father’s Shadow – June 5** Set during the 1993 Nigerian election crisis, [*My Father’s Shadow* ](https://whatkeptmeup.com/nigerian-film-news/my-fathers-shadow-set-to-return-to-nigerian-cinemas-in-june-following-amvca-sweep/ "My Father's Shadow ")follows two young brothers navigating Lagos with their estranged father while political unrest unfolds around them. *My Father’s Shadow*, produced by Akinola Davies Jr., has an ensemble cast that includes Sope Dirisu, Olarotimi Fakunle, Martha Ehinome Orhiere, and Patrick Diabuah. The film has received several international awards and is coming to Nigeria cinema June 5 ahead of June 12 democracy celebration. **Iyalode – June 11** *[Iyalode](https://nollycritic.com/iyalode-a-warrior-legacy-weighed-down-by-technical-chaos/ "Iyalode")* is a Yoruba-language drama produced by Toyin Abraham and Kolawole Ajeyemi, that explores themes of ambition, resilience, and female leadership. The story centres on a woman who rises to become the fiercest force in her kingdom, challenging power structures, testing loyalties, and ultimately shaping a lasting legacy. The casts to expecting includes Toyin Abraham, Muyiwa Ademola, Kareem Adepoju, Gabriel Afolayan, Kola Ajeyemi, Kehinde Bankole, Iyabo Ojo and Bukky Wright. *Iyalode* is coming to KAVA on June 11. **Kalakiri: The Price of Freedom – June 12** Chika C. Onu’s *Kalakiri: The Price of Freedom* tells the story of a pro-democracy activist who disappears ahead of a presidential nomination and is later revealed to have been detained at a remote island prison called Kalakiri. Produced by Emeka Adibe and Henry Chinweuba, the movie stars Nancy Isime, Charles Okocha, Segun Arinze, Caleb Richard, and Aisha Mohammed. *Kalakiri: The Price of Freedom*, an emotional drama that promises a powerful story about sacrifice, survival, and the true cost of freedom, is coming to cinemas nationwide on June 12, 2026. **On Different Grounds – June 12** *[On Different Grounds](https://nollycritic.com/tag/on-different-grounds/ "On Different Grounds")* is a romantic comedy produced by Nicolette Ndigwe-Kalu, which blends African and Indian storytelling. It tells the story of divorced billionaire couples who are forced to reunite for their eldest daughter’s wedding, unaware that she has a secret plan of her own. This Movie is an upcoming relationship drama where Love, ambition, and class differences collide. The cast of this film includes Uche Jombo, Jennifer Eliogu, Bob-Manuel Udokwu, Nkem Owoh, Uche Montana, Ebele Okara, Vineet Raina, and Mbadiwe Twins. This Nollywood-Bollywood collaboration directed by Mildred Okwo and is set to be released in June 12, 2026. **Iwe Ala (An Ojude-Oba Story) – June 12** The Film follows the story of a family that faces challenges but finds strength in unity and tradition. it is a blend of family comedy, drama, celebrating the spirit of the Ojude Oba Festival and the resilience of family. Directed by Adeoluwa Owu and features a cast that includes Mercy Aigbe, Owobo Ogunde, Eniola Ajao, Tobi Makinde, Demola Adedoyin and Farooq Oreagba. *Iwe Ala: An Ojude Oba Story* is coming to Cinemas June 12. **Blood Debt – June 19** Revenge and betrayal take centre stage in Chukwuka Ndife’s *Blood Debt*, a thriller expected to deliver suspense, emotional conflict, and shocking twists. If you are a fan of crime dramas and dark family secrets, Blood Debt should be added to your list. The film features a powerful blend of Nollywood veterans and rising stars which includes Uzoamaka Power, Jide Kene Achufusi, Tony Umez, Ebele Okaro, John Okham, and Segun Arinze. *Blood Debt* will premiere in cinemas Nationwide on June 19,2026. **Where is Chioma Kalu – June 19** Directed by Kayode Kasum, *Where* is *Chioma Kalu*? is an EbonyLife Original Production which follows the story of a billionaire’s wife who is kidnapped by her ex-lover and his dangerously jealous partner. They underestimated her ability, and this led to tables turning in ways that could destroy them. This movie stars Nancy Isime, Daniel Etim-Effiong, and Blessing Jessica Obasi *Where is Chioma Kalu*? will premiere on EbonyONPlus exclusively from June 19. **Remi & Nneoma – June 26** *Remi & Nneoma* is a Nigerian drama that explores the themes of loyalty, grief, love, and emotional healing. The story revolves around the emotional journey of two women, Nneoma and her daughter-in-law, Remi, who remain together after a shared loss. The film draws its inspiration from the biblical story of Ruth and Naomi. The Cast used to tell the story in *Remi & Nneoma* includes Bisola Aiyeola, Liz Benson, Tina Mba, Eucharia Anunobi, Uche Montana, Kunle Coker, and Buchi Franklin. Remi & Nneoma will premiere in cinemas nationwide from June 26 **The Night of June 7th – June** Directed by Toka McBaror and produced by Linda Ikeji, *the Night of June 7th* dramatizes the Apo Six Killings of June 7, 2005, when six traders were brutally murdered by policemen in Abuja. A tragedy that exposed deep issues of police corruption and impunity in Nigeria. It stars Femi Branch, Ali Nuhu, Gideon Okeke, and Charles Lenny. There is no exact date for the release of the movie, but *The Night of June 7th* is scheduled to be released this June. Which of these [Nollywood](https://nollycritic.com/ "Nollywood") movies will you add to your list? Stay updated as we’ll add more Nollywood movies to this list. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-nollywood-movies-to-see-this-june-2026/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-nollywood-movies-to-see-this-june-2026/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-nollywood-movies-to-see-this-june-2026/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-nollywood-movies-to-see-this-june-2026/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-nollywood-movies-to-see-this-june-2026/?share=linkedin) - **Categories:** Articles, Movies **Tags:** Aisha Mohammed, Akinola Davies Jr., Anita Asuoha (Real Warri Pikin), Blood Debt, blood sisters season 2, Bob-Manuel Udokwu, Bolaji Ogunmola, Bolaji Ogunmola Anita Asuoha (Real Warri Pikin), Caleb Richard, Charles Okocha, Chika C. Onu, Ebele Okara, Genoveva Umeh, Ini-Dima Okojie, Iwe Ala (An Ojude-Oba Story), Jennifer Eliogu, Kalakiri: The Price of Freedom, Kate Henshaw, Kehinde Bankole, Martha Ehinome Orhiere, My Father's Shadow, Nancy Isime, Netflix, nigerian cinema, Nkem Owoh, nollycritic, nollywood, Nollywood movies to see in June, Olarotimi Fakunle, On Different Grounds, Patrick Diabuah, Remi & Nneoma, Segun Arinze, Sope Dirisu, The Night of June 7th, Uche Montana --- ### [One Gidi Night: See The Teaser James Abinibi's New Movie](https://nollycritic.com/one-gidi-night-see-the-teaser-james-abinibis-new-movie/) **Published:** July 6, 2026 **Author:** Esther Adamu **Excerpt:** This September 2026 the spotlight turns to One Night Gidi, a gripping new drama written, produced, and directed by the multi‑talented filmmaker **Content:** This September 2026, the spotlight shines on [One Gidi Night](https://nollywood.com/movies/one-gidi-night "One Gidi Night"), a new gripping drama written, produced, and directed by the multi-talented filmmaker Abinibi. This drama will explore themes of ambition, betrayal, love, and survival. Set against the vibrant backdrop of Lagos, known as Gidi by locals, the film captures the city’s pulsating energy, chaos, and contradictions. *[One Gidi Night](https://www.nollywoodtimes.com/2026/04/one-gidi-night-gritty-lagos-thriller.html "One Gidi Night")* follows the intertwined lives of several characters whose destinies collide over the course of a single night. From the bustling clubs of Victoria Island to the shadowy corners of Surulere, the movie paints a vivid portrait of Lagos as a city of dreams, dangers, and endless possibilities. The stories of different people converge in unexpected ways that will leave audiences in suspense throughout the movie. Abinibi said during the premiere: > Lagos is more than just a city, it’s a character in itself. I wanted to capture the heartbeat of Gidi in a way that feels raw, real, and relatable. By writing, producing, and directing, I ensured that every frame of the film stayed true to that vision. Beyond entertainment, *One Gidi Night* addresses significant social issues. The film emphasizes the challenges faced by [Nigeria’](https://nollycritic.com/ "Nigeria'")s youth, who often grapple with the tension between tradition and modernity. The movie also explores systemic problems such as corruption and inequality, along with the quest for identity amid the pressures of modern life. The cast of *One Gidi Night* includes Wunmi Toriola, [Uzor Arukwe](https://www.pulse.ng/story/10-uzor-arukwe-films-you-should-watch-2025031617483955159 "Uzor Arukwe"), Gabriel Afolayan, Idia Aisien, Kelvin Ikeduba, and Ibrahim Yekini. The movie will be distributed by FilmOne Entertainment. With *One Gidi Night* arriving in cinemas on September 11th, 2026, Abinibi has delivered a cinematic work that is both entertaining and socially resonant. By weaving together multiple narratives within the span of a single night, he captures the essence of Lagos, a city that never sleeps. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/one-gidi-night-see-the-teaser-james-abinibis-new-movie/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/one-gidi-night-see-the-teaser-james-abinibis-new-movie/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/one-gidi-night-see-the-teaser-james-abinibis-new-movie/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/one-gidi-night-see-the-teaser-james-abinibis-new-movie/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/one-gidi-night-see-the-teaser-james-abinibis-new-movie/?share=linkedin) - **Categories:** Nollywood News **Tags:** Abinibi, Filmone entertainment, Gabriel Afolayan, Ibrahim Yekini, Idia Aisien, Kelvin Ikeduba, nigerian cinema, nollycritic, nollywood, One Gidi Night, Uzor Arukwe, Wunmi Toriola --- ### [On Different Grounds Review: Mildred Okwo's Return Struggles with Consistency](https://nollycritic.com/on-different-grounds-review-midred-okwos-return-struggles-with-consistency/) **Published:** June 29, 2026 **Author:** Shalom O. Obisesan **Excerpt:** On Different Grounds enters the Nollywood romantic comedy conversation at a specific moment: after a generation of films that have... **Content:** There is a film inside *[On Different Grounds](https://ondifferentgrounds.com/ "On Different Grounds")* that works. It is the one about two people who built a life together, watched it collapse under the weight of ambition and pride, and are now forced to occupy the same space again after years of silence. It is the film about what happens when a woman realises that the empire she helped architect exists entirely without her name on it, and about the man who cannot quite explain why he chose the empire. That film has warmth, specificity, and the earned awkwardness of a second chance neither party asked for. Unfortunately, it shares its runtime with a younger story that has almost none of those qualities. Directed by Mildred Okwo and produced by Ndigwe-Kalu, *[On Different Grounds](https://nollycritic.com/on-different-grounds-see-the-official-teaser-of-nollywood-rom-com/ "On Different Grounds")* opened in cinemas on the 12th of June 2026, distributed by Cinemax. It is a romantic drama that knows exactly what it wants to feel like in its best moments and struggles to maintain that feeling across the rest. The story begins with a separation: Eyimofe and Isioma, once partners in both life and business, have long since gone their separate ways, with their eldest daughter Aurora remaining with the father and the younger Audrey leaving with the mother. When Aurora orchestrates a hasty wedding as a calculated move to bring her estranged parents back into the same room, the families converge at the Black Diamond Hotel, a space that carries its own history between the two central characters, and the gathering becomes a collision of alliances, buried resentments, and unfinished feelings. ## *On Different Grounds* Directed by: Mildred Okwo Produced by: Nicole Ndigwe-Kalu Genre: Drama, Romance Released on: June 12, 2026 (Cinemas) Language: English ## The Protagonist Who Watches Her Own Film The most significant storytelling failure in *On Different Grounds* is the one at its centre. Aurora is the character around whom everything moves, the catalyst for the wedding, the daughter bridging two halves of a broken family, the woman navigating her own romantic situation while trying to manage everyone else’s. She should be the engine of the film. Instead she is its most passive presence. The things that happen to Aurora happen because the plot requires them to. She does not fight for what she wants. She does not genuinely contend with the stakes in front of her. The emotional life the script constructs around her, the arranged attachment to Tobore, the suppressed feeling for RJ, the desire to reunite parents who separated when she was still a child, exists largely as context rather than conflict. She inhabits it without wrestling with it. The performance reflects this. What we watch is a character moving through a story, present in every scene and absent from its engine. The second-chance romance between Eyimofe and Isioma does not have this problem. Their history has weight. Their distance from each other has been earned over years, and when they are finally in the same room, the awkwardness between them communicates everything that the script alone cannot. The film is most alive when it focuses on them, their argument about credit and contribution, about who built what and at whose expense. This is where *On Different Grounds* locates its most genuinely interesting territory, and it is also where the film spends the least of its attention. The Indian subplot built around RJ and his father does not deepen the romantic stakes so much as it provides the story with a convenient obstacle. RJ travels from India to the wedding because the woman he loves is getting married. His arrival is timed precisely to create conflict. The writing never earns that timing. He appears because the plot needs him there, and the cultural friction his presence is meant to generate never materialises into anything that adds texture or complication to Aurora’s actual situation. Convenience dressed as romance is still convenience. ## A Hotel Advert With a Love Story Attached The first half of *On Different Grounds* has a product placement problem. The Black Diamond Hotel is woven into the film’s premise as a symbol of shared history between the estranged couple, an abandoned joint project that now serves as the setting for every confrontation and revelation the story will need. It is a credible narrative device. But the frequency and manner in which the hotel is framed in the opening passages of the film tips from storytelling into advertisement, and the resulting feeling is that of watching a commercial with dramatic interludes rather than a film set in a meaningful location. The opening thirty minutes compound this with dialogue that announces rather than reveals. Where a character makes a point and another responds by restating it, drains scenes of the kind of tension that dialogue can generate when it is working properly. By the time the film finds its footing, the audience has already been asked to carry a considerable amount of dead weight. The genre sits in uncertain territory throughout. The dramatic scoring and sound design reach for comedy in moments that have not established the tonal ground for it. The comedic actions land in a register that the surrounding scenes have not earned. This inconsistency does not create tonal complexity. It creates distance. The film occasionally produces genuinely funny moments, and those moments are welcome. But they arrive from a different emotional register than the scenes that surround them, and the tonal gap keeps the audience at arm’s length rather than drawing them in. RJ’s entrance, when he arrives at the wedding, is the film’s most jarring single moment. The staging reaches for a romantic trope familiar from Indian film, the grand arrival, the gesture of intent. In isolation the trope is what it is. In this film, without the tonal foundation that would make it feel playful rather than jarring, it lands as a sequence the film has not prepared us for and cannot quite justify. The film picks up in its final stretch. Secrets surface, the pressures that have been building on the older characters release, and the emotional business the story has been deferring finally arrives. The confrontation scene that provides this release has its own awkward passages, but by this point the cast is doing enough to hold things together. ## Two Films in One Cast The casting of *On Different Grounds* is the source of its most consistent pleasure and its most visible problem. Bob-Manuel Udokwu and Jennifer Eliogu build the kind of layered screen dynamic that comes from performers who know how to find specificity in restraint. Their scenes together have texture. The history between the characters is communicated without being narrated. Udokwu in particular carries a rigidity that reads as genuine character rather than limitation: a man so shaped by the choices that cost him his family that warmth has become a language he can no longer speak fluently. Nkem Owoh brings the kind of lightness that keeps tense ensemble scenes from becoming oppressive. His contribution is not about a single standout moment but about a consistent tonal intelligence, knowing exactly when to deflate a scene and when to let it build. Uche Jombo’s salon scene is the film’s most purely enjoyable sequence. She commands the scene with a presence that makes the rest of the film’s more laboured passages visible by contrast. Ebele Okaro Onyiuke and Fadekemi Olumide bring institutional competence to the kind of supporting roles that less experienced performers would leave empty. Fadekemi Olumide’s character carries a forced accent that the film leans on more heavily than it earns. It becomes wearing across a full runtime. The character beneath the affectation has more to offer, including a quietly effective thread about aging and self-perception, and the film would have been better served by letting that thread carry the character’s weight instead. Abena Akuaba as Aurora brings a quality of stillness to the role that reads less as composure than as disengagement. The character’s emotional stakes never surface in the performance with enough force to make the audience feel them. Among the younger cast, Maggie Osuome as Audrey is the clearest exception: her character’s social media antics provide one of the film’s few moments where a younger performer finds a natural register and works within it effectively. Uche Montana as Beauty carries a different kind of screen awareness, the kind that comes from understanding how to be watched rather than just how to act. It is not enough to carry the character’s function, but it keeps the scenes from losing all energy. Ifeanyi Kalu as Tobore and Vineet Raina as RJ are both let down by a script that gives them function without personality. ## What the Direction Rescues Mildred Okwo’s most effective contribution is the one least visible in individual scenes. The film’s setting could easily have become a cold showcase for the hotel it is advertising, and in the first half it often is. But Okwo consistently finds ways to fill the hotel’s spaces with the warmth of relational conflict, staging interactions that use the architecture as a social diagram rather than as décor. The camera, helmed by Daniel Ehimen, understands the physical comedy of people navigating shared spaces they were not supposed to be in simultaneously, and the visual language in these moments captures a playfulness that the dialogue cannot always match. The costume design is one of the film’s quiet successes. The ensemble is dressed with care and specificity, and the visual vocabulary of how different characters present themselves in the wedding context communicates social positioning without requiring the script to explain it. The sound design and score operate at an average level and occasionally at a counterproductive one. The comedic sound cues that arrive in scenes without the tonal foundation to support them are the clearest example of a technical department working from a different interpretation of the film’s genre than the one the director is building. ## Final Thoughts *On Different Grounds* enters the Nollywood romantic comedy conversation at a specific moment: after a generation of films that have tried to be everything to everyone and ended up being less than they promised. This film is narrower in its ambitions and occasionally more honest for it. The second-chance romance at its centre is handled with genuine sensitivity, and the veteran ensemble around it earns more goodwill than the material deserves. The larger question *On Different Grounds* raises is one about where a story actually lives. *On Different Grounds* is nominally Aurora’s film. She is the daughter, the catalyst, the romantic centre. But the film is emotionally most alive in the spaces where the older characters are doing the actual work of feeling something. That is not a casting accident. It is a writing one. The younger characters are given positions in the plot without being given the interiority that would make those positions matter. What they do is simply exist within the story. The veteran cast does the living. ## Verdict Watch this for the older ensemble and for the specific pleasure of watching Bob-Manuel Udokwu and Jennifer Eliogu handle complicated emotional material with the kind of restraint that only comes from experience. Come prepared for a film that finds its footing late, asks patience during a product-heavy first half, and houses its most interesting story inside a younger narrative that cannot carry it. Those who come for the second-chance romance will find enough to hold their attention. Those who come for a complete film may leave feeling the gap between what this could have been and what it is. **Rating**: 2.2/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/on-different-grounds-review-midred-okwos-return-struggles-with-consistency/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/on-different-grounds-review-midred-okwos-return-struggles-with-consistency/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/on-different-grounds-review-midred-okwos-return-struggles-with-consistency/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/on-different-grounds-review-midred-okwos-return-struggles-with-consistency/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/on-different-grounds-review-midred-okwos-return-struggles-with-consistency/?share=linkedin) - **Categories:** Reviews **Tags:** 2026 Nollywood film, Abena Akuaba, Bob-Manuel Udokwu, cinemax, Ebele Okaro Onyiuke, ensemble cast, Fadekemi Olumide, family drama, Film Critique, Film review, Half a Buck and A Quarter Impressions Studios, Ifeanyi Kalu, Jennifer Eliogu, Maggie Osuome, Mildred Okwo, Nicolette Ndigwe-Kalu, Nkem Owoh, nollywood, On Different Grounds, romantic comedy, Romantic Drama, second chance romance, Uche Jombo, Uche Montana, Vineet Raina --- ### [Alechenu: See the Trailer For the New Biodun Stephen Movie](https://nollycritic.com/alechenu-see-the-trailer-for-the-new-biodun-stephen-movie/) **Published:** June 30, 2026 **Author:** Esther Adamu **Excerpt:** Alechenu is an upcoming drama directed by the award-winning filmmaker Biodun Stephen, known for her emotionally imbued realism stories and relationship-driven.. **Content:** [*Alechenu*](https://www.nollywoodtimes.com/2026/06/alechenu-set-for-cinemas-as-biodun.html "Alechenu") is an upcoming drama directed by the award-winning filmmaker [Biodun Stephen](https://nollycritic.com/heres-how-biodun-stephen-is-redefining-the-drama-genre/ "Biodun Stephens"), known for her emotionally imbued realism stories and compeling dramas. The film blends drama, emotional conflict, and life-changing discoveries, with a storyline that tackles questions of social acceptance, parental relationships, and the consequences of long-hidden secrets. The story of Biodun Stephen’s new movie follows the journey of a 13-year-old autistic boy named Alechenu, who travels from his village in Oyo to the Boisterous city of Lagos. A young boy, armed only with a picture and a backpack, sets off to find his mother, whom he has never met. During his journey, he encounters a family, and his presence uncovers hidden secrets that will change their lives forever. The film examines themes that emphasize the protagonist’s emotional development and the dramatic impact of uncovering long-buried truths. The cast of *Alechenu* includes Bimbo Ademoye, who plays one of the central figures alongside [Mike Ezuruonye](https://nollycritic.com/tag/mike-ezuruonye/ "Mike Ezuruonye"), Femi Adebayo, Biodun Stephen, Adeniyi Johnson, Blessing Obasi, Kamo State, and Wumi Toriola. The story is designed to showcase performances that blends vulnerability and authentic human experiences. The production of *Alechenu* is backed up by Fewchores Studios and the executive producers include Sukanmi Balogun, Tara Ajao, Biodun Stephens, Kayode Sowade and Tiwalolu Oladigbo. *Alechenu*‘s tagline is The Unexpected Gift, which hints at a narrative filled with surprise, suspense, and emotional twists. The movie is scheduled for cinema release on July 3rd, 2026. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/alechenu-see-the-trailer-for-the-new-biodun-stephen-movie/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/alechenu-see-the-trailer-for-the-new-biodun-stephen-movie/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/alechenu-see-the-trailer-for-the-new-biodun-stephen-movie/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/alechenu-see-the-trailer-for-the-new-biodun-stephen-movie/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/alechenu-see-the-trailer-for-the-new-biodun-stephen-movie/?share=linkedin) - **Categories:** Nollywood News **Tags:** Adeniyi Johnson, Alechenu, and Wumi Toriola., Bimbo Ademoye, Biodun Stephen, Biodun Stephens, Blessing Obasi, Femi Adebayo, Fewchores Studios, July 3rd, Kamo State, Kayode Sowade, Mike Ezuruonye, nigerian cinema, nollycritic, nollywood, Sukanmi Balogun, Tara Ajao, Tiwalolu Oladigbo --- ### [BB Sasore and the Cinema of the Sacred Ordinary](https://nollycritic.com/bb-sasore-and-the-cinema-of-the-sacred-ordinary/) **Published:** June 27, 2026 **Author:** Shalom O. Obisesan **Excerpt:** BB Sasore by his own admission, not a particularly religious man. He has called his faith-based films strategic business decisions... **Content:** There is a moment in [*Banana Island Ghost* ](https://www.imdb.com/title/tt8149090/?ref_=nm_knf_t_1 "Banana Island Ghost ")where Patrick, already dead, sits in a boat with God. He is in transition, caught between what he was and what he is now being asked to become, and it is here, suspended on water between worlds, that he receives his assignment. The scene is quiet, unhurried, and slightly absurd in the best way. God does not arrive with thunder. The instruction is not a commandment. It comes as a near-misquotation: “*With great responsibility comes great expectation.*” A deliberate echo of a line everyone in the audience knows, bent just enough to carry its own meaning. The sacred slips into the frame without asking permission. That moment, small as it is inside a film built on comedy, is the key to understanding what[ BB Sasore](https://www.imdb.com/name/nm6621245/ " BB Sasore") does as a filmmaker. His instinct is not to separate the divine from the ordinary but to find the place where they share the same room. Across his four directed works, from the Africa Magic series *Before 30* to the [AMVCA](https://nollycritic.com/?s=AMVCA "AMVCA")-winning *Breath of Life*, he keeps returning to characters whose lives have been broken open by loss, and who must find, often without wanting to, something larger moving through the wreckage. BB Sasore by his own admission, not a particularly religious man. He has called his faith-based films strategic business decisions. Yet the work keeps insisting on something. A filmmaker who can construct this kind of spiritual weight without devotion driving him is operating from a place of precision. He is building architecture, and the light comes in anyway. ## Before 30 (2015) **Creator and Director** | **Africa Magic** | **Starring:** Damilola Adegbite, OC Ukeje, Beverly Naya, Meg Otanwa, Anee Icha [*Before 30* ](https://nollycritic.com/before-30-recap-everything-you-need-to-know-before-after-30/ "Before 30 ") is the odd one out in Sasore’s filmography, and that is precisely what makes it worth looking at carefully. The Africa Magic series follows four young Lagos women navigating the one deadline that Nigerian culture has decided matters above all others: marriage before thirty. Temi, a successful lawyer whose boyfriend asks for a break instead of proposing. Nkem, Aisha, Ama. Four women, four different relationships to the same pressure, all of them living inside a city that has already decided who they are supposed to be by the time they arrive. What Sasore builds here is a grounded social drama interested in how expectation functions as a structural force, how families, friendships, and social circles become quiet enforcement mechanisms for a timeline nobody agreed to but everyone is expected to follow. The blend of humour and introspective drama that the series works in is light on its feet, but the discomfort it is poking at is real. Aisha’s marriage to Sheriff, a man with old-fashioned values and a controlling streak, carries the series’ sharpest social observations, the small grievances and larger moral dilemmas of a woman whose choices are perpetually subject to someone else’s approval. What *Before 30* reveals about Sasore as a writer is his eye for social pressure as a storytelling engine. The faith preoccupations that would define his feature films are largely absent here. Temi is described as spiritual, but that is a character detail, not a thematic concern. The series is doing something different: it is watching women exist inside systems that have already made decisions about them, and finding the drama in how they push back, comply, or negotiate. ## Banana Island Ghost (2017) **Director and Writer** | **Starring:** Chioma “Chigul” Omeruah, Patrick Diabuah, Saheed Balogun, Ali Nuhu, Bimbo Manuel, Tina Mba, Akah Nnani, Uche Jombo, Kemi Lala Akindoju, Dorcas Shola Fapson > *“With great responsibility comes great expectation.”* The line lands inside the film as a joke, a deliberate misquotation of the Spider-Man principle most audience already know. But Sasore lets it sit as more than a gag. It is the crux of what Patrick, the ghost, has been given: a second chance, a supernatural assignment, and the weight that comes with both. Comedy is the genre, but *Banana Island Ghost* is doing more than it announces. The premise is the kind that requires the audience to surrender logic at the door: Patrick dies in a car accident, negotiates with God for more time on earth, and is assigned three days to find and woo his soulmate, Ijeoma, a woman with three days of her own to raise eighteen million naira and keep her late father’s Banana Island home from the bank. Two deadlines, one ghost, and a woman who cannot see him. Cinematographer Ola Cardoso shoots Lagos not as the city of hustle and proximity that most Nollywood productions render it, but as a place with genuine visual beauty. Aerial shots over the Ikoyi Link Bridge and the lagoon under Third Mainland Bridge give the film a lightness of perspective, a sense that the story is being watched from above as much as lived from within. The production was praised specifically for how crisply it captured the city’s landmarks, a deliberate choice that lends weight to the supernatural stakes: if the world Patrick is trying to return to is worth seeing, his urgency has texture. The water motif appears here for the first time in his filmography. It is at the water’s edge that Patrick’s spiritual encounter happens, that the weight of his assignment becomes clear and the film’s tonal register briefly shifts from comedy to something more genuinely moved. Fire appears too, in the accident that kills him, the destructive force that initiates transition. BB Sasore would return to both elements in everything that followed, each time asking them to do slightly different work. ## God Calling (2018) **Director and Writer** | **Starring:** Zainab Balogun, Karibi Fubara, Richard Mofe-Damijo, Tina Mba, Nkem Owoh, Onyeka Onwenu, Eku Edewor, Ademola Adedoyin, Patrick Diabuah, Diana Egwuatu If *Banana Island Ghost* kept its faith elements at a gentle simmer, *God Calling* turns the heat up entirely. This is BB Sasore’s most overtly spiritual film, and also the one where the fire motif becomes central rather than incidental. The first thing that becomes clear about *God Calling* is that the CGI is the film’s co-star. BB Sasore spent four months in pre-production, writing five drafts of the script while simultaneously running VFX tests for the film’s two most ambitious sequences: a suicide attempt on Third Mainland Bridge and an underwater shot. His reasoning was direct: > *“In order to feel for someone who is attempting suicide on Third Mainland Bridge, you have to actually see and feel what it is like to attempt suicide on Third Mainland Bridge. That is only possible with VFX.”* The technology is not decoration here. It is emotional infrastructure. Ola Cardoso returns as director of photography, and the images he produces for *God Calling* are crisper and more deliberately composed than the more kinetic work in *Banana Island Ghost*. The cinematographer’s contribution is most visible in the bridge scene, which moves from wide exterior shots of the structure at night to an underwater sequence, Sade beneath the surface, which functions as both literal near-death and spiritual threshold. It is the best single scene Sasore had directed to that point, and it works because of the patience with which it is shot: no rush to resolution, just a woman underwater and the question of what she meets there. Sade’s story is built on fire. She and her husband Francis lose their child in a house explosion, and what follows is the slow collapse of a life: addiction, estrangement, the dissolution of everything that had made sense before. Sasore’s screenplay here is working in the tradition of the biblical call narrative, a person in ruin receiving a purpose they did not ask for, and the film draws the parallel explicitly, Sade eventually told that God has called her to be the “Mother of Nations.” Where the script strains is in how it handles the second half of that transformation. Once the divine encounter has been processed, Sade’s journey into redemption is rendered in language that trusts the theology more than it trusts the woman. The character becomes a vessel for the film’s message at the expense of her specific, individual texture. But the ambition of the first hour is considerable. *God Calling* was the first Nollywood faith-based film made at this scale, with a budget and cast and technical investment that the genre had not previously seen. BB Sasore’s own description of it as “strategic” does not diminish what it achieved aesthetically. A filmmaker who writes five drafts, plans underwater VFX tests, and spends four months in pre-production for a faith film is not making a devotional. He is making a film that takes its audience seriously. ## Breath of Life (2023) **Director and Writer** | **Starring:** Wale Ojo, Chimezie Imo, Genoveva Umeh, Ademola Adedoyin, Sam Dede, Tina Mba, Sambasa Nzeribe Five years after *God Calling*, Sasore returned with *[Breath of Life](https://www.imdb.com/title/tt21094306/?ref_=nm_knf_t_4 "Breath of Life")*, and the distance is measurable in every technical and narrative department. This is the film where everything he had been building toward arrived at once: the visual language, the colour grammar, the structural precision, the restraint in how faith is handled. *Breath of Life* won five awards at the 2024 AMVCAs including Best Movie and Best Director, and was produced at a budget of approximately five hundred thousand dollars with an equal allocation for marketing, making it one of the most expensively mounted Nollywood productions of its era. Timi is a clergyman who has lost his family to violence, murdered by a gang leader known as Fire Boy, and retreated into a life of isolation on a mountain that looks over an entire community without touching it. He is a man who once spoke sixteen languages and led a congregation, now living inside a house thick with cobwebs and decades of sealed grief. When Elijah, a young houseboy with faith enough for both of them, arrives into his life, the film becomes a study in how a closed person is slowly, patiently opened. The fire motif appears again, this time as the source of Timi’s wound. Fire Boy is not metaphorical; he is a flesh-and-blood antagonist whose violence initiates the film’s central loss. But BB Sasore does not let fire remain purely destructive here. The film’s movement is toward a rekindling, a return of something that was extinguished, and it earns that return through the accumulation of small, specific moments between Wale Ojo and Chimezie Imo, whose dynamic is the film’s genuine achievement. The male-to-male relationship at the heart of *Breath of Life*, the employer-to-employee bond that becomes familial, is something BB Sasore described as deliberately rare in Nollywood. He was right to pursue it. Ojo’s Timi is a masterclass in contained devastation, a man whose whole body carries the weight of what he has lost, and Imo’s Elijah earns every moment of warmth the film allows him. Genoveva Umeh, as Anna, holds her own against both of them, and the romance between her and Elijah never feels forced into the narrative. The film is set across two time periods, with a 2060 framing device narrated by an elderly Elijah looking back, and the main action unfolding in 1960s Nigeria. Sasore shot in Ibadan, using the city’s natural landscape, lush greenery, open skies, and the New Culture Studio, a historic theatre venue, to create a visual world that feels entirely distinct from the Lagos-default of most Nigerian cinema. Cardoso, back for his third collaboration with Sasore, shoots it all in 6K, and the images have a depth and clarity that function as argument: this story is worth seeing clearly. The film is not without complications. The period setting, meant to evoke 1960s Nigeria, stumbles in places, modern props and contemporary details slipping into frame in ways that break the atmosphere Sasore works hard to build. Some of the dialogue, particularly in scenes where characters articulate their faith, tips into the kind of theatrical declaration that the film’s visual restraint is trying to move away from. But these are the stumbles of a film that is genuinely reaching, and the reach is what matters. Breath of Life won five awards at the 2024 AMVCAs including Best Movie and Best Director, a recognition that felt less like the industry celebrating a winner and more like it acknowledging what quality looks like when someone insists on it. The most studied of BB Sasore’s technical choices in *Breath of Life* is his colour grammar. Timi, the film’s protagonist, a gifted clergyman whose family is murdered by a gang leader called Fire Boy, retreats into grief and wears black continuously from the day of the murders until the day Elijah enters his life. The costumes shift as Timi does. Once Elijah arrives, Timi’s shirts begin to lighten, and the film’s backdrop, the walls of his mountain home, the skies outside, follows the same trajectory from shadow toward colour. It is a technique used by very few Nollywood filmmakers with this kind of consistency, embedding the character’s emotional arc inside the visual palette so that the audience feels the change before the dialogue announces it. The props carry equal weight. Elijah’s tie, given to him by Timi, functions as the film’s central symbol of belonging. When Elijah leaves it at Anna’s house after being called a church rat, the gesture communicates an entire internal monologue without a word: he is telling himself he deserves more than where he has been placed. Sasore the screenwriter trusts the object to do the work that lesser scripts would assign to dialogue. The score operates on a similar principle: sparse, deployed only when the emotional charge has already been built, so that when the music arrives it feels earned rather than instructive. Structurally, *Breath of Life* is Sasore’s most sophisticated screenplay. The non-linear timeline, the narrator’s hindsight, the way information is withheld and then released at precisely the moment of maximum impact, all reflect a writer who has learned to control pace as a form of dramatic argument. The employer-to-employee dynamic between Timi and Elijah, which becomes familial without any single scene announcing the shift, is the film’s true achievement. Wale Ojo plays Timi as a man whose entire body carries the weight of thirty years of sealed grief: still, contained, speaking in precise and limited sentences. Chimezie Imo’s Elijah is the opposite force, warm and capacious, someone whose faith is not a doctrine but a disposition. Their chemistry is the engine the film runs on. ## The Recurring Elements Seen together, BB Sasore’s films share more than a production company and a filmmaker’s name. They share a set of preoccupations that return in different registers across different genres, like a composer revisiting the same motif in different keys. Across *Before 30*, *Banana Island Ghost*, *God Calling*, and *Breath of Life*, certain craft decisions appear too consistently to be coincidental. **The cinematography of Ola Cardoso** is a through-line in the feature films, and his presence matters. He understands what BB Sasore needs from an image: not the frenetic, close-in energy of Nollywood action cinema, but a composed, considered frame that gives the spiritual and emotional stakes room to breathe. His lighting is praised across all three films, and his willingness to attempt technically difficult shots, the underwater sequence in God Calling, the aerial landscape work in *Banana Island Ghost*, the period Ibadan vistas in *Breath of Life*, reflects a DP willing to serve ambitious material. **Fire initiates everything.** The car accident that kills Patrick. The house explosion that takes Sade’s child. The gang violence of Fire Boy that murders Timi’s family. In each case, fire is not punishment but rupture, the event that breaks a world open and forces the question of what a person becomes once what they were built around is gone. BB Sasore does not use fire as metaphor in a heavy-handed way. He uses it structurally, as the narrative ignition that makes everything else necessary. **Water is the answer fire forces.** Patrick in the boat with God. Sade beneath the surface of the bridge. The lush waterways of Ibadan framing Timi’s slow emergence from grief. Water in Sasore’s films functions as the space of encounter, of threshold, of possibility. His characters do not find resolution in water. They find permission to continue. **Loss is the entry point, not the subject.** BB Sasore has said in interviews that the recurrence of loss in his work was “purely coincidental.” Whether or not that is true, it is structurally consistent: his films begin in the aftermath of grief and use it as the condition that makes a character available to something larger. The grief is not what the films are about. It is what the films move through. **Purpose is the real subject.** He has said this directly: he is fascinated by “purpose and how much exogenous factors such as culture and religion affect our choices.” Every Sasore protagonist is a person whose sense of purpose has been disrupted, either by social pressure (*Before 30*), supernatural assignment (*Banana Island Ghost*), personal tragedy (*God Calling*, *Breath of Life*), and the films follow them toward the moment where purpose reasserts itself. The sacred is simply the name for the force doing the reasserting. That a non-religious filmmaker keeps making films about faith so honestly is the most interesting thing about BB Sasore. He is not bearing witness. He is constructing, deliberately and with considerable technical skill, the conditions under which the sacred becomes visible. The fact that he admits this freely does not make the work less sincere. If anything, it makes it more precise. He knows exactly what he is building. The question, film by film, is whether the architecture is strong enough to hold what he is asking it to carry. And across all of it runs the recurring interest in faith not as certainty but as motion, as the act of moving toward something you cannot see from where you are standing. BB Sasore’s characters do not arrive at faith; they are pushed into the vicinity of it by loss, by grief, by the collapse of the ordinary lives they had built. What they find there is not always comfort. Sometimes it is clarity. Sometimes it is simply the next step. So far, it mostly is. What film of BB Sasore’s has stayed with you? Drop your thoughts in the comments. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/bb-sasore-and-the-cinema-of-the-sacred-ordinary/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/bb-sasore-and-the-cinema-of-the-sacred-ordinary/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/bb-sasore-and-the-cinema-of-the-sacred-ordinary/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/bb-sasore-and-the-cinema-of-the-sacred-ordinary/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/bb-sasore-and-the-cinema-of-the-sacred-ordinary/?share=linkedin) - **Categories:** Articles **Tags:** Ademola Adedoyin, AMVCA, auteur theory, Banana Island Ghost, Before 30, Beverly Naya, Bimbo Manuel, Breath of Life, Chigul, Chimezie Imo, Chioma Omeruah, Cinematography, Damilola Adegbite, Eku Edewor, faith-based cinema, film editorial, Filmmaker analysis, filmmaking, fire motif, Genoveva Umeh, God Calling, Karibi Fubara, loss and redemption, nigerian cinema, nollywood, Nollywood Criticism, Nollywood directors, OC Ukeje, Ola Cardoso, Patrick Diabuah, period film, Production Design, purpose, Richard Mofe-Damijo, Sam Dede, Sambasa Nzeribe, Tina Mba, VFX in Nollywood, Visual Storytelling, Wale Ojo, water motif, writer-director, Zainab Balogun --- ### [The Boy Who Runs: What We Know About CJ Obasi's New Biopic](https://nollycritic.com/the-boy-who-runs-what-we-know-about-cj-obasis-new-biopic/) **Published:** June 25, 2026 **Author:** Esther Adamu **Excerpt:** Nigerian filmmaker and director CJ Obasi has announced his next major project titled The Boy Who Runs. Obasi will produce, direct **Content:** Nigerian filmmaker and director CJ Obasi has announced his next major project titled [*The Boy Who Runs*](https://www.yahoo.com/entertainment/movies/articles/cj-obasi-co-write-direct-161144050.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuYmluZy5jb20v&guce_referrer_sig=AQAAAEaS4DoAX8MhO98vicMF4BqPLvNRs6EmZfI5RxrUPzqKD9jQUHbsB3CD8RFLQHBQe2DG-VrOTmICwLs4-wHjLYWGNug6XJt9c3z8N3zKYjU3h0Jz3qV9T23UF6OBhsQ_GFYXX2G0neKtwbMN5dsTAd2v68YkAacIPi3h4Ug8IJd6 "The Boy Who Runs"). Obasi will produce, direct, and co-write The Boy Who Runs, a biopic based on the life of Ugandan athlete Julius Achon. CJ Obasi’s new project is based on the book *The Boy Who Runs: The Odyssey of Julius Achon* by John Brant. The film will follow Achon’s journey from northern Uganda, where he was abducted by the Lord’s Resistance Army (LRA), an extremist organization operating in Central and East Africa, to his rise as a national champion and NCAA athlete at George Mason University. It will also explore his later years inside the elite American running world of Nike in Oregon and the personal struggles that shaped his evolution into one of Uganda’s most respected public figures of all time. CJ Obasi will co-write [*The Boy Who Runs*](https://afrocritik.com/c-j-obasi-direct-julius-achon-biopic-the-boy-who-runs/ "The Boy Who Runs") alongside Kirimi Kiage and Teddy Gitau. CJ Obasi’s production company Fiery Film will handle production in association with the Swiss-based studio 9 NIGHTS. CJ Obasi’s last directed movie, [*Mami Wata*](https://cjobasi.com/mami-wata/ "Mami Wata"), premiered at Sundance and went on to be showcased at various festivals. The film was Nigeria’s official submission for Best International Feature Film at the 96th Academy Awards and received nominations for both the Independent Spirit Awards and the NAACP Image Awards. He is currently shooting a psychological drama titled [*A Blue Butterfly*](https://nollycritic.com/a-blue-butterfly-what-we-know-about-cj-obasis-new-psychological-drama/ "A Blue Butterfly") starring Steve Toussaint and Sanaa Lathan. CJ Obasi’s *The Boy Who Runs* is more than just a biopic; it’s a symbol of Nollywood’s growing influence on the world stage. With projects like *The Boy Who Runs*, Nollywood continues to prove that African cinema can inspire, challenge, and captivate audiences worldwide, cementing its place in the international film stage. ![the boy who runs cj obasi](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/06/cj-julius-kampala-may-2026-jwS_u2yo.webp?resize=640%2C360&ssl=1)CJ Obasi/Julius Achon ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-boy-who-runs-what-we-know-about-cj-obasis-new-biopic/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-boy-who-runs-what-we-know-about-cj-obasis-new-biopic/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-boy-who-runs-what-we-know-about-cj-obasis-new-biopic/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-boy-who-runs-what-we-know-about-cj-obasis-new-biopic/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-boy-who-runs-what-we-know-about-cj-obasis-new-biopic/?share=linkedin) - **Categories:** Nollywood News **Tags:** CJ Obasi, Fiery Film, Kirimi Kiage, mami wata, nigerian cinema, nollycritic, nollywood, Nollywood 2026, Swiss-based studio 9 NIGHTS, Teddy Gitau, The Boy Who Runs, The Boy Who Runs: The Odyssey of Julius Achon by John Brant --- ### [The Return of Omotara Johnson Heads to Cinemas This July](https://nollycritic.com/the-return-of-omotara-johnson-heads-to-cinemas-thi-july/) **Published:** June 22, 2026 **Author:** Esther Adamu **Excerpt:** Nearly two decades after the Yoruba classic Omotara Johnson was released, Bukky Wright has announced The Return of Omotara Johnson, which will... **Content:** Nearly two decades after the Yoruba classic *Omotara Johnson* was released, [Bukky Wright](https://nollycritic.com/red-circle-an-intriguing-crime-drama-weaved-in-red/ "Bukky Wright") has announced that *[The Return of Omotara Johnson](https://shockng.com/bukky-wright-omotara-johnson-nigerian-movie-2026/ "The Return of Omotara Johnson")*, will officially premiere in July. This will mark Bukky Wright’s return to the producers’ chair, as her last major self-produced movie was the Yoruba drama titled *Ale Eru Jeje* (2017). *Omotara Johnson*, released in 2008, quickly became a Yoruba film classic. The story followed a woman whose ambition and choices led to betrayal, heartbreak, and vengeance. This Sequel revisits Omotara’s story, exploring how her past choices continue to shape her future. Bukky Wright portrayal of the titular character was widely praised for its emotional depth and authenticity, making it a cultural touchstone in Nollywood golden era. The film is produced by Bukky Wright in collaboration with Bossteewo, directed by Adeoluwa Owu, and distributed by [Nile Entertainment](https://thenileworld.com/ "Nile Entertainment"). Bukky Wright has described the project as her biggest yet, with production taking place partly in the UK and Nigeria. The cast of *The Return of Omotara Johnson* includes Bukky Wright, Richard Mofe-Damijo, Shaffy Bello, Toyin Abraham, Ali Nuhu, and Chidi Mokeme. The initial soundtrack of Omotara Johnson was written by Tope Alabi, but the Return of Omotara Johnson features contemporary artist Ojayy Wright alongside legendary gospel singer Tope Alabi. Ahead of its release, Bukky wright reintroduced Omotara Johnson on her official YouTube channel. This allows people to refresh their memory of the original while preparing for the sequel. The settings and overall production of *Omotara Johnson* and its sequel, *The Return of Omotara Johnson*, highlight how far [Nollywood](https://nollycritic.com/ "Nollywood") has come. While the original film was rooted in the Yoruba home-video era, the new release embraces modern cinematography, international locations, and higher production values. These changes reflect Nollywood’s growing ambition to deliver world-class cinema that resonates both locally and internationally. *The [Return of Omotara Johnson](https://www.imdb.com/title/tt43307825/?ref_=nm_flmg_job_1_accord_1_unrel_cdt_t_1 "Return of Omotara Johnson")* premieres in Cinemas Nationwide on July 10, 2026. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-return-of-omotara-johnson-heads-to-cinemas-thi-july/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-return-of-omotara-johnson-heads-to-cinemas-thi-july/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-return-of-omotara-johnson-heads-to-cinemas-thi-july/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-return-of-omotara-johnson-heads-to-cinemas-thi-july/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-return-of-omotara-johnson-heads-to-cinemas-thi-july/?share=linkedin) - **Categories:** Nollywood News **Tags:** Ali Nuhu, and Chidi Mokeme, Bossteewo, bukky wright, Captain Degzy, nigerian cinema, nile entertainment, nollycritic, nollywood, Ojayy Wright, Omotara Johnson, Richard Mofe-Damijo, Shaffy Bello, The Return of Omotara Johnson, Tope Alabi, Toyin Abraham --- ### [Alahun: The Weaver - Here's All You Need to Know About The New Movie](https://nollycritic.com/alahun-the-weaver-coming-to-cinemas-in-august/) **Published:** June 24, 2026 **Author:** Esther Adamu **Excerpt:** Alahun: The Weaver, an Upcoming Nollywood movie directed by Dare Olaitan and produced by acclaimed filmmaker Kayode Kasum, is scheduled... **Content:** [*Alahun: The Weaver*](https://www.partyjolloftv.com/movies/alahun-the-weaver-2160 "Alahun: The Weaver"), an Upcoming Nollywood movie directed by Dare Olaitan and produced by acclaimed filmmaker [Kayode Kasum](https://nollycritic.com/kayode-kasum-and-the-new-nollywood-romance-a-genre-bending-love-affair/ "Kayode Kasum"), is scheduled for release in August. The movie explores themes of manhood, bravery, and the subversion of traditional gender expectations. *Alahun: The Weaver* centers around a young protagonist who faces ridicule in a society with rigid ideas of masculinity, where he is told that *real men don’t weave baskets or plait hair*. Defying societal norms, he embarks on an extraordinary journey across mystical worlds to save his kingdom. The film features an ensemble cast composed of some of the biggest names in the Nigerian film industry, blending veteran actors with contemporary stars: Odunlade Adekola, Ibrahim Chatta, Lateef Adedimeji, Moshood Fattah Kunle Remi, [Omowunmi Dada](https://nollycritic.com/red-circle-an-intriguing-crime-drama-weaved-in-red/ "Omowunmi Dada"), Faithia Williams, Ronke Oshodi Oke, Tope Tedela, and Peter Fatomilola. The movie will be distributed by Genesis Pictures. By being centered on weaving a traditional Yoruba craft, the film underscores the importance of preserving heritage while adapting to modern realities. It reflects [Nollywood’s](https://nollycritic.com/ "Nollywood’s") ambition to tell stories that are globally competitive yet deeply rooted in local culture. With its compelling narrative, visionary direction, and cultural resonance, *Alahun: The Weaver* is poised to be one of Nollywood’s standout releases of 2026. *Alahun: The Weaver* is coming to cinemas nationwide this August. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/alahun-the-weaver-coming-to-cinemas-in-august/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/alahun-the-weaver-coming-to-cinemas-in-august/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/alahun-the-weaver-coming-to-cinemas-in-august/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/alahun-the-weaver-coming-to-cinemas-in-august/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/alahun-the-weaver-coming-to-cinemas-in-august/?share=linkedin) - **Categories:** Nollywood News **Tags:** Alahun: The Weaver, and Peter Fatomilola, Faithia Williams, Genesis Pictures, Ibrahim Chatta, Kayode Kasum, kunle remi, Lateef Adedimeji, nigerian cinema, nollycritic, nollywood, Odunlade Adekola, Omowunmi Dada, Ronke Oshodi Oke, Tope Tedela --- ### [Agbara Nla: The Return Set For October Release](https://nollycritic.com/agbara-nla-the-return-set-for-october-1-release/) **Published:** June 23, 2026 **Author:** Esther Adamu **Excerpt:** Agbara Nla: The Return is a sequel to Agbara Nla, created and directed in 1993 by Evangelist Mike Bamiloye under Mount Zion production **Content:** *[Agbara Nla: The Return](https://shockng.com/mount-zion-agbara-nla-the-return-nigerian-movie-at-cinema-2026/ "Agbara Nla: The Return")* is a sequel to *Agbara Nla*, created and directed in 1993 by Evangelist Mike Bamiloye under Mount Zion production. The upcoming movie *Agbara Nla: The Return* is a co-production between three studios, combining Mount Zion’s legacy in gospel drama with Sozo Films’ production expertise and Circuits’ distribution network. The franchise, created by Mike Bamiloye, has been reimagined by the next generation of the Bamiloye family decades later. Damilola Mike-Bamiloye and Joshua Mike-Bamiloye are leading this creative revival, updating the story’s spiritual themes with contemporary production values while preserving the original core message of faith and spiritual resilience. *Agbara Nla* is set in a village and vividly depicts intense spiritual battles, highlighting confrontations between dark forces such as witchcraft, marine spirits, occult practices, and demonic strongholds. The film emphasizes the supremacy of God’s power through prayer, faith, and courageous evangelism. This new film aims to uphold the core themes of divine authority over evil while expanding its scope and characters for a broader cinematic canvas. Damilola Mike‑Bamiloye described the project as > A stewardship of legacy, saying the revival aims to honour the original’s spiritual impact while making the story accessible to younger audiences raised on modern cinema. Joshua Mike‑Bamiloye emphasized the technical ambitions of the film, noting that > The team has blended practical effects, location work, and modern post‑production techniques to elevate the franchise’s visual language. Chris Odeh is leading the production of *Agbara Nla: The Return*, with Mohammed Sedik and Damilola Bamiloye serving as co-producers. Blue Pictures Distribution is overseeing the [nationwide distribution](https://nollycritic.com/ "nationwide distribution") to ensure the film reaches audiences across Nigeria. The movie will star Mike Bamiloye, who reprises his iconic role as Isawuru, alongside Philip Olubakin as Olaboye, Damilola Mike-Bamiloye as Kola, and Aanu Kolade Abiodun as Bose. The film aims to appeal not only to those who grew up with the series from the 1990s but also to newer viewers who are experiencing these themes for the first time, thanks to its modern cinematic touch. On October 1, 2026, *Agbara Nla: The Return*, is coming to cinemas nationwide. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/agbara-nla-the-return-set-for-october-1-release/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/agbara-nla-the-return-set-for-october-1-release/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/agbara-nla-the-return-set-for-october-1-release/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/agbara-nla-the-return-set-for-october-1-release/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/agbara-nla-the-return-set-for-october-1-release/?share=linkedin) - **Categories:** Nollywood News **Tags:** Aanu Kolade Abiodun, Agbara Nla, Agbara Nla: The Return, Blue Pictures Distribution, Chris Odeh, Damilola Mike-Bamiloye, Evangelist Mike Bamiloye, Joshua Mike-Bamiloye, Mohammed Sedik, Mount Zion production, nigerian cinema, nollycritic, nollywood, Philip Olubakin --- ### [Blood Sisters Season 2: A Chaotic Return That Struggles to Find Its Focus](https://nollycritic.com/blood-sisters-season-2-a-chaotic-return-that-struggles-to-find-its-focus/) **Published:** June 10, 2026 **Author:** Uju Okosieme **Excerpt:** Blood Sisters returns to Netflix with higher stakes, bigger betrayals, and a fresh batch of characters joining familiar faces like Nancy... **Content:** *Blood Sisters* returns to [Netflix](https://www.netflix.com/title/81521086 "Netflix") with higher stakes, bigger betrayals, and a fresh batch of characters joining familiar faces like Nancy Isime, Ini Dima-Okojie, and Kate Henshaw-Nuttall. Picking up after the events of the first season, the new instalment begins with Sarah and Kemi standing trial for murder before throwing them into a prison system where survival becomes a daily battle. On paper, the season has plenty going for it. Sarah and Kemi’s prison ordeal, Uduak’s growing grip on the Ademola empire, Timeyin’s attempts to solidify her power, and the brewing tensions within the family all provide enough material for an engaging continuation. Unfortunately, these storylines rarely come together in a meaningful way. *Blood Sisters* Season 2 constantly introduces new conflicts only to abandon them just as quickly. Timeyin’s corporate struggles, her relationship with Mofe, Akin and Uduak’s romance, and the various family power plays all compete for attention, leaving the narrative feeling fragmented rather than interconnected. Instead of building toward a cohesive central conflict, the show often feels like several different stories happening simultaneously. ## Blood Sisters Season 2 Directed by: Kayode Kasum and Daniel Oriahi Created by: Temidayo Makanjuola Genre: Thriller Released on: June 5, 2026 (Netflix) Language: English, Pidgin English ## **Too Much Movement, Too Little Impact** The biggest issue with [*Blood Sisters* Season 2](https://nollycritic.com/blood-sisters-season-2-set-to-premiere-on-netflix-this-june/ "Blood Sisters Season 2") is its pacing. The series moves so quickly from one event to another that almost nothing is given room to breathe. The opening trial is perhaps the clearest example. What should have been a major emotional and narrative centrepiece is rushed through at lightning speed. Uduak’s testimony shifts blame onto Sarah and Kemi for virtually every crime from the previous season. Sarah receives a life sentence, Kemi is sentenced to death, and before viewers can process any of it, the story has already moved on to prison gangs, assassination attempts, escape plans, and family betrayals. The prison plotline initially feels like it will become the season’s strongest narrative thread. Sarah and Kemi struggle to survive behind bars while powerful enemies work to ensure they never leave alive. There are moments of genuine tension here, particularly as Sarah narrowly survives an assassination attempt and Kemi finds herself trapped between rival prison factions. Yet even these developments suffer from the show’s need to constantly jump to the next dramatic event. The same problem affects almost every major subplot. Akin and Uduak’s relationship develops rapidly, but contributes very little to the overall story. Timeyin and Mofe’s romance never feels convincing because we spend so little time with them as a couple. By the time Mofe professes his love and proposes marriage, the audience has barely seen enough of their relationship to invest emotionally. Even the season’s final alliance between Sarah, Kemi, and Timeyin feels more like a narrative necessity than a naturally earned development. The pieces are there, but the storytelling rarely takes the time to properly connect them. ## Strong Performers Fighting the Script Despite the uneven writing, the cast largely does their best with the material. Blessing Obasi is the standout performer this season while Nancy Isime and Ini Dima-Okojie remain the emotional hoist. Both actresses deliver committed performances as Sarah and Kemi, even when the script asks them to navigate increasingly chaotic story developments. Kate Henshaw-Nuttall commands attention whenever she appears as Uduak, although the character becomes increasingly one-dimensional as the season progresses. Uduak spends much of the story operating in the same emotional register, which eventually makes her less compelling than she was in Season 1. Genoveva Umeh, who was one of the standout performers in the first season, doesn’t quite reach the same heights this time around. Timeyin is given plenty to do narratively, but the character never feels as memorable as before due to poor character development. One particularly effective piece of casting is Ben Touitou as BJ, the son of Ramsey Nouah’s Uncle B. The resemblance helps sell the connection even when the performance and writing doesn’t. Gabriel Afolayan also delivers one of the season’s strongest moments during the scene where his son accidentally pushes him into the pool. His reaction feels believable and grounded in a season that often leans heavily into melodrama. Unfortunately, most performances suffer because of the writing. Kemi’s explosive outburst in episode 2 feels disconnected from what came before it, making Nancy Isime’s performance in the scene feel unusually forced. Similarly, the scene involving Uduak and Akin’s final confrontation is let down by both the writing and the acting choices surrounding it. ## Polished but Predictable This season appears a bit more gritty and darker than the first instalment, rightly so. The change is well thought, suits the genre and creates the right mood for the audience to know the gravity of the situation of the shows’ titular characters. The production values remain solid, however, the poor use of costume for some members of the Ademola family is jarring, especially for Uduak and Timeyin. The continuity in the series is also poor. The fight sequences are questionable and the script’s obsession with the Third Mainland Bridge eventually becomes ridiculous as nothing tangible ever happens there. ## Questions the Season Never Answers The deeper the *Blood Sisters* Season 2 goes, the more its logic begins to unravel. The trial raises countless questions. Why is Kemi’s testimony handled off-screen? Why isn’t Kemi present during key moments of the proceedings despite also being on trial? Why do neither of them mention witnessing Timeyin kill Uncle B or shoot Femi? The legal process moves at such an unrealistic speed that it becomes difficult to take it seriously. The prison escape storyline is equally baffling. Sarah’s mother openly discusses escape plans during prison visits despite officers being everywhere. The breakout itself happens before necessities such as securing travel documents have been arranged. Nearly every character seems to have a conveniently placed relative capable of breaking someone out of prison whenever the plot requires it. Many of the season’s deaths also feel empty because the show never gives viewers enough time to connect with the victims. Characters are introduced, placed in danger, and killed off so quickly that their deaths register more as plot mechanics than emotional moments. Then there are the smaller decisions that don’t connect. What purpose did Femi’s pool incident serve beyond creating temporary drama? Why would Akin make a sensitive phone call in Uduak’s room, knowing she could overhear him? Why is Folake risking her life and career to save Kemi and Sarah? Why is Kemi watching kids play football whilst in danger? Why are the sisters walking on the bridge at the final scene despite being wanted? The show repeatedly asks viewers to accept questionable decisions in the interest of advancing the plot. ## Verdict *Blood Sisters* Season 2 certainly isn’t short on drama. There are betrayals, prison breaks, murders, power struggles, and family conflicts around every corner. The problem is that very little of it feels properly developed. The season moves so quickly from one storyline to the next that it rarely allows its strongest moments to land. While there are solid performances from the cast and the production remains visually appealing, the pacing, underdeveloped subplots, and numerous logical inconsistencies prevent the story from coming together as a cohesive whole. What could have been a tense and emotionally satisfying resolution feels like something that perhaps should have been left untouched. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/blood-sisters-season-2-a-chaotic-return-that-struggles-to-find-its-focus/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/blood-sisters-season-2-a-chaotic-return-that-struggles-to-find-its-focus/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/blood-sisters-season-2-a-chaotic-return-that-struggles-to-find-its-focus/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/blood-sisters-season-2-a-chaotic-return-that-struggles-to-find-its-focus/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/blood-sisters-season-2-a-chaotic-return-that-struggles-to-find-its-focus/?share=linkedin) - **Categories:** Reviews **Tags:** blood sisters, Daniel Etim Effiong, Daniel Oriahi, Ebony Life Films, Ini Dima-Okojie, Kate Henshaw-Nuttall, Kayode Kasum, Mo Abudu, Nancy Isime, Temidayo Makanjuola --- ### [Iwe Ala - An Ojude Oba Story: Beautiful Festival, Restless Story](https://nollycritic.com/iwe-ala-an-ojude-oba-story-beautiful-festival-restless-story/) **Published:** June 17, 2026 **Author:** Shalom O. Obisesan **Excerpt:** There is a version of Iwe Ala: An Ojude Oba Story that works completely. In that version, the Ojude Oba festival is exactly... **Content:** There is a version of *[Iwe Ala: An Ojude Oba Story](https://www.filmoneng.com/movie/iwe-ala?whereToWatch=in-cinemas "Iwe Ala: An Ojude Oba Story")* that works completely. In that version, the Ojude Oba festival is exactly what it is here: a living spectacle of Ijebu heritage, colour, generational pride, and communal identity, captured with the kind of patience and visual care that only comes from people who respect what they are documenting. That version exists inside this film. The difficulty is finding it between the subplots that distract from it. Directed by Adeoluwa Owu and produced by ComeOnNaija, the studio behind the acclaimed cultural drama *Afamefuna: An Nwa Boi Story*, Iwe Ala arrived in cinemas as the first feature film directly inspired by the iconic [Ojude Oba festival](https://en.wikipedia.org/wiki/Ojude_Oba_festival "Ojude Oba festival"). Its ambition is clear and admirable. The film follows Alhaji Ojusote Jimoh, a revered master tailor whose reputation and business face collapse when his staff abandons him with bales of unfinished garments just before the fast-approaching festival. Forced to turn to the family he has spent years pushing away, Ojusote must confront not only the professional crisis threatening his tailoring dynasty but the personal costs of years of stubbornness, estrangement, and the unresolved history that lives in a book his family calls the Iwe Ala, the book of dreams. ## *Iwe Ala: An Ojude Oba Story* Directed by: Adeoluwa Owu Produced by: Olawumi Fajemirokun Genre: Drama Released on: June 12, 2026 (Cinemas) Language: English and Yoruba ## The Legacy That Cannot Find Its Own Story The emotional destination of this film is forgiveness, and it is a worthy one. At its core, *Iwe Ala* is about what happens to a man who has built an identity around pride and legacy while allowing the actual people that legacy was meant to serve to drift away from him. Ojusote’s stubbornness is the film’s most interesting character trait, and the gradual confrontation with what that stubbornness has cost him is where the story has the most to say. The Iwe Ala itself, the book at the centre of the family’s history, carries real symbolic weight. The object and everything attached to it represent the kind of cultural inheritance that gets distorted across generations, passed down with its original meaning obscured and its emotional consequences unexamined. When the film is focused on this layer of the story, it feels purposeful. The problem is that it is not focused on this layer for most of its running time. The subplots orbiting the central story are numerous, and several of them sit in the narrative the way furniture sits in a corridor: blocking the path without adding anything useful. The love triangle involving Temidire, the daughter, between her genuine connection and the wealthy alternative her mother is pushing her toward, generates its own small drama but never earns its proportion of the film’s attention. Its conclusion comes, but the question of whether the film needed to take us on that route in the first place is never answered satisfactorily. More consequentially, the subplot involving Sanya, the son, opens a narrative thread that the film is not prepared to close. His desire to leave the country, his scholarship, and the desperate act that follows connect back to the film’s main plot in ways that matter. But the resolution of his own story is abandoned before it arrives. What happened to the scholarship? What becomes of him after the consequences catch up? The film does not say. It moves on as though the question was never asked, which is a more honest description of the problem than calling it an oversight. By the time the film arrives at what it has been building toward, the material that should land with full dramatic force is reaching an audience that has already spent considerable energy on everything else. The climax earns its themes. It simply has to work harder to earn them than it should. ## A Celebration That Arrives Late to Its Own Story At two hours and six minutes, *Iwe Ala* is a film that would benefit from a sharper editorial eye. The pacing problem is not distributed evenly across the runtime. The early sections move with reasonable energy, and the foundation of Ojusote’s crisis is established with enough clarity. The middle stretch is where the film begins to feel the strain of its own ambitions, pulling in multiple directions at once without the structural discipline to keep each thread taut. The positioning of the central dramatic reckoning is the clearest structural issue. After more than an hour in which much of the film’s emotional business has been transacted, the moment that the entire story has been pointed toward arrives in a runtime that has already exhausted a significant portion of the audience’s patience. This is not the kind of slow build that generates anticipation. It is the kind that generates fatigue. The Ojude Oba festival sequences, when they arrive in force near the end of the film, are the production’s most assured work and the most convincing argument for the film’s existence. The procession, the costumes, the Regbe-regbe age-grade groups in coordinated attire, the horsemanship, the homage to the Awùjalè, all of it is documented with genuine care. These passages feel as though they were captured during the actual festival, and the authenticity of that documentation gives them an energy the dramatic scenes rarely match. The Ojude Oba is the film’s most compelling presence throughout, and the film is at its best when it trusts that presence to carry the story. ## When the Culture Speaks Through the Acting The performances in Iwe Ala sit within a tradition of [Yoruba cinema](https://nollycritic.com/the-evolution-of-yoruba-epic-movies/ "Yoruba cinema") that carries its own internal logic, one that does not always translate easily across different tastes. The dialogue is delivered with a deliberate cadence, words weighted and extended to communicate significance, meaning announced rather than implied. This is a stylistic register that the film is not attempting to subvert or transcend. It is working fully within it, and for audiences who are at home in that tradition, there is nothing here that will disturb. For those unaccustomed to it, Mercy Aigbe’s delivery as Abosede will read as exaggerated emphasis, a stretching of phrasing that signals importance through its own lengthening. There is genuine cultural texture in this approach, but it occasionally creates distance between the emotion the character is experiencing and the way that emotion reaches the audience. The performance is not wrong so much as it is deeply embedded in a specific performing tradition. Owobo Ogunde as Ojusote carries the film’s central weight with the seriousness the role demands. His portrayal of stubbornness without cartoonish villainy keeps the audience from dismissing the character, which is important for the film’s emotional logic to function. The demands placed on him by the role are considerable, and he meets them with consistency even when the material around him loses its focus. Toluwalope Otebiyi as Sanya, Dele Odule, Eniola Ajao as Amusan, and Tobi Makinde as Laolu each bring the functional competence that Yoruba ensemble productions rely on, grounding their scenes without particularly distinguishing themselves. ## The Festival the Camera Knows How to Honour The strongest case for *Iwe Ala* is made entirely through its camera. Adeoluwa Owu’s direction finds its most confident register in the documentation of the Ojude Oba, and the cinematography across these sequences is the clearest evidence of what the production was capable of at its best. Drone footage gives the festival grounds the scale they deserve, and the film lingers on the procession, the colour, the age-grade display of the Regbe-regbe groups, and the homage to the Awùjalè with a reverence that communicates genuine affection for what is being shown. The costume work across the festival sequences is meticulous and serves the film’s cultural mission well. Where it is less consistent is in the dramatic sequences, where the visual language sometimes defaults to the functional rather than the purposeful. The decision to shoot against and within the actual festival, if the evidence on screen is to be trusted, is the film’s most significant production choice. The authenticity of the crowd, the setting, and the ceremony gives the Ojude Oba sequences a texture that might not have been replicated on a set. These passages are alive in a way that the rest of the film occasionally is not, and they carry with them a sense of cultural record that will outlast the film’s narrative shortcomings. ## Final Thoughts *Iwe Ala: An Ojude Oba Story* is a film with a clear and genuine cultural purpose. ComeOnNaija’s project of bringing Nigerian festivals and traditions to the cinema screen through character-driven drama is a meaningful one, and this film represents a real investment in the Ojude Oba and the Ijebu heritage it celebrates. The Ojude Oba is one of Nigeria’s most spectacular communal events, and the film documents it with care. The tension the film never fully resolves is the one between its function as cultural documentation and its ambitions as dramatic narrative. When it leans into the festival, it is at its most confident. When it constructs the human drama meant to give the festival emotional weight, it reaches for too many threads and follows too few of them to their proper ends. The forgiveness theme that sits at the heart of the story is genuine and earned in the moments the film allows it to breathe. The problem is how rarely the film allows it to breathe. The Ojude Oba itself is the film’s most reliable character. It arrives fully dressed, fully alive, and carrying a history that no screenplay needs to invent. ## Verdict Watch this if you want to understand and experience the Ojude Oba festival, its origins, its rituals, and the culture that keeps it alive. The film educates as much as it entertains, and for audiences invested in Ijebu heritage or Yoruba cultural cinema, it offers real value. Come prepared for the performance style of the tradition it belongs to, and come prepared for a narrative that takes its time arriving at its own point. Patience here is not optional. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/iwe-ala-an-ojude-oba-story-beautiful-festival-restless-story/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/iwe-ala-an-ojude-oba-story-beautiful-festival-restless-story/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/iwe-ala-an-ojude-oba-story-beautiful-festival-restless-story/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/iwe-ala-an-ojude-oba-story-beautiful-festival-restless-story/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/iwe-ala-an-ojude-oba-story-beautiful-festival-restless-story/?share=linkedin) - **Categories:** Reviews **Tags:** 2026 Nollywood film, Adeoluwa Owu, An Ojude Oba Story, ComeOnNaija, cultural drama, Dele Odule, demola adedoyin, Eniola ajao, family drama, Farooq Oreagba, Film Critique, Film review, forgiveness, Ijebu culture, Isiaka Aisha, Iwe Ala, Kene Mkparu, legacy, Mercy Aigbe, Nigerian heritage film, nollywood, Ojude Oba festival, Olawunmi Fajemirokun, Owobo Ogunde, Tobi Makinde, Toluwalope Otebiyi, Yoruba film --- ### [Nollywood Movies That Feel Uncomfortably Relevant in Nigeria Today](https://nollycritic.com/nollywood-movies-that-feel-uncomfortably-relevant-in-nigeria-today/) **Published:** June 12, 2026 **Author:** Shalom O. Obisesan **Excerpt:** These six Nollywood films are evidence of an industry that has looked at Nigeria clearly, named what it saw... **Content:** Nollywood Movies That Feel Uncomfortably Relevant in Nigeria Today. Nigeria has not been short of crises. In the last two to three years alone, the country has lurched from one emergency to another, each one settling into the bones of daily life before the next arrives. The fuel subsidy removal of May 2023 triggered a price spiral that sent the cost of transportation, food, and basic goods into territory most Nigerians could not have imagined. The naira collapsed. Inflation climbed past 30 percent. Families who had held on for decades found themselves unable to hold on any longer. The japa wave, already a swelling current before 2023, became a flood: doctors, engineers, academics, young professionals, anyone with the means and the desperation, queuing at embassies or boarding flights to the United Kingdom, Canada, the United States, anywhere that was not here. Those who could not leave stayed, and found ways to survive in a country that seemed determined to make survival a full-time occupation. Ousmane Sembène, the Senegalese filmmaker widely regarded as the father of African cinema, once said that “*if Africans do not tell their own stories, Africa will soon disappear*” (as quoted in Sembène!, dir. Samba Gadjigo and Jason Silverman, 2015). He understood that the camera, aimed at a society, is not a neutral instrument. It is a reckoning. André Bazin, writing from a very different vantage point, arrived at a similar conclusion: “*Reality is not art, but a realist art is one that can create an integral aesthetic of reality*” (What Is Cinema?, Vol. I, 1958). Together, these two ideas form the operating principle of cinema at its most honest: that the best films do not merely entertain, they account for the world that produced them. Nollywood has been doing this work for longer than it is often credited for. Beneath the comedies and the love stories and the spiritual warfare epics, there has always been a strand of Nigerian filmmaking that refuses to look away from what the country actually is. These are not films that reach for optimism as a reflex. They are films that sit inside a specific, recognisable Nigeria and ask the audience to sit with it too. Some are polished; some are imperfect but honest; all of them, watched today, feel less like fiction and more like documentation. Here are six Nollywood movies that feel uncomfortably, undeniably relevant right now. ## The Herd (2025) **Director:** Daniel Etim Effiong **Starring:** [Linda Ejiofor](https://www.imdb.com/name/nm5392430/?ref_=tt_cst_t_4), [Daniel Etim Effiong](https://www.imdb.com/name/nm5652097/?ref_=tt_cst_t_3), [Genoveva Umeh](https://www.imdb.com/name/nm11869960/?ref_=tt_cst_t_9), [Tina Mba](https://www.imdb.com/name/nm3339311/?ref_=tt_cst_t_5) Of all the crises that Nigeria has normalised over the past decade, the farmer-herder conflict is among the most devastating and the least adequately addressed. Thousands of people have been killed across the Middle Belt and North-Central states in clashes rooted in land, water, and the collapse of traditional migration routes. Armed herdsmen have been linked to attacks on farming communities, mass displacements, and, most viscerally in the public consciousness, a kidnapping-for-ransom economy that has turned ordinary travel and rural life into a gamble. Daniel Etim Effiong’s *[The Herd](https://nollycritic.com/the-herd-turns-real-life-fears-into-a-heart-pounding-cinematic-experience/ "The Herd")* does not approach this crisis from a distance. The film places its characters directly inside the tension, in a rural community where fear is ambient and violence is not a possibility but a probability. What makes it powerful is its refusal to flatten its subjects into symbols. The people caught in the crossfire are rendered as people: with relationships, with histories, with the specific textures of lives disrupted rather than lives simply lost. Effiong demonstrates a filmmaker’s instinct for atmosphere, using landscape not as backdrop but as character, conveying the isolation and vulnerability of communities that exist beyond the reach of any meaningful state protection. The resonance is direct. Every headline about herdsmen attacks, about ransoms paid or not paid, about communities abandoned by security forces, finds its human dimension in this film. *The Herd* is not comfortable to watch, and that discomfort is precisely the point. ## Freedom Way (2024) **Director:** [Afolabi Olalekan](https://www.imdb.com/name/nm12049996/?ref_=tt_ov_1_1) **Starring:** Debo “Mr Macaroni” Adedayo, Femi Jacobs, Mike Afolarin, Bimbo Akintola, Meg Otanwa, Jesse Suntele, Teniola Aladese Written and produced by Blessing Uzzi, *Freedom Way* had its international premiere at the Toronto International Film Festival in September 2024 before opening in Nigerian cinemas in July 2025. The timing of that local release could not have been more pointed. From the 2020 EndSARS protests and the Lekki Toll Gate killings, to the 2022 Lagos motorcycle ban, to persistent reports of police harassment and the rising political temperature ahead of the next general elections, the film arrived into a Nigeria that had been accumulating its grievances for years without resolution. Afolabi Olalekan’s debut feature follows nine interconnected lives affected by government policy and police behaviour, tracing how a state’s decisions ripple outward and downward until they reach the bodies of ordinary people. What the film resists is the comfort of a single protagonist to carry the weight of its argument. By distributing its attention across a range of characters, it makes the larger point: this is not a story about one person’s bad luck. It is a structural condition. Debo Adedayo, known to most as Mr Macaroni, brings a grounded seriousness to his role. The entire ensemble operates at the same frequency, one of controlled urgency. *Freedom Way* is a film about what happens when a government legislates against its own people and then sends uniformed men to enforce the legislation. Nigeria has been answering that question continuously for years. The film simply had the honesty to put it on screen. ## The Black Book (2023) **Director:** Editi Effiong **Starring:** Richard Mofe-Damijo, Ade Laoye, Sam Dede, Shaffy Bello Editi Effiong’s debut feature became the first Nollywood film to reach number one on Netflix globally, and its success was not incidental. *The Black Book* arrived at a moment when Nigerians had been primed, by decades of lived experience and the specific fury of the post-EndSARS years, to receive exactly this story: a father seeking justice for a son murdered by corrupt police officers, in a country where the justice system is not broken but is functioning precisely as the powerful designed it to function. Richard Mofe-Damijo plays Paul Edima, a former government operative turned pastor whose only son is framed for a kidnapping and killed by police working in service of a political scheme. The film spans forty years of Nigerian institutional rot, from military-era brutality to the present day, and its central argument is that the actors change but the architecture of impunity does not. The Black Book in question is a ledger of secrets, of the buried crimes that hold Nigeria’s elite structure together, and the film’s most disturbing suggestion is that such a ledger exists, somewhere, in some form, and that access to it is the only currency that matters. The film is not without its structural complications. The second half introduces plotting that strains credibility, and the action sequences occasionally tip into spectacle at the expense of character. But Effiong’s grip on the film’s emotional and political core never loosens. RMD carries the film with a performance of controlled fury, and Ade Laoye, as the journalist digging at the same truth from a different angle, brings an intelligence to her role that elevates the material. *The Black Book* is an imperfect but vital film, one that made Nigerians feel, for the duration of its runtime, that someone had finally named the thing. ## Gangs of Lagos (2023) **Director:** Jade Osiberu **Starring:** Tobi Bakre, Adesua Etomi-Wellington, Chike Osebuka, Bimbo Ademoye [Jade Osiberu](https://nollycritic.com/?s=Jade+Osiberu "Jade Osiberu")‘s Prime Video Nollywood original is set in Isale Eko, one of Lagos’s oldest communities, and follows a group of friends whose lives are shaped and ultimately consumed by the intersection of gang culture, political thuggery, and elite corruption. It is a film about the specific ecosystem that Nigerian governance creates when it abandons communities: the vacuum that forms, the alternative hierarchies that fill it, and the violence that those hierarchies both require and produce. What distinguishes *Gangs of Lagos* from a straightforward crime film is the care Osiberu takes with the community itself. Isale Eko is rendered as a place that prizes family and loyalty, where people turn to local power brokers not out of admiration but out of necessity, because the state has made itself absent from every service that matters. The film’s sharpest political moment arrives not in a confrontation scene but in a television clip, where a gubernatorial candidate asks how politicians can send their children abroad while leaving everyone else’s children to die in the streets. The line lands differently after 2023, in a country where the naira depreciated by over 200 percent and the political class continued to travel business class. The action is choreographed with a muscularity rarely seen, and Chike Osebuka’s performance is a revelation, a musician discovering he has a dramatic range that his industry had not yet asked of him. *Gangs of Lagos* is a film about what happens when a government abandons its people for long enough. Nigeria has been answering that question in real time. ## Eyimofe: This Is My Desire (2020) **Directors:** Arie Esiri, Chuko Esiri **Starring:** Jude Akuwudike, Temi Ami-Williams Before “japa” became shorthand for a generation’s disillusionment, before the subsidy removal and the naira’s collapse gave the word a fresh urgency, the Esiri brothers made a film that understood the desire to leave not as an act of disloyalty or cowardice but as a reasonable response to an unreasonable country. *Eyimofe (This Is My Desire)*, the debut feature from twins Arie and Chuko Esiri, follows two separate Lagos residents, Mofe, an electrician, and Rosa, a hairdresser, each quietly, desperately trying to migrate to Europe. The film’s two chapters are named after their respective destinations: Spain for Mofe, Italy for Rosa. Neither destination is ever shown. That absence is the film’s most honest statement. Shot on 16mm with a neo-realist restraint that is almost entirely absent from mainstream Nollywood, *Eyimofe* builds its argument not through dramatic confrontations but through accumulation. Every interaction carries a price. Healthcare officials charge Mofe to collect the bodies of his family members. Bureaucratic processes demand money to begin and more money to continue. A legal system makes him jump through hoops to access his deceased sister’s bank account. The Nigerian passport appears throughout the film as a sacred object, handled with a reverence that communicates exactly how much it costs, financially and spiritually, to hold one and still be denied entry to the world. Jude Akuwudike and Temi Ami-Williams give two of the finest performances in recent Nigerian cinema, and the restraint both bring to their roles is what makes the film’s accumulated desperation so devastating. *Eyimofe* was made before the 2023 economic collapse, and it is more relevant now than when it was first released. The conditions it depicts have not changed. That a film this precise and this honest exists is a gift. ## Òlòtūré: The Journey (2024) **Director:** Rukky Escott-Obiora **Starring:** Sharon Ooja, [Beverly Osu](https://www.imdb.com/name/nm9599989/?ref_=tt_cst_t_5), [Omoni Oboli](https://www.imdb.com/name/nm3729477/?ref_=tt_cst_t_4), [Bucci Franklin](https://www.imdb.com/name/nm7475880/?ref_=tt_cst_t_2), [Daniel Etim Effiong](https://www.imdb.com/name/nm5652097/?ref_=tt_cst_t_1) The original *Òlòtūré* (2020), directed by Kenneth Gyang and produced by Mo Abudu, was based on an undercover investigation by Premium Times journalist Tobore Ovuorie, who posed as a sex worker to document the trafficking pipelines that move Nigerian women from Lagos through Benin Republic and into European exploitation networks. The 2024 sequel, *The Journey*, picks up that thread and follows it further, tracing the routes and the systems and the human cost of an industry that has remained largely unchanged because the conditions that feed it have not changed either. What the Òlòtūré films understand, and what distinguishes them from more exploitative takes on the same subject matter, is that trafficking in Nigeria is not simply a crime story. It is an economic story. The women who enter these pipelines are not naive; many of them know, on some level, what they are walking into. They enter because the alternative, surviving in Nigeria on wages that have been shredded by inflation and a collapsed currency, feels like the slower death. The promise of Europe, however brutal the reality, is still a promise that Nigeria has stopped making. *The Journey* is a harder watch than its predecessor in some respects, less concerned with the undercover mechanics and more interested in the interior lives of the women caught inside the system. Sharon Ooja, returning to the role of Ehi, deepens her performance considerably, and the film around her has a rawness that the polished production values of the first film occasionally softened. Nigeria remains one of the leading countries of origin for trafficked persons into Europe. The economic collapse of the last three years has done nothing to close that pipeline. If anything, *Òlòtūré: The Journey* arrives as a reminder that some emergencies do not announce themselves with protests. They just keep moving, quietly, across borders. These six Nollywood films are evidence of an industry that has looked at Nigeria clearly, named what it saw, and trusted its audience to sit with the recognition. That trust is not a small thing. The list does not end here. Nigerian cinema is wide, and the realities it mirrors are wider still. If there is a Nollywood film you think belongs on this list, one that captures something true about the country we are living in right now, drop it in the comments. We are listening. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-movies-that-feel-uncomfortably-relevant-in-nigeria-today/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-movies-that-feel-uncomfortably-relevant-in-nigeria-today/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-movies-that-feel-uncomfortably-relevant-in-nigeria-today/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-movies-that-feel-uncomfortably-relevant-in-nigeria-today/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-movies-that-feel-uncomfortably-relevant-in-nigeria-today/?share=linkedin) - **Categories:** Articles **Tags:** Adesua Etomi-Wellington, Afolabi Olalekan, Arie Esiri, Blessing Uzzi, Chuko Esiri, Daniel Etim Effiong, Debo Adedayo, economic hardship, Editi Effiong, emigration, EndSARS, Eyimofe, film editorial, Freedom Way, gangs of Lagos, Genoveva Umeh, herdsmen crisis, Human trafficking, insecurity, Jade Osiberu, Japa, Jude Akuwudike, kidnapping, Listicle, Mr Macaroni, nigerian cinema, nollywood, Nollywood Criticism, oloture: The Journey, police brutality, political corruption, Richard Mofe-Damijo, Rukky Escott-Obiora, Sharon Ooja, Social commentary, state violence, Temi Ami-Williams, the black book, The Herd, Tobi Bakre --- ### [Okanjuwa Review: The Good People Win, and You Already Knew They Would](https://nollycritic.com/okanjuwa-review-the-good-people-win-and-you-already-knew-they-would/) **Published:** June 9, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Okanjuwa follows Waheed and Aaliyah, a young Yoruba-Muslim couple in Lagos navigating family pressure, financial struggle, and the particular madness... **Content:** *[Okanjuwa](https://www.filmoneng.com/movie/okanjuwa "Okanjuwa")* announces its intentions before a single scene has played out. The title is built from three Yoruba words: ọkán, the heart, the seat of a person’s inner wants, cravings, and secret longings; jù, to exceed or overwhelm; and ìwà, character, the moral compass that governs how a person moves through the world. Together, they name the condition where the heart outgrows the character, where what a person craves has surpassed what their values can hold. The state of the heart speaks before the action does. Greed and covetousness are not abstract forces in this framing but the visible expression of a heart that has already exceeded its moral limits. That is what this film is about, and it opens with a declaration that makes it plain: in this Lagos, there are two types of people, the good and the sharp. From that moment, the moral architecture is fully visible, and the story is less about discovering which kind of person Waheed is than it is about watching that discovery happen on cue. *Okanjuwa* follows Waheed and Aaliyah, a young Yoruba-Muslim couple in Lagos navigating family pressure, financial struggle, and the particular madness of trying to throw an ‘Ileya’ party under the weight of every problem money can create. It is warm, frequently funny, and almost always more interested in making its point than in letting you feel it. ## *Ọ̀kànjúwà* Directed by: Zulumoke Oyibo Written by: Fatimah Gimsay Genre: Drama, Comedy Released on: May 22, 2026 (Cinemas) Language: English and Yoruba ## The Good Man in a Sharp City *Okanjuwa*‘s central character study is built on a clean premise. Waheed is a man who has not made much of himself financially, whose construction business is the ambition he is still reaching for, and whose pride is sometimes the most expensive thing he owns. His wife Aaliyah, an influencer from a more comfortable background, stands beside him without condition, even as her father makes his disdain for Waheed’s financial position a consistent feature of every interaction. The couple’s faith grounds their dynamic and gives the film its clearest emotional anchor. What the writing lacks is the patience to let that anchor mean something before it begins explaining what it means. The moral message of **Okanjuwa** is not wrong. The film’s argument, that integrity is worth more than a shortcut, that ambition without principle destroys the man it was supposed to build, is a genuine one and worth making. The problem is that the film makes it continuously, loudly, and from every available angle. Dialogue announces what characters feel. Situations are staged to illustrate the lesson rather than to complicate it. By the time the third act arrives and Waheed faces the moment of real decision, the film has so thoroughly pre-narrated his choice that the drama has been drained before the stakes have had the chance to bite. He grapples with the opportunity, and his performance communicates a man working through a genuine conflict. But the writing has already told the audience where he will land, and the resolution confirms it with very little surprise. It is earned as an outcome. It is not earned as a journey. The Ileya setting around which *Okanjuwa* builds its central event carries representational intent that is not in question. The effort to centre a Muslim Yoruba celebration in a mainstream Nollywood release is meaningful in its way. The difficulty is that the setting functions more as backdrop than as substance. The celebration does not shape the moral questions the story is exploring in any specific or textured way. It is a container for the plot, not a contributor to it, and the timing of the film’s release, coinciding with real-world Eid celebrations, makes the choice feel more strategic than earned. Representation without integration is still representation, but it asks less of the film than it could. ## A Party That Promises More Than It Delivers *Okanjuwa*‘s engine is chaos, and it commits to that engine fully. Once the decision to throw the Ileya party is made, the narrative becomes a sustained sequence of complications, each one arriving before the last has resolved, each demanding that Waheed scramble. The intention is clear and the comedy embedded in the chaos lands often enough. But the cumulative effect is a film that begins to feel like an endurance exercise somewhere in its middle stretch. There is a difference between a story that puts pressure on its characters and one that puts pressure on its audience, and *Ọ̀kànjúwà* does not always manage that distinction cleanly. The party itself is also where the film’s most visible production gap sits. So much of the narrative drive is built around Waheed’s desperate ambition to throw the best Ileya party in Lagos, a party significant enough to impress the right people and shift the trajectory of his career. That promise raises expectations that the film does not meet visually. When the party arrives, it arrives without the décor, atmosphere, or scale that the story has been building toward. There is no arrangement of space that communicates the grandeur the characters have been working toward. What should be the visual payoff of the film’s central effort lands as a functional event. The gap between what the characters believe about this party and what the audience is shown is wide enough to become a distraction. What does hold is the *Okanjuwa*‘s structural logic. The opening premise, the two types of people, earns its place by the close. The third act moral dilemma is set up with enough context that Waheed’s decision, however straightforwardly it arrives, does not feel arbitrary. The film knows what story it is telling. It just tells it twice as often as it needs to. ## The Cast That Carries [Kunle Remi ](https://nollycritic.com/?s=Kunle+Remi+ "Kunle Remi ")is reliable and committed throughout. He brings Waheed’s frustration and pride to life with a physical specificity that grounds the performance even when the writing hands him declarations to deliver rather than decisions to navigate. A sequence in which he wrestles a ram in the market is the film’s most unexpectedly committed physical moment, and it works because Remi plays it as though the stakes are real. They are. Omowunmi Dada is the *Okanjuwa*‘s most accomplished performer. Her character, Mercedes, carries the particular danger of tipping into caricature at any moment, a wealthy, status-conscious woman whose cruelty toward Waheed is both deliberate and entertaining. Dada avoids that trap through a quality that is difficult to manufacture: elegance. She is precise where the character could be broad, contained where the character could be shrill, and the result is a performance that functions as comedy and as character study simultaneously. Her work here is a reminder of how controlled she is as an actress when given material that respects her range. Tomike Adeoye brings a natural familiarity to Aaliyah’s influencer/content creator identity that makes the character more convincing than the writing alone would allow. The chemistry between her and Remi is credible and warm. Uzor Arukwe handles Maximus with enough charm to make the character a functional comic presence. Blessing Jessica Enze has a scene that draws the most audible reaction from the cinema audience, a single moment that makes an argument for more prominent casting in future projects. Femi Adebayo arrives late and does exactly what his character requires. His Chief does not stand out as a performance because standing out would undermine the character’s function. The power he carries is communicated entirely through how the other characters behave around him, which is the correct approach. He is a weight in the room, and the room responds accordingly. Kamo State as Aliyu the mechanic provides comic relief that is functional and occasionally funny. The character does not deepen the story and the film would not lose much without him. That is not a criticism of the performance so much as an observation about how the writing chose to use it. When the comedy derives from presence and antics rather than from character, the laughter fades before the scene does. ## The Direction That Understands Its Space Zulumoke Oyibo’s direction keeps the film moving without doing much to distinguish itself visually. The party sequences make good use of the compound setting, and the management of the day-to-night progression during the event is handled with coherent logic. The timeline of the party is clear, and the cinematography does not create the kind of continuity errors that distract. That level of functional control is not nothing, particularly in a film that relies on multiple simultaneous moving parts to sustain its momentum. What the direction does not do is compensate for the production’s visual shortfall. The best Ileya party in Lagos was an opportunity for the camera to do specific work, to build the audience’s sense of occasion, grandeur, and aspiration. That opportunity was not taken. The film’s environment communicates a gathering, not a statement. For a film whose central character has staked everything on the visual impact of a single event, the gap between narrative ambition and visual execution is felt. ## Final Thoughts **Okanjuwa** is a film that means well, builds its story around a moral argument worth making, and then makes that argument so consistently and so completely that the audience has nothing left to discover by the time the climax arrives. Good storytelling, including storytelling with strong moral purpose, requires the confidence to let the audience do some of the work. This film escorts you from premise to lesson without detour, and the result is a film that is easy to enjoy and difficult to be moved by. What it offers is real, a genuine moral compass, a likeable central performance, one standout supporting turn, and a premise that is recognisable to almost anyone who has tried to do the right thing in a city that regularly rewards the wrong one. That is not an insignificant achievement. It is simply not the whole film it could have been. ## Verdict Watch this when you want something light, moral, and with a clear conscience at the end. It asks for patience in the middle stretch, and it will tell you its lesson more than once, but it means what it says and it will stay with you. It’s entertaining, funny and will give you a nice time with family. For audiences who come for the ensemble and stay for Omowunmi Dada, the visit is worth making. **Rating:** 2.55/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/okanjuwa-review-the-good-people-win-and-you-already-knew-they-would/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/okanjuwa-review-the-good-people-win-and-you-already-knew-they-would/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/okanjuwa-review-the-good-people-win-and-you-already-knew-they-would/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/okanjuwa-review-the-good-people-win-and-you-already-knew-they-would/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/okanjuwa-review-the-good-people-win-and-you-already-knew-they-would/?share=linkedin) - **Categories:** Reviews **Tags:** 2026 Nollywood film, ambition, Blessing Jessica Enze, comedy drama, Eid, fake life, Fatimah Gimsay, Femi Adebayo, Film Critique, Film review, FilmOne, Ileya, inkblot, Kamo State, kunle remi, Lagos drama, Muslim representation, nollywood, Ọ̀kànjúwà, Okanjuwa, Olaiya Igwe, Omowunmi Dada, social media, Tomike Adeoye, Uzor Arukwe, Yoruba film, Zulumoke Oyibo --- ### [Ajosepo - The Gathering Review: Laughter, Love and Chaos](https://nollycritic.com/ajosepo-the-gathering-review-laughter-love-and-chaos/) **Published:** June 8, 2026 **Author:** Shalom O. Obisesan **Excerpt:** The Ajosepo franchise, directed by Kayode Kasum, has never been about the couple at its centre. It has been about the families that surround them... **Content:** The word Ajosepo means, roughly, we do it together. It has always been an honest title for what these films are. The *[Ajosepo](https://nollycritic.com/ajosepo-kayode-kasums-unusual-union-of-family-love-and-chaos/ "Ajosepo")* franchise, directed by Kayode Kasum, has never been about the couple at its centre. It has been about the families that surround them, the histories they carry, and the chaos that erupts when different worlds are asked to occupy the same space for the sake of love. The first film understood this and built real dramatic stakes beneath all the comedy. The second,[ *Ajosepo: The Gathering*](https://nollywire.com/titles/ajosepo-2-the-gathering/), written by Ife Olujuyigbe and released in cinemas on the 28th of May 2026, understands the assignment on the surface and slightly less well underneath it. Two years after Dapo and Tani’s wedding, the family reassembles for Jide and Mary’s upcoming union. The faces are mostly familiar, the chaos is reliably plentiful, and Kasum brings the same visual energy that made the first film so enjoyable. Shot at KAP Film Village in Oyo State, the film is warm, frequently funny, and committed to a good time. What it adds in scale it stylishly loses in stakes. The result is a sequel that earns its laughs freely and leaves the cinema slightly emptier than it found you. ## *Ajosepo: The Gathering* Directed by: Kayode Kasum Written by: Ife Olujuyigbe Genre: Comedy Drama Released on: April 12, 2024 (Cinemas) Language: English and Yoruba ## The Couple at the Centre of a Story That Isn’t Theirs The central irony of *Ajosepo: The Gathering* is one it inadvertently makes itself. Late in the film, Mary remarks that Jide doesn’t involve her in things. It is the most telling line in the screenplay, not for what it says about Jide, but for what it says about the film. Mary is barely given a life outside of reacting to everything happening around her. Her backstory is almost entirely absent. Her friends, present at the gathering, are similarly underdeveloped, neither adding to nor complicating anything that really matters. For a film nominally built around her wedding, she functions more as plot necessity than person. Jide, played by Timini Egbuson, is the more interesting of the two central characters, though the film shows limited interest in exploring why. There are materials here about growing up in a broken home and carrying that instability into adulthood as coping mechanisms, working through everything alone, people-pleasing as a way to avoid conflict. The script gestures toward these threads and moves on, choosing chaos over interiority. The most emotionally available character in the film gets the least room to breathe. The Ajosepo premise is built around the idea that marriage is never just about the couple. It is about the families, the pride, the faith, the histories each side brings into the room. That is a generous framing for why the central couple can be lightly drawn. But there is a difference between a film that knows its story is about the collective and one that uses the collective as an excuse not to develop its leads. *Ajosepo 2* drifts toward the second, and the cost is felt most in the moments the film asks you to invest in whether Jide and Mary actually make it. ## All the Chaos, Some of the Consequences The first Ajosepo grounded its comedy in something structural. The magun incident was not simply a farcical complication. It arrived as the consequence of a character whose choices were already putting his son’s marriage at risk, which meant the comedy and the drama were working from the same root. In *Ajosepo 2*, the central disruption is *kanyamata*, a love charm placed in a drink intended for one man, consumed by another entirely. The premise is farcical by design and the film delivers it well. What it does not do is attach the chaos to anything that carries moral or emotional weight beyond the scene itself. The sequence exists in its own register, generating considerable laughter and leaving the story precisely where it found it. The woman responsible for the kanyamata, Jemima, exits the film without resolution. The screenplay moves past her the way it moves past several of its complications: by simply proceeding to the next one. She causes the central disruption and disappears, as though the script forgot she existed. Mustapha walks away with thirty million naira from an impaired Dapo, and the film simply moves on. Dapo’s separate subplot, concerning a marital difficulty the film raises early and then quietly drops, adds to a cumulative sense of unresolved business. Several of the film’s misunderstandings read as convenient rather than earned, constructed to serve a moment rather than to reflect how people actually behave, and Tani’s logic in at least one conflict is difficult to follow. These are not small omissions. The cumulative effect is a film that keeps opening doors and forgetting to close them. What holds is the film’s structural instinct for foreshadowing. A soft drink addiction introduced early pays off with satisfying precision when the story needs it. The recap at the beginning does efficient work for both returning and new audiences. And the wedding arriving at the close is entirely consistent with what these films have always understood about themselves: the families are the story, the wedding is the destination. Placing it at the end is not a structural problem. It is the Ajosepo logic made visible. The prayer resolution is the film’s most culturally astute moment. In *Ajosepo*, a traditional priest is brought in to resolve a spiritual crisis. The irony is striking: the intervention is sanctioned by a woman who presents herself as deeply committed to her Christian faith. The film sets up a contradiction between belief and action, where the very character who claims spiritual conviction turns to traditional means when confronted with the supernatural. In this second instalment, prayer is the solution, and the film handles it with more tonal clarity than sentiment. The comedy within that sequence, the self-aware wrongness of the ‘Oversabi Aunty ‘character’s faith practice sitting alongside a moment of genuine belief, gives the resolution warmth without cheapening what it represents. ## The Cast That Showed Up and Then Some The ensemble is the film’s most consistent asset. Returning cast members ease into their roles the way people ease into clothes they know fit. Yemi Solade and Ronke Oshodi-Oke return as Jide’s parents and find their footing immediately, their chemistry as a long-married couple carrying a natural specificity that only comes from performers who have fully inhabited these people. Mike Afolarin gives the film’s most fully inhabited performance. A scene between him and Tomike Adeoye is physically demanding and emotionally specific, and both actors meet its requirements with the kind of commitment that makes the audience understand why the characters needed the scene, not merely why the film placed it there. Afolarin has developed considerably since the first film, and it is evident throughout. Odunlade Adekola’s kanyamata sequence is the film’s most purely joyful set piece. His physical comedy is instinctive, and he wrings every available laugh from the situation without once pushing into territory that feels forced. The sight of a reverend undone entirely by his own sweet tooth and the wrong glass is genuinely funny, and Adekola makes it funnier by playing the moment with complete sincerity. He is a welcome and highly effective addition. Toyin Abraham arrives as the *Oversabi Aunty* (or Mummy), the demanding, hands-on, piously overbearing mother figure she has made something of a speciality. Her physical comic rhythm, the fast talking, the whole-body agitation, generates consistent laughs, and her combination with Odunlade’s reverend husband produces the film’s best sustained comic chemistry. Her contribution to the film’s texture is genuine. Bolaji Ogunmola, as Mary, does what the script allows her to do, which is not nearly enough. Kamo State brings the expected energy. The ensemble as a whole performs with the confidence of people who have done this before and know how to make it work. ## Kasum Finds the Frame, Even When the Script Misplaces the Story Kayode Kasum directs with the same assurance that made the first film visually pleasing, and KAP Film Village gives him a location with genuine architectural variety. The resort’s balconies, open interiors, and connecting spaces allow him to think cinematically rather than simply document people talking. The film’s most celebrated visual moment, a chase through an oval indoor space with the camera fixed at the centre as characters circle around it, is precise, funny, and formally distinctive. It is the kind of shot that only lands when the director fully understands what he is constructing. Kasum earns it and delivers it without overplaying. The cinematography and mise-en-scène cooperate throughout to serve the comedy, with multiple sequences using framing and camera movement to amplify rather than merely record what is unfolding on screen. The location itself contributes something genuine. KAP Film Village is presented with enough care that the space becomes a character in its own right, structured and specific in a way that gives the film a visual consistency the first film did not quite have. There are inconsistencies. the same with the previous instalment. Lighting in certain scenes shifts in ways that suggest footage captured at different times of day, day bleeding into sequences that should be night. These are production-level details that accumulate as small distractions. The Yoruba and English code-switching is maintained with the same cultural texture as the first film, and it continues to do exactly what it should: make these characters feel like people from a specific world rather than a universal nowhere. ## Final Thoughts What *Ajosepo 2: The Gathering* confirms is the fundamental challenge baked into this franchise’s concept. The Ajosepo premise, that marriage belongs to the families and not just the couple, is generous as a comedic engine. It creates the ensemble, it justifies the chaos, it gives the film its cultural weight. But it also creates a structural permission to underdevelop the two people whose wedding is the reason everyone gathered. The first instalment managed this more successfully because its chaos had consequences, and its characters made choices that cost them something real. Part two is funnier in isolated moments and thinner in cumulative dramatic weight. It knows how to begin sequences and is less certain how to end several of them. What it never loses is warmth. The affection this franchise has for its characters comes through even when the writing lets them down. These feel like people you have met, or at minimum people you have spotted at a function you were trying to leave early and found yourself not quite ready to go. That familiarity is the franchise’s most durable quality, and it is fully present here even when the story around it is stretched thinner than it should be. ## Verdict Watch this if you enjoyed the first film and want more of the same company. The laughs are real, the cast is committed, and Kasum’s direction has moments that genuinely impress. Go in for the ensemble, for Odunlade Adekola, and Mike Afolarin especially, and allow yourself the good time the film is trying to give you. If you go in hoping for a story that builds on what the original established at the level of drama and character depth, you will find this gathering slightly lighter company than last time. **Rating**: 2.75/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ajosepo-the-gathering-review-laughter-love-and-chaos/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ajosepo-the-gathering-review-laughter-love-and-chaos/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ajosepo-the-gathering-review-laughter-love-and-chaos/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ajosepo-the-gathering-review-laughter-love-and-chaos/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ajosepo-the-gathering-review-laughter-love-and-chaos/?share=linkedin) - **Categories:** Reviews **Tags:** 2026 Nollywood film, Ajosepo 2, Bolaji Ogunmola, comedy drama, ensemble comedy, Faith Omole Ogini, family comedy, Film Critique, Film review, Ife Olujuyigbe, Kamo State, KAP Film Village, Kayode Kasum, Mercy Aigbe, Mike Afolarin, Mr. Macaroni, nollywood, Nollywood sequel, Odunlade Adekola, Ronke Oshodi-Oke, sequel, The Gathering, Timini Egbuson, Tomike Adeoye, Toyin Abraham, wedding film, Yemi Solade, Yoruba film --- ### [Chimamanda Ngozi's Americanah has been added to Canal+ African Stories](https://nollycritic.com/chimamanda-ngozis-americanah-has-been-added-to-canal-african-stories/) **Published:** June 6, 2026 **Author:** Esther Adamu **Excerpt:** Award-winning writer Chimamanda Ngozi Adichie's 2013 Novel, Americanah has officially found a new path to the screen under Canal+ **Content:** Award-winning writer [Chimamanda Ngozi Adichie’s](https://nollycritic.com/world-book-and-copyright-day-books-behind-the-big-screen/ "Chimamanda Ngozi Adichie's") 2013 Novel, Americanah has officially found a new path to the screen under Canal+. This Development follows years of Hollywood roadblocks, the most notable of which is the anticipated limited series spearheaded by Lupita Nyong’o and Danai Gurira that was ultimately derailed by the COVID pandemic. Canal+ has incorporated Chimamanda Ngozi Adichie’s [Novel](https://nollycritic.com/5-nigerian-books-that-should-to-be-adapted-on-screen/ "Novel") Americanah into its curated African Stories collection, part of a broader strategy to deepen the company’s investment in African narratives following its acquisition and restructuring of MultiChoice and Dstv operations. The move aligns with Canal+’s plan to prioritize local content for [African audiences](https://thenet.ng/inside-canal-plans-to-reduce-dstv-prices-big-bet-africa/ "African audiences") while reshaping distribution across the continent. The novel [Americanah](https://en.wikipedia.org/wiki/Americanah "Americanah") follows Ifemelu and Obinze as they migrate to the United States and the United Kingdom, ultimately returning to Nigeria. It explores themes of race, identity, and the immigrant experience, resonating with both African diasporas and domestic audiences. *Americanah* won several awards, including the National Book Critics Circle Award for Fiction (2013) and was listed among the New York Times Book Review’s Ten Best Books of 2013, underscoring its global cultural impact. For readers and viewers in Nigeria, Africa, and in Diaspora, the inclusion of *Americanah* in Canal+’s African Stories is significant because it centres the voices and lived experience of Nigerians on a major pan‑African broadcaster, that speaks and connect directly to local audiences. Cultural commentators say running such programmes can strengthen local engagement and spur conversations about migration, race, and national identity. This also helps to strengthens the recognition of [Nollywood](https://nollycritic.com/ "Nollywood") on global stage. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/chimamanda-ngozis-americanah-has-been-added-to-canal-african-stories/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/chimamanda-ngozis-americanah-has-been-added-to-canal-african-stories/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/chimamanda-ngozis-americanah-has-been-added-to-canal-african-stories/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/chimamanda-ngozis-americanah-has-been-added-to-canal-african-stories/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/chimamanda-ngozis-americanah-has-been-added-to-canal-african-stories/?share=linkedin) - **Categories:** Nollywood News **Tags:** 2013 Novel Americanah, Canal+, Chimamanda Ngozi Adichie's, Danai Gurira, HBO Max, nigerian cinema, nollycritic, nollywood, Novel --- ### [Nollywood Producer Suspended Over Misappropriation of Funds](https://nollycritic.com/nollywood-producer-suspended-over-misappropriation-of-funds/) **Published:** June 6, 2026 **Author:** Esther Adamu **Excerpt:** The Association of Movie Producers (AMP) Nigeria has formally suspended Nollywood Producer, Chris Odeh, thr Production Lead of BRS Studios, **Content:** [The Association of Movie Producers (AMP)](https://amp.org.ng/about/ "The Association of Movie Producers (AMP)") Nigeria has formally suspended Nollywood producer Mr. Chris Odeh, Production Lead of BRS Studios, over allegations of misappropriating 180 million naira. The funds were intended to finance the three productions. Nollywood veteran actor and filmmaker Ramsey Nouah, alongside entertainment executive Joy Odiete and Filmmaker [Chris Odeh](https://nollycritic.com/iyaloja-new-nollywood-movie-hits-cinemas-may-29th/ "Chris Odeh"), Joined forces to establish a production company aimed at creating high-quality film projects. However, the partnership has come to a halt and is facing major controversy following claims that Chris Odeh misappropriated up to 180 million naira belonging to the company. On May 4, 2026, AMP announced a decision based on petitions from Ramsey Nouah and Joy Odiete. They Stated: > Chris Odeh acknowledged misappropriating the funds during a disciplinary hearing and has agreed to repay the amount. The first repayment of a 60-million-naira cheque, scheduled for April 30th, reportedly bounced due to insufficient funds. The Association of Movie Producers (AMP) considers this a breach of agreement and interprets it as a refusal to settle the debt. Consequently, Chris Odeh has been suspended pending further developments. This article will be updated as the story unfolds. Stay tuned for more. > [View this post on Instagram](https://www.instagram.com/p/DY9xAZ_jTGy/?utm_source=ig_embed&utm_campaign=loading) ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-producer-suspended-over-misappropriation-of-funds/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-producer-suspended-over-misappropriation-of-funds/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-producer-suspended-over-misappropriation-of-funds/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-producer-suspended-over-misappropriation-of-funds/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-producer-suspended-over-misappropriation-of-funds/?share=linkedin) - **Categories:** Nollywood News **Tags:** Chris Odeh, Chris Odeh: Nollywood Filmmaker Suspended, Joy Odiete, nollycritic, nollywood, Nollywood 2026, Ramsey Nouah, The Association of Movie Producers (AMP) --- ### [New Nollywood Movies to See in May 2026](https://nollycritic.com/new-nollywood-movies-to-see-in-may-2026/) **Published:** May 1, 2026 **Author:** Esther Adamu **Excerpt:** Happy New Month, Nollywood Family. April served us with several Nollywood delicacies, but the month has come to an end... **Content:** Happy New Month, [Nollywood](https://nollycritic.com/ "Nollywood") Family. April served us with several Nollywood delicacies, but the month has come to an end, and we are now in May, which brings a stacked Nollywood slate. This May expect drama! Below are [movies](https://nollycritic.com/8-nollywood-movies-to-see-this-international-womens-day/ "movies") to see this month. **Segilola: The Villain – May 1** *Segilola* is a Yoruba-language drama driven by suspense, betrayal and cultural depth. The story follows a ruthless and wealthy woman who harbours a petty personal grudge against a powerful stranger, her obsession to destroy him caused her to launch of destruction that unravels the peace of the entire village. The ensemble cast includes heavyweight Yoruba actors such as [Odunlade Adekola](https://www.legit.ng/tags/odunlade-adekola/ "Odunlade Adekola"), Bimbo Akintola, Ibrahim Chatta, Fausat Balogun, Antar Laniyan, Peter Fatomilola, and Faithia Balogun Williams. The film will be released in cinemas nationwide on May 1, 2026. **Efunroye: The Unicorn – May 1** Produced by Nollywood actress Faithia Williams with Niyi Akinmolayan, this historical epic is inspired by Efunroye Tinubu’s life. The film depicts the rise of Madam Tinubu from a humble trader near Abeokuta to a dominant political and economic force in pre-colonial Lagos. Starring Faithia Williams, Odunlade Adekola, Saidi Balogun, Mercy Aigbe, and Femi Adebayo. *[Efunroye: The Unicorn](),* produced by Abiodun Olanrewaju, Adebayo Tijani, and Tope Adebayo, will be distributed by FilmOne. This Movie will be available in cinemas nationwide from May 1, 2026. **Gingerrrr – May 8** This high energy heist thriller follows four childhood friends who reunite under extraordinary circumstances and plan a daring heist to change their lives. The plot of the movie centers on a box of Gold which ensuing chaos as various different factions attempt to claim. Starring Bisola Aiyeola, Bukunmi Adeaga-IIori (kiekie), Wumi Toriola, Bolaji Ogunmola, Timini Egbuson, Odunlade Adekola, and Lateef Adedimeji. *Gingerrrr* will start streaming on Netflix and Kava from May 8, 2026. **Call of My Life – May 15** A Nollywood romantic comedy about a Call-centre agent who after a bad breakup finds unexpected romance during a routine call and must decide whether to risk her heart again. Directed by Dammy twitch Call of My Life features Uzoamaka Power, Zubby Michael, Andrew Yaw Bunting, Nkem Owoh, Patience Ozokwor, and Broda Shaggi. This movie is scheduled for a nationwide cinema release on May 15, 2026. **Strong – May 15** Dimbo and Karachi Atiya *Strong* is a film that probes faith, doubt, and what it means to stand by someone when the world has already judged them. The story follows Lami whose marriage is tested when her husband is accused of infidelity and murder. Starring Sophie Alakija, Chris Okagbue, Fae Olumide, Nora Igho, Edward Fom, and Eva Ibiam. This Suspense drama is a sequel to Dimbo and Karachi Atiya’s 2019 film *Drawing Strength*. Strong is set for a nationwide cinema release on May 15, 2026. **The Boy Who Gave – May 15** *[The Boy Who Gave](https://www.imdb.com/title/tt38866534/)* is Allison Precious Emmanuel’s first feature film to be distributed by Nile Entertainment. It follows the Narrative of a teenage brother who, after losing their parents sacrifices his dreams to provide for his siblings. *The Boy Who Gave*, which is an intimate drama about duty, poverty, and resilience, features Allison Precious Emmanuel, Abbey Delight Dagogo, Hart Andrew, Tina Mba, and Blossom Chukwujekwu. This movie is scheduled for a nationwide cinema release on May 15, 2026. **Okanjuwa – May 22** The film, which translates to greed, is a comedy-packed drama directed by Zulumoke Oyinbo. The narrative follows a large family celebration that unravels into chaotic revelations and focuses on themes of ambition, survival, and relationships within the chaotic and vibrant settings of Lagos. The film features a stellar cast, including Kunle Remi, Uzor Arukwe, Tomike Adeoye, Omowunmi Dada, and Femi Adebayo. *Okanjuwa* is coming to cinema’s Nationwide this May 22, 2026. **Ajosepo 2: The Gathering – May 28** Kayode Kasum, the Director of *Ajosepo*, has announced the coming of *Ajosepo Two*: The Gathering. Hope you are ready for drama and chaos as you are about to experience family like never before. The cast that will unveil chaos and give you an exciting show include Timini Egbuson, Bolaji Ogunmola, Toyin Abraham, Ronke Oshodioke, Kamo State, Mercy Aigbe, Tomike Adeoye, and Mike Afolarin Are you ready? As the family returns to cinemas nationwide on May 28, 2026. **Kolero (Beyond the Line) – May 29** *Kolero* is a drama thriller about power, secrecy and the fallout when the elite cross moral lines, in this film loyalties are tested and consequences spiral beyond control. The cast of *Kolero* include Bimbo Akintola, Tina Mba, Jide Kosoko, Bolanle Ninalowo, Jumoke Odetola, and Olumide Oworu. The film will be released in cinemas nationwide on May 29, 2026. **Iyaloja – May 29** The Film focuses on the fierce, secretive battle for a sacred market throne and the title Iyaloja of Isale-Eko. Iyaloja features a star-studded cast which include Kehinde Bankole, Iyabo Ojo, Faithia Williams, and Jidekene Achufusi. The film will be released in cinemas nationwide on May 29, 2026. This May has a list that will keep you on the edge of your seats from the beginning to the end of the month. Which of these movies are you anticipating seeing? This list will be updated as more Nollywood titles are announced. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-nollywood-movies-to-see-in-may-2026/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-nollywood-movies-to-see-in-may-2026/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-nollywood-movies-to-see-in-may-2026/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-nollywood-movies-to-see-in-may-2026/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-nollywood-movies-to-see-in-may-2026/?share=linkedin) - **Categories:** Articles, Movies **Tags:** Adebayo Tijani, and Broda Shaggi., and Faithia Balogun Williams., and Femi Adebayo. Efunroye: The Unicorn produced by Abiodun Olanrewaju, and Tope Adebayo, Andrew Yaw Bunting, Antar Laniyan, Bimbo Akintola, Bolaji Ogunmola, Call of My Life - May 15, Chris Okagbue, Edward Fom, Efunroye: The Unicorn - May 1, Fae Olumide, Faithia Williams, Fausat Balogun, Gingerrrr, Ibrahim Chatta, Kolero (Beyond the Line) - May 29, Mercy Aigbe, Movies to see in May, Nkem Owoh, nollycritic, nollywood, Nollywood 2026, Nora Igho, Odunlade Adekola, Okanjuwa, Patience Ozokwor, Peter Fatomilola, Saidi Balogun, Segilola: The Villain, Sophie Alakija, Strong, The Boy Who Gave, Timini Egbuson, Uzoamaka Power, Wumi Toriola, Zubby Michael --- ### [Iyaloja: New Nollywood Movie Hits Cinemas May 29th](https://nollycritic.com/iyaloja-new-nollywood-movie-hits-cinemas-may-29th/) **Published:** May 28, 2026 **Author:** Esther Adamu **Excerpt:** Filmmaker Oluseyi Asurf prepares to unveil his latest project, titled Iyaloja, in cinemas nationwide. With a vibrant festival-themed poster, an ensemble cast... **Content:** Acclaimed [Nollywood](https://nollycritic.com/ "Nollywood") Filmmaker Oluseyi Asurf prepares to unveil his latest project, titled *[Iyaloja](https://www.nollymeter.com/movies/iyaloja "Iyaloja")*, in cinemas nationwide. With a vibrant festival-themed poster, an ensemble cast that bridges generations of Nigerian storytelling, and its promotional tagline, a lot of drama should be expected to unfold. In many Yoruba settings, the *Iyaloja* is not just a trader but a powerful matriarchal figure who commands influence, respect, and control over market affairs. The movie title *Iyaloja* translates to mother of the market, hinting at a narrative deeply embedded in traditions, community dynamics, and authority. Director [Oluseyi Asurf](https://nollycritic.com/tag/oluseyi-asurf/ "Oluseyi Asurf") has built a reputation for telling grounded, emotionally resonant stories, and Iyaloja looks to continue that route. With production led by Chris Odeh, the film promises a polished cinematic experience that combines visual spectacle with meaningful storytelling. The movie features an impressive cast lineup, including Nollywood veterans such as Ngozi Nwosu, Faithia Balogun, and Tina Mba, as well as Kehinde Bankole, Wale Ojo, and Iyabo Ojo. With its promotional tagline ” The Party is just getting started”, compelling premise, culturally rich foundation, and powerhouse cast, Iyaloja is poised to be more than just another Nollywood release, its shaping up to be a cultural moment. The film will be distributed by film distribution and is set for a Nationwide [cinema](https://nollycritic.com/on-different-grounds-see-the-official-teaser-of-nollywood-rom-com/ "cinemas")s release on May 29th, 2026. See the trailer below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/iyaloja-new-nollywood-movie-hits-cinemas-may-29th/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/iyaloja-new-nollywood-movie-hits-cinemas-may-29th/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/iyaloja-new-nollywood-movie-hits-cinemas-may-29th/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/iyaloja-new-nollywood-movie-hits-cinemas-may-29th/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/iyaloja-new-nollywood-movie-hits-cinemas-may-29th/?share=linkedin) - **Categories:** Nollywood News **Tags:** Chris Odeh, Faithia Balogun, Iyabo Ojo, Iyaloja, Iyaloja oluseyi Asurf new movie, Kehinde Bankole, May cinema release, Ngozi Nwosu, nigerian cinema, nollycritic, nollywood, Nollywood 2026, Nollywood filmmaker, Oluseyi Asurf --- ### [On Different Grounds: See The Official Teaser of Nollywood Rom-Com](https://nollycritic.com/on-different-grounds-see-the-official-teaser-of-nollywood-rom-com/) **Published:** March 29, 2026 **Author:** Esther Adamu **Excerpt:** Nollywood Romantic Comedy On Different Grounds is produced and co-written by Nicolette Ndigwe-Kalu. This movie production is a rare cultural crossover between two of the world's biggest film industries **Content:** Nollywood Romantic Comedy *[On Different Grounds](https://www.nollywoodtimes.com/2026/03/on-different-grounds-set-to-hit-cinemas.html "On Different Grounds")* is produced and co-written by Nicolette Ndigwe-Kalu. This movie production is a rare cultural crossover between two of the world’s biggest film industries, brought to life by a richly diverse global cast. Speaking in an Interview, Nicolette stated: > The movie, *on different grounds*, is my way of fostering cultural cohesion through art and letting the world know that we are all more alike than we are different. She further stated that it is going to be one that every age and culture will enjoy, as well as showcase the beauty of a proper Nigerian wedding. The story focuses on the bringing together of two different families, the Fregenes and Ojeligbos, as they send off their daughter, Aurora, to her new family. The film explores the themes of love, sacrifices, and Family relationships. Directed by Mildred Okwo, and co-written by Ink and Joy Oyediya, the family drama stars both veteran and young actors from Nigeria, USA, Ghana and India. In explaining her choice of director, Ndigwe-Kalu said: > There aren’t many directors like her who would understand the kind of story I wanted to tell and bring the nuanced traditional African heart of it to life. The casts include Ms. Earth USA 2020, Abena Akuaba, Bollywood superstar Vineet Raina, and veteran Nimesh Diliprai. A few of the Nollywood stars who took part in this project are Ifeanyi Kalu, Uche Montana, Nkem Owo, Jennifer Eliogu, Bamike Olawunmi, Fedekemi Olumide, Aproko Doctor, and the Mbadiwe Twins [Nollywood](https://nollycritic.com/the-most-anticipated-nollywood-titles-of-2026/ "Nollywood") Rom-com *On Different Grounds*, which blends African and Indian storytelling, cultures, and cinematic traditions, will be distributed by Cinemax. See the [trailer](https://nollycritic.com/avante-new-nollywood-movie-hits-cinemas-april-3rd/ "trailer") below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/on-different-grounds-see-the-official-teaser-of-nollywood-rom-com/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/on-different-grounds-see-the-official-teaser-of-nollywood-rom-com/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/on-different-grounds-see-the-official-teaser-of-nollywood-rom-com/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/on-different-grounds-see-the-official-teaser-of-nollywood-rom-com/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/on-different-grounds-see-the-official-teaser-of-nollywood-rom-com/?share=linkedin) - **Categories:** Nollywood News **Tags:** Abena Akuaba, Aproko Doctor, Bamike Olawunmi, Fedekemi Olumide, Ifeanyi Kalu, Ink, Jennifer Eliogu, Joy Oyediya, Mbadiwe Twins, Mildred Okwo, Ms. Earth USA 2020, Nicolette Ndigwe-Kalu, Nimesh Diliprai, nollycritic, Nollywood 2026, Nollywood-Bollywood production, On Different Grounds, Uche Motana, Vineet Raina --- ### [The Boy Who Gave: A Heavy Film That Trusts Suffering](https://nollycritic.com/the-boy-who-gave-a-heavy-film-that-trusts-suffering/) **Published:** May 25, 2026 **Author:** Shalom O. Obisesan **Excerpt:** The Boy Who Gave follows Idah, a young man forced into the position of family patriarch burdened with the responsibility to take... **Content:** There is a quote near the heart of *[The Boy Who Gave](https://www.imdb.com/title/tt38866534/ "The Boy Who Gave")* that functions as its entire thesis: > “*the existence of a river is not only for its beauty; if it stops supplying water, everything dies*.” It is a clean and simple summary of what the film is about, and it arrives early enough that you know, before the story has found its full weight, that you are watching a man being consumed by a role he did not choose. Written, directed, produced by, and starring Allison Precious Emmanuel in his feature debut, the film follows Idah, known to almost everyone simply as Broda, a young man forced into the position of family patriarch burdened with the responsibility to take care of his sister Priye, and his brother D-Boy, while navigating a world of indifferent relatives and compounding poverty. Set in Bonny Island, a coastal town in Rivers State, and distributed by Nile following its premiere at the [Africa International Film Festiva](https://nollycritic.com/heres-all-you-need-to-know-about-afriff-film-and-content-market/ "Africa International Film Festiva")l in 2025, the film arrived in cinemas on the 15th of May, 2026, carrying the weight of everything it wants you to feel. That ambition is the film’s most honest quality. It is also its most limiting one. ***Spoilers ahead***. ## *The Boy Who Gave* Directed by: Allison Emmanuel Written by: Allison Emmanuel Genre: Drama Released on: May 15, 2026 (Cinemas) Language: English ## Born Into a Sentence The emotional reality this film is working with is one that most Africans, and most firstborns in particular, carry quietly. There is a particular kind of fate that attaches to the eldest child in many homes, a fate assigned before the child has the capacity to consent to it or even understand it. Idah does not choose his sacrifice. He inherits it. And the film is correct to frame that inheritance as something closer to a curse than a calling. The river metaphor is not decorative. It is the film’s moral structure: a person whose entire purpose, from the moment the family fractures, is to supply, sustain, and enable. And when that person is drained, everything downstream suffers regardless. The story earns its sharpest observations in its early passages, when we see how family reveals itself after grief. The relatives who gathered warmly around the parents’ table become, after the parents’ deaths, a threat to the very children they pretended to love. An aunt who reduces Priye to a domestic servant. An uncle, Opuada, who wants house labour, not family. The cruelty is not cartoonish. It is recognisable. Idah takes the children back to their grandmother and becomes, in the process, something between a brother and a parent, working construction, selling drinks, moving through every available channel to keep things together. *The Boy Who Gave’s* treatment of Pere, Idah’s love interest, adds a layer of class tension that is more interesting than the film knows what to do with. She dips into his world the way someone dips a toe into water they have no intention of staying in, present for the warmth, absent from the cold. The moments she gives him are genuine but short-lived, because the story is not interested in joy as anything other than a pause between suffering. Every instance of happiness in this film exists to remind you that the next blow is coming. The film knows this and uses it deliberately. The difficulty is that the pattern becomes so consistent that even the moments of warmth start to feel like setup rather than relief. The most devastating idea the film carries, the one that lands with the most moral clarity, is the ending. After everything Idah sacrifices, including his freedom and eventually his life, D-Boy does not escape. He finds drugs, a gang, and a wasted future. The river gave everything and the downstream still ran dry. It is the film’s thesis made flesh, the proof that sacrifice does not guarantee salvation, that time and chance have always mattered more than hard work in the lives of people without structural protection. *The Boy Who Gave’*is right about this. It is the truest thing it has to say. But by the time it arrives, the ground is already so saturated with suffering that the moment arrives less as revelation and more as an additional weight added to a pile the audience has already been struggling to carry. ## When Structure Becomes a Mechanism *The Boy Who Gave* opens with a documentary framing device, a narrator situating the story as though presenting something that happened or could have happened. The intention is clear enough: to lend the story the weight of recorded truth, to make Idah’s fate feel like something drawn from life rather than constructed for emotional effect. The problem is that it achieves the opposite. The documentary wrapper does not make the film feel more real. It makes it feel more manufactured, a signal that the filmmakers were not entirely confident that the story could carry its own weight without the additional scaffolding of implied authenticity. The film’s third act is where structure breaks down most visibly. Multiple attempts at an ending accumulate on top of each other without a sense of deliberate escalation. The scene in which Idah delivers his final monologue, aware of what is coming, speaking to his siblings, is exactly as hard to watch as it should be. It is heartfelt in the specific way that can only come from a writer who has lived somewhere close to this feeling. But the sequence that follows, a slow-motion extension of what has already been said, replays the emotional note until it starts to flatten. The film does not trust that what it has already built is enough. It keeps reaching for one more moment of devastation, and in doing so, tips from earned grief into orchestrated anguish. The transition between young Idah and adult Idah also creates a brief rupture in the film’s believability. The age gap between the two actors is narrow enough to make the jump feel more like a recast than a passage of time. It is a small thing, but small things accumulate in a film that demands complete immersion. The teenage characters, Idah and Pere especially, are written with a sexual and emotional vocabulary that sits uncomfortably against their stated ages. Their approach to intimacy has none of the awkward exploratory quality of adolescence. Pere in particular, after going to church, arrives too composed and fully formed, too aware of herself in ways that teenagers usually aren’t. This is partly a writing issue and partly the natural consequence of adult actors embodying characters whose youth was never fully inhabited. The film’s interest in the sexual dimension of their relationship does not deepen either character. It reads as an attempt to build emotional stakes for a bond that the story hasn’t quite earned yet. ## What the Cast Carries and What It Can’t Allison Precious Emmanuel’s performance is *The Boy Who Gave’s* steadiest achievement. He brings no vanity to Idah, which is the most important thing a filmmaker-actor can do when playing a character built for suffering. His face holds sadness, and hope, and exhaustion. There is a restraint in him that the film itself does not always manage, a willingness to let the scene carry weight rather than pushing the weight himself. Tina Mba, as the grandmother, delivers the film’s most tender scene, a quiet exchange with young Idah on a boat that grounds everything that follows. She is warm, specific, and present without effort. Blossom Chukwujekwu, as the father, does a great deal in very little time, and his absence is felt precisely because he made the family feel real while he was in it. Ugochukwu Nwachukwu as Uncle Opuada is underwritten in a way that prevents the character from functioning as the story needs him to. A villain whose menace is mostly described rather than demonstrated cannot carry the moral weight that the narrative assigns him. The film needs Opuada to be a specific kind of danger, and the characterisation stops short of that specificity. Abbey Delight Dagogo as Priye handles the lighter passages of the character with ease. She is funny and mischievous and entirely believable in those registers. But in the scenes that demand emotional depth, particularly after the trauma inflicted by Opuada, the performance does not find the interior life needed to make those moments land with full force. Hart Andrew as D-Boy is constrained more by character gaps than by performance. D-Boy is given too little on the page for his eventual fate to hit with the weight the film intends. Some of the ensemble tips into melodrama in places, reaching for the emotional note rather than living in it. The outbursts carry more volume than feeling, and in a film already operating at a high emotional pitch, that overreach is audible. ## A Gritty Frame, and the Trouble With Forcing It The visual language of *The Boy Who Gave’* is one of its clearest strengths. The colour grading is deliberately heightened, pushing a heightened palette, blending the texture of realism with the heightened register of a story that knows it is carrying symbolic weight. This is not naturalistic cinema. It is cinema that acknowledges its own emotional temperature and builds the visual palette to match. The lighting choices work within this framework consistently, shadows used deliberately, coastal light used to give Bonny Island a distinct sense of place. Choosing Bonny Island as a setting is itself a meaningful decision. It gives the film a location that breathes differently, that carries its own coastal history and geography. The environment is alive in the film’s frame, and that aliveness serves the story’s sense of a world that continues indifferently around Idah’s suffering. The score does its work effectively, matching the *The Boy Who Gave’s* emotional temperature and underlining its heavier moments. But here, too, the film’s tendency to reach becomes a problem. The music is deployed often enough to suggest that the filmmakers were not always confident that what was on screen was sufficient on its own. The documentary framing returns here as a technical concern as much as a narrative one. It introduces a visual and structural register that sits slightly at odds with the rest of the film’s aesthetic choices. A story this emotionally committed and this visually deliberate did not need the additional apparatus of implied documentary to justify its existence. Dropping it would have tightened the film and, paradoxically, made it feel more real. Allison Emmanuel’s direction, for a first feature, is assured. He composes with confidence, blocking scenes in ways that lend visual beauty to some of the film’s most difficult material. The ambition is evident and worth acknowledging. What it reveals is a filmmaker whose eye is ahead of his editing instincts, and whose singular creative vision, holding the writer, director, producer, and actor roles simultaneously, produces a film of concentrated intensity but insufficient room for the kind of variance and counter-pressure that might have made it more nuanced. ## Final Thoughts The firstborn burden is one of those African realities that sits so deep in ordinary life that it rarely gets examined directly. It is simply assumed, passed down through family structures as though it were biology. *The Boy Who Gave* examines it directly, and the film is at its most valuable in those moments when it asks the viewer to sit with the fact that assigning a child the responsibility of sustaining a family is not natural order but a choice, one with consequences that run not just through one life but through generations. The river gives until it cannot. And when it stops, everything that depended on it suffers. That is the film’s strongest argument, and it is a genuine one. What limits it is the gap between argument and execution. A film can be about suffering without becoming an instrument of sustained manipulation. The distinction lies in whether the filmmaker trusts what is already unfolding to do its work on the audience, or whether they feel compelled to engineer every emotional response and secure every tear by any means available. *The Boy Who Gave* operates mostly in the second mode. Its single creative voice, undiluted from writing table to editing suite, produces a film that is convinced of its message from the very first frame and spends its entire runtime trying to make you feel that conviction rather than arrive at it yourself. The result is a film of genuine weight and limited breath. It wants you to understand what it means to be born into a sentence. It just doesn’t always trust you to understand it without being shown it repeatedly, from every angle, until the credits roll and you sit there not quite sure whether what you’re feeling is grief or exhaustion. ## Verdict Watch *The Boy Who Gave* if you are a firstborn. Watch it with your family if your family has ever placed this kind of weight on one person’s shoulders. It is a necessary conversation in the shape of a film, and it opens doors that most Nollywood productions prefer to leave closed. Go in without the expectation of catharsis. The film will not leave you feeling better. It will leave you thinking, which may be the more valuable outcome. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-boy-who-gave-a-heavy-film-that-trusts-suffering/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-boy-who-gave-a-heavy-film-that-trusts-suffering/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-boy-who-gave-a-heavy-film-that-trusts-suffering/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-boy-who-gave-a-heavy-film-that-trusts-suffering/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-boy-who-gave-a-heavy-film-that-trusts-suffering/?share=linkedin) - **Categories:** Reviews **Tags:** 2026 Nollywood film, Abbey Delight Dagogo, African family, afriff, AFRIFF 2025, Allison Precious Emmanuel, black tax, Blossom Chukwujekwu, Bonny Island, Chuks Joseph, Drama, emotional drama, family drama, feature debut, Film Critique, Film review, firstborn burden, Hart Andrew, Long-John Somieari, Nile Distribution, nollywood, poverty, Rivers State, sacrifice, The Boy Who Gave, Tina Mba, trauma, Ugochukwu Nwachukwu --- ### [Call of My Life: The Nollywood Romcom That Finally Found Its Whimsy](https://nollycritic.com/call-of-my-life-the-nollywood-romcom-that-finally-found-its-whimsy/) **Published:** May 19, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Call of My Life, directed by Dammy Twitch, and produced by Blessing Uzzi is the rare film that arrives knowing exactly what it... **Content:** *[Call of My Life](https://www.imdb.com/title/tt39858051/ "Call of My Life")*, directed by Dammy Twitch, written and led by [Uzoamaka Power](https://nollycritic.com/?s=Uzoamaka+Power "Uzoamaka Power"), and produced by Blessing Uzzi under Bluhouse Studios, is the rare film that arrives knowing exactly what it wants to feel like. Nollywood’s romantic comedies have never lacked comedy. What they’ve been missing, for longer than the genre deserves, is whimsy. The specific texture of a story that sees the world through the eyes of someone who believes, fully and without embarrassment, that love is worth the spectacle. *Call of My Life* follows Soluchi, a call centre agent and hopeless romantic still healing from the emotional bruising of a past relationship, whose life tilts toward possibility when a phone call connects her voice to Eli, a man so taken by it that he goes looking. It is warm, deliberately fantastical, and unabashedly corny in the best possible way. It is also, at its heart, a love letter from a writer who may have been writing about herself all along. ## *Call of My Life* Directed by: Dammy Twitch Produced by: Blessing Uzzi Genre: Romace, Drama Released on: May 15, 2026 (Cinemas) Language: English ## A Woman Who Refuses to Dim The emotional grammar of this film is built around a very specific kind of wound. Soluchi is not heartbroken in the conventional sense. She has been told that she is too much. Too romantic, too expressive, too loud in love. Her ex, Kalu, is not a villain, and the film earns real credit for not writing him as one. He is the kind of man many Nigerians recognise immediately: present, dependable, focused on providing, and entirely unprepared for the magnitude of what Soluchi offers. Their love language mismatch runs through every scene they share. She writes paragraphs, he replies in single words. She shows up at his workplace with cake, he calls his mother to say she is too childish. Nothing he does is cruel in a simple way. He simply cannot hold what she brings. And when he tells her, in so many words, that she loves too much, the request to give him space to miss her doesn’t just end a relationship. It installs a doubt. That doubt is what *Call of My Life* is really about. Soluchi carries Kalu’s voice into her next chapter, dimming her texts, second-guessing her instincts, shrinking the version of herself that existed before he arrived. The moment Eli says “be an adult” triggers something disproportionate in her, and the film handles it correctly. It’s not overreaction. It’s residue. Someone has been in her ear. Even language carries the weight of this dynamic. Soluchi speaks more Igbo around Kalu, as if performing a more contained version of herself, and moves more freely into English with Eli. It is a quiet but precise observation about code-switching in intimacy, about how we adapt our very voice to fit the expectations of people we are trying to be loved by. The theme that emerges from all of this, don’t dim your love for the wrong person, is stated not through dialogue but through every structural choice the film makes. The family that surrounds Soluchi deepens it further. When was the last time a Nigerian film gave us a mother so genuinely tender with her daughter, a father so soft and present? Those scenes are brief but they explain everything. You understand exactly why Soluchi is the way she is. She comes from a home that sees people fully. Where the story falters is in Eli. Soluchi receives emotional architecture: a wound, a history, a process of healing, and a clear internal arc. Eli receives a personality. He is attentive, intentional, charming, willing to move mountains, but the screenplay doesn’t give him much beyond that. His geography is never resolved: introduced at a train station, later mentioned as having come from Ghana, later still shown travelling back to Ghana to visit his mother. The film never explains what any of this means about his daily life. He arrives when the story needs him and recedes when it doesn’t. Soluchi earns her love story. Eli is mostly the prize. The result is that the film’s confessions, some of which are achingly well-written, arrive before the relationship has fully earned them. The airport monologue is perfectly corny in the register this film is working in, corny in the way that makes you smile and raise an eyebrow simultaneously, which is exactly right for the genre. But there are other moments where the words are reaching for a depth of feeling the scenes haven’t yet built. The film wants to be a happily ever after. It should have trusted itself to be a beautiful beginning. ## Where the Glass Slipper Starts to Crack Soluchi at a shop, deliberating between chamomile and green tea for her boyfriend, already telling you everything you need to know about who she is and who he isn’t. The first act earns its ground efficiently. The ending delivers too, the airport sequence carrying emotional payoff the film has been building toward, even if its internal logic doesn’t survive scrutiny. Anyone who has navigated a Nigerian airport knows the boarding gate is not accessible without a boarding pass, but the genre earns a degree of suspended disbelief, and the film mostly holds that suspension through sheer charm. The screenplay’s broader problem is its relationship with cause and effect. A fairytale is permitted its coincidences. Two characters meeting at the same restaurant, a mutual friend who turns out to be a coworker, Eli calling the call centre repeatedly just to hear one voice; these are the genre’s features, not its failures. But the film repeatedly skips the connective tissue between plot beats. Sol is fired for oversharing with a customer and then somehow returns and is promoted to supervisor with no visible professional growth and no institutional logic to explain the shift. The supervisor framed as her obstacle never quite earns the antagonism the film assigns him. A hearing-impaired colleague is introduced in circumstances that are never clearly framed as discrimination or mere professional incapacity. These are not romantic coincidences. They are structural shortcuts, and they accumulate into a credibility problem. The issue is tonal inconsistency. A film that commits fully to fantasy can ask you to believe almost anything. But *Call of My Life* moves between realism and fairytale without signalling the transitions clearly, which means audiences begin applying real-world logic to scenes built only to carry emotional weight. The world starts asking questions the screenplay hasn’t prepared to answer. ## The Company Worth Its Warmth Uzoamaka Power doesn’t play Soluchi so much as she becomes her, which is a meaningful distinction. She wrote this screenplay and she leads this film, and the closeness between the two roles is visible in every scene. There is no gap between character and performer here. She carries the film’s whimsy without ever letting it tip into self-parody, and in the quieter moments, particularly when Soluchi is trying not to be herself, the restraint is as impressive as the expressiveness. To write a character this specific and then inhabit her this completely is the work of someone with an unusually clear sense of her own creative instincts. Nkem Owoh and Patience Ozokwor as Soluchi’s parents are the film’s warmest surprise. Owoh moves through the role with the easy authority of someone who has spent decades learning when to be funny and when to simply be present. He is lightness when the film needs air and weight when it needs grounding. Ozokwor matches him at every turn. Their chemistry as a long-married couple is so natural and specific that every scene they share feels like a stolen glimpse into a real home. Together, they are a reminder of why both remain the standard in this industry. Zubby Michael does something harder than it looks with Kalu. He plays a man who isn’t wrong exactly, only incompatible, and he finds the human core of that without erasing the damage Kalu causes. *Call of My Life* occasionally pushes too hard against him: a scene where he calls his mother to describe Soluchi as too childish is designed to make audiences dislike rather than simply understand him, and that feels like a miss in a film otherwise mature about this dynamic. Michael navigates it with enough nuance to keep the character from collapsing into a caricature, but the writing works against him in those moments. Andrew Bunting is charming as Eli and carries the role with genuine warmth. The limitations belong to the writing more than the performance. Eli’s geographic ambiguity, his vague daily existence, the train station setup that promises something and never delivers it; these are problems no amount of charm can paper over. Justin Ugonna, in his debut screen performance as Ezekiel, is a genuine find. There is no visible effort, no overacting, no seams showing. He simply fits the role the way someone fits a shirt made for them. Beverly Osu as Zimuzo is lively and present, even if the film doesn’t give her the room she could fill. Samuel Ajibola, known as Brother Shaggy, delivers a pleasant surprise in what could easily have been a throwaway role. ## The Frame That Loves What It Sees [Dammy Twitch](https://www.imdb.com/name/nm11899107/ "Dammy Twitch") makes is feature film debut from the Afrobeats music video world, and it shows in the best possible way. The cinematography, handled by Muhammad Atta Ahmed, has the visual consciousness of someone accustomed to making every frame carry meaning. The colour palette leans into Soluchi’s sensibility, warm and saturated and slightly heightened, as though the world is being seen through the eyes of someone who still believes in enchantment. Every location, every room, every space feels emotionally curated rather than merely set-dressed. Anita Ashiru’s production design works in perfect conversation with this, building a world that feels attainable for a middle-class Nigerian audience without feeling ordinary. It doesn’t look aspirational. It looks inhabited. What Twitch gets most right is restraint. This is not a film drunk on its own production value. There are no gratuitous Lekki apartments, no luxury-car establishing shots, no aesthetic flexing for its own sake. The environments serve the characters, which sounds like a low bar until you see how regularly Nollywood films fail to clear it. He understood the assignment, maintained that understanding across every department, and delivered a film where all the craft is pulling in the same direction. The sound design is one of the *Call of My Life*‘s quietest achievements. A park scene comes alive with ambient chatter and the sounds of people living around the edges of the frame, the kind of environmental texture that places you physically inside a moment rather than simply in front of it. Cobhams Asuquo’s score wraps the story in exactly the right emotional register: romantic without being saccharine, intimate without being overwrought. The Johnny Drille sequence arrives in the film’s final stretch and sits in slightly ambiguous territory. It is consistent with who Eli is supposed to be, a man willing to go to extraordinary lengths to make his love visible, and it fits the film’s spirit completely. But it carries the faint outline of a brand collaboration, and the screenplay hadn’t quite earned the sequence before it landed. It sits on the enjoyable side of unnecessary. Most audiences will go with it warmly, and they won’t be wrong to. ## Final Thoughts There is a question worth sitting with after *Call of My Life*: why has it taken this long? Nollywood’s romantic comedies have existed for decades. They have delivered comedy in abundance and tenderness in smaller doses, but the particular quality this film carries, that Wednesday-weird, hyperpop, fully committed whimsy, has been almost entirely absent from the genre’s recent output. Earlier romcoms tried for a kind of aspirational slickness, placing characters in beautiful apartments and giving them articulate problems. *Call of My Life* tries for something more specific and more honest: a character who is strange in the way that real people are strange, who loves in a way that embarrasses her, whose life looks like something you might actually recognise. The film’s greatest achievement is not its romance. It is everything surrounding it. The family. The friendship. The production design. The way a writer has poured herself into the work so completely that the film feels not just made but lived in. Uzoamaka Power hasn’t made a film about love. She has made a film about a woman, and the love story is what happens to that woman while the film is paying attention to other things. The limitation is that the romance at the centre, the thing the film is nominally about, never quite earns the emotional declarations it arrives at. The confessions are written for a relationship that has been lived in for years, not the one we’ve been shown. You can root for Soluchi and Eli. You just can’t quite believe them yet. A braver ending, one that trusted this as the beginning of something rather than the resolution of everything, would have been more honest to what *Call of My Life* actually built. What remains after the credits is genuine warmth, the feeling of having spent time with people who gave everything to the craft. And in this genre, that counts for more than it should have to. ## Verdict Go and watch it, especially if you’ve ever been told your love is too much. This film was written for you, and it knows what it is doing. *Call of My Life* suits viewers who need their romantic comedies to also be emotionally intelligent, it earns that credibility in the margins even when the central romance falls slightly short of its own ambitions. It is an honest film, and that is rarer. **Rating**: 3.35/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/call-of-my-life-the-nollywood-romcom-that-finally-found-its-whimsy/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/call-of-my-life-the-nollywood-romcom-that-finally-found-its-whimsy/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/call-of-my-life-the-nollywood-romcom-that-finally-found-its-whimsy/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/call-of-my-life-the-nollywood-romcom-that-finally-found-its-whimsy/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/call-of-my-life-the-nollywood-romcom-that-finally-found-its-whimsy/?share=linkedin) - **Categories:** Reviews **Tags:** 2026 Nollywood film, Afolabi Olalekan, Andrew Bunting, Anita Ashiru, Beverly Osu, Blessing Uzzi, Bluhouse studios, Brother Shaggy, Call of my life, Cobhams Asuquo, Dammy Twitch, emotional healing, female friendship, Film Critique, Film review, Igbo language, Justin Ugonna, love languages, Muhammad Atta Ahmed, nigerian cinema, Nkem Owoh, nollywood, Patience Ozokwor, romantic comedy, romcom, Samuel Ajibola, Uzoamaka Power, whimsy, Zubby Michael --- ### [The New Nollywood: Pamilerin Ayodeji Is Already Ahead of the Curve](https://nollycritic.com/the-new-nollywood-pamilerin-ayodeji-is-already-ahead-of-the-curve/) **Published:** May 23, 2026 **Author:** Shalom O. Obisesan **Excerpt:** There is a version of this story where Pamilerin Ayodeji is simply a child actress who got lucky. A girl who walked into... **Content:** There is a version of this story where [Pamilerin Ayodeji](https://www.imdb.com/name/nm11869951/?ref_=tt_ov_3_1 "Pamilerin Ayodeji") is simply a child actress who got lucky. A girl who walked into the right audition at the right time, delivered a few good performances, and ended up in a Paramount Pictures film. That version is easier to tell. It is also wrong. What Pamilerin Ayodeji has built in the span of seven years, starting at the age of nine, is a body of work that reflects something more deliberate than luck. She has moved across formats, from short film to CGI feature to street-level ensemble drama. She has carried lead roles with the kind of stillness that most actors spend years trying to develop. She has won awards in Nigeria, won recognition in Texas, and won a Sundance Grand Jury Prize before most of her peers had a professional credit to their name. She is sixteen years old. She calls herself a teen actress now, which is accurate, and also an understatement. The story of how she got here begins, as many Nollywood stories do, with a training ground that was small enough to be overlooked and significant enough to change everything. ## **The Foundation: Kids Can Act and an Early Professional Debut** In 2019, Stan Nze launched the ***Kids Can Act Project***, an annual acting training initiative aimed at identifying and developing young Nigerian talent. The programme operates with the conviction that raw instinct, without deliberate formation, produces inconsistency. Pamilerin was among the first wave of participants. She was nine years old. That same year, she won ***Best Actor*** at the Kids Can Act programme, marking her professional debut not as an extra or a background presence, but as a performer recognised for her craft at the very beginning. The award meant little to the wider industry at the time. It would come to mean considerably more in retrospect. Her earliest screen appearances, including roles in *The Father*, *Special Friends*, *Jay Jay: The Chosen One*, and *Mr. Black*, were modest projects that gave her room to experiment without the pressure of a large audience watching. She was learning, in the way that careful actors learn, by doing rather than performing, by occupying a scene rather than announcing herself in it. The foundation held. ## **Lizard (2020): A Sundance Win and a Character No Adult Could Have Played** In 2020, Pamilerin Ayodeji was cast as Juwon in *Lizard*, a short film directed by [Akinola Davies Jr](https://nollycritic.com/?s=Akinola+Davies+Jr "Akinola Davies Jr"). and co-written with Wale Davies. The film is set in 1990s Lagos and follows an eight-year-old girl who has been ejected from Sunday school for having an extraordinary ability to sense danger. Following her expulsion, she witnesses the criminal underbelly operating in and around a Mega Church. The cinematography, by Shabier Kirchner, is precise and unsparing. The film makes no concessions to sentimentality. Lizard was the only Nigerian submission at the 2021 Sundance Film Festival and the first Nigerian production to win the Grand Jury Prize at the festival. It subsequently received a BAFTA nomination. It is eighteen minutes long and anchored entirely on the performance of a child actress who was ten years old when the film was shot. What Pamilerin Ayodeji does in *Lizard* is not easily categorised as child acting. Juwon is not precocious or theatrical. She is perceptive and contained, moving through her environment with the awareness of someone who understands that the world is not safe and has decided to look at it directly anyway. The performance works because it refuses to explain itself. Juwon does not perform fear. She registers it, absorbs it, and keeps moving. That quality of restraint, in a child of that age, on a film of that ambition, is striking. The Sundance win did not immediately open industry doors in Nigeria. What it did was establish a record: the first Nigerian short film to win the Grand Jury Prize at one of the world’s most prestigious film festivals, led by a ten-year-old girl from Lagos. ## **Building the Filmography: Alone, Dark Clouds, Something Fishy and the In-Between Years** Between *Lizard* and the more high-profile projects that followed, Pamilerin continued to work. *Alone* (2023), *Something Fishy* (2022), *Dark Clouds* (2022), *Poor-ish*, and *A Sunday Affair* (where she played Young Toyin) added breadth to her filmography without necessarily adding scale. These were not projects designed to make her famous. They were projects that kept her working and kept her learning. This is worth noting because it reflects a professional discipline that is rare at any age. The years between a breakthrough and the next significant opportunity are where many young actors stall or disappear. Pamilerin Ayodeji kept accumulating credits, kept showing up on set, kept practising the craft in small rooms before the large ones opened up. ## **Gangs of Lagos (2023): Young Teni and the Weight of Origin Stories** When Jade Osiberu cast Pamilerin as Young Teni in *[Gangs of Lagos](https://nollycritic.com/jade-osiberus-christmas-in-lagos-a-festive-rom-com-with-studded-cameos-and-afrobeats/ "Gangs of Lagos")* for Prime Video, the role came with a specific burden. Teni, as played by Bimbo Ademoye in the adult sections of the film, is one of *Gangs of Lagos*‘s most charged characters, a woman whose toughness is inseparable from what she survived as a girl. The young version of that character had to make the adult version make sense. Pamilerin carried that responsibility without tipping into performance. Young Teni does not announce her future self. She holds the seeds of her quietly, in the way she navigates the street, in the way she watches people who think she is not watching. The performance earns Bimbo Ademoye’s continuation of the character rather than simply preceding it. *Gangs of Lagos* was a significant moment in Nollywood’s streaming era, one of Prime Video’s biggest Nigerian productions. Appearing in it, even in a supporting capacity, placed Pamilerin within an ecosystem of Nollywood’s most commercially and critically ambitious filmmaking. ## **Mikolo (2023): Leading a CGI Feature and Anchoring a Girl’s Story** The same year as *Gangs of Lagos*, Pamilerin Ayodeji starred as Funke in *Mikolo*, Niyi Akinmolayan’s live-action and computer-animated family fantasy, produced by Anthill Studios and distributed by FilmOne and Amazon Prime. *Mikolo* tells the story of two inquisitive children, Funke and Habeeb, who set out on a holiday at their grandmother’s place and stumble into a magical world where they befriend a wondrous creature named Mikolo, whom they must protect from local hunters. The film was produced on a budget of N120 million, making it one of the more ambitious Nollywood family productions in recent memory. For a film of that scale to rest its emotional centre on a child actress required a specific kind of trust from the director. Akinmolayan, who has worked with some of Nigeria’s most established adult actors, made that bet, and Pamilerin justified it. Pamilerin Ayodeji shines as Funke, showcasing her undeniable talent and star power. What distinguishes her performance is its internal logic. Funke is curious and fearless and occasionally impulsive, and Pamilerin plays each of those qualities as genuine character traits rather than narrative functions. The film uses Funke explicitly as a vehicle for girl-child empowerment, a girl who breaks gender stereotypes through action and determination. In less careful hands, that theme becomes didactic. Pamilerin keeps it grounded in the specific, believable decisions of a particular child. ## **Awards and Recognition: A Pattern, Not an Outlier** Pamilerin Ayodeji’s performances have earned her awards including Best Actor at the Kids Can Act programme in 2019 and ***Best Young Actor*** at the ***Kaduna Film Festival*** in 2022. She subsequently won ***Best Young Talent*** at the ***African Film Festival*** in Texas, USA. These are not ceremonial recognitions. They span different years, different organisations, and different contexts, which means they reflect a consistency of craft rather than a single exceptional moment. The pattern matters because it distinguishes Pamilerin from young actors whose recognition is concentrated around one role or one period. Her awards follow her career development: one at the beginning, one in the middle years, one at the international level. Each arrived at a stage when her work warranted it. She was also featured in a global campaign collaboration between Tommy Hilfiger and Patta, a partnership that reflects the expanding cultural currency of young Nigerian creatives. Fashion’s interest in Pamilerin says something about her presence beyond the screen, and the ease with which she moves between industry contexts. --- ## **Children of Blood and Bone (2027): A Hollywood Casting That Means A Lot** In early 2025, Paramount Pictures announced the full cast for *[Children of Blood and Bone](https://nollycritic.com/?s=Children+of+Blood+and+Bone "Children of Blood and Bone")*, the film adaptation of Tomi Adeyemi’s bestselling young adult fantasy novel. The cast includes Thuso Mbedu, Amandla Stenberg, Damson Idris, Viola Davis, Cynthia Erivo, Idris Elba, Lashana Lynch, Chiwetel Ejiofor, Regina King, and Ayra Starr, among others. Pamilerin is among that cast. She and Shamz Garuba were cast through an open casting call in Nigeria. Director Gina Prince-Bythewood, who co-wrote the script with Adeyemi, stated directly: > “While the story of *Children of Blood and Bone* is set in a mythical place, its roots are deeply embedded in Nigeria’s history, traditions, and landscapes. By having a casting call in Nigeria, I aimed to bring that essence of the country’s magic and realism into a fictional world. I am proud to share that as a result of that casting call, we have selected Pamilerin Ayodeji and Shamz Garuba to help bring this magical world to life.” The film is scheduled for release on January 15, 2027, in IMAX. The film was shot in Spain and South Africa, meaning Pamilerin has already worked on an international production of that scale, alongside a cast that represents some of the most recognisable names in contemporary Black cinema. To be selected from an open casting call in Nigeria for a Paramount IMAX production is not a small thing. It is the kind of outcome that validates years of preparation, even when that preparation happened quietly, in small productions, in training programmes, in roles that most of the audience never saw. ## **What the Work Reveals** Pamilerin Ayodeji’s career, viewed as a whole rather than as a series of highlights, reveals a young actress who has never treated any project as beneath her attention. The short film that won at Sundance got the same investment as the CGI feature. The supporting role in *A Sunday Affair* got the same commitment as the lead role in *Mikolo*. That consistency of approach is what the work shows, and it is the most reliable predictor of longevity in any creative industry. She is in her final year of secondary school and will be heading to university. She is sixteen years old. Her highest-profile performance has not yet been released. The career she is building is still in its early chapters, and those early chapters already include a Sundance Grand Jury Prize, a BAFTA nomination, a Prime Video original, and a Paramount IMAX film. There are adult actors in Nollywood who have not assembled a filmography this purposeful. Pamilerin is only getting started. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-new-nollywood-pamilerin-ayodeji-is-already-ahead-of-the-curve/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-new-nollywood-pamilerin-ayodeji-is-already-ahead-of-the-curve/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-new-nollywood-pamilerin-ayodeji-is-already-ahead-of-the-curve/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-new-nollywood-pamilerin-ayodeji-is-already-ahead-of-the-curve/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-new-nollywood-pamilerin-ayodeji-is-already-ahead-of-the-curve/?share=linkedin) - **Categories:** Articles, The New Nollywood **Tags:** A Sunday Affair, African Film Festival Texas, Akinola Davies Jr, Alone, Amandla Stenberg, Amazon Prime, Anthill Studios, Ayra Starr, BAFTA, Bimbo Ademoye, child actors, Children of Blood and Bone, Chiwetel Ejiofor, Cynthia Erivo, Damson Idris, Dark Clouds, FilmOne, Funke Character, gangs of Lagos, Gina Prince-Bythewood, Habeeb Character, Idris Elba, IMAX, Jade Osiberu, Jay Jay The Chosen One, Kaduna Film Festival, Kids Can Act Project, Lashana Lynch, Lizard, Mikolo, Mr Black, nigerian cinema, Niyi Akinmolayan, nollywood, Pamilerin Ayodeji, Paramount pictures, Patta, Poor-ish, Prime Video, Regina King, Shabier Kirchner, Shamz Garuba, Something Fishy, Special Friends, Stan Nze, Sundance Film Festival, Teen Actors, The Father, Thuso Mbedu, Tomi Adeyemi, Tommy Hilfiger, Viola Davis, Wale Davies --- ### [Five Figurines: Akay Mason begins principal photography on new movie](https://nollycritic.com/five-figurines-akay-mason-begins-principal-photography-on-new-movie/) **Published:** May 22, 2026 **Author:** Esther Adamu **Excerpt:** Akay Mason, has announced the beginning of principal photography on his latest project, Five Figurines. The story, described as mysterious... **Content:** The director of [Elevator Baby](https://nollywood.com/movies/elevator-baby "Elevator Baby") and many other notable Nollywood productions, [Akay Mason](https://nollycritic.com/ "Akay Mason"), has announced the beginning of principal photography on his latest project, *Five Figurines*. The story, described as mysterious and filled with tension, is still in production with no release date announced. Akay Mason, who first gained widespread recognition with *Elevator Baby* (2019), has since built an impressive portfolio including *Day of Destiny* (2021), *Superstar* (2021), and *Love in a Pandemic* (2023). His recent works, such as *[Ada Omo Daddy](https://nollycritic.com/ada-omo-daddy-is-forgiveness-really-earned-or-given/ "Ada Omo Daddy")* (2023) and *Red Circle* (2025), have cemented his reputation as one of Nollywood’s most versatile directors. Akay Mason said in his post: > I honestly can’t wait to step into the set and bring this world to life. This project is especially personal because it marks my first venture as a producer and director under my production company Element24Media. *Five Figurines* is expected to blend Mason’s signature mix of drama and suspense, with early reports suggesting a narrative that explores greed, ambition, and the supernatural. [Nollywood](https://nollycritic.com/ "Nollywood") actor Chimezie Imo has also announced that he will join the movie as an associate Producer. The film boasts a star-studded cast featuring a dynamic blend of seasoned veterans and talented young actors from the Nigerian film industry. The cast includes Bimbo Akintola, Uche Montana, Ini Edo, Odunlade Adekola, Wumi Toriola, Clinton Joshua, Pretty Fola, and Nkechi Blessing With *Five Figurines*, Mason promises the audience a cinematic experience that is both thrilling and thought-provoking. Akay Mason has a great portfolio as a director, and Five figurines will be his first venture as a producer under his own production company, an exciting step that continues to push Nollywood further. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/five-figurines-akay-mason-begins-principal-photography-on-new-movie/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/five-figurines-akay-mason-begins-principal-photography-on-new-movie/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/five-figurines-akay-mason-begins-principal-photography-on-new-movie/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/five-figurines-akay-mason-begins-principal-photography-on-new-movie/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/five-figurines-akay-mason-begins-principal-photography-on-new-movie/?share=linkedin) - **Categories:** Nollywood News **Tags:** Ada Omo Daddy (2023), Akay Mason, Bimbo Akintola, Chimezie Imo, Clinton Joshua, Element24Media, Elevator Baby (2019), Five figurines, Five Figurines principal photography, Ini Edo, Love in a Pandemic (2023), nigerian cinema, Nkechi Blessing, nollycritic, nollywood, Odunlade Adekola, Red Circle (2025), Superstar (2021), Uche Montana, Wumi Toriola --- ### [My Father's Shadow Returns to Nigerian cinemas June 5](https://nollycritic.com/my-fathers-shadow-returns-to-nigerian-cinemas-june-5/) **Published:** May 21, 2026 **Author:** Esther Adamu **Excerpt:** Akinola Davies Jr. Award-winning Nigerian Film set for Nationwide Release **Content:** [Akinola Davies Jr.](https://nollycritic.com/akinola-davies-jr-s-my-fathers-shadow-lands-gotham-breakthrough-director-nomination/ "Akinola Davies Jr.") ‘s award-winning Nigerian Film set for Nationwide Release. Following its historic run at international festivals and sweeping victories at the Africa Magic Viewers’ Choice Awards (AMVCA), *[My Father’s Shadow](https://nollycritic.com/my-fathers-shadow-an-intriguing-24-hour-odyssey/ "My Father's Shadow")* has announced its return to cinemas across Nigeria. The film, which follows the story of two young brothers spending a single day with their estranged father, a journalist and activist, became the first Nigerian film selected for the official competition at the Cannes Film Festival. It was also recognized at the BAFTA Awards, Gotham Awards, and British Independent Film Awards (BIFA). Directed by Akinola Davies Jr. in his debut feature and co-written with his brother Wale Davies, *My Father’s Shadow*, set against the backdrop of the June 12, 1993, election crisis in Lagos, has been hailed as a milestone in African cinema. The production, which has been praised for its authenticity and emotional depth, has an intentionally small cast that includes the father, Sope Dirisu, and his two sons, Godwin Chiemerie Egbo and Chibuike Marvellous. The narrative of *[My Father’s Shadow](https://newsdigest.ng/amvca-2026-my-fathers-shadow-dominates-as-full-winners-emerge/?utm_source=copilot.com "My Father's Shadow")* explores themes of family, memory, and nationhood. By blending personal loss with Nigeria’s struggle for democracy, the film captivates audiences and has won numerous awards. Its success has been celebrated as a turning point for Nollywood, establishing Nigerian cinema on the global stage. The Film’s Nationwide release is set for June 5, ahead of Nigeria’s Democracy Day, June 12, inviting audiences to reflect on the nation’s democratic journey. FilmOne Entertainment will handle the distribution of *My Father’s Shadow* after its release. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/my-fathers-shadow-returns-to-nigerian-cinemas-june-5/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/my-fathers-shadow-returns-to-nigerian-cinemas-june-5/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/my-fathers-shadow-returns-to-nigerian-cinemas-june-5/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/my-fathers-shadow-returns-to-nigerian-cinemas-june-5/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/my-fathers-shadow-returns-to-nigerian-cinemas-june-5/?share=linkedin) - **Categories:** Nollywood News **Tags:** Africa Magic Viewers' Choice Awards (AMVCA), Akinola Davies Jr., BAFTA Awards, British Independent Film Awards (BIFA)., Cannes Film Festival, Chibuike Marvellous., Filmone entertainment, Godwin Chiemerie Egbo, Gotham Awards, My Father's Shadow, Nigeria's Democracy Day, nigerian cinema, nollycritic, nollywood, Sope Dirisu, Wale Davies --- ### [AMVCA 2026: See the Full List of Winners](https://nollycritic.com/amvca-2026-see-the-full-list-of-winners-live-updates/) **Published:** May 9, 2026 **Author:** Michael Arowoselu **Excerpt:** The 2026 Africa Magic Viewers’ Choice Awards (AMVCA) took place in Lagos on May 9, bringing together the continent’s biggest... **Content:** The 2026 Africa Magic Viewers’ Choice Awards ([AMVCA](https://nollycritic.com/?s=amvca)) took place in Lagos on May 9, bringing together the continent’s biggest stars under one roof. The event, as expected, was a visual spectacle. Glamorous outfits, bold fashion choices, and dramatic entrances. Linda Ejiofor makes history this year, winning both the Best Lead Actress and Best Supporting Actress awards for her roles in *The Serpent’s Gift* and *The Herd* respectively. Yemi Morafa’s *Gingerr* went 0/9 while Akinola Davies’ *My Father’s Shadow* won the most awards. Here’s the full list of winners 2026 [AMVCA](https://www.dstv.com/africamagic/en-ng/show/amvca "AMVCA"): ### **AMVCA Trailblazer Award** **Uche Montana – WINNER** ### **Best Director** **• Akinola Davies Jr – *[My Father’s Shadow](https://nollycritic.com/my-fathers-shadow-an-intriguing-24-hour-odyssey/)* – WINNER** • Tunde Kelani – *Cordelia* • James Omokwe – *Osamede* • Daniel Etim Effiong – *The Herd* • Yemi Filmboy Morafa –*Gingerrr* • Asurf Amuwa Oluseyi – *3 Cold Dishes* ### **Best Movie** • *Gingerrr* *• The Herd* ***• My Father’s Shadow* – WINNER** *• 3 Cold Dishes* • The Serpent’s Gift *• Behind The Scenes* ### **Best Writing (Movie):** • Lani Aisida – *The Herd* **• Wale Davies – *My Father’s Shadow* – WINNER** • Ikenna Okpara – *Blackout* • Shirleen Wangari – *Cards On The Table* • Xavier Ighorodje – *Gingerrr* • Isaac Ayodeji – *Suky* • Tomi Adesina – *3 Cold Dishes* ### **Best Documentary:** **• Beyond Olympic Glory – WINNER** • *The Good, The Bad of Afrobeat* • *The People Shall* • *Not Addressing This Anymore* • *BOU* ### **Best **Digital Content Creator:**** • Elozonam Ogbolu, Genoveva Umeh • Destiny Ogie Osarewinda **• Emmanuel Kanaga, Sophia Chisom – WINNER** • Benedict Ehimare Oriaifo • Taaooma • Steve Chuks • Akwaman ### **Best ****Scripted M-Net Original:****** • Adam to Eve • Mother of The Brides • The Yard **• The Low Priest – WINNER** • Bobo ### **Best ****Unscripted M-Net Original:****** **• Nigerian Idol S10 – WINNER** • Ultimate Girls Trip: Africa • Chapa Chapa My Love • Out N About (Harar) • Undugu ### **Best ****Scripted Original Series:****** *• To Kill A Monkey* *• The Yard* *• The Chocolate Empire* ***• Inimba* – WINNER** *• Kash Money* ### **Best ****Unscripted Original Series:****** *• The Real Housewives Of Lagos S3* • Nigerian Idol S10 *• Ultimate Girls Trip: Africa* *• Offair With Gbemi And Toolz* ***• Out N About (Harar)* – WINNER** ### **Best ******Indigenous Language (West Africa):******** • The Serpent’s Gift **• Lisabi: A Legend Is Born – WINNER** • Labake Olododo • Olorisha • Aljana ### **Best ******Indigenous Language (East Africa):******** • Inside Job • Sayari **• Addis Fikir – WINNER** • My Son • Kimote ### **Best ******Indigenous Language (Southern Africa):******** • Bet I Love You • Sebata: The Beast • Ben Made It • Terra Of Queens And Kuma 2 **• Tlhaho Ya Mosadi – WINNER** ### **Best ******Indigenous Language (North Africa):******** • The Omnipresent • The Delivery • The Hidden Voice • This Is Portsaid **• Artal Alhanin: Our Memories – WINNER** ### ****Best Indigenous M-Net Original:**** **• Inimba – WINNER** • Kukoyi • Undugu • Kampala Creme S2 • The Chocolate Empire • Mgbuka ### ****Best Short Film:**** *Rise* – Jessie J. Rowlands *Fleas* – Jordy Sank *Telephone* – Fimisinuola Adejonwo ***Hussaini* – Orire Nwani and Josh Olaoluwa – Winner** *My Body, God’s Temple* – Uzoamaka Power ### ******Best Supporting Actress:****** **• Linda Ejiofor – *The Herd* – WINNER** • Olamide Kidbaby – *Oversabi Aunty* • Bisola Aiyeola *Gingerrr* • Sola Sobowale – *The Covenant* • Nadia Dutch – *Aljana* • Amal Umar – *The Herd* •Juliebrenda Nyambura – *MTV Shuga Mashariki* • Funke Akindele – *Behind The Scenes* ### ******Best Lead Actor:****** • Mike Ezuruonye – *Oversabi Aunty* • Lateef Adedimeji – *Lisabi 2* • William Benson – *To Kill A Monkey* • Kanayo O. Kanayo – *Grandpa Must Obey* • Khumbuza Meyiwa – Bet I Love You **• Uzor Arukwe – *Colours Of Fire* – WINNER** • Wale Ojo – *3 Cold Dishes* • Femi Branch – *Red Circle* ### ******Best Lead Actress:****** **• Linda Ejiofor – *The Serpent’s Gift* – WINNER** • Bimbo Akintola – *To Kill A Monkey* • Ifeoma Fafunwa – *The Lost Days* • Ariyike Owolagba – *Something About The Briggs* • Sola Sobowale – *Her Excellency* • Scarlet Gomez – *Behind The Scenes* • Genoveva Umeh – *The Herd* • Gloria Anozie-Young – *Mother Of The Brides* ### ******Best Supporting Actor:****** • Simileoluwa Hassan – *The Yard* • Lateef Adedimeji – *Gingerr* • Gabriel Afolayan – *Colours Of Fire* **• Bucci Franklin – *To Kill A Monkey* – WINNER** • Femi Adebayo – *King Of Thieves 2* • Lateef Adedimeji – *Red Circle* • Femi Branch – *Owambe Thieves* • Uzor Arukwe – *Behind The Scenes* ### ******Best Cinematography:****** • Jermaine Edwards – *My Father’s Shadow* **• Kabelo Thathe – *To Kill A Monkey* – WINNER** • Emmanuel Igbekele – *The Herd* • Daanong Gyang – *Finding Nina* • Emmanuel Igbekele – *The Serpent’s Gift* • KC Obiajulu – *Stitches* • Emmauel Igbekele – *Gingerrr* ### ******Best Editing:****** • Kazeem Agboola – *Cordelia* • Omar Guzman Castro – *My Father’s Shadow* • Wanguma Peter Chidebere, Dele Doherty – *Landline* • Asurf Amuwa Oluseyi – *3 Cold Dishes* • Winston Aig-Ohioma – *Osamede* **• Daniel Anyiam – *To Kill A Monkey* – Winner** ### ******Best Sound Design:****** **• Pius Fatoke, CJ Mirra – *My Father’s Shadow* – WINNER** • Tolu Obanro – *Gingerrr* • Vaughan Phillips – *Ben Made It* • Tolu Obanro – *The Party* • Vaughan Phillips – *Sebata:The Beast* • Fisayo Adefolaju – *The Herd* ### ********Best Score/Music********: **• Duval Timothy, CJ Mirra – *My Father’s Shadow* – WINNER** • Nissi Ogulu – *3 Cold Dishes* • Chubb Okobah – *Osamede* • Tolu Obanro – Gingerrr • Tolu Obanro – The Party • Sofresh – *MTV Shuga Mashariki* • Oscar Heman-Ackah – *To Kill A Monkey* ### ********Best Art Direction********: • Zainab Oladipupo – *The Serpent’s Gift* • Omolade Abisola – *The Herd* **• Ajamolaya Bunmi, Yakub Oladejo – *Colours Of Fire* – WINNER** • Olatunji Afolayan, Gideon O. Stephen – *Aljana* • Victor Akpan – *Suky* • Thabiso Senne – *Inimba* ### ********Best Make Up********: • Mojisola Imam – B*ehind The Scenes* **• Hakeem Effect – *Lisabi: A Legend Is Born* – WINNER** • Dablaq Artistry – *Gingerrr* • Adeola Bamgboye – *Abanisete* • Hakeem Effect – *Warlord* • Ruth Harcourt – Suky • Adeola Bamgboye – *Labake Olododo* ### ********Best Costume Design********: • Mary Chukwuma – *The Serpent’s Gift* • Deola Art Alade, Darey Art Alade – *The Real Housewives Of Lagos* **• Valerie Okeke – *Colours Of Fire* – WINNER** • Yolanda Okereke – *Something About The Briggs* • Ikechukwu Urum, John Joseph Angel – *To Kill A Monkey* ### ********Best******** Writing in a TV Series: • Donald Tombia, Timendu Aghahowa, Chiemeka Osuagwu- *The Wives* **• Annette Shadeya, Natasha Likimani, Mkamzee Mwatela, Arnold Mwanjila, Makgano Mamabolo – *MTV Shuga Mashariki* – WINNER** • Xavier Ighorodje – *Our Husband* • Besufekade Mulu – *Addis Fikir* • Temilola Balogun – *Baba Oh* • Stephen Okonkwo – *The Party* • Yednekachew Ayne – *Gizat* ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/amvca-2026-see-the-full-list-of-winners-live-updates/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/amvca-2026-see-the-full-list-of-winners-live-updates/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/amvca-2026-see-the-full-list-of-winners-live-updates/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/amvca-2026-see-the-full-list-of-winners-live-updates/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/amvca-2026-see-the-full-list-of-winners-live-updates/?share=linkedin) - **Categories:** Nollywood News **Tags:** 3 Cold Dishes, AMVCA, AMVCA 2026, Behind the Scenes, Bucci Franklin, Cordelia, Gingerrr, My Father's Shadow, Osa, Osamede, The Herd, The Serpent's Gift, Timini Egbuson, William Benson --- ### [Blood Sisters Season 2 Set to Premiere on Netflix This June](https://nollycritic.com/blood-sisters-season-2-set-to-premiere-on-netflix-this-june/) **Published:** May 15, 2026 **Author:** Esther Adamu **Excerpt:** The sisters are back! Netflix has confirmed the release of Blood Sisters season 2. The movie, a sequel to Netflix's first original... **Content:** The sisters are back! Netflix has confirmed the release of [Blood Sisters season 2.](https://nollycritic.com/blood-sisters-season-2-wraps-filming-premieres-in-2025/ "Season 2 of Blood Sisters.") The movie, a sequel to [Netflix’s](http://www.netflix.com "Netflix's") first original series, Blood Sisters, will premiere globally in June, exclusively on their streaming platform. Season 1 of Blood Sisters, produced by EbonyLife Studios in partnership with Netflix, was released on May 5, 2022. Since its debut, Blood Sisters has been cited as one of Netflix’s most‑watched African originals and a key title in raising Nollywood’s profile on global streaming platforms. Returning casts for this new season include Ini Dima‑Okojie, Nancy Isime, Kehinde Bankole, Kate Henshaw, Gabriel Afolayan, and Daniel Etim Effiong. New additions to the ensemble expand the series’ roster and narrative possibilities. [Season 2](https://empiremagazineafrica.com/netflix-sets-june-5-global-release-for-blood-sisters-season-2-as-original-stars-return/?utm_source=copilot.com "Season 2") will continue the crime‑thriller narrative and action that made the first season a streaming success, deepening the drama around power, social status, betrayal, and survival. Netflix has released teaser visuals and promotional materials ahead of the worldwide launch. The story continues when *Blood Sisters* premieres globally via Netflix on June 5, 2026. The New season was directed by Kayode Kasum and Daniel Oriahi. > [View this post on Instagram](https://www.instagram.com/p/DYPCLIUiX6a/?utm_source=ig_embed&utm_campaign=loading) ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/blood-sisters-season-2-set-to-premiere-on-netflix-this-june/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/blood-sisters-season-2-set-to-premiere-on-netflix-this-june/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/blood-sisters-season-2-set-to-premiere-on-netflix-this-june/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/blood-sisters-season-2-set-to-premiere-on-netflix-this-june/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/blood-sisters-season-2-set-to-premiere-on-netflix-this-june/?share=linkedin) - **Categories:** Nollywood News **Tags:** and Daniel Etim Effiong, Blood Sisters 2, Gabriel Afolayan, Ini Dima‑Okojie, June 5 (Blood sisters), Kate Henshaw, Kehinde Bankole, Nancy Isime, Netflix, nollycritic, nollywood, Nollywood 2026, season 2 of blood sisters --- ### [Wahala: Genevieve Nnaji Returns to Screen in New BBC Drama](https://nollycritic.com/wahala-genevieve-nnaji-returns-to-screen-in-new-bbc-drama/) **Published:** May 16, 2026 **Author:** Esther Adamu **Excerpt:** Nollywood actress Genevieve Nnaji has officially joined the cast of the upcoming BBC drama Wahala. The six‑part series adaptation from... **Content:** [Nollywood](https://nollycritic.com/ "Nollywood") actress Genevieve Nnaji has officially joined the cast of the upcoming BBC drama *[Wahala](https://firebirdpictures.co.uk/production/wahala/ "Wahala")*. The six‑part series adaptation from Nikki May’s bestselling novel will air globally. This drama marks her long-awaited return to acting after an eight-year absence from the screen. The drama follows four Nigerian British women as they navigate friendship, ambition, and betrayal in London. Genevieve Nnaji’s addition brings Nollywood royalty to an already impressive ensemble that includes Adelayo Adedayo, Cush Jumbo, Susan Wokoma, and Deborah Ayorinde. [Genevieve Nnaji](https://www.nollywood.com/movies/lionheart "Genevieve Nnaji"), whose last appearance was in *[Lionheart](https://www.imdb.com/title/tt7707314/ "Lionheart")* (2018), expressed her excitement about the project: > I*’m very happy to be joining Wahala and to be working with such a brilliant team. It’s an intriguing story, and I’m excited to be a part of it.* Nikki May’s *Wahala*, a debut novel, explores themes of friendship, ambition, culture, and betrayal. The Novel has been well received for its witty, contemporary, and sharply observed portrayal of women’s lives and relationships. The series promises to blend sharp social commentary with gripping drama, spotlighting the Nigerian diaspora experience. *Wahala* is executive produced by Nawfal Faizullah for the BBC, Elizabeth Kilgarriff and Craig Holleworth for Firebird Pictures and Theresa Ikoko. The directors are Leonora Lonsdale, Theresa Ikoko and Remi Weekes and the producer is Ado Yoshizaki Cassuto. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/wahala-genevieve-nnaji-returns-to-screen-in-new-bbc-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/wahala-genevieve-nnaji-returns-to-screen-in-new-bbc-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/wahala-genevieve-nnaji-returns-to-screen-in-new-bbc-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/wahala-genevieve-nnaji-returns-to-screen-in-new-bbc-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/wahala-genevieve-nnaji-returns-to-screen-in-new-bbc-drama/?share=linkedin) - **Categories:** Nollywood News **Tags:** Adelayo Adedayo, BBC, BBC Wahala, Cush Jumbo, Deborah Ayorinde, Firebird Pictures, Genevieve Nnaji, Nikki May, nollycritic, nollywood, Susan Wokoma, Theresa Ikoko --- ### [Clarissa: New Esiri Brothers Movie Premieres at Cannes](https://nollycritic.com/clarissa-new-esiri-brothers-movie-premieres-at-cannes/) **Published:** May 18, 2026 **Author:** Esther Adamu **Excerpt:** Clarissa, a modern-day reimagining of Virginia Woolf’s Mrs. Dalloway set in Lagos State, received a standing ovation after its premiere **Content:** [*Clarissa*](https://nollycritic.com/clarissa-esiri-brothers-new-movie-secure-neon-distribution-deal/ "Clarissa"), a modern-day reimagining of Virginia Woolf’s Mrs. Dalloway set in Lagos State, received a standing ovation after its premiere in the Directors’ Fortnight section at the [Cannes Film Festival ](https://www.festival-cannes.com/en/press/press-releases/the-films-of-the-official-selection-2026/ "Cannes Film Festival ")on May 16. The Film was shot on 35mm in Nigeria, with Jonathan Bloom as the director of photography. The story follows *[Clarissa](https://www.imdb.com/title/tt33335610/ "Clarissa")*, a high-society woman preparing to host a party at her Lagos home, where she unexpectedly encounters her once-intimate friends from her youth. As the night unfolds, the group is drawn into reflections on their shared past, and memories of intricate relationships, passionate love, hidden desires, and lost aspirations surface. Over the course of a single evening, these recollections give rise to a bittersweet reckoning with the lives they imagined and the choices that shaped them. Ahead of the Cannes premiere of *Clarissa*, several behind-the-scenes photos from the film were released, giving audiences a glimpse of what to expect. The film stars David Oyelowo, Toheeb Jimoh, Nikki Amuka-Bird, Ayo Edebiri, Sophie Okonedo, and India Amarteifio, all of whom attended the screening. Introducing the film at Cannes, The Filmmaking Brothers Arie and Chuko spoke briefly: > They joked that they would save the longer speeches for their awards campaign. The duo also thanked the many collaborators who helped bring the film to life. They described the project as a welcome opportunity for many cast members of Nigerian ancestry to return to the country. Following its debut screening in the Directors’ Fortnight competition, the audience gave the film a lengthy standing ovation, celebrating the brothers and their movie *Clarissa*. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/clarissa-new-esiri-brothers-movie-premieres-at-cannes/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/clarissa-new-esiri-brothers-movie-premieres-at-cannes/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/clarissa-new-esiri-brothers-movie-premieres-at-cannes/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/clarissa-new-esiri-brothers-movie-premieres-at-cannes/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/clarissa-new-esiri-brothers-movie-premieres-at-cannes/?share=linkedin) - **Categories:** Nollywood News **Tags:** Arie Esiri, Ayo Edebiri, Cannes 2026, Cannes Film Festival, Chuko Esiri, Clarissa, India Amarteifio, Jonathan Bloom, nigerian cinema, Nikki Amuka-Bird, nollycritic, nollywood, Sophie Okonedo, stars David Oyelowo, Toheeb Jimoh --- ### [Blood Sisters Season 2 Wraps Principal Photography](https://nollycritic.com/blood-sisters-season-2-wraps-filming-premieres-in-2025/) **Published:** December 13, 2024 **Author:** Fisayo Adekoya **Excerpt:** The second season of Blood Sisters, Netflix’s first original Nigerian series, has officially wrapped filming. Production concluded on December 11, 2024 **Content:** The second season of *Blood Sisters*, [Netflix’s](https://www.netflix.com/browse "Netflix’s") first original Nigerian series, has officially wrapped filming. Production concluded on December 11, 2024, bringing fans one step closer to experiencing the long-awaited sequel to the 2022 hit. When *Blood Sisters* premiered two years ago, it immediately captured widespread attention for its compelling storyline and stellar production. Viewers praised its suspense, intense drama, and cultural authenticity, which set it apart from other shows on the platform. Fans are eager to see how the story will unfold in the new season. Scheduled to premiere in 2025, Season 2 promises to raise the stakes with even more twists and shocking revelations. [EbonyLife](https://nollycritic.com/mo-abudu-secures-50m-afro-film-fund-for-ebonylife-media/ "EbonyLife") Studios has assured viewers that the new episodes will build on the high standards set by the first season, delivering a gripping narrative that keeps audiences glued to their screens. Furthermore, *Blood Sisters* explores universal themes like friendship, betrayal, and survival while deeply rooted in Nigerian culture. This unique blend of local and global appeal has made the series a trailblazer for African storytelling on international As production transitions to the post-production phase, all efforts focus on perfecting the final product. Editors, sound designers, and visual effects teams are hard at work ensuring every detail aligns with Netflix’s high standards. The meticulous process may take time, but it guarantees a polished and immersive viewing experience. Moreover, the show’s success highlights the rising global demand for African content. Nigerian productions like *Blood Sisters* are paving the way for more stories to reach international audiences, showcasing the creativity and talent within the continent’s entertainment industry. With the countdown to 2025 officially underway, excitement for *Blood Sisters* Season 2 continues to grow. The series is set to deliver another unforgettable chapter filled with suspense, drama, and cultural richness. Fans can prepare for a thrilling ride that reaffirms the show’s place as a game-changer in Nigerian entertainment. > [View this post on Instagram](https://www.instagram.com/reel/DDeHjeNiWyj/?utm_source=ig_embed&utm_campaign=loading) *For more stories and updates, follow us on our social media platforms:* - [Instagram](https://www.instagram.com/nolly.critic/profilecard/?igsh=MWg5NWFuaTRicWdlcw==) - [TikTok](https://www.tiktok.com/@nollycritic?_t=8rAUppnRQkK&_r=1) - [X](https://x.com/nollycritic) - [YouTube](https://youtube.com/@nollycritic?si=LS-FL0J7x1IDybWo) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/blood-sisters-season-2-wraps-filming-premieres-in-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/blood-sisters-season-2-wraps-filming-premieres-in-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/blood-sisters-season-2-wraps-filming-premieres-in-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/blood-sisters-season-2-wraps-filming-premieres-in-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/blood-sisters-season-2-wraps-filming-premieres-in-2025/?share=linkedin) - **Categories:** Nollywood News **Tags:** blood sisters, blood sisters season 2, Ebonylife films, Netflix, netflix naija, nollycritic, nollywood, nollywood tv series --- ### [Efunroye - The Unicorn: History's Dangerous Woman, Written Soft](https://nollycritic.com/efunroye-the-unicorn-historys-dangerous-woman-written-soft/) **Published:** May 11, 2026 **Author:** Shalom O. Obisesan **Excerpt:** This historical epic tells the story of Madam Efunroye Tinubu, a 19th-century merchant, kingmaker, and slave trader whose influence on... **Content:** Directed by Tope Adebayo Salami, Adebayo Tijani, and Abbey Lanre, and executive produced by actress and filmmaker[ Faithia Williams](https://www.imdb.com/name/nm2099511/) alongside Niyi Akinmolayan, Diran Adeyinka, and Kemi Anibaba, this Yoruba-language historical epic tells the story of [Madam Efunroye Tinubu](https://nollycritic.com/efunroye-see-the-trailer-for-faithia-williams-new-epic/ "Madam Efunroye Tinubu"), a 19th-century merchant, kingmaker, and slave trader whose influence on Lagos politics was substantial enough to unsettle both local royalty and British colonial authority. Released in cinemas on the 1st of May, 2026, and distributed by FilmOne Entertainment, the film had already spent over a year outrunning accusations of historical whitewashing, born the moment Faithia Williams Balogun announced the project in October 2024 to a social media storm that questioned whether any filmmaker, regardless of intent, should frame a known slave trader as a unicorn. The title alone was a declaration. The film was always going to have to answer for it. ## *Efunroye: The Unicorn* Directed by: Tope Adebayo, Adebayo Tijani, Abbey Lanre Produced by: Faithia Williams Genre: Biopic Released on: May 1, 2026 (Cinemas) Language: Yoruba, English ## The Woman Versus the Writing [*Efunroye Tinubu: The Unicorn* ](https://nollywire.com/titles/efunroye-the-unicorn/ "Efunroye Tinubu: The Unicorn ")opens in mythic territory. We meet its subject not in a market or a palace but in something closer to purgatory, a woman rising from a coffin and confronted with a fundamental choice between feminine and masculine power. She chooses the masculine, and with that decision the film plants the seed of every conflict that follows, including her inability to conceive in her later years. It is a bold opening. It establishes Efunroye not merely as a merchant or a politician but as a woman who traded something essential of herself for survival. The difficulty is that the film never quite decides what to do with that choice. The emotional architecture of this story rests on a recognisable foundation: a woman who gives everything to the structures around her and is discarded the moment she becomes inconvenient. Efunroye loses her first husband young, raises two sons alone, and builds herself into a force in Lagos commerce before marrying into royalty. She helps kings ascend to thrones. She advises chiefs on trade. She constructs an empire, and when that empire begins to threaten the profits of the very men she empowered, they exile her without ceremony. That arc carries real weight, and in its best moments the film lets you feel the specific loneliness of a woman whose currency is competence and whose reward is expulsion. But the emotional core is compromised by how the character is written. History describes Efunroye Tinubu as shrewd and calculating, a woman who used the connections of her husbands deliberately and strategically, not out of wifely devotion but out of a precise understanding of how power moved. That cunning is exactly what British Consul Benjamin Campbell feared and documented. The film flattens it into loyalty. For much of its runtime, Efunroye reads as a good woman navigating a hard world, a faithful wife doing right by her family and household. It is only the drowning of the slaves that punctures this portrait, a moment where the film forces you to sit with the fact that this woman, whatever her complexity, treated human lives as merchandise she would sooner destroy than sell cheap. That scene earns its moral discomfort. It stands as the film’s most honest acknowledgement that Efunroye Tinubu was not a heroine in any tidy sense. And yet a single scene cannot carry the moral weight of an entire film. The writing, for the most part, does not give us the Efunroye Tinubu that history recorded. It gives us a softened version, admirable in places, sympathetic in many, but too comfortable with its own subject to hold her fully accountable. ## When the Kingdom Loses Its Momentum The film structures itself as a sweeping life chronicle, moving from Efunroye’s early years near Abeokuta through her marriages, her rise in Lagos commerce and politics, her collision with British colonial authority, and finally her exile. As an architecture, it holds. As an execution, it buckles in the middle. The opening act, for all its narrative ambiguities, moves with energy. The supernatural sequences, the early losses, the first stirrings of a commercial empire, these carry the film forward with enough momentum to sustain attention. The third act carries the weight of a woman watching everything she built turn against her. Exile, in any story, is a reckoning. It is the political middle that tests patience. A film about a woman who shaped the political landscape of 19th-century Lagos ought to find those politics thrilling. Here they drag. The negotiations, the manoeuvring between kings, the colonial pressure and its aftermath, these accumulate without enough tension to make the story feel urgent. The narrative loses its grip, and with a film of this length, losing your grip even briefly costs more than the production can afford. The supporting subplots do not recover the momentum. Kosoko is introduced as a formidable figure, a man whose hunger for power and capacity for cruelty are drawn in clear strokes, and then the film simply releases him. He flees a battle and never returns. For a character built with such menace, the exit is bafflingly quiet. Itala’s reign is dispatched by narration as though the film suddenly remembered it had too many threads. These are not minor omissions. They are the kind of unresolved business that leaves an audience with the uneasy feeling that the story was not fully mapped before cameras rolled. The supernatural strand suffers most. What the film opens with, a woman of spiritual power and mystical agency, recedes almost entirely as the story moves forward. Efunroye uses incantations early to protect her children. She fights with something beyond ordinary strength. But by the time she is navigating Lagos politics and directing slave trades, those powers have vanished without explanation, without loss, without consequence beyond the vague implication of her original choice. A story that begins in myth and ends in commerce has to earn that journey. This one does not. ## What the Lead Gives, and What the Relief Takes Faithia Williams Balogun inhabits Efunroye with commitment. There is no question of her investment in the role. She moves through the film’s emotional register with a physicality that convinces, and in the scenes that demand presence, she delivers it. The difficulty, as with much in this film, lies not in what she brings but in what the writing asks of her. A character written primarily as devoted and reactive cannot reveal the full dimensions of a woman history records as strategically brilliant and morally complex. Faithia does well with what she is given. The supporting cast reads like a roll call of Yoruba cinema’s most dependable names: Adebayo Salami, Odunlade Adekola, Ibrahim Chatta, Femi Adebayo, and others whose collective presence lends the production an institutional gravity. But few of them are given room to do more than anchor their scenes. The ensemble performs competently without distinction. The most pointed performance issue arrives with the film’s comic relief: two interpreters who bridge the gap between Efunroye’s world and the foreign traders who enter it. The first carries a legible subtext, a man positioned between two parties neither of whom understands the other, making use of that gap for himself. The exaggerations land occasionally. But this is the strain of comedy Nollywood has leaned on for decades, and it sits uneasily in a film that otherwise reaches for something grander. Isaac Ayomide Olayiwola, known publicly as Layi Wasabi, plays the second interpreter, and here the film walks into a problem it does not seem to notice. Olayiwola is a social media comedian with a strongly defined and widely recognisable persona. \\That persona does not disappear when he steps into a period film. His polished English, his rhythm, his manner, all of it reads as the character from his skits transplanted into 19th-century Lagos. Audiences who know his work cannot separate the performer from the performance, and the film asks them to do exactly that without giving them any reason to. A firmer directorial hand could have solved this. ## What the Frame Holds and What It Lets Slip The film’s most consistent achievement is its sound. The Yoruba soundtrack does what Yoruba musical tradition does naturally: it mirrors the emotional temperature of each scene and amplifies it without apology. In the sequence where Efunroye loses her children, eulogies and cries layer over the images with a rawness that bypasses argument and settles in the chest. The music earns its tears there, even in a scene the film’s prior emotional scaffolding had not fully prepared you for. That is the paradox of the soundtrack throughout. It does the heavy lifting that the writing sometimes fails to set up. Cinematically, the film has its moments of confidence. The slave market sequence, shot under a high midday sun with framing that gives the space real depth, communicates its setting with precision. You understand immediately the scale and logic of what you are watching. That visual directness is assured filmmaking. But that assurance is not consistent. A visible trace of powder on Faithia’s face in some scenes reads modern against the period setting. The film’s obligation in these moments is to make the audience forget where they are. Livability, not smoothness, is what period cinema demands of its lead. A wide shot through an arc-shaped gate reveals the structure shifting beneath the movement of the actors, reminding you that what you are watching was built and not found. These are small things, and period filmmaking lives and dies in its small things. The editing has its own restlessness. There are stretches where cuts arrive quickly and the rhythm feels choppy, following dialogue clarity at the expense of visual flow. One creative shot begins to build toward something and is abandoned before it arrives. Whether this reflects a directorial decision or a lapse in post-production, the effect is the same: a film that reaches for formal ambition and does not always follow through. The three directors produce a film that is mostly cohesive but carries just enough tonal variation to suggest that not every creative decision passed through the same sensibility. One note beyond the cinema itself: the film’s official poster places Faithia Williams Balogun in what is visibly a modern lace wig beneath a gele. Whatever its commercial logic in selling familiar faces to a wide audience, it is a telling misstep for a production asking viewers to commit to a world three centuries removed. ## Final Thoughts *Efunroye Tinubu: The Unicorn* cannot fully exist outside of the moment that made it. This is not a flaw so much as a condition. When a story carries a name this freighted in contemporary Nigerian consciousness, when that name holds the specific voltage it holds in the country’s present tense, the decision to tell that story is never purely artistic. Filmmakers who work close to power know the weight of the stories they choose. Audiences who live under that power know it too. The space between what this film says and what it declines to say is, for many viewers, entirely legible. The whitewashing critique that met this film before it was made has merit, though not uniformly. The slave-drowning scene is honest. The film does not pretend Efunroye was beyond reproach. But honest moments do not build an honest portrait. The cumulative effect of the writing, its preference for Efunroye as a loyal and devoted figure over the strategically cunning operator history documented, tilts the film toward a flattering framing it never escapes. Depicting a powerful and morally compromised woman primarily as someone doing right by the people she loves is not neutrality. It is a choice, and a consequential one. What the film does illuminate, almost incidentally, is how history disposes of women whose power becomes inconvenient. Efunroye advises kings, finances wars, and constructs trade systems that outlast her influence, and when her presence costs the men around her more than it benefits them, she is removed. That story has real force. ## Verdict This film is for history enthusiasts, Yoruba cultural audiences, and viewers willing to engage with a complexity the film gestures at without fully inhabiting. It is honest enough in its construction not to pretend otherwise. What it offers, a convincing period world, a committed lead performance, and a soundtrack that genuinely moves, is real. What it withholds, the full moral weight of the woman at its centre, is the one thing it needed most. Go in with your history intact, and you will get considerably more out of it than the film gives on its own. **Rating**: 2.25/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/efunroye-the-unicorn-historys-dangerous-woman-written-soft/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/efunroye-the-unicorn-historys-dangerous-woman-written-soft/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/efunroye-the-unicorn-historys-dangerous-woman-written-soft/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/efunroye-the-unicorn-historys-dangerous-woman-written-soft/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/efunroye-the-unicorn-historys-dangerous-woman-written-soft/?share=linkedin) - **Categories:** Reviews **Tags:** Abbey Lanre, Adebayo Salami, Adebayo Tijani, colonial Nigeria, Dele Odule, Diran Adeyinka, Efunroye Tinubu The Unicorn, Eniola ajao, Faithia Williams Balogun, Femi Adebayo, Femi Branch, Film Critique, Film review, Filmone entertainment, Foluke Daramola, historical epic, historical fiction, Ibrahim Chatta, Ibrahim Yekini, Isaac Ayomide Olayiwola, Kemi Anibaba, kingmaker, Kolawole Ajeyemi, Lagos history, Layi Wasabi, Mercy Aigbe, Muyiwa Ademola, Niyi Akinmolayan, nollywood, Odunlade Adekola, Olaiya Igwe, Omowunmi Ajiboye, period drama, Political drama, Regina Chukwu, Saidi Balogun, slave trade, Taiwo Hassan, Tope Adebayo Salami, whitewashing controversy, Yemi Solade, Yoruba language film --- ### [Gingerrr: Fails to Match Up to its Marketing Expectations](https://nollycritic.com/gingerrr-fails-to-match-up-to-its-marketing-expectations/) **Published:** October 6, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Executively produced by Kie Kie, Bolaji Ogunmola, Bisola Aiyeola and Wunmi Toriola, Gingerrr opened in cinemas nationwide on 26 September 2025... **Content:** Executively produced by Kie Kie, Bolaji Ogunmola, Bisola Aiyeola and Wunmi Toriola, *Gingerrr* opened in cinemas nationwide on 26 September 2025. Long before its release, the film had already generated significant buzz across social media, thanks to a deliberate, vibrant and well-coordinated marketing campaign by the producers. What truly makes this project remarkable is the rare collaboration between four leading actresses who not only financed the film but also headlined it and drove its promotion. After hosting an elaborate premiere in Lagos and a follow-up in Ibadan, the team further underlined their intentional approach to the project. Unsurprisingly, the film went on to gross ₦82.6 million in its[ opening weekend](https://nollycritic.com/gingerrr-sets-new-nollywood-box-office-record/). Breaking records as the highest-grossing non-festive September release ever, while also achieving the biggest Nollywood opening weekend of September 2025 and finishing as the number one film at the Nigerian box office. However, certain aspects of the film, ranging from the way its story unfolds to the overall execution of its performance, dilute its impact and slightly undercut the potential of what could have been a truly refreshing and different plot. ## *Gingerrr* Gingerrr Directed by: Yemi Morafa Written by: Xavier Ighorodje Genre: Drama Released on: September 26, 2025 (Cinema) Language: English/Yoruba **A New And Fresh Plot** From its trailer and teaser clips online, *[Gingerrr](https://www.imdb.com/title/tt38061242/ "Gingerrr")* presents itself as a drama-filled feature. The story follows a childhood gang known as ‘Gingerrr,’ with the spotlight on Lala Goldy’s life. Set as a mystery-comedy-drama set in Lagos, the narrative traces Lala’s journey as her world becomes entangled in both supernatural and criminal chaos following the deaths of her father and mother. Her father’s inheritance and the conditions of his will quickly spark conflict, drawing enemies from all sides, from her stepbrother and his mother to a scheming uncle and a circle of unruly friends she reconnects with. Soon enough, everyone is chasing a box of gold, heavily beset with magic only Lala can unlock. The answers embedded in a mystery song and the matching of an egg, oil, chicken and yams. **Poor Attention In Writing Crumbles Expectations** The feature attempts to pair the drama, comedy, mystery and supernatural thriller genre. This ends up being a very huge mistake because although the movie is evidently packed with the crucial elements that sign it off on some of this genres, it however, experiences major flops , that are evidently tied to them juggling way to many directions. The dialogue throughout the film often feels weak and meandering, resulting in scenes that drag on unnecessarily. This makes the two-hour-and-thirty-minute runtime feel excessive. For instance, the rooftop scene featuring Odunlade, Ogunmola, and Macaroni lingers far too long, despite the fact that its relevance quickly gets lost within the larger narrative. In addition, the story misses the opportunity to provide meaningful backstory for key characters like Alabokun (Toriola), Sylvia (Aiyeola), and Bugari (Ogunmola). We learn little about how their lives became entangled with crime, drugs, and health struggles, nor are their family contexts explored, even though the plot establishes that they still live in the very neighborhood where they grew up. As a result, it becomes difficult to connect with these characters or fully grasp the motivations behind their choices. On the positive side, however, the film does well in tying up loose ends through the use of intermittent flashbacks, which are integrated seamlessly into the narrative. **Performance that gives us just the same as we have seen before** With performances, the movie struggles heavily. Yes, its cast is made up of an array of notable actors in the industry, which include Ogunmola, Kie Kie, Aiyeola and Toriola as leads. And then support roles from Shaffy Bello, Timini Egbuson, Odunlade Adekola, Lateef Adedimeji, Blossom Chukwujekwu, Macaroni, Micheal Ejoor and Taiwo Hassan. And in truth, a huge number fail to give an average performance, and honestly, this still leads back to the writing. Sadly, the lead roles all gave an average performance. The main issue is the overly dragged-out mannerisms and comical add-ons. This slowly kills the actual drama and makes so many things more unbelievable than realistic. Macaroni’s performance is the least appealing, mainly because of the accent, making it somewhat annoying to endure. This is very shocking, following his recent track record of being an excellent actor. It then means the character he was cast for doesn’t suit him at all. Or poor directing to aid his delivery. However, there are three standout performances: Shaffy Bello, Blossom Chukwujekwu and Lateef Adedimeji. The pair of Lateef and Blossom at loggerheads was definitely an interesting watch, especially with their end battle. The latter indeed soaked in his role as a prophetic gang leader, which was intense, realistic and funny when needed. And he maintained this posture till the very end, especially with his biblically tied cross posture in receiving his final shots. Shaffy, on the other hand, delivered a cynical yet commanding and dominating performance from start to finish, fully embodying a treacherous character with deadly secrets. This made it all the more convincing when the twist revealed that she was the one responsible for Goldy’s death. **An Almost Perfect Technical Delivery** One of *Gingerrr*‘s finest moments would be with its excellent and vibrant cinematography. It had a mix of traditional shots like the close up and wide range, and then very rare angles like the extreme close up, high angle, over the shoulder and actor’s point of view, which took it from looking like regular scenes, to music videos and a mix of action film elements. This made the experience even more thrilling to watch. Music scores and sound also aid the story told, as it as a very plastering synergy. One of the film’s strongest elements lies in its thoughtful choice of settings and overall production design. From the sleek modern housing to the carefully curated color schemes that distinguish each scene, and even down to the realistic shrine set-up, the attention to detail is evident. These choices not only enhance the visual appeal but also ground the story in a believable world. Complementing this is the film’s use of special effects, which manage to be both striking and convincing, delivering spectacle without tipping into the kind of exaggerated visuals that often feel awkward or cringe-worthy in Nollywood productions. However, a visible glitch would be the Golden Boys’ home invasion, which showed a significant colour grading error for a stretch of a minute or two. **Final Thoughts** *Gingerrr* is best enjoyed as a light-hearted comedy built mainly for laughs. Unfortunately, constant technical glitches at Filmhouse cinema almost reduced the experience to something closer to a home video playback. For more aesthetics, Golden Boy’s famous pistols should have been golden. Also, his nails and make-up choices gave off a hint of gay sexuality, which wasn’t addressed at any point. Projects that attempt to blend multiple genres need to devote extra care to the writing stage, ensuring that the story balances its different elements effectively. Without this attention, one genre risks overshadowing the others, especially in the dialogue or monologues, leading to an uneven delivery. It is also time for Nollywood to confront the issue of popularity-driven casting, rather than focusing on giving each role the performer it truly requires. This trend raises important questions about whether short-term box office gains are being prioritized over delivering powerful and unforgettable performances. Certain scenes also felt reminiscent of other Nollywood films, such as the climactic fight sequence, which echoed a similar moment in *Gangs of Lagos*. Likewise, the celebratory chest-opening scene featuring Ogunmola, Kie Kie, Aiyeola, and Toriola strongly recalled the dynamic energy of the Suga sisters in *Suga Rush*. **Verdict** Gingerrr had us intrigued from the impressive collaborative efforts of the four ladies. However, the film itself struggles to deliver a truly satisfying experience. Still, its comedy lands well enough to draw out a few hearty laughs. Enjoyable but doesn’t leave a lasting impression. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/gingerrr-fails-to-match-up-to-its-marketing-expectations/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/gingerrr-fails-to-match-up-to-its-marketing-expectations/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/gingerrr-fails-to-match-up-to-its-marketing-expectations/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/gingerrr-fails-to-match-up-to-its-marketing-expectations/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/gingerrr-fails-to-match-up-to-its-marketing-expectations/?share=linkedin) - **Categories:** Reviews **Tags:** Bisola Ayieola, Bolaji Ogunmola, Fathia Balogun, film, Kamo, Kie Kie, Lateef Adedimeji, nollycritic, nollywood, Nollywood 2025, Odunlade Adekola, Reviews, Shaffy Bello, Timini Egbuson, Wunmi Toriola --- ### [AMVCA 2025: See the Full List of Winners and Nominees](https://nollycritic.com/amvca-2025-see-the-full-list-of-winners-and-nominees/) **Published:** May 10, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The 2025 Africa Magic Viewers' Choice Awards (AMVCA) took place in Lagos on 11 May, bringing together the continent’s biggest stars under one roof. **Content:** The 2025 Africa Magic Viewers’ Choice Awards ([AMVCA](https://nollycritic.com/?s=amvca "AMVCA")) took place in Lagos on 11 May, bringing together the continent’s biggest stars under one roof. The event, as expected, was a visual spectacle. Glamorous outfits, bold fashion choices, and dramatic entrances. With the spotlight on excellence in African film and television, as expected, this year’s edition was all about celebrating the work that defined the past year. Now, with the winners announced, the mix of results is sure to stir debate, surprise some fans, and thrill others. ##### Best Movie **Winner:** *Freedom Way* *Lisabi:* *The Uprising* *Skeleton Coast, Suspicion* *Inkabi* *House of Ga’a* *Christmas in Lagos* *Farmer’s Bride* ##### Best Director **Winner:** Awam Amkpa – *The Man Died* Robert O Peters – *Skeleton Coast*, Norman Maake – *Inkabi* Bolanle Austen-Peters – *House of Ga’a* Daniel Emeka Oriahi – *The Weekend* Femi Adebayo, Adebayo Tijani, Tope Adebayo – *Seven Doors* ##### Best Lead Actor **Winner:** Femi Adebayo – *Seven Doors* Gideon Okeke – *Tokunbo* Bucci Franklin – *The Weekend* Femi Branch – *House of Ga’a* Thapelo Makoena – *Skeleton Coast* Bimbo Manuel – *Princess On A Hill* Stan Nze – *Suspicion* Adedimeji Lateef – *Lisabi: The Uprising* ##### Best Lead Actress **Winner:** Chioma Chukwuka – *Seven Doors* Gbugbemi Ejeye – *Farmer’s Bride* Uzoamaka Onuoha – *Agemo* Uche Montana – *Thinline* Uzoamaka Aniunoh – *Phoenix Fury* Hilda Dokubo – *The Uprising: Wives On Strike 3* Bimbo Ademoye – *Anikulapo: Rise of the Spectre* ##### Best Supporting Actor **Winner:** Gabriel Afolayan – *Inside Life* Adedayo Adebowale Macaroni – *Lisabi: The Uprising* Aliu Gafar – *Seven Doors* Femi Jacobs – *Freedom Way* Richard Mofe-Damijo – *Christmas In Lagos* Uzor Arukwe – *Suspicion* Mike Afolarin – *House of Ga’a* Efa Iwara – *Princess on a Hill* ##### Best Supporting Actress **Winner:** Mercy Aigbe – *Farmer’s Bride* Meg Otanwa – *Inside Life* Tina Mba – *Suspicion* Ireti Doyle – *All’s Fair in Love* Ini Dima-Okojie – *Skeleton Coast* Omoni Oboli – *The Uprising: Wives on Strike 3*, Darasimi Nnadi – Aburo ##### Best Writing (Movie) **Winner:** Blessing Uzee – *Freedom Way* *The Weekend* *Skeleton Coast* *Phoenix Fury* *A Ghetto Love Story* *House of Ga’a* *Christmas In Lagos* ##### Best Writing (TV series) ***Winner:*** *Untying Kantai* *Tuki*? *Roses & Ivy* *Cheta’M* *Seven Doors* *Anikulapo: Rise of the Spectre* *Princess On A Hill* ##### Best Cinematography **Winner:** *The Legend of the Vagabond Queen of Lagos* *Yen Ara Asaase Ni* (This Is Our Land) *Inkabi* *Skeleton Coast* *Soft Love* *Lisabi: The Uprising* *Agemo* ##### Best Editing **Winner**: *Inkabi* *Christmas In Lagos* *Skeleton Coast* *Soft Love* *Lisabi: The Uprising* *Princess On A Hill* ##### Best Sound Design **Winner:** *Suspicion* *Inkabi* *Seven Doors* *Freedom Way* *Lisabi: The Uprising* *Ajakaju: Beast Of Two Worlds* ##### Best Score / Music **Winner:** Tolu Obanro – *Seven Doors* *Inkabi* *Freedom Way* *Soft Love* *Skeleton Coast* ##### Best Art Direction *Anikulapo: Rise of the Spectre* **Winner:** *Christmas In Lagos* *Farmer’s Bride* *Seven Doors* *The Man Died* *Lisabi: The Uprising* ##### Best Costume Design **Winner:** Adedamola Adeyemi – *Christmas In Lagos* Toyin Ogundeji – *Anikulapo: Rise of the Spectre* Bolanle Austen-Peters, Yolanda Okereke, Juliana Dede, Gloria Oyu – *House Of Ga’a* Oluwatoyin Balogun, Oyeade Adeimpe Adedimeji – *Lisabi: The Uprising* Opeyemi Sogeke – *Phoenix Fury* ##### Best Make-up **Winner:** *Lisabi: The Uprising* *Anikulapo: Rise of the Spectre* *Seven Doors* *Farmer’s Bride* *Inside Life* *Suspicion* ##### Best Multichoice Talent Factory (West Africa) **Winner:** *Everything Light Touches* *Gone, The Immersive Alarm* *Deadbeat* *Mwananga* *Rivals in Time* ##### Best Unscripted Series **Winner:** *Kefa Igilo* *Nigerian Idol* *Pastor Wants A Wife (Zambia)* *Overall Best* *Husband Material* *The Queens of Kopala* ##### Best Scripted Series **Winner:** *Inside Life* *Uriri* *All Mine* *My Fairytale Wedding* *Italo* *The Caller* *Kam U Stay* ##### Best Indigenous Language Film (West Africa) **Winner:** *Lisabi: The Uprising* *Seven Doors* *Kaka* *Anikulapo: Rise of the Spectre* ##### Trailblazer Award **Winner:** Kayode Kasum ##### Industry Merit Award **Winners:** Sani Mu’azu, Nkem Owoh What do you think of the. [AMVCA](https://www.dstv.com/africamagic/en-ng/show/amvca "AMVCA") results? Let us know your take on this year’s winners and who you felt should’ve gone home with a trophy. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/amvca-2025-see-the-full-list-of-winners-and-nominees/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/amvca-2025-see-the-full-list-of-winners-and-nominees/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/amvca-2025-see-the-full-list-of-winners-and-nominees/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/amvca-2025-see-the-full-list-of-winners-and-nominees/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/amvca-2025-see-the-full-list-of-winners-and-nominees/?share=linkedin) - **Categories:** Nollywood, Nollywood News --- ### [AMVCA 2026: See Our Predictions For this Year's Edition](https://nollycritic.com/amvca-2026-see-our-predictions-for-this-years-edition/) **Published:** May 7, 2026 **Author:** Shalom O. Obisesan **Excerpt:** The 12th AMVCA Africa Magic Viewers' Choice Awards holds tomorrow, May 9, 2026, at the Eko Hotel and Suites in Lagos. At Nollycritic, w **Content:** The 12th [AMVCA](https://www.dstv.com/africamagic/en-ng/video/where-african-mastery-takes-the-spotlight-amvca-12 "AMVCA") (Africa Magic Viewers’ Choice Awards) begins tomorrow, May 9, 2026, at the Eko Hotel and Suites in Lagos. At [Nollycritic](https://nollycritic.com/ "Nollycritic"), we have spent the better part of this cycle watching and reviewing, debating several nominations. What follows is not a mere list. It is the result of deliberate editorial conversation, shaped by our reviews, our ratings, and our understanding of what great African cinema looks and feels like. These are our predictions, and our reasons for them. ## BEST MOVIE *Nominees: Gingerrr / The Herd / My Father’s Shadow / 3 Cold Dishes / The Serpent’s Gift / Behind The Scenes* Let us start by being honest about the films in this category that we feel should not be here. *3 Cold Dishes* is one of them. We understand why the nomination happened. The film carries a real sense of ambition, a pan-African revenge story that stretched production across multiple countries and brought a genuinely rare continental scope to its storytelling. That is worth something. But ambition and scale are not the same as craft, and as we noted in our review, the film is weighed down by choppy pacing, uneven performances, and a framing device that keeps undercutting the emotional weight it is trying to build. A film can travel far and still not arrive anywhere meaningful. That is the *3 Cold Dishes* situation. *Behind The Scenes* is a different kind of case, and we want to be fair about it. Funke Akindele’s December 2025 release was the defining cultural event of the festive season. It grossed over 2.1 billion naira and kept conversations going well into the new year. Its nomination makes complete sense because the AMVCA has always paid attention to popular sentiment, and this is after all the *Viewers’* Choice Awards. Akindele’s brand of accessible, emotionally instructive filmmaking has a real and devoted audience, and that matters. But as we wrote in our review, *Behind The Scenes* is a film that tells you everything rather than trusting you to feel it. It is commercially confident and well-meaning, but creatively cautious. There is dignity in crowd-pleasing cinema. It is just that Best Movie requires more than that against this field. *The Herd* is the film that gives our eventual pick its strongest competition. Daniel Etim Effiong’s directorial debut was among the most discussed films of 2025, and understandably so. It was urgent and timely. It holds a mirror to one of Nigeria’s most painful realities, and it does so without flinching. Audiences responded with real emotion, and the film’s arrival on Netflix only widened its reach. But as we observed in our review, *The Herd* takes on more threads than it can fully manage. Secondary characters lose their footing when the film needs them most. There is tremendous intention in this film. The problem is that intention without complete execution leaves gaps that a Best Movie contender cannot carry. And then there is *[My Father’s Shadow](https://nollycritic.com/my-fathers-shadow-an-intriguing-24-hour-odyssey/ "My Father's Shadow")*. Akinola Davies Jr.’s debut feature is the kind of film that does not need to announce itself. Shot on 16mm Kodak film stock and set during the political tension of 1993 Lagos, it is a quiet, deeply observant work that watches a father’s world through the eyes of two young boys. Every choice is deliberate. The grain of the image. The low camera angles that make adults loom with the kind of authority children naturally assign them. The way the tremors of the Abiola election period are felt in the body before the mind can name them. The film premiered in the Un Certain Regard section at Cannes, earned Nigeria its first BAFTA for a Nigerian production, and received a Camera d’Or Special Mention. It is the most celebrated Nigerian film in recent memory. More than that, it achieves something rare: it tells a specific Nigerian story with such honesty that the whole world can feel it. The AMVCA has been evolving its standards, and this year, with Joke Silva serving as Head Judge, we believe the jury will reward what we know to be true. *My Father’s Shadow* is the best film in this category. It is also among the finest Nigerian films ever made. **Our Prediction: My Father’s Shadow** ## BEST DIRECTOR *Nominees: Akinola Davies Jr. / Tunde Kelani / James Kalu Omokwe / Daniel Etim Effiong / Yemi Morafa / Asurf Amuwa Oluseyi* At its most essential, directing is the art of making every decision serve a single vision. A great director is not simply the person who calls action. They are the controlling intelligence behind tone, pacing, visual grammar, and performance. They are the reason a film feels like one coherent thing rather than a collection of well-made parts. By that measure, this category has more competition than it might first appear. Tunde Kelani’s *[Cordelia](https://nollycritic.com/cordelia-a-slow-burn-political-drama-on-love-and-courage/ "Cordelia")* demonstrates something genuinely rare in Nigerian cinema: tonal precision. At 77, Kelani remains one of the industry’s most disciplined minds, and his adaptation of Femi Osofisan’s novella moves with the deliberateness of a filmmaker who knows exactly what he wants to say. There is no drift and no distraction. His choice to approach the political atmosphere of 1990s Nigeria through intimation is a real directorial decision. It reflects a filmmaker who understands that ordinary life under military rule is built on quiet, accumulating dread, not loud drama. We noted this in our review of the film. Kelani’s precision is the strongest argument in his favour here. [Daniel Etim Effiong](https://www.imdb.com/name/nm5652097/ "Daniel Etim Effiong")‘s nomination for *The Herd* represents a real achievement for a feature debut. His use of contrasting visual languages, stable and composed for safety, handheld and urgent for captivity, shows a director who thinks in images. The fact that he carried the lead acting role while also directing an ensemble of this size speaks to formidable organisational intelligence. But we felt the direction could have been stronger overall. There were moments where the weight of too many storylines became visible on screen, where the editorial judgment needed to tighten things up was not quite there. There was a stronger film inside *The Herd* that needed a firmer directorial hand to fully pull it out. Yemi Morafa’s nine nominations for *Gingerrr* have been one of the more surprising developments of this nominations cycle. We reviewed *Gingerrr* and our position was clear: the film did not live up to its own marketing (what was expected). The tonal confusion, a heist comedy that never quite decided what it was, is a directorial issue. When a film with this much commercial energy collapses in its third act, the vision at the centre did not hold. Akinola Davies Jr.’s work on *My Father’s Shadow* is historic, and we mean that without exaggeration. Davies spent over a year in pre-production with cinematographer Jermaine Edwards, building a visual grammar so precise that by the time cameras rolled, every frame had a reason to exist. His camera observes from a child’s perspective, literally and emotionally. He drew from the Egbo brothers, who are real siblings, a naturalism that feels less like performance than lived experience. From Sope Dirisu, he coaxed a performance of extraordinary restraint, a man carrying the full weight of a country’s political violence without ever letting it tip into melodrama. This is the work of a director who understands that cinema is not about showing everything. It is about choosing what to reveal, and when, and how. **Our Prediction: Akinola Davies Jr. — My Father’s Shadow** ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/05/akiola-davies.webp?resize=640%2C361&ssl=1)## AMVCA BEST LEAD ACTOR *Nominated: Mike Ezuruonye / Lateef Adedimeji / William Benson / Kanayo O. Kanayo / Uzor Arukwe / Wale Ojo / Femi Branch / Khumbuza Meyiwa* A few quick notes on the shape of this category. We did not see *Bet I Love You*, so we cannot speak to Khumbuza Meyiwa’s work. For Femi Branch in *Red Circle*, our reading of the film is that the lead belongs to the actress at the centre of that story. Branch’s character functions as a supporting role, and his placement in the Best Lead Actor category reflects a misreading of the film’s structure. Similarly, Wale Ojo in *3 Cold Dishes* delivered one of that film’s more interesting performances, but his character sits somewhere between supporting and minor. It is a compelling piece of work inside a film that does not support it well enough to make this a genuine lead actor conversation. Kanayo O. Kanayo in *Grandpa Must Obey* is genuinely good. His Akachi is warm, stubborn, grief-laden, and layered in the way that only comes from decades of lived craft. You can feel the humour and the heartache at the same time. He was in our serious consideration right up until we made our final call. But [William Benson](http://imdb.com/name/nm7484901/ "William Benson") is the name that belongs here. Efe Efemini in *To Kill A Monkey* is a character designed to be understood, not admired. He is a man worn down by systemic failure, making moral compromises that the audience can follow even when they cannot fully approve. What Benson does is refuse to perform victimhood. He does not ask for sympathy. He asks for understanding, which is a far harder thing to give. As we observed in our review, Benson brings over three decades of theatre experience to this role, and it shows not in overstatement but in precision. His Efe knows when to speak and when silence is the better choice. He knows what silence carries. The moment of breakdown after the season’s most devastating event is the kind of acting that stays with you, not because it is loud, but because it is so quietly true. The competition between Benson and Kanayo is real, and we hold both in high regard. But for the weight of the performance, the complexity of the moral journey, and what it means to finally see a theatre veteran of this calibre get his mainstream moment, William Benson is our pick. **Our prediction: William Benson** ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/05/efemini.jpg?resize=640%2C600&ssl=1)## AMVCA BEST LEAD ACTRESS *Nominated: Linda Ejiofor / Bimbo Akintola / Ifeoma Fafunwa / Ariyike Owolagba / Sola Sobowale / Scarlet Gomez / Genoveva Umeh / Gloria Anozie-Young* We did not see *Mother of the Brides*, so we will not pretend to have an opinion on Gloria Anozie-Young’s work in it. What we can say is that the eight women assembled in this category represent one of the most genuinely competitive Best Lead Actress races the AMVCA has ever put together. Let us work through the field honestly. Scarlet Gomez anchors a film that grossed over 2.1 billion naira. Her performance in *Behind The Scenes* carries the film’s emotional current and does the job it needs to do. But as we noted in our review, the screenplay does not challenge her. Everything is written to be clearly understood, and nothing asks her to communicate beyond what the scene has already made obvious. The performance is as strong as the writing allows it to be. Genoveva Umeh in *The Herd* delivered what our review described as a silent yet very loud performance. Her Derin communicates almost entirely through physical stillness and expression rather than dialogue. It is genuinely impressive work. There is, however, a real critical question about whether Derin is the structural lead of *The Herd*, or whether the film’s gravitational centre gradually moves toward Daniel Etim Effiong’s Gosi and Linda Ejiofor’s Adamma on the outside. Umeh’s performance is excellent. The category argument is just a bit less clear-cut. Bimbo Akintola as Inspector Mo in [*To Kill A Monkey* ](https://nollycritic.com/to-kill-a-monkey-a-gritty-tale-of-betrayal-and-survival/ "To Kill A Monkey ")is among the most layered individual performances across this entire nominations cycle. Her portrayal of a grieving, PTSD-carrying investigator is rigorous and unflinching. Linda Ejiofor in *The Serpent’s Gift* brings exactly the right combination of steel and fragility to a widow navigating grief and inheritance warfare. Sola Sobowale in *Her Excellency* is commanding, as she almost always is. Ariyike Owolagba in *Something About The Briggs* gave a performance we praised for its balance of vulnerability and quiet, measured frustration. And yet we go to Ifeoma Fafunwa. Because what she does in *The Lost Days* is not simply a good performance. It is a revelatory one. Fafunwa is not an actress by profession or training. She is one of Nigeria’s most celebrated playwrights and theatre directors, the creative force behind *HEAR WORD!*, one of the most important theatrical works in Nigerian recent history. To arrive on screen for the first time at this point in a distinguished career, and to do so with this much grace and precision, is extraordinary. Her Chisom communicates through restraint. Glances held a beat too long. Laughter that almost catches in the throat. A woman sitting quietly with the weight of time she cannot get back. There is a scene near a lake between Chisom and Kolawole that is among the most beautiful and quietly heartbreaking screen moments of the year. The film’s second half lets her down. The kidnapping subplot pulls the story away from what it should have been about. But what Fafunwa delivers in the time the film gives her goes beyond what the script asks. We believe the AMVCA should recognise this. To let this screen debut pass without acknowledgement would be one of the ceremony’s real missed opportunities. ****Our Prediction: Ifeoma Fafunwa — The Lost Days**** ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/05/Why-Ifeoma-Fafunwa-Finally-Said-Yes-to-Acting-%E2%80%94-And-Made-Her-Screen-Debut-in-Wingonia-Ikpis-The-Lost-Days-%C2%A9-First-Features-Project-scaled-1-edited.jpg?resize=640%2C360&ssl=1)## AMVCA BEST SUPPORTING ACTOR *Nominated: Simileoluwa Hassan / Lateef Adedimeji / Gabriel Afolayan / Bucci Franklin / Femi Adebayo / Femi Branch / Uzor Arukwe* We did not cover *The Yard*, so we cannot speak to Simileoluwa Hassan’s performance. We also did not see *Agesinkole 2*, which puts Femi Adebayo’s work there outside our scope. What we can say about Lateef Adedimeji in *Gingerrr*: he was, alongside a few others, one of the reasons the film remained watchable. Our review of *[Gingerrr](https://nollycritic.com/gingerrr-fails-to-match-up-to-its-marketing-expectations/ "Gingerrr")* was pointed, and we stand by it. But Adedimeji held his ground with real dignity through the production’s chaos, and that speaks to his talent. He gets that credit. Talent in service of a compromised project, however, is a different thing from a performance that reshapes an entire series from the inside. Uzor Arukwe in *Behind The Scenes* played a warm and generous supporting friend. The character simply does not carry the kind of dramatic weight that this category should be recognising. Gabriel Afolayan in *Colours of Fire* and Femi Branch in *Red Circle* are performances we hold in reasonable regard. Neither reaches the level of what Bucci Franklin did. Oboz is one of the great Nollywood characters of the decade. Franklin built him from the ground up, and we mean that in the most literal sense. By his own account, he stopped grooming from March through to August, letting his hair and nails grow as part of inhabiting a man who lives entirely outside the codes of polite society. His Bini cadence was precise. His physical presence commanded every scene he was in. What makes Oboz extraordinary is that he is not written or played as a villain in the flat sense. He is a fully formed person, capable of warmth and menace in the same moment. He is the kind of man who can clear your debts and make a problem disappear in the same week, and Franklin plays both sides of that without flinching. His final scenes, as the reality of betrayal settles in, land hard precisely because the series has spent so long making you genuinely understand him. Hands down, one of the best performances we saw last year. ****Our Prediction: Bucci Franklin — To Kill A Monkey**** ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/05/bucci-franklin.jpg?resize=640%2C360&ssl=1)## AMVCA BEST SUPPORTING ACTRESS *Nominated: Linda Ejiofor / Olamide Kidbaby / Bisola Aiyeola / Sola Sobowale (The Covenant) / Nadia Dutch / Amal Umar / Juliebrenda Nyambura / Funke Akindele* This is one of the more layered categories on the card, and we want to be honest about why. Let us start with Bisola Aiyeola for *Gingerrr*. There is a structural question here worth raising. Aiyeola plays Sylvia (Da Silva), one of the four women at the centre of the film. She is a lead, not a supporting character, and she is one of the film’s executive producers as well. Her placement in the Best Supporting Actress category is difficult to justify on the terms of the film’s own structure. Beyond that, our review of *Gingerrr* did not single out her performance as a particular standout. The performances we noted as the reasons the film remained watchable were Lateef Adedimeji and a handful of others. Aiyeola’s work simply did not register for us at the level this category should be recognising. Funke Akindele in *Behind The Scenes* is a curious case. She produced, directed, and starred in the film, which is an enormous undertaking. Olamide Kidbaby in *Oversabi Aunty* has genuine audience affection, and we acknowledge that. This category, though, asks for something more specific than warmth. Now, the honest conversation in this category is a three-way one: Sola Sobowale, Linda Ejiofor, and Amal Umar. Sobowale’s nomination for *The Covenant* is one we want to address fairly. Anyone who knows her work understands what she is typically asked to bring to a role: force, dominance, an almost theatrical command of every room she walks into. Stella brings a duality. As a mother desperate to right her wrongs and reclaim the trust of her children, Sobowale plays against everything familiar about her screen presence. The performance is still, remorseful, and quietly loaded with guilt. What we will say is that Sobowale is very much in this conversation, and anyone counting her out is not paying attention. Linda Ejiofor is, in our view, the strongest contender in this category. She is the only nominee carrying two significant performances across two major nominated productions this cycle, Adamma in *The Herd* and the lead in *The Serpent’s Gift*. That kind of presence across the nominations landscape is hard to overlook. Her Adamma in *The Herd* is where she does her most demanding work in this category. The material she is given on the outside while her husband is held captive is among the richest in the film. She is navigating an uncooperative bank, her husband’s buried financial secrets, and in-laws who use her Osu status as leverage to demand a divorce at her most desperate moment. It is a role that operates on multiple social registers at once, and she does not miss a single one. She is the likeliest winner of this category, and that would be a deserved outcome. And yet our prediction is Amal Umar. This is not a claim that she will win. It is a statement about what we think this category should reward. Habiba is the film’s most quietly devastating performance. She lives inside the bandits’ camp in that uncomfortable space between captor and captive, between agency and desperation. Her arc carries *The Herd*‘s central argument about what survival pressure does to a person’s moral compass better than almost any other character in the film. As we noted in our review, her portrayal is layered in a way that rewards close attention. She is not a widely recognised name. She does not carry the visibility of a Linda Ejiofor or the cultural weight of a Sola Sobowale. But that is precisely why we are saying her name. If we must choose one, we choose the one who might not otherwise get her flowers. ****Our Prediction: Amal Umar — The Herd**** ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/05/amal-umar.jpg?resize=640%2C338&ssl=1)## AMVCA BEST WRITING (MOVIE) *Nominated: Lani Aisida (The Herd) / Wale Davies (My Father’s Shadow) / Ikenna Okpara (Blackout) / Xavier Ighorodje (Gingerrr) / Tomi Adesina (3 Cold Dishes) / Isaac Ayodeji (Suky)* We will be direct: *Gingerrr* should not be in this category. Our review was clear about where the screenplay falls short, from the meandering dialogue to the inability to sustain a tonal identity to the collapse in the third act. A screenplay that cannot hold its story together has no business competing for a writing award, regardless of how well the film performed at the box office. *3 Cold Dishes* has a related problem. The writing engages real and important themes, trafficking, gender, agency, but never builds the structural or emotional architecture to honour them. As for *Suky*, it did not produce enough critical discussion for us to make a strong case either way. The real conversation in this category is between three films: *The Herd*, *My Father’s Shadow*, and *Blackout*. Lani Aisida’s screenplay for *The Herd* is genuinely ambitious. The decision to build a kidnapping thriller around not just the captives but the entire ecosystem of desperation surrounding them, the families, the bandits, the failing institutions, is bold structural thinking. Our hesitation is about the execution in the second half, where the screenplay’s architecture did not fully support what it was trying to do. It is an issue that sits somewhere between writing and direction, but the gaps are visible. Wale Davies’ *My Father’s Shadow* is exquisite writing. The restraint required to tell this story, to communicate an entire nation’s political crisis through the limited understanding of two young boys, is a rare and demanding kind of craft. The film earns every emotional moment through implication and through what its characters do not say. In a different year, this nomination might be untouchable. But we are going to *[Blackout](https://nollycritic.com/blackout-this-thriller-is-a-theatrical-masterpiece-a-must-see/ "Blackout")*. We rated it among the best Nollywood films released in cinemas in 2025, and we stand by that call. Written by Ikenna Okpara, the screenplay follows this premise: a woman waking up to a life she does not recognise, is deceptively simple. Beneath it is a screenplay that layers time, trauma, and perception with real control. There are callbacks. There are planted details that only reveal their full meaning later. There are quiet suggestions scattered throughout that Judith may not be the first woman this has happened to, suggestions the screenplay does not underline or explain. It trusts the audience to find them. That is the mark of a writer with genuine confidence in their own construction. It is disheartening that *Blackout* arrives at this ceremony with only one nomination. If there is one category where we believe justice should be served tomorrow night, this is it. ****Our Prediction: Ikenna Okpara — Blackout**** ## AMVCA BEST CINEMATOGRAPHY *Nominated: Jermaine Edwards / Kabelo Thathe / Emmanuel Igbekele (The Herd) / Daanong Gyang / Emmanuel Igbekele (Gingerrr) / Emmanuel Igbekele (The Serpent’s Gift) / KC Obiajulu* We want to acknowledge Emmanuel Igbekele’s story first, because it is genuinely worth acknowledging. He shot three of the most prominent films in this AMVCA cycle, *The Herd*, *The Serpent’s Gift*, and *Gingerrr*, and received a Best Cinematography nomination for each of them. His work on *The Herd* in particular, the shift from warm golden wedding visuals to the cold, claustrophobic reality of captivity, is purposeful and effective. He is an undeniable talent, and we have to note, this recognition is long overdue for work that has been quietly building across Nollywood for years. Shooting all three of those films in the same cycle is a remarkable professional feat, and the three-way nomination tells a compelling story. For *To Kill A Monkey*, Kabelo Thathe brought real visual intelligence to the series. The deliberate use of low angles early on to establish Oboz’s dominance, gradually reversed as Efe’s choices begin to shift the power between them, is cinematography in direct service of storytelling. That kind of thinking deserves recognition. Across our reviews of *The Herd*, *The Serpent’s Gift*, and *Gingerrr*, we described the cinematography in each as clean and serviceable. That is a genuine compliment, not a dismissal. Clear and competent visual execution matters in filmmaking. But “serviceable” means the photography does its job without drawing attention to itself. It does not mean the photography is actively carrying part of the story. *My Father’s Shadow* does something different entirely. Jermaine Edwards and Davies built a visual language from the ground up, over a year of pre-production. The decision to shoot on 16mm Kodak stock was not about aesthetics for its own sake. It was a decision about memory, about the particular quality of time that only that format can hold. The grain, the warmth, the texture of the image all communicate that we are inside recollection, inside a past that has not been cleaned up into digital clarity. The camera observes from below, from the sightline of a child. Adults take up more of the frame than they should, and that imbalance tells you something true about how children experience the power of the adults around them. When the political world begins to intrude, the shift to handheld urgency is not a stylistic choice. It is the visual grammar of an adult reality breaking into childhood. The Third Mainland Bridge crossing is a single shot that has stayed with us since we saw the film. The cinematography is central to why this film won what it won at Cannes. It is undisputed for us. **Our prediction: Jermaine Edwards — My Father’s Shadow** ## AMVCA BEST SCORE/MUSIC *Nominated: Duval Timothy and CJ Mirra (My Father’s Shadow) / Nissi Ogulu (3 Cold Dishes) / Tolu Obanro (Gingerrr) / Oscar Herman-Ackah (To Kill A Monkey) / Chubb Okobah (Osamede)* A film score is doing its best work when you barely notice it is there. It is doing its most important work when you find yourself returning to it after the film is over, not only to recreate the watching experience but because the music has become its own emotional object separate from the images it was built around. That is what Oscar Herman-Ackah’s score for *To Kill A Monkey* did for us. It is inseparable from the emotional experience of watching Efe and Oboz move toward their slow, mutual destruction. Some of us found ourselves going back to key musical cues after the series ended, not because they are formally complex, but because they are emotionally true. The relationship between the score and the series’ themes of loss, loyalty, and moral compromise is so closely calibrated that the music carries a portion of the narrative weight on its own. That is a real achievement. The closest competition, in our estimation, is the score for *My Father’s Shadow*. Duval Timothy and CJ Mirra’s work is remarkable, deeply woven into the film’s emotional and historical logic, breathing with the same restrained grief that runs through the whole production. The difference for us is that the *My Father’s Shadow* score is most powerful when it is inseparable from its images, which is excellent in its own right. The *To Kill A Monkey* score is something you carry out of the room. That lingering quality is what tips our prediction. On *Osamede*: we reviewed the film, and its score did not emerge as a focal point for us. It may have registered more strongly with other audiences than our review captured. *3 Cold Dishes* and *Gingerrr* we both reviewed, and neither produced a score that lodged in our critical memory. **Our prediction: Oscar Herman-Ackah — To Kill A Monkey** *These are the predictions of the Nolly Critic editorial team. They reflect our honest analysis, our time spent watching, our reviews, and our convictions about what great African cinema looks like. We may be wrong on a few of these. That is the nature of predictions. But we stand behind every word.* *Now it is your turn. What are your own predictions, and why? Let us know in the comments.* *The 12th AMVCA holds on May 9, 2026. Watch this space.* ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/amvca-2026-see-our-predictions-for-this-years-edition/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/amvca-2026-see-our-predictions-for-this-years-edition/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/amvca-2026-see-our-predictions-for-this-years-edition/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/amvca-2026-see-our-predictions-for-this-years-edition/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/amvca-2026-see-our-predictions-for-this-years-edition/?share=linkedin) - **Categories:** Articles **Tags:** 3 Cold Dishes, Africa Magic Viewers’ Choice Awards, african cinema, Agesinkole 2, Akinola Davies Jr., Aljana, Amal Umar, AMVCA 12, AMVCA 2026, Ariyike Owolagba, Behind the Scenes, Bet I Love You, Bimbo Akintola, Bisola Aiyeola, Blackout, Bucci Franklin, Chubb Okobah, CJ Mirra, colours of fire, Cordelia, Daniel Etim Effiong, Duval Timothy, Eko Hotel and Suites, Emmanuel Igbekele, Femi Adebayo, Femi Branch, Femi Osofisan, Funke Akindele, Gabriel Afolayan, Genoveva Umeh, Gideon Okeke, Gingerrr, Gloria Anozie-Young, grandpa must obey, HEAR WORD!, Her Excellency, Ifeoma Fafunwa, Ikenna Okpara, Jermaine Edwards, Juliebrenda Nyambura, Kabelo Thathe, Kanayo O. Kanayo, KC Obiajulu, Khumbuza Meyiwa, labake olododo, Lagos, Lani Aisida, Lateef Adedimeji, Linda Ejiofor, Lisabi: A Legend Is Born, Mother of the Brides, My Father’s Shadow, Nadia Dutch, Nigeria, Nissi Ogulu, nollycritic, nollywood, Olamide Kidbaby, Olorisha, Osamede, Oscar Herman-Ackah, Oversabi Aunty, padita agu, Red circle, Scarlet Gomez, Simileoluwa Hassan, Sola Sobowale, something about the briggs, Sope Dirisu, The Covenant Series, The Herd, The Lost Days, The Serpent’s Gift, The Yard, To kill a monkey, Tolu Obanro, Tomi Adesina, Tunde Kelani, Uzor Arukwe, Wale Davies, Wale Ojo, William Benson, Xavier Ighorodje, Yemi Morafa --- ### [Blackout: This Thriller is a Theatrical Masterpiece, A Must See](https://nollycritic.com/blackout-this-thriller-is-a-theatrical-masterpiece-a-must-see/) **Published:** March 10, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Entering Blackout with no prior knowledge, no logline, no setup, just the film itself was the best decision. And what a shock that was. **Content:** I’ve decided to stop watching film trailers. Why? Expectations. They ruin everything. They either give too much away or set you up for disappointment. Entering [Blackou*t*](https://www.imdb.com/title/tt35619372/ "Blackout") *with n*o prior knowledge, no logline, no setup, just the film itself was the best decision. And what a shock that was. The kind of shock that reminds you why cinema exists. The experience was raw, gripping, and, most importantly, unpredictable. ## *Blackout* Directed by: Okechukwu Oku Written by: Ikenna Okpara Genre: Thriller Released on: February 21, 2025 (Cinemas) Language: English ### A Film That Knows What It’s Doing From the very first frame, *Blackout* does something rare, one thing so evident: *this film understands atmosphere.* But what kind? A thriller? A psychological drama? There was no clear answer, just a *feeling*. The opening scene follows a well-worn [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") trope: in *medias res*—plunging right into the middle of the action. Usually, it’s a gimmick, a forced attempt at suspense, or sometimes simply a plot device. But here, it serves a real purpose. It’s not just about hooking the audience; it’s a cue, a demand to be present, to actively engage with every frame, every decision. And that’s the difference. Every choice in *Blackout* is deliberate. ### More Than Just a Missing Memory The plot of *Blackout* is deceptively simple: *Judith* (Padita Agu) *wakes up to a life she doesn’t recognise—a husband, Dan* (Gideon Okeke), *two kids… Who are they?* The film begins in the middle of this confusion, peeling back layers of past and present to reveal how she got here. But the story? That’s something else entirely. *Blackout* explores the transient nature of relationships. It questions how time moves forward, whether one is ready for it or not. How people move on, even when emotions, love, and pain are still unresolved. How one person’s choices can destroy another’s life, leaving behind trauma and uncertainty. That is the power of *Blackout*. It doesn’t just tell a story—it challenges perception. That is the power of cinema. Not just to tell a story, but to make you feel it so deeply that you can’t leave it behind, even as you walk out of the theatre. But it doesn’t stop there. As Judith begins to put the pieces together, she discovers something even more sinister… *Blackout* merges psychological thriller elements with something deeper, something existential. What do we truly own? Our bodies? Our memories? And what happens when even those are taken away? ### The Devil Is in the Details *Blackout* shows how visual details carry weight beyond the obvious. Take Kenneth moving a chess piece in an early scene for example. And, the missing posters that seemed just part of the background, at first, until they weren’t. Foreshadowing? Perhaps. And the score? Subtle at times, drastic at others— but always leaving a trace of unease. *Blackout* understands that sound is more than accompaniment; it’s manipulation. The music, composed with a restraint that amplifies dread, works in tandem with silence—because silence, when used well, is just as deafening. It’s a film that breathes in quiet tension, forcing you to fill in the gaps with your own fear. By the time the film settled into its rhythm, it wasn’t just a thriller anymore. It had become a reckoning of human nature. Gideon Okeke delivers an outstanding performance. His presence is undeniable, the kind that makes previous roles feel like warm-ups for this moment. His portrayal of Dan is disturbing, shifting between charm and menace with unsettling ease. Padita Agu, as Judith, carries the emotional weight of the film with precision. The cinematography lingers on her, forcing the audience into her world, making her isolation almost suffocating. Makeup and costume choices enhance this transformation. Initially, she appears too mature for an NYSC member, but subtle makeup adjustments make her believably younger. When her life spirals, the makeup is stripped away, revealing a face marked by time and suffering. The progression feels natural, earned. Cinematographer Okechukwu Oku employs a muted colour palette, reinforcing the film’s sombre tone and mirroring Judith’s fragmented state of mind. Colour grading plays a significant role, particularly in marking shifts between past and present. Blurred, dreamlike hues signal flashbacks, subtly reinforcing the film’s title. Pacing is another triumph. The film knows when to hold back and when to accelerate. The decision to wrap up at 1 hour and 29 minutes was perfect. No unnecessary drag, no excessive indulgence—just a lean, effective narrative. However, there were some choices that made one question: A character wearing heels to go buy earphones? Odd. Johnson Peterside at one point introduces Judith to different stores at the initial part of the film, yet at one point after this he says, “I have a place,” as if it was new information. Why? We’d already seen him introduce her to these places. Why is he saying it like it’s something new? Was this a mistake—misdirection? A continuity slip? A wrong reading of the line? Or simply one of those gaps that emerge between script and screen? These moments raise questions. Not enough to derail the experience, but enough to spark curiosity. Had the film been too meticulous up until that point? Were these subtle cracks in an otherwise tightly woven experience, or were they intentional? Because ultimately, films like this do not exist just to be *watched*. They exist to be *felt*. ### Final Thoughts – The Impact That Lingers Not many films manage to stay with you after the credits roll. *Blackout* does. It sits with you, plays on your mind, and demands reflection. It doesn’t just rely on a compelling narrative; it leaves an imprint. Beyond its psychological layers, *Blackout* is a social mirror. It’s a film about agency, about the ways power is exercised in personal relationships. It taps into the psychology of manipulation—not in broad strokes, but in the small, insidious details. The carefully chosen words. The subtle shifts in power. The way control is exerted not with force, but with suggestion. It’s a film that understands human behaviour so well that, by the time it reaches its climax, you’re questioning not just the characters’ choices, but your own. From its very first frame to its haunting final moment, *Blackout* refuses to let you sit back passively. As the protagonist breaks the fourth wall in the final scene, asking: *What next?* And then, the filmmakers leave us with a striking quote that lingers. The credits roll, the soundtracks Spiritual by Zuro.o and Reaper by David Onka swelling in the background. ### Verdict *Blackout* owns its space. This is not just a film to watch. It is a film to experience. And it belongs on the big screen, best seen in a cinema where its power is undeniable. And then, perhaps, revisited again. Because some films deserve to be seen more than once. **Rating**: 4.2/5 ⭐⭐⭐⭐⭐ Rating: 4.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/blackout-this-thriller-is-a-theatrical-masterpiece-a-must-see/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/blackout-this-thriller-is-a-theatrical-masterpiece-a-must-see/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/blackout-this-thriller-is-a-theatrical-masterpiece-a-must-see/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/blackout-this-thriller-is-a-theatrical-masterpiece-a-must-see/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/blackout-this-thriller-is-a-theatrical-masterpiece-a-must-see/?share=linkedin) - **Categories:** Reviews **Tags:** Blackout, Blossom Chukwujekwu, Gideon Okeke, nollycritic, nollywood, Okechukwu Oku, padita agu, Reviews --- ### [My Father's Shadow: An Intriguing 24 hour Odyssey](https://nollycritic.com/my-fathers-shadow-an-intriguing-24-hour-odyssey/) **Published:** September 30, 2025 **Author:** Shalom O. Obisesan **Excerpt:** My Father's Shadow unfolds as a poignant Nigerian drama, glimpsing a father's world through his sons' innocent eyes amid 1993 Lagos turmoil. ... **Content:** *[My Father’s Shadow](https://www.imdb.com/title/tt35695538/ "My Father's Shadow")* unfolds as a poignant Nigerian drama, glimpsing a father’s world through his sons’ innocent eyes amid 1993 Lagos turmoil. Directed by Akinola Davies Jr in his feature debut, the film follows brothers Remi (11) and Akin (8), played by Godwin Chiemerie Egbo and Chibuike Marvellous Egbo, on a rare day trip with their father Fola (Sope Dirisu), chasing unpaid wages during a petrol shortage. As the first Nigerian film to premiere in competition at Cannes, earning a Caméra d’Or Special Mention, it captures the eerie pull of memory, blending personal bonds with national unrest, its meditative tone evoking the haunting weight of absence in a nation on the brink. ## *My Father’s Shadow* Directed by: Akinola Davies Written by: Akinola Davies, Wale Davies Genre: Drama Released on: September 19, 2025 (Cinema) Language: English ### Whispers of Absence and Love The emotional heart of *[My Father’s Shadow](https://nollycritic.com/?s=my+fathers+shadow "My Father's Shadow")* lies in the boys’ quiet discovery of their father’s world, Remi’s question: > “If you have to leave us because you love us, is that why we cannot see God?” a piercing probe of love’s paradoxes. Fola’s distant presence, marked by his unexplained absences and nosebleeds, reveals a man burdened by provision, his affection surfacing in tender moments like the beach play, yet shadowed by regret. The mother’s sadness, glimpsed in Fola’s tales of her theatre passion, adds a layer of familial ache, her absence on this day amplifying the boys’ vulnerability. The story explores Nigeria’s cultural fabric, where fathers loom as myths, the boys’ innocence clashing with adult realities like military glares, stirring a dichotomy of memory as elusive yet enduring. This introspective arc, rooted in personal recollection, balances warmth with unease, its subtext of paternal love resonating deeply, though the even tone risks distancing those seeking overt drama. ### A Day That Stretches and Shifts The narrative traces a single day in June 1993, starting in the boys’ village home, where Fola arrives unannounced, quizzing them on his missing watch, then whisking them to Lagos for unpaid wages amid the election’s tense air. The trip turns odyssey, a bus stalling for petrol, a truck ride bumping through chaos, Fola being greeted as “kapo” while chasing the man with his pay. The rhythm dips in long dialogues, but cutaways to details like birds, ants, hands, people, or waves interweave surreal glimpses, the pace meditative yet steady, building anticipation, keeping engagement. The structure’s non-linear hints (e.g., the cloth’s final glimpse) layering meaning.Soldiers parade with threatening stares and unease, Fola wants them out, and a passenger shouts “the problem with this country is discipline!” The day ends with Fola’s lessons on family provision, the plot’s deliberate flow and calm keeping focus. ### Faces That Haunt and Hold Sope Dirisu’s Fola commands with quiet strength, his performance a blend of tenderness and regret, the nosebleeds and soldier glare conveying unspoken strain that lingers with viewers. Godwin Chiemerie Egbo and Chibuike Marvellous Egbo, brothers in real life, shine as Remi and Akin, their childlike innocence—refusing to share yoghurt, asking raw questions—convincing and honest, avoiding precocious traps, although their polished language contrasts their social class. Wini Efon’s mother, though absent, echoes in Fola’s tales. Supporting turns, like Greg Ojefua’s Emeka, Uzoamaka Power’s Abike, and Tosin Adeyemi’s Aunty Seyi, ring true, their brief exchanges adding warmth. The ensemble’s natural flow grounds the film’s meditative tone, Dirisu’s lead carrying the emotional weight. ### A Craft That Breathes Memory Akinola Davies Jr’s direction crafts a haptic sense of recollection, the editing interweaving cutaways to keep dialogue scenes engaging, putting viewers in a meditative state. Cinematography, by Jermaine Edwards, shifts from smooth village shots to handheld Lagos chaos, low angles mimicking the boys’ view, conveying unease and immersing in their perspective. Production design revives 1993 with revival posters and Rashidi Yekini images, costumes like Fola’s rolled-sleeve shirt evoking faded elegance. Lighting casts shadows in blackouts, heightening tension, though some shaky frames jar. These choices evoke nostalgia, the image’s grain a texture of memory, rewarding attentive viewers with immersion. ### Final Thoughts *My Father’s Shadow* probes the fragile bonds of family against Nigeria’s 1993 turmoil, where absence shapes love’s contours. The film’s vignettes, the beach play, raise a haunting query: can love endure when rooted in distance? Its take on fatherhood’s myth, from Fola’s provision quest to the boys’ glimpses of his flaws, stirs reflections on Nigeria’s lost promises, the petrol shortage a symbol of stalled progress. The even tone, while building unease, risks losing the impatient, its jargon-free dialogue a breath in Nollywood’s air. Nollywood often amplifies personal stories with flair, but Davies Jr’s subtlety creates space for memory’s dichotomy, urging viewers to dwell in the past’s elusive grip. What does it mean to know a father when he’s forever a shadow? This debut stands as a tender tribute to Nigerian resilience, its strengths resonating for those who embrace its meditative pace. ### Verdict *My Father’s Shadow* rewards viewers who cherish introspective dramas, its subtext and atmosphere offering emotional depth. It suits film fans ready to unpack memory’s layers and political hints. It’s Cannes premiere deserves its acclaim, a haunting watch worth the immersion. **Rating**: 4.4/5 ⭐⭐⭐⭐⭐ Rating: 4.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/my-fathers-shadow-an-intriguing-24-hour-odyssey/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/my-fathers-shadow-an-intriguing-24-hour-odyssey/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/my-fathers-shadow-an-intriguing-24-hour-odyssey/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/my-fathers-shadow-an-intriguing-24-hour-odyssey/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/my-fathers-shadow-an-intriguing-24-hour-odyssey/?share=linkedin) - **Categories:** Reviews **Tags:** 1993 Nigeria, Akinola Davies Jr, Cannes premiere, Chibuike Marvellous Egbo, critique, Drama, fatherhood, Godwin Chiemerie Egbo, Greg Ojefua, Jermaine Edwards, memory, nollywood, political upheaval, Review, Sope Dirisu, Tosin Adeyemi, Uzoamaka Power, Wale Davies, Wini Efon --- ### [Nollywood in 2026: More People in Seats, But Are the Stories Hitting Harder?](https://nollycritic.com/nollywood-in-q1-2026-more-people-in-seats-but-are-the-stories-hitting-harder/) **Published:** May 5, 2026 **Author:** Shalom O. Obisesan **Excerpt:** let’s sit down and have a real talk let's talk about the first quarter of 2026 in Nollywood. We watched a lot of films... **Content:** Hi Nolly fam, let’s sit down and have a real talk about the first quarter of 2026 in Nollywood. We watched a lot of films, tracked how they performed at the box office, and reviewed them here at [NollyCritic](https://nollycritic.com/ "NollyCritic"). The big picture? There are signs of life and growth in the cinemas, but the quality across the board remains uneven — sometimes promising, often frustrating, and occasionally rewarding. First, the encouraging part on the commercial side. According to data from the Nigerian box office released on April 5, 2026 and reported by [Nairametrics](https://nairametrics.com/ "Nairametrics"), Nigeria’s cinema industry recorded its **strongest first quarter in six years**, with **752,136 ticket admissions**, up from roughly 661,720 in Q1 2025 (a 13.7% increase). Nollywood films drove the majority of that turnout, accounting for over **553,000 admissions**, or about **73.5%** of total tickets sold. That local dominance is clear and consistent. But let’s not get carried away by headline naira figures. Ticket prices have been rising steadily, so a film grossing hundreds of millions today doesn’t automatically mean far more people watched it than before. The real health check is admissions: how many actual humans bought tickets and showed up. On that metric, we’re seeing modest but positive growth. People are slowly rebuilding the habit of going to the cinema, helped by strategic releases especially around Valentine’s. ### The Commercial Standouts A small group of films carried the quarter, as is typical in Nollywood theatricals. *[Love and New Notes](https://nollycritic.com/love-and-new-notes-kayode-kasums-intriguing-genre-fusion/ "Love and New Notes")* (produced by Timini Egbuson and directed by Kayode Kasum) was the undisputed champion. It opened with a massive **₦106.5 million** Valentine’s weekend; the biggest non-December opening for a Nollywood film in recent memory, including a single-day high and went on to gross around **₦328–362 million** cumulatively, with some reports pushing toward ₦380 million. It even held strong against Hollywood titles like *Scream 7* in later weekends. The film is one of our highest scores this quarter. It delivered accessible romance with decent production values and emotional beats that mostly landed. This one proves that when timing, star power, and relatable storytelling align, audiences will turn up in solid numbers. *[Onobiren](https://nollycritic.com/onobiren-when-survival-shapes-a-womans-story/ "Onobiren")* (produced by Laju Iren) was another strong performer. Released in early March, it ran for about seven weeks and closed with a reported **₦138 million** gross. It topped the box office in some weekends and showed respectable staying power. It earned a slightly above average rating of 2.75/5. The film carries clear ambition in its focus on a woman’s journey, resilience, purpose, and the support system among women, with grounding in its South South cultural roots. There were moments of emotional weight and visual competence, but it didn’t always push beyond familiar dramatic territory for us. Its commercial legs still show that thoughtful, female-driven stories can find an audience when marketed right. *[Mother’s Love](https://nollycritic.com/mothers-love-strong-themes-undone-by-weak-believability/ "Mother’s Love")* (starring and directed by Omotola Jalade-Ekeinde) opened with decent figures reportedly crossing **₦25 million** in its first weekend and eventually passed the **₦100 million** mark. However, we were less impressed, critical as it earned a 1.75/5 review score. The star power brought initial curiosity, but the execution felt underwhelming, lacking the fresh emotional depth or tight storytelling the premise seemed to promise. Other titles like *[Aba Blues](https://nollycritic.com/aba-blues-a-romance-that-struggles-to-ground-its-reality/ "Aba Blues")* (2.5/5, with a respectable opening around ₦19.9 million) showed stronger craft in patches. Many of the remaining titles among the roughly 20 Nollywood films that hit cinemas this quarter had shorter runs and quieter footprints, splitting limited screens in a competitive market. ### Our Ratings and What They Reveal We reviewed or watched a broad selection this quarter and rated everything out of 5. The **average score** came in at approximately **2.55/5**. Squarely in mixed-to-mediocre territory. Here’s a quick rundown: **The brighter spots (3.0 and above):** - *Love and New Notes* (3.5) — A rare solid overlap between commercial success and critical reception. - *To Adaego With Love* (3.35) — One of the more emotionally satisfying entries. - *The Covenant* – series (3.0), *[Evi](https://nollycritic.com/evi-a-beautiful-illusion-searching-for-emotional-truth/ "Evi")* (3.1), and *Queens Don’t Crawl* (3.0). **The middle pack (2.25–2.85):** Films like *Son of the Soil* (2.75), *Onobiren* (2.75), *Echoes Before The Wedding* (2.5), *Aba Blues* (2.5), *The Other Side of the Bridge* (2.5), *Alive Till Dawn* (2.35), *Everything is New Again* (2.25), *Supernowa* (2.85), and the series *Anikulapo: The Ghoul Awakens* (2.4) lived here. They often had solid ideas or committed performances but felt uneven in pacing, emotional depth, or execution. The *Anikulapo* continuation carried franchise weight but landed more as an unnecessary addition than a bold elevation. **The lower end (below 2.0):** - *Mother’s Love* (1.75) - *Headless* (1.75) - *The Creek* (1.6) — Felt “caught between urgency and incompletion.” - *The Return of Arinzo* (1.5) — High hype met with an underwhelming payoff. - *Trade by Bata* (1.35) — Our lowest this quarter and the year so far. ### A Note on the Lower Ratings *Mother’s Love* (1.75) was the first big disappointment of the quarter for us. It felt like the most discouraging watch at the time: familiar tropes, limited emotional depth, and a story that didn’t rise above what we’ve seen before. As more films followed, the disappointments continued. *Headless* (1.75), *The Creek* (1.6), *The Return of Arinzo* (1.5), and *Trade by Bata* (1.35) all landed in similar territory. Because the low points kept coming, our ratings settled into this range naturally. *Mother’s Love* could easily have been our lowest, but we held it at 1.75 to leave room on the scale as the quarter unfolded. In the end, *Trade by Bata* took the bottom spot. This cluster at the lower end says as much about the overall consistency of the slate as it does about any single film. ### What’s Really Going On? Looking across the slate, clear patterns emerge: - Commercial success doesn’t always line up with critical strength. *Love and New Notes* was a happy exception, but star-driven or hyped projects sometimes coasted on anticipation. - Thematic ambition is growing (identity, womanhood, class, resilience in titles like *Onobiren*, *Evi*, *Trade by Bata*, and *Colours of Fire*), yet the filmmaking tools like screenplay focus, directorial confidence in balancing tones, and consistent payoff, often fall short. - The “winners-take-most” dynamic persists. A few titles dominate screens and attention while many others struggle. - Even franchise entries like *[Anikulapo: The Ghoul Awakens](https://nollycritic.com/anikulapo-the-ghoul-awakens-a-franchise-in-search-of-its-own-justification/)* (2.4) felt safe rather than elevated. Rising ticket prices add another layer of pressure. Growth in admissions is real and welcome, but it remains fragile. If audiences pay more only to walk away thinking “it was okay, not great,” building long-term cinema habits becomes tougher. ### Final Thoughts Q1 2026 leaves us with cautious optimism. The numbers (per April 2026 box office reports) show theatrical demand is recovering and Nollywood continues to own the majority of the local market. Films like *Love and New Notes* and *Onobiren* prove there’s genuine audience appetite when the package mostly clicks. Yet our average rating of ~2.55/5, alongside recurring notes on underdeveloped execution, suggests the industry is still figuring out how to consistently convert ambition into fully satisfying cinema. The challenge, and opportunity, for the rest of 2026 is straightforward: tighten storytelling, trust the emotional core, sharpen craft (especially pacing, comedy timing, and logical consistency), and move beyond “good enough.” When ideas, performances, and execution line up, Nollywood can move audiences and make money. We saw flashes of that this quarter. Now it’s about making those flashes the norm. We’ll keep watching closely, scoring honestly, and reporting back. What about you? Which Q1 film surprised you the most positively or otherwise? Did any lower-rated movie still entertain you, or did a higher-rated one miss the mark? Share your thoughts in the comments. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-in-q1-2026-more-people-in-seats-but-are-the-stories-hitting-harder/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-in-q1-2026-more-people-in-seats-but-are-the-stories-hitting-harder/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-in-q1-2026-more-people-in-seats-but-are-the-stories-hitting-harder/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-in-q1-2026-more-people-in-seats-but-are-the-stories-hitting-harder/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-in-q1-2026-more-people-in-seats-but-are-the-stories-hitting-harder/?share=linkedin) - **Categories:** Articles **Tags:** Anikulapo The Ghoul Awakens, colours of fire, Evi, love and new notes, Mother’s Love, Nigerian film industry, Nigerian Movies 2026, nollycritic, Nollywood 2026, Nollywood Box Office, Nollywood Cinema Admissions, Nollywood Critical Reception, Nollywood First Quarter, Nollywood Quality 2026, Nollywood Ratings, Nollywood Recap, Nollywood Reviews, Onobiren, Q1 2026 Nollywood, The Creek, The Return of Arinzo, Trade by Bata --- ### [Monica 2: New Movie Hits 10 million Views in Two Days](https://nollycritic.com/monica-2-new-movie-hits-10-million-views-in-two-days/) **Published:** May 4, 2026 **Author:** Esther Adamu **Excerpt:** The sequel to her widely acclaimed film, Monica, has quickly become one of the most talked-about Nollywood releases of the year. **Content:** [Nollywood](https://nollycritic.com/ "Nollywood") filmmaker and actress Uche Montana has recorded another major digital milestone with her latest movie release, [Monica 2](https://www.qed.ng/uche-montanas-monica-2-hits-six-million-views-in-24-hours/ "Monica 2"), which amassed over 10 million views on YouTube within 2 days of its release. The sequel to her widely acclaimed film, *Monica*, has quickly become one of the most talked-about Nollywood releases of the year. The story of *Monica*, which is recorded to be based on a true-life event, explores family sacrifices, particularly the struggles faced by first daughters who often bear the weight of their family’s burdens. The cast of *Monica 2* includes [Uche Montana](https://nollyculture.blogspot.com/2026/04/by-faith-ajayi-spotlight-on-uche.html "Uche Montana"), who played the emotional role of Monica, alongside Blessing Onwukwe, Joseph Momodu, John Tyler Ekanem, Agatha Gambo, Chris Biyibi, Chidinma Ugwu, and Junior Prince Unigwe. The actress revealed via instagram how overwhelmed she was by the numbers her movie pulled, as she addressed her fans in a post that said > 22 hours ago, we shared a piece of our hearts with the world. 6 million views later…I’m just overwhelmed with gratitude. To my cast, thank you for showing up, for giving your all, for making this real. > > > [View this post on Instagram](https://www.instagram.com/p/DX7Nl_wEz7w/?utm_source=ig_embed&utm_campaign=loading) The film’s explosive debut reflects both the growing global appetite for Nollywood productions and Montana’s ability to captivate audiences with compelling storytelling. Fans praised the movie’s gripping plot, emotional depth, and Montana’s standout performance, flooding social media with reactions and trending hashtags. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/monica-2-new-movie-hits-10-million-views-in-two-days/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/monica-2-new-movie-hits-10-million-views-in-two-days/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/monica-2-new-movie-hits-10-million-views-in-two-days/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/monica-2-new-movie-hits-10-million-views-in-two-days/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/monica-2-new-movie-hits-10-million-views-in-two-days/?share=linkedin) - **Categories:** Nollywood News **Tags:** Agatha Gambo, and Junior Prince Unigwe., Blessing Onwukwe, Chidinma Ugwu, Chris Biyibi, John Tyler Ekanem, Joseph Momodu, Monica, Monica 2, Monica hits 9.3 million, nollycritic, nollywood, Uche Montana, Youtube, YouTube Movies --- ### [New Nollywood Movies to See this April 2026](https://nollycritic.com/new-nollywood-movies-to-see-this-april-2026/) **Published:** April 1, 2026 **Author:** Esther Adamu **Excerpt:** March was an exciting month with many Nollywood productions, but this April brings a wave of new Nollywood movies ranging from drama... **Content:** March was an exciting month with many [Nollywood](https://nollycritic.com/onobiren-when-survival-shapes-a-womans-story/ "Nollywood") productions, but this April brings a wave of new Nollywood movies ranging from drama to comedy and thrillers. Welcome to April, Nollywood Fam! Whether you are in the mood for a story about vengeance, a thought-provoking drama, redemption, or simply a feel-good tale that celebrates family and tradition. There’s something for everyone this month. Here are the Nollywood blockbusters and streaming exclusives you won’t want to miss! ***Almost Perfect* – April 1** Directed by Imoh Umoren, *Almost Perfect* is described as “a love story stitched in secrets, dreams, and desire.” The film unfolds in the world of fashion and self-discovery, promising a visually rich narrative that centres on emotional depth. The ensemble cast includes heavyweights such as Kate Henshaw, [Toke Makinwa](https://nollycritic.com/the-shadow-of-greed-a-cross-cultural-exploration-of-corruption/), Detola Jones, Bimbo Manuel, Obinna Okenwa, Omowunmi Dada, Eso Dike, Real Warri Pikin, and Liquorose. Almost Perfect is now streaming on [Ebonylife ON Plus](https://ebonylifeonplus.com/ "Ebonylife ON Plus"). ***Behind The Scenes* – April 3** *[Behind the Scenes](https://nollycritic.com/behind-the-scenes-heads-to-netflix-this-april/ "Behind the Scenes")* is a Funke Akindele blockbuster about ambition, relationships, and resilience. This record-breaking hit follows Aderonke Faniran, a successful real estate mogul whose generosity drains her emotionally and personally. Starring Funke Akindele, Iyabo Ojo, Tobi Bakre, Ini Dima-Okojie, Uzor Arukwe, and Destiny Etiko, Behind the Scenes is produced by Funke Ayotunde Akindele Network (FAAN). The Film will premiere on Netflix and Kava on April 3, 2026. ***Avante*** **– April 3** This Vengeance-packed thriller follows Gaju, a man who infiltrates his parents’ killer’s estate for revenge but falls for the daughter. In Avante, movie lovers can expect themes of vengeance, forbidden love, and moral conflict. Starring Chimezie Imo, Kingsley Okafor, Ruth Nkweti, Maliya Michael, and Joseph James. The Nollywood thriller *[Avante](https://nollycritic.com/avante-new-nollywood-movie-hits-cinemas-april-3rd/ "Avante")* was produced by Afrisquare Entertainment and directed by award-winning filmmaker [Toka McBaror](https://www.nollymeter.com/actor/19 "Toka McBaror"). The film will be released in cinemas nationwide on April 3, 2026. ***The Return of Arinzo*** **– April 3** *[The Return of Arinzo](https://nollycritic.com/tag/the-return-of-arinzo/ "The Return of Arinzo")* is an Action Crime thriller where a feared woman resurfaces after years, stirring secrets and revenge. Her sudden returns disrupt the lives of those around her, as she seeks answers about past betrayals and confronts unresolved conflicts, leading to a dramatic quest for vengeance and justice. Starring Funke Akindele, Mercy Aigbe, Uzor Arukwe, Williams Benson, Bimbo Akintola, and Iyabo Ojo. Produced by FESPRIS Production, the return of Arinzo will be available in cinemas nationwide from April 3, 2026. ***Trade by Bata*** **– April 17** This is a witty cultural Comedy directed by Biodun Stephen. *[Trade by Bata ](https://nollycritic.com/nollywoodweek-here-are-the-2025-official-festival-selections/ "Trade by Bata ")*centres on a Nigerian American young woman who returns to her village to claim her father’s Inheritance but faces a series of events that alter her journey. The film features a stellar cast, including Bukunmi Adeaga-IIori, Debo Adebayo, Adebimpe Akintunde, and Dele Odule. *Trade by Bata* is coming to cinema’s Nationwide this April 17, 2026. ***The Other Side of the Bridge*** **– April 17** The film is an action-packed sports drama produced by Tolu Lordtanner. The narrative follows a former teenage boxing champion who enters a high-stakes competition to save his trainer’s gym. He faces a cash-strapped fighter from a troubled background, sparking up a rivalry that forces them to confront their past and fight for their futures. *[The Other Side of a Bridge](https://www.nollywood.com/movies/the-other-side-of-the-bridge "The Other Side of a Bridge")* features Mike Afolarin, Seun Ajayi, Teniola Aladese, Tobi Bakre, Ireti Doyle, and Femi Branch. This movie is scheduled for a nationwide cinema release on April 17, 2026. ***A Spark in the Dark*** **– April 24** The Nollywood romance drama *A Spark in the Dark* follows the Narrative of a couple’s seemingly perfect life that is suddenly shaken by tragedy, forcing them to confront love, loss, and resilience. It is a story about how dreams and relationships are tested when unexpected storms arrive. Starring Blossom Chukwujekwu, Gideon Okeke, Daniel Etim-Effiong, Tope Olowoniyan, and Venita Akpofure. Directed by Akay Mason, A Spark in the Dark is prepared for a nationwide cinema release on April 24, 2026. April [Nollywood](https://nollycritic.com/onobiren-when-survival-shapes-a-womans-story/ "Nollywood") lineup proves just how diverse and dynamic the industry has become. Each film offers something unique, whether it’s laughter, love, vengeance, or redemption, making this month another celebration of storytelling. Which of these Nollywood movies do you anticipate the most? Stay tuned, as we will update this list with more Nollywood movies. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-nollywood-movies-to-see-this-april-2026/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-nollywood-movies-to-see-this-april-2026/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-nollywood-movies-to-see-this-april-2026/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-nollywood-movies-to-see-this-april-2026/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-nollywood-movies-to-see-this-april-2026/?share=linkedin) - **Categories:** Articles, Movies **Tags:** A Spark in the Dark, Avante, Behind the Scenes, Bimbo Akintola, Biodun Stephen, Blossom Chukwujekwu, Chimezie Imo, Daniel Etim-Effiong, Debo Adebayo, Dele Odule, Destiny Etiko, Femi Branch, FESPRIS Production, Funke Akindele, Gideon Okeke, Ini Dima-Okojie, Ireti Doyle, Iyabo Ojo, Joseph James, Kingsley Okafor, Kukunmi Adeaga-llori, Mike Afolarin, Netfilx, nigerian cinema, nollycritic, nollywood, Ruth Nkweti, Seun Ajayi, Teniola Aladese, The Other Side of the Bridge, The Return of Arinzo, Tobi Bakre, Trade by Bata, Uzor Arukwe, Venita Akpofure, Williams Benson --- ### [Dust to Dreams: A Promising Collaboration That Misses the Mark](https://nollycritic.com/dust-to-dreams-a-promising-collaboration-that-misses-the-mark/) **Published:** April 28, 2026 **Author:** Uju Okosieme **Excerpt:** Dust to Dreams, directed by Idris Elba and backed by Mo Abudu, arrived on EbonyLife ONPlus, with a lot of buzz. With a cast that... **Content:** [*Dust to Dreams*,](https://nollycritic.com/dust-to-dreams-see-the-trailer-for-the-new-idris-elba-drama/ "Dust to Dreams,") directed by [Idris Elba ](https://en.wikipedia.org/wiki/Idris_Elba "Idris Elba ")and backed by Mo Abudu, arrived on [EbonyLife ONPlus,](https://ebonylifeonplus.com/ "EbonyLife ONPlus,") with a lot of buzz. With a cast that includes Nse Ikpe-Etim, Seal, and Atlanta Bridget Johnson, expectations were understandably high. Now that we’ve seen it, the real question is whether it lives up to that hype. ## *Dust to Dreams* Directed by: Idris Elba Written by: Idris Elba Genre: Drama Language: English ## A Misleading Premise That Never Fully Materialises The official synopsis tells us the story of a shy young woman who inherits her mother’s struggling nightclub and reconnects with her estranged father through music, ultimately working together to save the club’s legacy. On paper, it sounds compelling, but the film itself tells a very different story. At no point are we clearly shown that Bisola actually inherits the club. Instead, her aunts, Comfort and Patience, are actively trying to sell it, and that storyline is never meaningfully resolved. Similarly, the idea of music serving as the bridge between Bisola and her father, Johnson, is barely explored. The two only perform together once, right at the very end, and music plays a surprisingly minor role in their interactions. It feels as though the synopsis was written for a different version of the film—one that never quite made it to screen. ## Strong Themes That Fail to Come Together The film attempts to explore a range of relatable themes, from complicated family dynamics and strained sibling relationships to the emotional weight of reconnecting with an absent parent. There’s also a touching undercurrent in the relationship between Bisola and her mother, which hints at a more grounded emotional core. However, while these elements are present, they never fully come together in a cohesive way. Instead of building toward a unified narrative, the film feels like a collection of loosely connected moments. Important themes are introduced but not properly developed, leaving the story feeling fragmented rather than intentional. ## Underwhelming Performances Across the Board The performances, unfortunately, do little to elevate the material. From Constance Olatunde as Bisola to Seal as Johnson and Nse Ikpe-Etim as Millicent, the acting feels surprisingly flat. In fact, this stands out as one of the weaker performances we’ve seen from Nse Ikpe-Etim. Seal’s Nigerian accent is also difficult to ignore, as it never quite feels convincing. Eku Edewor, who plays Comfort, is positioned as a sort of antagonist, but her performance doesn’t effectively convey that sense of menace or authority. What’s most telling is the emotional disconnect throughout the film. Even major moments, like Millicent’s death, fail to evoke any real feeling. A key scene where Johnson returns after years away is overcrowded with activity—Millicent collapsing on stage, Bisola meeting her father for the first time—yet none of it lands with the emotional weight it should carry. ## Visually Polished but Creatively Safe Technically, the film looks good. The cinematography is polished, and there’s a clear effort to maintain a visually appealing aesthetic throughout. However, for a story that positions music as such an important element, the soundtrack is surprisingly forgettable. There are no standout musical moments, and the film never fully taps into the emotional or narrative potential that music could have provided. Ultimately, it remains a competently shot project that doesn’t push any creative boundaries. ## A Film That Doesn’t Match Its Own Ambition One of the most frustrating aspects of *[Dust to Dreams](https://www.imdb.com/title/tt31834881/ "Dust to Dreams")* is the disconnect between what it promises and what it delivers. The synopsis suggests a music-driven emotional journey, but the film barely engages with that idea in a meaningful way. The inclusion of multiple cameo appearances from well-known Nollywood figures also feels unnecessary. Rather than enhancing the story, these moments come across as distractions, taking time away from what could have been used to build a stronger, more cohesive narrative. ## Verdict *Dust to Dreams* ultimately feels like a missed opportunity. With its strong creative team and promising premise, it had all the ingredients for something memorable, but the execution falls short in nearly every key area. From its misleading synopsis and disjointed storytelling to its underwhelming performances, the film struggles to leave a lasting impression. In the end, it stands as another disappointing outing from EbonyLife Studios. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/dust-to-dreams-a-promising-collaboration-that-misses-the-mark/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/dust-to-dreams-a-promising-collaboration-that-misses-the-mark/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/dust-to-dreams-a-promising-collaboration-that-misses-the-mark/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/dust-to-dreams-a-promising-collaboration-that-misses-the-mark/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/dust-to-dreams-a-promising-collaboration-that-misses-the-mark/?share=linkedin) - **Categories:** Reviews, Short Films **Tags:** Dust To Dreams, Ebony Life, Ebony Life Plus, Idris Elba, Nse Ikpe-Etim, Reviews --- ### [Laraba and Balarabe: A Quiet Short That Resonates](https://nollycritic.com/laraba-and-balarabe-a-quiet-short-that-resonates/) **Published:** December 1, 2025 **Author:** Uju Okosieme **Excerpt:** Laraba and Balarabe. The short film, written and directed by Gimsay and starring Susan Pwajok, recently dropped on YouTube **Content:** Susan Pwajok and Fatimah Binta Gimsay return with a new collaboration, *[Laraba and Balarabe](https://nollycritic.com/laraba-and-balarabe-new-romance-drama-set-for-youtube/ "Laraba and Balarabe: New Romance Drama Set for YouTube")*. The short film, written and directed by Gimsay and starring Susan Pwajok, recently dropped on YouTube and quickly began trending. Naturally, we had to see what the buzz was about. ## *Laraba and Balarabe* Directed by: Fatimah Binta Gimsay Written by: Abdul Tijani-Ahmed Genre: Drama Language: English ## A Reunion Wrapped in Unspoken Emotions After a missed flight, two exes spend a single, ordinary day together, a day that reopens old wounds, sparks small pockets of warmth, and quietly asks whether love is something worth revisiting. The plot is simple: Balarabe appears unexpectedly at Laraba’s door months after their breakup, and Laraba tries to piece together what led to the end of their relationship. As a short film, it stays focused, though it offers little resolution — an ending that feels intentional and true to the format. ### A Day Defined by Tension and Lingering Hurt *[Laraba and Balarabe](https://nollycritic.com/laraba-and-balarabe-new-romance-drama-set-for-youtube/ "Laraba and Balarabe: New Romance Drama Set for YouTube")* follows Laraba as she tries to navigate Balarabe’s sudden reappearance. Her attempt to understand what went wrong only leads to further disappointment. The writing taps into a familiar emotional cycle: wanting answers, seeking clarity, receiving nothing. The story is structured to frustrate the viewer in the same way Laraba is frustrated. It raises questions that remain unanswered, mirroring the experience of many real-life breakups where closure never arrives. ### Emotional Weight Carried by a Single Strong Presence Susan Pwajok and Mallum Arik take on the title roles, with Pwajok delivering a grounded performance that carries the film’s emotional weight. While Mallum Arik’s Balarabe doesn’t leave much of an impression, Pwajok’s portrayal of Laraba’s inner turmoil gives the short its resonance. It’s not a transformative performance, but it is steady and sincere — and that’s what makes the story linger. ### Thoughtful Visual Choices With One Distracting Technical Slip The film opens with a striking visual cue: as Balarabe knocks, the room Laraba is in shifts from blue to orange, signalling an emotional shift and subtly preparing the audience for the day ahead. The cinematography is carefully considered, and the music enhances the emotional landscape beautifully. However, one choice stands out, a scene where the score completely overpowers the dialogue. Subtitles clarify the exchange, but the intention remains unclear. Typically, when music drowns out dialogue in film, it signals that the exact words don’t matter. Here, the opposite is true, which makes the creative decision feel slightly at odds with the scene’s importance. If it was deliberate, it’s an unusual choice for a moment that carries weight. ### A Relatable Tale That Reflects Real-Life Heartache The use of Hausa enriches the film, offering representation that Nigerian cinema needs far more of beyond strictly northern productions. Its relatability, the ache of loving someone who only takes, explains why it went viral. Both men and women can instantly connect with the emotional beats, because the story speaks to experiences many have lived through but rarely see depicted with this kind of softness. ## Verdict *[Laraba and Balarabe](https://www.partyjolloftv.com/posts/laraba-and-balarabe-a-quiet-nigerian-romance-that-hits-where-you-least-expect "Laraba and Balarabe")* is heartfelt, warm, relatable, and visually thoughtful. It captures the quiet ache of loving someone who isn’t good for you and does so with sincerity. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/laraba-and-balarabe-a-quiet-short-that-resonates/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/laraba-and-balarabe-a-quiet-short-that-resonates/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/laraba-and-balarabe-a-quiet-short-that-resonates/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/laraba-and-balarabe-a-quiet-short-that-resonates/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/laraba-and-balarabe-a-quiet-short-that-resonates/?share=linkedin) - **Categories:** Reviews, Short Films **Tags:** Fatimah Binta Gimsay, Laraba and Balarabe, Mallum Arik, nollywood, Nollywood Short Films, Susan Pwajok, Youtube --- ### [Silence is Loud – A Quietly Powerful Story About Finding Your Voice](https://nollycritic.com/silence-is-loud-a-quietly-powerful-story-about-finding-your-voice/) **Published:** May 2, 2026 **Author:** Uju Okosieme **Excerpt:** Silence is Loud is the latest short film from Zikoko, written by Dika Ofoma and Tapsy Gomwalk, and produced and directed by Abba Makama **Content:** [*Silence is Loud* ](https://www.imdb.com/title/tt39388971/ "Silence is Loud ")is the latest short film from [Zikoko](https://www.zikoko.com/ "Zikoko"), written by Dika Ofoma and Tapsy Gomwalk, and produced and directed by Abba Makama. Starring Uzoamaka Power, the film recently dropped on YouTube—and it definitely gives us a lot to think about. ## *Silence is Loud* Directed by: Abba Makama Written by: Dika Ofoma, Tapsy Gomwalk Genre: Drama Language: English ## A Familiar Premise Elevated by Strong Execution The synopsis introduces Henrietta and Ayo as they navigate stigma, shame, and a world that would rather they remain silent—but as the film suggests, silence has its limits. While this is a storyline we’ve seen in different forms over time, what makes [*Silence is Loud* ](https://nollycritic.com/silence-is-loud-new-short-by-abba-t-makama-set-for-april-premiere/ "Silence is Loud ")stand out is how well it pieces everything together. The film pays close attention to detail, allowing small moments to build into something much bigger. Subtle cues like Sunday’s smirk at Ayo in the opening scene and Taiwo’s dismissive treatment of Henrietta slowly come together to reveal the larger picture, making the storytelling feel intentional and layered. ## Two Lives, One Shared Struggle At its core, the story follows Ayo, a student whose life begins to unravel as harmful rumours spread about her at school. The harassment she faces doesn’t stop there—at home, she is met with judgment and emotional abuse from her father, leaving her with nowhere safe to turn. This ultimately pushes her to seek refuge with her teacher, Henrietta. At the same time, the film gives us insight into Henrietta’s own struggles. While trying to support Ayo, she is also dealing with her own form of societal pressure and quiet bullying. By paralleling their experiences, the film effectively highlights how stigma affects women at different stages of life, creating a strong emotional connection between the two characters. ## Performances That Carry the Emotion Uzoamaka Power delivers a compelling performance as Henrietta, bringing both strength and vulnerability to the role. Opposite her, Sapphire Ekeng shines as Ayo, particularly in the subtlety of her performance. One of the standout moments comes when Ayo finally stands up to Sunday—a scene that allows Ekeng to showcase her emotional range. The supporting cast, including Ozzy Agu, Kunle Akintunde, Judith Audu, and Oluwanifemi Lawal, also delivers dependable performances that help ground the story. ## A Moody Visual Tone That Supports the Story The film adopts a darker colour grade that complements its heavy subject matter, reinforcing the emotional weight of the story. This visual choice helps create an atmosphere that mirrors the characters’ internal struggles. The score is another strong point, subtly enhancing key moments without overpowering them. Together, the visuals and sound design work together to create a cohesive tone that supports the film’s themes. ## A Powerful Message with Minor Stumbles While *Silence is Loud* is largely effective, there are a few areas where it could have been stronger. The scene where Ayo runs into Henrietta after skipping school feels slightly underwhelming and could have been executed with more impact. Additionally, the film takes a bit too long to clearly establish what exactly happened to Ayo, which may leave some viewers wanting more clarity earlier on. Despite this, the film effectively conveys its core message. One of its strongest elements is how it draws parallels between Henrietta and Ayo, showing how women experience stigma in different ways. The full-circle moment—beginning with Henrietta reviewing Ayo’s poor grade and ending with her improved result—serves as a subtle but satisfying conclusion to their journey. ## Verdict *Silence is Loud* is a powerful and emotionally resonant story about finding your voice in a world that often demands silence. Despite a few minor flaws, it remains an engaging and meaningful watch. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/silence-is-loud-a-quietly-powerful-story-about-finding-your-voice/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/silence-is-loud-a-quietly-powerful-story-about-finding-your-voice/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/silence-is-loud-a-quietly-powerful-story-about-finding-your-voice/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/silence-is-loud-a-quietly-powerful-story-about-finding-your-voice/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/silence-is-loud-a-quietly-powerful-story-about-finding-your-voice/?share=linkedin) - **Categories:** Reviews, Short Films **Tags:** Abba Makama, Dika Ofoma, nollycritic, nollywood, Silence is Loud, Uzoamaka Power, Youtube --- ### [Trade by Bata: A Concept That Speaks Loud But Thinks Shallow](https://nollycritic.com/trade-by-bata-a-concept-that-speaks-loud-but-thinks-shallow/) **Published:** May 1, 2026 **Author:** Shalom O. Obisesan **Excerpt:** There is a clear idea at the centre of Trade by Bata, and for a while, it feels like the film understands.... **Content:** There is a clear idea at the centre of *[Trade by Bata](https://www.imdb.com/title/tt36949871/ "Trade by Bata")*, and for a while, it feels like the film understands the weight of what it is playing with. Identity, class, aspiration, and the performance of self are all embedded in its premise. A village girl longing for upward mobility. An “Americanah” who embodies everything she desires. A sudden switch that promises disruption. It is a familiar setup, but one that holds enough tension to carry something sharp and revealing. What the film does instead is lose control of that idea almost as quickly as it introduces it. ## *Trade by Bata* Directed by: Biodun Stephen Produced by: Biodun Stephen Genre: Comedy, Drama Released on: April 17, 2026 (Cinemas) Language: English ## The Inheritance of a Good Idea At the emotional centre of *Trade by Bata* is a story about pride and its discontents. Fiyinfoluwa, the film’s Nigerian-American protagonist, arrives in the village of Ori Ope not as a returning daughter but as a conqueror. She looks down on the locals, dismisses her grandmother, and navigates her inheritance with the transactional coldness of someone who has long since divorced herself from where she came from. Meanwhile, Abebi, the village girl who orbits her with desperate admiration, wants nothing more than to be Fifi. She absorbs the humiliation, endures the condescension, and keeps reaching. When the switch happens and Abebi inherits Fifi’s accent, her first instinct is not to use it kindly. She begins to oppress exactly as she was oppressed. That is the film’s most honest emotional observation, and it lands with subtle force precisely because it doesn’t announce itself. The story is saying something true about aspiration in Nigerian society: that the desire to rise is often indistinguishable from the desire to dominate. Abebi doesn’t become cruel because Fifi’s personality infected her. She becomes cruel because the opportunity finally arrived. That distinction is important, and the film deserves credit for making it, even if it never quite elevates it beyond dramatic subtext. The thematic ambition is real. What’s less certain is whether the film knows it has it. The emotional arc is undercut by a logic problem at its core. The supernatural mechanism driving the switch, a voice swap dressed in vague medical language that the film itself doesn’t seem fully convinced by, creates more confusion than it resolves. Fifi gradually reveals she understands Yoruba, which quietly dismantles the internal rules the film spent its first act establishing. A story built on identity displacement can’t afford to be careless about what exactly was displaced. The result is a premise that peaks early and then asks the drama to carry what the concept no longer can. ## **When the Punchline Arrives Late and Leaves Early** The plot of *Trade by Bata* has a structural problem that the opening twenty minutes make painfully visible. The film takes too long to arrive at the thing it came to do. Before the voice switch lands, there is a prolonged settling-in period that feels more like setup for a YouTube skit than a theatrical feature, establishing characters and rhythms without yet giving the audience any real reason to lean forward. When the switch finally happens, it hits with genuine surprise. The problem is that the film then coasts on it. Once the premise is in motion, the narrative momentum plateaus. Scenes stretch beyond their comic usefulness. The arrival of Wale, Fifi’s city boyfriend, introduces a new conflict involving the inheritance that should tighten the story but instead adds a layer the film never fully integrates. The dramatic machinery around the inheritance, the grandmother’s resistance, the boyfriend’s opportunism, exists in a separate emotional register from the comedy, and the editing doesn’t always find a way to bind them. The film’s rhythm is more drama than it admits, punctuated by comic situations rather than driven by them. It moves, but without urgency. What works in the plotting is the village itself. Ori Ope functions as more than a setting. It is the film’s moral environment, the place where both Fifi’s pretensions and Abebi’s ambitions are tested. The production’s use of the location gives the culture clash something to push against, and the best scenes are those where the physical reality of the village quietly humiliates the characters’ self-importance. That grounding is where the film is most honest. ## **The Accent Carries More Than It Should** The critical conversation around *Trade by Bata* rightly centres on its two leads, but the more interesting question is whether the performances rise above the mechanics of accent-switching or simply execute them. The answer is complicated. [Solape Ogundimu](https://www.imdb.com/name/nm17304090/ "Solape Ogundimu"), as Fiyinfoluwa the Americana, is the film’s most technically committed performance. Her American accent has the specific texture of someone who has internalised a persona rather than just learned a sound, and when she transitions to the Yoruba-inflected register after the switch, the shift is clean and confident. She earns her praise. But the performance is also the film’s most honest diagnostic. Her Yoruba fluency is more believable than her American affectation was, which accidentally reveals that the exaggeration was always the point, and the point was always more caricature than character. There is a version of Fifi that could have been both absurd and grounded. This film chose only the former. Bukunmi Adeaga-Ilori’s Abebi is a more interior performance, and the better one for it. She carries the film’s emotional argument on her back without overstating it. The moment she acquires Fifi’s accent and immediately begins to look down on those around her is handled with a restraint that the film’s broader comic register rarely affords. You believe her transformation not because the acting tells you to, but because it feels psychologically consistent. Debo Adedayo’s Wale is where the film’s casting logic gets interesting. Positioned as Fifi’s city boyfriend and the plot’s antagonist-lite, the character requires someone who can hold comic energy without dominating scenes. Adedayo is warm and capable, and his chemistry with the lead is one of the more comfortable dynamics in the film. But the role ultimately functions as connective tissue, linking the city world to the village world without deeply inhabiting either. The comedic charge that the character could have carried, had the film committed more fully to its comic architecture, is only partially realised. The most telling casting conversation, however, belongs to Modola Osifuwa. Playing the househelp who holds the secret to the entire switch, she is one of the most recognisable faces in Nigerian digital content, known almost universally for portraying a tush, polished, accent-perfect persona. In *Trade by Bata*, none of that appears. She is deliberately cast against type, stripped of the very identity her audience associates with her, and placed in a role that makes her the quiet pivot of the film’s central mystery. The irony is almost too precise: the woman audiences know for her perfect accent is the one responsible for taking someone else’s accent away. Whether this was a deliberate meta-casting decision or a fortunate coincidence, the result is a layered joke that only lands if you know what you’re looking at. It is, quietly, one of the film’s most interesting creative choices. ## **The Strength and Slippery Grip of the Direction** [Biodun Stephen](https://nollycritic.com/?s=Biodun+Stephen "Biodun Stephen") is a director whose reputation rests on emotionally grounded romantic drama, and that instinct is visible throughout *Trade by Bata*, sometimes productively and sometimes at the film’s expense. The film is visually competent. It uses its village setting with intelligence, letting the physical landscape carry cultural meaning without over-signposting it. The contrast between Fifi’s urban posturing and the unhurried reality of Ori Ope is established through space and production design as much as through dialogue, and that economy of storytelling is a directorial strength. The cinematography is functional rather than inventive. There are no particularly daring compositional choices, but the framing is proper and the village’s visual identity is consistent. Where the direction falters is in its approach to comedy. Nollywood comedies, at their most technically sophisticated, use framing, timing, and editing rhythm as comic instruments in their own right. *Trade by Bata* does not. The humour is almost entirely carried by performance and situation, and when those elements don’t land, there is no technical scaffolding to catch the fall. The editing keeps the film moving at a functional pace but rarely exploits comic timing with any precision. The sound design is workmanlike. The score supports the drama without distinguishing itself. Costume and production design do quiet but important work, particularly in the early scenes where Fifi’s wardrobe functions as an extension of her condescension. The grandmother’s domestic space feels lived in and specific. These are the details that give the village world credibility, and they are handled with more care than the film’s broader technical ambitions suggest. ## **Final Thoughts** *Trade by Bata* sits in an interesting and somewhat uncomfortable position in contemporary Nollywood. It is clearly in conversation with the Jenifa and Alakada franchises, drawing from the same well of village-versus-city comedy and local-girl aspiration. But it arrives at that conversation without a sufficiently distinct voice, and the comparisons it invites are not flattering. What separates those franchises at their best is not just their premises but their comic confidence, the sense that every element of the filmmaking is working toward the same joke. *Trade by Bata* has the premise and some of the performances, but the film around them feels like it’s still deciding what it wants to be. What lingers, though, is the story’s central irony. Abebi spends the film wanting to be Fifi, and the moment she gets there, she becomes the thing she slightly disliked. That is a genuinely resonant observation about class aspiration in Nigeria, and it deserved a film that was more fully equipped to hold it. *Trade by Bata* gestures toward that film without quite becoming it. A good idea, honourably attempted, and ultimately underserved by the execution that surrounded it. ### **Verdict** *Trade by Bata* will entertain audiences who come to it without demands, particularly those with an appetite for Yoruba-inflected culture-clash comedy and a tolerance for drama wearing comedy’s clothes. Viewers looking for sharp, well crafted Nollywood humour will leave unsatisfied. **Rating**: 1.45/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/trade-by-bata-a-concept-that-speaks-loud-but-thinks-shallow/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/trade-by-bata-a-concept-that-speaks-loud-but-thinks-shallow/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/trade-by-bata-a-concept-that-speaks-loud-but-thinks-shallow/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/trade-by-bata-a-concept-that-speaks-loud-but-thinks-shallow/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/trade-by-bata-a-concept-that-speaks-loud-but-thinks-shallow/?share=linkedin) - **Categories:** Reviews **Tags:** 2026 Nollywood films, accent comedy, Adebimpe Akintunde, Adediwura Blarkgold, aspiration, Biodun Stephen, body swap comedy, Bukunmi Adeaga-Ilori, class and identity, comedy drama, culture clash, Debo Adedayo, Dele Odule, Eso Dike, Film Critique, Film review, Modola Osifuwa, nigerian cinema, Nigerian-American identity, nollywood, Solape Ogundimu, Tomiwa Kukoyi, Trade by Bata, village versus city, Yoruba culture --- ### [The Other Side of the Bridge: A Boxing Drama That Connects Two Sides of Lagos](https://nollycritic.com/the-other-side-of-the-bridge-a-boxing-drama-that-connects-two-sides-of-lagos/) **Published:** April 27, 2026 **Author:** Shalom O. Obisesan **Excerpt:** The Other Side of the Bridge, directed by Fiyin Gambo, is a drama that follows two boxers from opposite sides of Lagos as they prepare... **Content:** *[The Other Side of the Bridge](https://www.imdb.com/title/tt34477317/ "The Other Side of the Bridge")*, directed by Fiyin Gambo, is a drama that follows two boxers from opposite sides of Lagos as they prepare for the high-stakes Titan Tournament. Tobi Bakare plays Farouk, a talented fighter from the Mainland struggling to support his family. Demi Banwo plays Femi, a privileged former champion from the Island side trying to reclaim his life after personal loss. The [film](https://nollycritic.com/?s=film "film") uses the boxing ring as a neutral ground where rivalry, ambition, and respect collide. It explores themes of class divide, family responsibility, and the power of sport to bridge gaps. The story blends sports drama with emotional undercurrents, aiming to show how two men with different backgrounds can find common ground through shared struggle. ## *The Other Side of the Bridge* Directed by: Fiyin Gamno Written by: Tamara Aihie, Emil Garuba Genre: Drama Released on: April 17, 2026 (Cinemas) Language: English ### **Two Fighters, Two Worlds, One Ring** The narrative centres on Femi and Farouk. Femi, once a teenage boxing champion, returns to the sport after his trainer’s gym faces closure due to financial problems. He trains hard, facing real pain and sacrifice on the streets. Farouk, from a poorer background, sees the tournament as a chance to survive and provide for his family. He trains with the same intensity, driven by necessity. Their paths cross at press conferences and build into a fierce rivalry. The city watches as they exchange tough words. As the tournament progresses, both win early fights. The final match becomes the emotional climax, a loud, physical battle in the ring where punches fly and both men feel real pain. Femi fights to save the gym and prove himself. Farouk fights for his life and his family. The bridge in the title symbolises the divide between Island privilege and Mainland struggle, but also the possibility of connection through sport. ### **Themes of Class, Respect, and Shared Struggle** *The Other Side of the Bridge* uses boxing as a metaphor for life’s fights. It shows how sport can bring respect and new ties even when everything seems against you. Femi and Farouk come from different worlds, one with more opportunities, the other with more hardship, yet they are united by ambition and the need to prove themselves. The story highlights family responsibility: Farouk’s drive to support his loved ones, Femi’s desire to honour his trainer, mother and reclaim purpose. It touches on generational contrast and the pressure of expectations. The film suggests that rivalry can turn into mutual understanding when two people face the same physical and emotional test. The bridge becomes both a literal and symbolic element separating sides of the city but also offering a path to cross. ### **Performances That Feel Lived-In** Tobi Bakare brings a lived-in quality to Farouk. His performance feels grounded, especially in scenes showing his commitment to family and the ring. Demi Banwo delivers a committed turn as Femi, conveying the weight of personal loss and the drive to rebuild. Their chemistry in the ring carries real tension and respect. Ireti Doyle is convincing as a sports figure supporting Femi. The supporting cast, including [Gbubemi Ejeye](https://www.imdb.com/name/nm11319658/?ref_=ttfc_fcr_3_10), [Teniola Aladese](https://www.imdb.com/name/nm9645199/?ref_=tt_ov_3_3), William Benson, Femi Branch, and Taye Arimoro, fills roles with reliability. The ensemble works well together. ### **Technical Craft That Serves the Ring and the City** Cinematography captures the energy of boxing with creative angles and movements, especially in fight sequences. The camera follows the physicality of training and matches, making the action feel immediate. Set design and production evoke different sides of Lagos; the Mainland’s grit and the Island’s relative comfort. Wardrobe and period-appropriate details help ground the story. Sound design supports tension in key moments even though it doesn’tt stand out. The film uses music to heighten emotion without overpowering dialogue. Editing keeps the pace steadyily slow at some points which leads to fatigue sometimes. It balances the trainings, personal drama, and tournament progression. The overall look is functional, prioritising clarity in fight scenes and relatability in everyday moments. ### **Final Thoughts** *The Other Side of the Bridge* is a sports drama that uses boxing to explore class, respect, and shared struggle. It shows two fighters from different worlds finding common ground in the ring. The film benefits from committed performances and a clear premise. Tobi Bakare and Demi Banwo carry the central rivalry with conviction. Technical elements support the story without drawing attention away from character dynamics. The Valentine release timing and genre blend make it accessible for couples and sports fans. Yet the film sometimes prioritises plot objectives over deeper emotional exploration. Some character arcs feel familiar rather than fresh. Pacing holds steady but could have been tighter in places. The story gestures toward larger themes of family and ambition but does not always dig as deeply as it could. It is not flawless, but its heart is in the right place. For a film about crossing bridges, it succeeds in showing that sport can connect people even when life pulls them apart. ### **Verdict** *The Other Side of the Bridge* suits viewers who enjoy sports dramas with relatable characters and real emotional stakes. It offers strong performances, authentic Lagos settings, and a clear message about respect and resilience. Solid and engaging, it’s a worthwhile watch for fans of boxing stories and Nigerian cinema. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-other-side-of-the-bridge-a-boxing-drama-that-connects-two-sides-of-lagos/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-other-side-of-the-bridge-a-boxing-drama-that-connects-two-sides-of-lagos/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-other-side-of-the-bridge-a-boxing-drama-that-connects-two-sides-of-lagos/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-other-side-of-the-bridge-a-boxing-drama-that-connects-two-sides-of-lagos/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-other-side-of-the-bridge-a-boxing-drama-that-connects-two-sides-of-lagos/?share=linkedin) - **Categories:** Reviews **Tags:** boxing, Boxing Films, class divide, critique, Demi Banwo, Femi Branch, Fiyin Gambo, Gbubemi Ejeye, Ireti Doyle, Island Lagos, Iyabo Ojo, Lagos, Mainland Lagos, nigerian cinema, nollywood, Nollywood sports drama, Review, Sports Drama, Taye Arimoro, Teniola Aladese, The Other Side of the Bridge, Tobi Bakare, William Benson --- ### [See Our 2025 AMVCA Critics and Audience Predictions](https://nollycritic.com/see-our-2025-amvca-critics-and-audience-predictions/) **Published:** May 7, 2025 **Author:** Fisayo Adekoya **Excerpt:** The 11th edition of the Africa Magic Viewers’ Choice Awards (2025 AMVCA) has generated plenty of buzz, with fans and critics alike **Content:** The 11th edition of the Africa Magic Viewers’ Choice Awards (2025 [AMVCA](https://nollycritic.com/?s=amvca "AMVCA")) has generated plenty of buzz, with fans and critics alike weighing in on their predictions for the biggest awards of the night. With an exciting mix of established stars and breakout talents, the 2025 nominations list has led to a host of speculations about which films and performances are most likely to win. From Best Scripted Series to Best Movie, here’s a look at the predicted frontrunners based on expert opinions and social media polls: ###### **Best Scripted Series** 1. Inside Life 2. **Seven Doors – Critics Pick, Audience Pick** 3. Princess On A Hill 4. Cheta’M 5. Roses & Ivy ###### **Best Indigenous Language (West Africa)** 1. Lisabi: The Uprising 2. Kaka 3. Anikulapo: The Rise of the Spectre 4. Mai Martaba 5. **Seven Doors – Critics Pick, Audience Pick** ###### **Best Supporting Actress** 1. Tina Mba (Suspicion) 2. Ireti Doyle (All’s Fair in Love) 3. Teniola Aladese (A Night in 2005) 4. Ini Dima Okojie (Skeleton Coast) 5. **Mercy Aigbe (Farmer’s Bride) – Critics Pick, Audience Pick** 6. Omoni Oboli (Wives on Strike 3) 7. Darasimi Nadi (Aburo) 8. Meg Otanwa (Inside Life) ###### **Best Lead Actor** 1. Adedimeji Lateef (Lisabi: The Uprising) 2. Femi Adebayo (Seven Doors) 3. Stan Nze (Suspicion) 4. Bimbo Manuel (Princess on a Hill) 5. Thapelo Makoena (Skeleton Coast) 6. **Femi Branch (House of Ga’a) – Critics Pick, Audience Pick** 7. Bucci Franklin (The Weekend) 8. Gideon Okeke (Tokunbo) ###### **Best Lead Actress** 1. Bimbo Ademoye (Anikulapo: Rise of the Spectre) 2. **Hilda Dokubo (Wives on Strike 3) – Critics Pick** 3. Uzoamaka Aniunoh (Phoenix Fury) 4. Uche Montana (Thin Line) 5. Uzoamaka Onuoha (Agemo) 6. Gbubemi Ejeye (Farmer’s Bride) 7. **Chioma Chukwuka (Seven Doors) – Audience Pick** ###### **Best Supporting Acto**r 1. Mike Afolarin (House of Ga’a) 2. **Uzor Arukwe (Suspicion) – Critics Pick** 3. Femi Jacobs (Freedom Way) 4. Aliu Gafar (Seven Doors) 5. Richard Mofe-Damijo (Christmas in Lagos) 6. Adedayo Adebowale (Lisabi) 7. Gabriel Afolayan (Inside Life) 8. **Efa Iwara (Princess on a Hill) – Audience Pick** ###### **Best Director** 1. Robert O Peters – Skeleton Coast 2. Norman Maake – Inkabi 3. Bolanle Austen-Peters – House of Ga’a 4. Awam Amkpa – The Man Died 5. **Daniel Emeka Oriahi – The Weekend – Critics Pick, Audience Pick** 6. Femi Adebayo, Adebayo Tijani, Tope Adebayo – Seven Doors ###### **Best Movie** 1. Skeleton Coast 2. Suspicion 3. **Lisabi: The Uprising – Audience Pick** 4. Inkabi 5. House of Ga’a 6. Freedom Way 7. Christmas in Lagos 8. **Farmer’s Bride – Critics Pick** ###### **Best Writing (Movie)** 1. ***The Weekend* (Egbemawei Dimiyesi Sammy, Vanessa Kanu, Frederick O. Anyaebunam JNR) – Audience Pick** 2. *Skeleton Coast* (Omolola Lamikanra) 3. *Freedom Way* (Blessing Uzzi) 4. *Phoenix Fury* (Ifeoma N Chukwuogo) 5. ***A Ghetto Love Story* (Victoria Eze) – Critics Pick** 6. *Christmas In Lagos* (Jadesola Osiberu) 7. *House Of Ga’a* (Tunde Babalola) Voting has officially closed as of May 4, 2025, and anticipation is building for the awards ceremony. The 11th edition of the [AMVCA](https://www.multichoice.com/news-article.php?articleID=15593 "AMVCA") is set to take place on May 10, 2025, in Lagos, Nigeria. The event will be broadcast live across all Africa Magic channels on DStv and GOtv. With both critics and audiences having made their predictions, the stage is set for an exciting evening. Will the critics’ choices align with the audience’s favourites, or will there be surprises in store? Tune in to find out who will take home the coveted awards at the 2025 AMVCA. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-our-2025-amvca-critics-and-audience-predictions/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-our-2025-amvca-critics-and-audience-predictions/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-our-2025-amvca-critics-and-audience-predictions/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-our-2025-amvca-critics-and-audience-predictions/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-our-2025-amvca-critics-and-audience-predictions/?share=linkedin) - **Categories:** Articles, Nollywood **Tags:** Africa Magic, Africa Magic Viewers’ Choice Awards, AMVCA, AMVCA 2025, AMVCA Predictions, AMVCA11, Audience PIck, Best of Nollywood, critics, nollycritic, nollywood, Nollywood Awards, nollywood movies --- ### [Dust to Dreams: See the Trailer for the New Idris Elba Drama](https://nollycritic.com/dust-to-dreams-see-the-trailer-for-the-new-idris-elba-drama/) **Published:** March 3, 2025 **Author:** Fisayo Adekoya **Excerpt:** Nollywood is set to make another bold statement as Mo Abudu and Idris Elba join forces for Dust to Dreams, a film that dives deep into love, family **Content:** [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") is set to make another bold statement as Mo Abudu and [Idris Elba](https://en.wikipedia.org/wiki/Idris_Elba " Idris Elba") join forces for *Dust to Dreams*, a film that dives deep into love, family, and ambition against the backdrop of Lagos’ dynamic nightlife. The collaboration between EbonyLife Films and Elba’s production company signals a fusion of African storytelling with global cinematic expertise, heightening expectations for what could be one of Nollywood’s standout films of the year. At the heart of *Dust to Dreams* is a nightclub owner who has built a thriving empire and hopes to pass it down to her daughter. However, her well-laid plans take an unexpected turn when the daughter’s estranged father, a soldier, suddenly reappears. His return disrupts the fragile balance of their lives, stirring unresolved emotions and reigniting past wounds. As conflicts arise, the family must navigate their differences, with music becoming a central force in their journey toward healing and reconciliation. The film delves into themes of family, ambition, and the sacrifices made to secure a legacy. It portrays the contrast between the fast-paced, glamorous world of Lagos nightlife and the deeply personal struggles of its characters. *Dust to Dreams* not only tells a compelling personal story but also paints a larger picture of how relationships, aspirations, and the past are intertwined. To bring this emotionally charged story to life, the film boasts a stellar cast. Nse Ikpe-Etim, known for her powerful performances, takes on a central role, alongside Eku Edewor, Atlanta Bridget Johnson, and rising star Constance Olatunde. Adding even more depth to the project, British Nigerian musician Seal makes a special appearance, enhancing the film’s musical elements. Beyond its narrative and performances, *Dust to Dreams* represents a significant step forward for Nollywood. Mo Abudu, a visionary filmmaker with a track record of bringing compelling African stories to the screen, joins forces with Idris Elba, an actor and producer committed to bridging African and international cinema. This partnership underscores the growing recognition of Nollywood on the global stage, as more filmmakers seek to create stories that resonate with both local and international audiences. Their collaboration is expected to push Nollywood’s storytelling and production standards even further, blending the industry’s signature authenticity with a polished, globally appealing cinematic style. As the Nigerian film industry continues to evolve, projects like *Dust to Dreams* highlight the potential for international partnerships to expand its reach and impact. With its mix of emotional depth, cultural richness, and musical brilliance, *Dust to Dreams* is shaping up to be a must-watch film. Its exploration of family dynamics, the weight of legacy, and the unifying power of music ensures that it will strike a chord with audiences across different backgrounds. As anticipation builds, all eyes are on Abudu, Elba, and their talented cast and crew. If the film delivers on its promise, *Dust to Dreams* could set a new benchmark for Nollywood, further cementing its place on the global film landscape. See the trailer below! ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/dust-to-dreams-see-the-trailer-for-the-new-idris-elba-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/dust-to-dreams-see-the-trailer-for-the-new-idris-elba-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/dust-to-dreams-see-the-trailer-for-the-new-idris-elba-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/dust-to-dreams-see-the-trailer-for-the-new-idris-elba-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/dust-to-dreams-see-the-trailer-for-the-new-idris-elba-drama/?share=linkedin) - **Categories:** Nollywood News **Tags:** Dust To Dreams, film, Idris Elba, Mo Abudu, Must-watch Nigerian movies, New nollywood movies, nollycritic, nollywood, Nollywood 2025, Nse Ikpe Etim --- ### [5 Nigerian Books That Should be Adapted on Screen](https://nollycritic.com/5-nigerian-books-that-should-to-be-adapted-on-screen/) **Published:** April 23, 2026 **Author:** Shalom O. Obisesan **Excerpt:** On a day like World Book and Copyright Day, it feels only right to look at stories that have already done the heavy lifting. **Content:** Every strong film begins with a strong story. And sometimes, that story already exists, fully formed, sitting between the pages of a book. On a day like [World Book and Copyright Day](https://nollycritic.com/?s=World+Book+and+Copyright+Day "World Book and Copyright Day"), it feels only right to look at stories that have already done the heavy lifting. They have built characters, tested themes, and earned emotional investment. What they need now is translation. Here are five Nigerian books that we feel should be adapted to films: ### 1. *[The Joys of Motherhood](https://www.amazon.co.uk/Joys-Motherhood-Buchi-Emecheta/dp/0807616095 "The Joys of Motherhood")* — Buchi Emecheta This is not an easy story, and that is exactly why it should be a film. At the centre is Nnu Ego, a woman whose life is defined by her children, yet slowly hollowed out by the very role she believes will fulfil her. Set between traditional Igbo society and colonial Lagos, the story tracks her sacrifices, disappointments, and eventual isolation. What makes this ideal for film is its emotional depth. The story unfolds through moments that feel intimate and grounded, allowing an audience to connect closely with Nnu Ego’s journey. A careful adaptation would bring out the richness of these experiences while maintaining their authenticity. This is the kind of story that invites reflection and lingers with its audience. ### 2. *Our Husband Has Gone Mad Again* — Ola Rotimi This is a lively, character-driven story with strong cinematic appeal. A satirical take on politics and patriarchy, the story follows Lejoka-Brown, a retired soldier turned politician whose household is as chaotic as his ambitions. With multiple wives, clashing personalities, and a fragile grip on authority, everything that can go wrong does. The brilliance here is in the dialogue. Sharp, witty, and deeply observant. But beyond the humour, there is structure. Tight scenes, clear character dynamics, and escalating tension. The book is basically a ready-to-go movie script. The story moves fast, shifting from the Major’s messy political office to the drama at home, which gives it a great TV or film rhythm. Rotimi writes with so much physical humour, like the Major panicking and trying to hide his wives from each other, that you can easily imagine it as a high-energy comedy scene. This could be one of those rare films that is both commercially viable and genuinely smart. ### 3.[ *Purple Hibiscus*](https://www.amazon.co.uk/Purple-Hibiscus-Chimamanda-Ngozi-Adichie/dp/0007189885 " Purple Hibiscus") — Chimamanda Ngozi Adichie Some stories already look like films when you read them. This is one of them. Told through the eyes of Kambili, a quiet, observant teenager, the novel explores life under a deeply controlling father whose religious devotion masks violence. The contrast between her rigid home and her aunt’s freer, more expressive household creates a natural visual rhythm. What stands out is the atmosphere. Silence is not empty here. It is heavy, loaded, almost visible. Then, gradually, it breaks. For film, that is gold. There is also a political undercurrent that mirrors the domestic tension, giving the story scale without losing intimacy. With the right direction, this could be one of the most visually and emotionally striking literary adaptations to come out of Nollywood. ### 4. *The Passport of Mallam Ilia* — Cyprian Ekwensi Interestingly, this is one story that filmmakers have already recognised as ripe for the screen. A 2D animated adaptation is currently in development by Magic Carpet Studios, a project that has been in the works for years and is positioned as a major step for African animation. Mallam Ilia’s story moves across regions, cultures, and emotional states, following a man shaped by loss, migration, and survival. It carries the energy of a journey, constantly shifting, never static. This is where cinema can fully step in. The landscapes, the movement, the cultural textures. It is a chance to show Northern Nigeria with the kind of depth and nuance that is rarely seen on screen. Beyond the visuals, there is a strong emotional thread. A man trying to find stability in a life that refuses to stay still. What makes this book stand out, and likely why it is being adapted in the first place, is its scale and clarity. The narrative is direct, but layered with themes of loyalty, betrayal, and consequence. It is easy to follow, yet rich enough to hold attention across different audiences. Animation, in this case, makes sense. The story carries a sense of motion and environment that benefits from visual interpretation, especially when exploring historical settings and cultural detail. The choice of medium also signals something important: this is a story with cross-generational appeal. Even with an adaptation on the way, the book itself remains the real foundation. It is a reminder that some stories do not need to be reworked to feel cinematic. They already are. ### 5. *[The Last Days at Forcados High School](https://en.wikipedia.org/wiki/The_Last_Days_at_Forcados_High_School "The Last Days at Forcados High School")* — A. H. Mohammed This is a coming-of-age story that feels deeply personal. Set in the high-pressure final year of secondary school, it follows Jimi (the “golden boy”) as his seemingly perfect life starts to crack under family secrets and the loss of his mother. When he meets the mysterious Efua, the story shifts from a typical school drama into a raw look at how young people handle trauma, loneliness, and the fear of the future. What makes this a winner for film is how relatable it is. It captures the vibe of Nigerian school life. The friendships, the scandals, and the assembly grounds, but balances that nostalgia with serious character growth. It’s not only about exams, but also about the messy reality of growing up and the masks students wear to fit in. On screen, this would be a hit because it offers a slice of life that younger viewers will see themselves in, while giving older audiences a thoughtful, nostalgic trip back to the intensity of their own final days in school. ## Final Take Books and films share a natural connection. Each offers a different way to experience a story, and when they meet, the result can be powerful. These books already hold compelling narratives and memorable characters. Bringing them to screen would not only expand their reach but also enrich Nollywood’s storytelling landscape. Some stories feel ready for that next step. These are among them. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/5-nigerian-books-that-should-to-be-adapted-on-screen/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/5-nigerian-books-that-should-to-be-adapted-on-screen/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/5-nigerian-books-that-should-to-be-adapted-on-screen/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/5-nigerian-books-that-should-to-be-adapted-on-screen/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/5-nigerian-books-that-should-to-be-adapted-on-screen/?share=linkedin) - **Categories:** Articles **Tags:** A. H. Mohammed, african cinema, Book To Film, Buchi Emecheta, Chimamanda Ngozi Adichie, Coming of Age, cultural heritage, Cyprian Ekwensi, Film Adaptation, Literary Adaptations, Nigerian Books, Nigerian Literature, nollywood, Ola Rotimi, political satire, Screenwriting, storytelling, World Book and Copyright Day --- ### [World Book and Copyright Day: Books Behind the Big Screen](https://nollycritic.com/world-book-and-copyright-day-books-behind-the-big-screen/) **Published:** April 23, 2025 **Author:** Shalom O. Obisesan **Excerpt:** This World Book and Copyright Day, we’re turning attention to the original works that gave life to stories we now watch on screen **Content:** Books have always been the quiet start to many loud, unforgettable films. This [World Book and Copyright Day](https://www.unesco.org/en/days/world-book-and-copyright "World Book and Copyright Day"), we’re turning attention to the original works that gave life to stories we now watch on screen. It’s a chance to appreciate the original works which built those worlds first and to remind ourselves that what ends up in a film is often just one version of the story. If you love the movie, the book probably goes deeper. So whether you’re already a reader or just film-curious, now’s the time to trace the story back to its source. Did you know that Nigeria’s first upcoming full-length animated feature film, *The Passport of Mallam Ilia*, is on the way? Better still, it’s adapted from the book by Cyprian Ekwensi!And Tomi Adeyemi’s *Children of Blood and Bone*, a fantasy novel rooted in West African mythology, is heading to Hollywood with a major film adaptation in development. This shows what we already know: books are where the stories begin. [World Book and Copyright Day](https://nollycritic.com/celebrating-world-book-and-copyright-day-with-captivating-film-adaptations/ "World Book and Copyright Day") is a reminder that behind some of the films we love lies a book—a source of depth, complexity, and original vision. For book lovers, it’s a day to celebrate storytelling in its most foundational form. For film fans, it’s a good time to revisit the stories behind the screen—and maybe even read them. From classic novels to modern tales, we’re celebrating the original works. Because when a book becomes a film, what you see on screen is just one interpretation. The book? That’s the source. ### Death and the King’s Horseman – Wole Soyinka Soyinka’s 1975 play explores the collision between Yoruba tradition and British colonial authority, centred on a ritual suicide disrupted by the state. Biyi Bandele’s 2022 film adaptation, called *Eleshin Oba*, captures the tension, but like any interpretation, it trims and reshapes the original. Available on Netflix. ### Swallow – Sefi Atta Set in Lagos, this 2008 novel follows Tolani, a secretary drawn into a risky world of drug trafficking. The 2021 film by Kunle Afolayan takes liberties with the plot and tone, but retains the core struggle. Available on Netflix. ### Beasts of No Nation – Uzodinma Iweala This 2005 novel gives a haunting account of a child soldier. Cary Fukunaga’s 2015 film adaptation brings the brutality to the screen. It is powerful but less internal, focusing more on the action and external events than Agu’s inner world. Still awfully painful and sad. Available on Netflix. ### Dazzling Mirage – Olayinka Egbokhare Published in 2007, this novel gives voice to a woman living with sickle cell disorder and how it affects her personal and romantic life. The 2014 film adaptation by Tunde Kelani is both informative and emotive, raising awareness through its storytelling. Available on YouTube. ### Half of a Yellow Sun – Chimamanda Ngozi Adichie This sweeping 2006 novel covers the Nigerian-Biafran War through intertwined personal stories. Adichie’s novel paints a vivid picture of the Biafran War and its human cost. Rich in historical and emotional detail, it’s a tough act to adapt. Biyi Bandele’s 2013 film manages to capture key moments, but some characters and arcs are trimmed for time. He simplifies the plot but retains emotional weight. Available on various streaming platforms. ### Maami – Femi Osofisan This story, adapted by Tunde Kelani in 2011, is about a boy raised by a strong single mother. Osofisan’s original captures more nuance, while the film leans into sentiment. The book is a tender yet sharp narrative about a boy raised by his devoted mother under difficult conditions. Tunde Kelani’s 2011 adaptation leans into the emotional core but doesn’t fully explore the layered characterisation in the book. Available on YouTube. ### The Perfect Church – Ebi Akpeti Akpeti’s novella reveals the cracks beneath a seemingly flawless church, exploring themes of morality and hidden sin. The Wale Adenuga’s TV adaptation simplifies the drama but keeps the central critique. Episodes available online via WAPTV and YouTube. ### The Virgin – Bayo Adebowale Set in a traditional village, this 1985 novel portrays the conflict between cultural expectations and personal freedom. It focuses on tradition, chastity, and personal choice in a rural Nigerian village. The film, *The Narrow Path* by Tunde Kelani follows the original closely, keeping the core themes intact while condensing some parts. Available in episodes on YouTube. ### Saworoide – Akinwunmi Isola A political allegory/satire dressed as folklore, Isola’s work was adapted by Tunde Kelani into a now-iconic 1999 film. The film leans heavily on visual metaphor, staying true to the book’s spirit. Available on YouTube. ### Owo Eje – Kola Akinlade A short but potent story about greed, corruption and betrayal. Yemi Amodu’s adaptation gives the moral lessons a vivid visual platform. While the book is more concise, the film adds drama and elaboration. It’s available on YouTube, though the book is harder to find. ### Things Fall Apart – Chinua Achebe Achebe’s legendary novel explores the tragic fall of one man (Okonkwo) and the Igbo way of life under colonial disruption. The TV adaptation simplifies things but keeps the key beats. The 1987 TV series remains a faithful retelling. It’s available on YouTube. ### Kongi’s Harvest – Wole Soyinka Soyinka’s 1965 play satirises post-independence African politics through the story of Kongi, a dictator seeking to legitimise his rule by enforcing traditional rituals. The 1970 film adaptation, directed by Ossie Davis, features Soyinka himself as Kongi. However, Soyinka distanced himself from the film, criticising significant deviations from his original script. ### The Concubine – Elechi Amadi Amadi’s 1966 novel tells the tragic tale of Ihuoma, a woman whose lovers meet untimely deaths, believed to be due to her spiritual ties to a sea deity. The 2007 film adaptation by Andy Amenechi brings this story to the screen, though it may not capture all the novel’s depth. Available on YouTube. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/world-book-and-copyright-day-books-behind-the-big-screen/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/world-book-and-copyright-day-books-behind-the-big-screen/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/world-book-and-copyright-day-books-behind-the-big-screen/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/world-book-and-copyright-day-books-behind-the-big-screen/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/world-book-and-copyright-day-books-behind-the-big-screen/?share=linkedin) - **Categories:** Articles **Tags:** Akinwunmi Isola, Andy Amenechi, Bayo Adebowale, Beasts of No Nation, Biyi Bandele, Cary Joji Fukunaga, Children of Blood and Bone, Chimamanda Ngozi Adichie, Chinua Achebe, Cyprian Ekwensi, Dazzling Mirage, Death and the King's Horseman, Ebi Akpeti, Elechi Amadi, Femi Osofisan, Half of a Yellow sun, Kola Akinlade, Kongi’s Harvest, Kunle Afolayan, Maami, Olayinka Egbokhare, Ossie Davis, Owo Eje, Saworoide, Sefi Atta, Swallow, The Concubine, The Perfect Church, The Virgin, Things Fall Apart, Tomi Adeyemi, Tunde Kelani, Uzodinma Iweala, Wale Adenuga, Yemi Amodu --- ### [How Omotola Jalade-Ekeinde Remains Relevant in Nollywood After 30 Years](https://nollycritic.com/how-omotola-jalade-ekeinde-remains-relevant-in-nollywood-after-30-years/) **Published:** April 25, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Few careers in Nollywood reflect the industry’s remarkable longevity and adaptability as clearly as Omotola Jalade-Ekeinde. Actress, producer, director, singer... **Content:** Few careers in [Nollywood](https://nollycritic.com/?s=NOLLYWOOD "Nollywood") reflect the industry’s remarkable longevity and adaptability as clearly as[ Omotola Jalade-Ekeinde](https://www.imdb.com/name/nm2122395/ " Omotola Jalade-Ekeinde")’s. Actress, producer, director, singer, and philanthropist, she has remained a dominant force for over three decades without fading into irrelevance. From the raw video-film era of the mid-1990s to international cinema, global streaming, and now auteur filmmaking, Omotola has consistently evolved while staying true to her core; delivering powerful, emotionally grounded performances that centre strong women and complex human stories. Born Omotola Jalade on 7 February 1978 in Lagos, her early life was marked by loss and responsibility. The deaths of both parents at formative stages required an early adjustment into adulthood, shaping a discipline that would later define her professional life. She studied Estate Management at Yaba College of Technology and briefly attended Obafemi Awolowo University before her acting career redirected her path. Married to Captain Matthew Ekeinde since 1996, their union recently marked 30 years, a rare testament of stability in the public eye. Fluent, graceful, and fiercely intelligent, Omotola’s endurance stems from discipline, strategic reinvention, and an unwavering commitment to craft and impact. ## **Breakout and the Video Era** Omotola Jalade-Ekeinde ’s entry into Nollywood in the mid-1990s coincided with the industry’s most prolific and least regulated phase. After an early appearance in *Venom of Justice*, it was [*Mortal Inheritance* ](https://www.imdb.com/title/tt1525414/ "Mortal Inheritance ")(1996) that established her presence. Omotola entered Nollywood in 1995 with *Venom of Justice*, but it was her starring role as Kemi Johnson in *Mortal Inheritance* (1996) that announced her arrival. At a time when the industry was defined by rapid, direct-to-video production, she quickly became one of its most sought-after leading ladies. Her early work emphasised dramatic intensity, emotional authenticity, and resilient female characters. As Kemi Johnson, she delivered a performance rooted in emotional directness, anchoring a film that dealt with illness, stigma, and family tension. The role immediately positioned her within the industry’s top tier, at a time when visibility depended on volume as much as impact. Throughout the late 1990s and early 2000s, she became one of the defining faces of the video-film era, appearing in a vast number of productions across drama, romance, and social commentary. These films demanded speed, but her performances rarely felt rushed. She developed a screen presence built on emotional accessibility, allowing audiences to connect quickly without sacrificing credibility. In an industry driven by output, she remained identifiable not just by frequency but by consistency. ## **Transition to Cinema and Global Visibility** As Nollywood began shifting toward higher production values and wider distribution in the late 2000s and early 2010s, Omotola transitioned with it. Films such as[ *Ije: The Journey* (2010)](https://www.imdb.com/title/tt1578582/) and *Last Flight to Abuja* (2012) placed her within more structured cinematic environments, where pacing, visual scale, and narrative restraint became more pronounced. Her performances adapted accordingly, retaining emotional clarity while adjusting to less exaggerated storytelling rhythms. The 2010s marked Omotola’s transition from video-era stardom to international acclaim. With over 40 awards and numerous nominations, Omotola’s shelf reflects three decades of excellence. Highlights include becoming the youngest winner of the THEMA Best Actress award in 1997. Films like *Ije: The Journey* (2010) and *Last Flight to Abuja* (2012) showcased her on bigger stages and budgets. These projects helped reposition Nollywood toward more polished cinematic standards while expanding her reach beyond Africa. That evolution reached a peak with [*Alter Ego* (2017)](https://www.imdb.com/title/tt7125822/ "Alter Ego (2017)"), where her portrayal of Ada Igwe explored psychological complexity and moral contradiction. The role earned her Best Actress at the [Africa Magic Viewers’ Choice Awards](https://www.dstv.com/africamagic/en-ng/show/amvca "Africa Magic Viewers’ Choice Awards") and reaffirmed her capacity to operate within more demanding character frameworks. By this stage, her career had already extended beyond regional stardom into global recognition, including her inclusion in *Time* magazine’s list of the world’s most influential people in 2013. ## **Control, Expansion, and New Directions** Beyond acting, Omotola Jalade-Ekeinde has steadily expanded her role within the industry through production and creative direction. Her company has allowed her to shape the kinds of stories she participates in, often centring women navigating pressure, expectation, and resilience within Nigerian society. Omotola has long balanced acting with producing through her company, RedHot Concepts. In 2026, she added directing to that portfolio with [*Mother’s Love*,](https://nollycritic.com/mothers-love-strong-themes-undone-by-weak-believability/ "Mother’s Love,") a project in which she also stars as Labake. The film premiered in Nigerian cinemas on 6 March 2026. She announced that 100% of her production company’s Nigerian box-office proceeds from the film will go to Slum2School Africa. The film continues her engagement with maternal identity and social expectation, themes that have appeared in different forms throughout her career. Its release also reflects a broader shift among established Nollywood figures toward authorship and control, rather than reliance on external creative structures. ## **Influence Beyond the Screen** Her influence extends into humanitarian and institutional spaces. As a long-time ambassador for the United Nations World Food Programme and an advocate on issues including maternal health and youth empowerment, she has maintained a public identity that moves between celebrity and social engagement. These efforts exist alongside national recognition, including the honour of Member of the Order of the Federal Republic. She also holds a place within global film structures as a member of the Academy of Motion Picture Arts and Sciences, reflecting her position within conversations that extend beyond Nollywood itself. ## **An Enduring Centre** Omotola Jalade-Ekeinde’s career is best understood as a continuous negotiation with change. Her career resists easy categorisation because it has never been defined by a single era. She rose during the unregulated video boom, matured as Nollywood professionalised, gained global visibility as the industry internationalised, and now leads as a director and conscious content creator now operating within a landscape shaped by streaming and cross-industry collaboration. What remains constant is her position within that movement. Rather than existing on the margins of each transition, she has consistently occupied the centre, adapting without losing definition. In an industry where reinvention often comes at the cost of identity, her trajectory suggests a different model, one where continuity and change operate together. Her career continues to unfold, but its underlying structure is already clear. She does not simply move with Nollywood’s evolution. She is one of the figures through which that evolution can be traced. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/how-omotola-jalade-ekeinde-remains-relevant-in-nollywood-after-30-years/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/how-omotola-jalade-ekeinde-remains-relevant-in-nollywood-after-30-years/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/how-omotola-jalade-ekeinde-remains-relevant-in-nollywood-after-30-years/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/how-omotola-jalade-ekeinde-remains-relevant-in-nollywood-after-30-years/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/how-omotola-jalade-ekeinde-remains-relevant-in-nollywood-after-30-years/?share=linkedin) - **Categories:** Articles, Story So Far **Tags:** 30 Years in Nollywood, african cinema, Alter Ego Movie, AMVCA Winner, Captain Matthew Ekeinde, MFR Award, Mother's Love 2026, Mother's Love Movie, Nollywood Actress, Nollywood Director, Nollywood Legends, Nollywood Philanthropy, Nollywood Veteran, Omotola Directorial Debut, Omotola Jalade, Omotola Jalade Ekeinde, Slum2School Africa, Time 100 Omotola, UN Ambassador --- ### [Uncredited Africa Secures Government Backing for Free Screenwriting Training](https://nollycritic.com/uncredited-africa-secures-government-backing-for-free-screenwriting-training/) **Published:** April 20, 2026 **Author:** Esther Adamu **Excerpt:** Founded by Nigerian writer Lani Aisida, uncredited Africa, a screenwriting initiative, has announced a landmark partnership with the Lagos state Government to deliver a free 8-week training program for aspiring screenwriters. **Content:** Founded by Nigerian writer [Lani Aisida](https://filmefiko.com/tv/lani-aisida-magic-dragons-den/ "Lani Aisida"), uncredited Africa, a screenwriting initiative, has announced a landmark partnership with the Lagos state Government to deliver a free 8-week training program for aspiring screenwriters. The collaboration between them will be facilitated through the office of political, Legislative and civic engagement and the Ministry of Wealth Creation and Employment. According to [Uncredited Africa](https://www.uncredited.africa/ "Uncredited Africa"), the program represents: > A significant step toward building a sustainable creative economy by equipping emerging writers with the tools, access, and industry pathways needed to thrive professionally. Speaking about the development, Aisida said: > It’s also about building sustainable careers. This partnership with Lagos State is a major step in creating an ecosystem where talented writers are not only trained but also connected to real opportunities to earn, grow, and thrive within the industry. Lagos State has previously partnered with [EbonyLife Creative Academy](https://ebonylifecreativeacademy.com/?utm_source=copilot.com "EbonyLife Creative Academy"), Gidi Creative Academy, and Del-York Film Academy to provide free training in filmmaking and related fields. This new partnership with Uncredited Africa also targets screenwriting, a critical but often undeveloped skill in [Nollywood](https://nollycritic.com/category/articles/ "Nollywood"). This initiative complements Lagos State’s ongoing investment in the creative sector, which has already seen thousands of youths trained in filmmaking through partnerships with leading academies. By focusing on screenwriting, the program aims to strengthen storytelling in Nollywood and empower a new generation of writers to compete on the global stage. The Uncredited Africa Screenwriting project targets individuals aged 18 to 35 and aims to produce screenplays that are ready for production. Solabomi Shasore, who serves as Permanent Secretary at the Office of Political, Legislative, and Civic Engagement, said: > This partnership reflects our continued commitment to engaging young people in meaningful and productive ventures Ololade Aina, Shasore’s counterpart at the Ministry of Wealth Creation and Employment, also said: > By supporting Uncredited Africa, we are investing in a structured pathway that transforms raw talent into employable skills and viable careers. This new partnership by the Lagos state government demonstrates that steps are being taken to develop the underdeveloped skills. This is another way to ensure Nigerian [Cinema](https://nollycritic.com/ "Cinema") continues to grow on the global stage. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/uncredited-africa-secures-government-backing-for-free-screenwriting-training/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/uncredited-africa-secures-government-backing-for-free-screenwriting-training/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/uncredited-africa-secures-government-backing-for-free-screenwriting-training/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/uncredited-africa-secures-government-backing-for-free-screenwriting-training/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/uncredited-africa-secures-government-backing-for-free-screenwriting-training/?share=linkedin) - **Categories:** Nollywood News **Tags:** Cinema, Del-York Film Academy, Ebonylife Creative Academy, Gidi Creative Academy, Lani Aisida, Nollwood 2026, nollycritic, nollywood, Ololade Aina, screenwriting initiative, Solabomi shasore, Uncredited Africa --- ### ['Ajosepo': Kayode Kasum's Unusual Union of Family, Love and Chaos](https://nollycritic.com/ajosepo-kayode-kasums-unusual-union-of-family-love-and-chaos/) **Published:** May 8, 2024 **Author:** Shalom O. Obisesan **Excerpt:** The Yoruba word 'Ajosepo' can be interpreted as "we do it together". This phrase is not just a word; it encapsulates the Yoruba cultural context **Content:** The Yoruba word ‘Ajosepo’ can be interpreted as “we do it together”. This phrase is not just a word; it encapsulates the Yoruba cultural context, suggesting that marriage isn’t just about two lovebirds uniting but about the whole family getting involved. And that’s exactly what the film, ‘Ajosepo’, is all about. Whoops, there are a few spoilers ahead! But don’t worry, they’re non-disastrous. ## *Ajosepo* Directed by: Kayode Kasum Written by: Dare Olaitan, Stephen Okonkwo Genre: Comedy Drama Released on: April 12, 2024 (Cinemas) Language: English and Yoruba #### Story ‘[Ajosepo](https://nollycritic.com/ajosepo-highly-anticipated-comedy-set-to-premiere-this-april/ "Ajosepo")’ tells the story of Tani and Dapo, two soon-to-be-weds embarking on their introduction ceremony. But, their journey hits a rocky patch from the beginning especially when Dapo’s father engages in an affair right under the nose of the in-laws! This scandal becomes the straw that breaks the camel’s back, sparking a chain reaction that unearths family secrets, reveals hidden hypocrisies, unravels past mistakes, and ultimately leads to the discovery of familial love amidst the chaos. #### Plot The plot gracefully unfolds from start to finish, presenting a seamless transition that keeps viewers engaged throughout. Each event flows naturally, following a chronological sequence that draws the audience deeper into the story as it progresses. From the initial introduction ceremony to the climactic revelations and resolution, every moment captures the audience’s attention precisely when needed. #### The Cinema Experience It was such a good time. The air buzzed with an infectious energy, heightened by the shared anticipation of the crowd. The silver screen burst into our eyes enveloping the audience into its story. With each scene unfolding, laughter echoed throughout the theatre, creating a joyous atmosphere that carried us from start to finish. However, as the film approached its conclusion, a handful of viewers chose to depart prematurely. But fear not, for we may have the twist in the tale that could shed light on their hasty exit. #### **Technical Aspects** From the outset, it was evident that meticulous attention to detail had been poured into the sound design. Every element, from the clinks of heels on marble tiles to the meticulously crafted set, exuded a sense of grandeur fit for a proposal (as Dapo should). As Tani approached, we could almost feel the anticipation building, mirroring her emotions in that pivotal moment. And then, as Dapo delivered his heartfelt speech, the scene came alive with emotion. The strategic inclusion of drums in a scene ripe with covert sexual innuendos had me in stitches—it was simply hilarious. Note: The film received a 15 rating from the National Film and Video Censors Board, so the joke is almost suitable for that demographic. And let’s not overlook the cinematography and color grading, which were simply masterful. The harmonious blend of colors and clever angles were truly a feast for the eyes. Especially noteworthy were the scenes featuring long, static shots of Tani’s parents’ home, showcasing the architectural splendour of the house. With leading lines expertly guiding the viewer’s gaze towards the central focus, it was a beautiful sight. And let’s not forget the meticulous attention to detail, like the synchronization of colors between Dapo’s mum and her entourage. From this, we can discern the intelligent creative, artistic interpretation evident not only in the cinematography for the visual storytelling but also in the costume design, lighting, and overall composition of each frame. Take, for instance, a scene where Dapo’s mother enters accompanied by her cohort of friends, all clad in the same colour scheme as the ambiance of her in-laws’ house. This deliberate choice serves as a subtle yet powerful reflection of her controlling and manipulative nature—a woman accustomed to asserting dominance wherever she goes. Indeed, as she strides in, she exudes an air of ownership, commanding and dictating to all in her vicinity. This nuanced portrayal serves as a foreshadowing of her character’s true nature, which becomes increasingly apparent as the story unfolds. #### Performance The performances in “Ajosepo” were truly exceptional, with Ronke Oshodi Oke delivering yet another standout portrayal as Dapo’s mother. Mercy Aigbe brought depth with an interesting mix of comedy to her role as Tani’s mother. The stellar cast also included Timini Egbuson, who brilliantly portrayed Jide, and Muyiwa Ademola, who brought gravitas to the character of Tani’s father. Tomike Adeoye (Tani), Lizzy Jay, Yemi Solade, Deyemi Okanlawon, Bisola Aiyeola, and Bolaji Ogunmola rounded out the ensemble with their impeccable performances, seamlessly blending comedy without exaggeration. The audience was particularly charmed by Lizzy Jay’s funny dialogue delivery and Timini’s sassy comebacks. #### Final Thoughts The father-son dynamic between Dapo’s dad and Jide, Dapo’s elder brother, was masterfully portrayed through Stephen Okonkwo’s brilliant dialogue writing. Despite earlier comparisons by Dapo’s mother, stating they were “like father, like son,” it’s in the scene where Jide and his father are driving to their in-law’s house that this natural chemistry truly shines. As they engage in conversation along the way, their shared use of words, pauses, and filler phrases highlight the deep familial bond between them—a bond conspicuously absent in Dapo’s relationship with his mother. Every character, particularly those crucial to the plot of “Ajosepo”, has a rich backstory that is skillfully developed. Each personality was meticulously fleshed out, allowing audiences to connect with their journeys. However, in a narrative as intricate as this, pinpointing the protagonist proves challenging, as the focus seamlessly shifts between characters like Tani and Dapo, to Jide and his father, and so on. This fluidity in perspective was executed with remarkable intelligence, ensuring that the motivations and drives of each character were authentically reflected in the unfolding story. Well, we can say this perspective truly fits the film’s title. It’s about “all of us”; all parties involved in the marriage. Well, Nigerians sure do love to have a good laugh. This film did just that, eliciting laughter from the audience time and time again. However, amidst the praise, it’s important to address some areas of improvement. One glaring issue that stood out was a major continuity error regarding day and night transitions. This could have been a production oversight that unfortunately slipped through to the final cut of the film, but I couldn’t help but notice. An example of this inconsistency occurred during the scene where Yetunde and Dapo’s dad were stuck together, and then two nurses were called to assist. While Tani’s mum emphasized that it is already night, (clearly we can see it’s already dark), when the room where Yetunde and Dapo’s dad were opens up, it appears to be broad daylight, creating a conflicting portrayal of time. And how convenient for the family to conveniently house both a pediatrician and a gynecologist under one roof! Because, you know, every family just happens to have those specialists on speed dial. It almost felt like a plot device thrown in to pad out the film’s runtime to a solid 2 hours and 20 minutes! Exactly Jide’s point though. Why settle for a concise storyline when you can stretch it out with some medical expertise, right? And here comes the grand finale, dragging on like a marathon runner who just won’t cross the finish line! Sure, the film had already hammered home its message, but apparently, the filmmakers felt the need to spell it out for the audience, just in case anyone missed the memo. Cue the party scene, where we witness Yetunde and Uncle Frank having their heart-to-heart. Unto the next scene, Tani groveling to Dapo for her earlier outburst, and oh, let’s not forget the obligatory wedding party extravaganza. Because, you know, what’s a film all about marriage without the actual wedding scene, even when it’s as unnecessary and drawn-out as this one? We got the memo ages ago. But hey, what if it was intended for the teenage audience so they wouldn’t miss out on the messages, and then to provide a glaringly happy ending? #### Verdict Overall, “Ajosepo” excelled in many aspects, including performances, scripting, and production values, making it an enjoyable and engaging watch for audiences. While it had its flaws, such as continuity errors and narrative conveniences, these were overshadowed by its strengths. Therefore, despite its shortcomings, the film ultimately delivers a compelling and entertaining cinematic experience that is well worth watching. 3.5 out of 5. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ajosepo-kayode-kasums-unusual-union-of-family-love-and-chaos/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ajosepo-kayode-kasums-unusual-union-of-family-love-and-chaos/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ajosepo-kayode-kasums-unusual-union-of-family-love-and-chaos/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ajosepo-kayode-kasums-unusual-union-of-family-love-and-chaos/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ajosepo-kayode-kasums-unusual-union-of-family-love-and-chaos/?share=linkedin) - **Categories:** Reviews **Tags:** Ajosepo, Bisola Aiyeola, Bolaji Ogunmola, Deyemi Okanlawon, Kayode Kasum, Lizzy Jay, Mercy Aigbe, Ronke Oshodi Oke, Stephen Okonkwo, Timini Egbuson, Yemi Solade --- ### ["Funmilayo Ransome-Kuti": O God of Israel, This Is Cinema!](https://nollycritic.com/funmilayo-ransome-kuti-o-god-of-israel-this-is-cinema/) **Published:** May 22, 2024 **Author:** Shalom O. Obisesan **Excerpt:** The beauty of cinema is mainly giving an immersive experience. Funmilayo Ransome-Kuti is exactly that, and more. So much more. **Content:** The beauty of cinema is mainly giving an immersive experience. “Funmilayo Ransome-Kuti” was exactly that, and more. From the very first scene, the film sets the stage for its central focus: the remarkable life of Funmilayo Ransome-Kuti. Through a captivating and brilliant first impression, viewers are immediately immersed in the world of this iconic figure, gaining slight insight into her story, we first ask this question “How did we get here?” ## *Funmilayo Ransome-Kuti* Directed by: Bolanle Austen-Peters Written by: Tunde Babalola Genre: Biopic Released on: May 17, 2024 (Cinemas) Language: Yoruba and English ##### Story Simply, as the title implies, it’s a biographical film depicting the remarkable life of Funmilayo Ransome-Kuti, the female Nigerian activist who passionately advocated for women’s rights and challenged patriarchal norms focusing on the Abeokuta women’s revolt. ##### Plot Narrated from her hospital bed through flashbacks by elderly Funmilayo (Joke Silva), the film traces her journey from her groundbreaking days as the first female student at Abeokuta Grammar School to her union with Israel Ransome-Kuti. It delves into her career as a teacher, culminating in her courageous leadership of the Egba women, challenging both colonial rule and patriarchal oppression under the reign of the Alake of Egba land. ##### The Cinema Experience It was an enchanting journey filled with vibrant visuals, captivating costumes, and authentic language that transported us seamlessly into the past era depicted in the film. There was this immersive experience that fostered a sense of shared connection, sparking heartfelt laughter and creating a collective sense of inspiration. As the last scene unfolded, abruptly ending like the life of the social icon it portrayed, a wave of inspiration swept over us, leaving hearts stirred, motivated, longing for more as her life still promised. ##### Technical Aspects Firstly, the visual storytelling is masterfully executed, striking a balance between elegance and authenticity. The cinematography captures the essence of each scene with breathtaking precision, utilizing carefully chosen landscapes to enhance the film’s nostalgic allure. Some scenes are presented in a documentary style, reminding viewers of our passive role as observers in Funmilayo’s journey. Despite this objective stance, we are immersed in her experiences, from her school days to her final moments in the hospital, unable to alter the course of history but deeply moved by her resilience and determination. The visual beauty was further heightened by the strategic use of colour to indicate shifts in the timeline. As scenes transitioned, moving between past and present, the palette shifted, and the once vibrant colours would fade into muted tones. I found myself pondering, “What happened to all the colours?” only to realize with a sudden exclamation, “Oh, we’re in the 1900s!” This deliberate manipulation of colour served as a powerful visual motif, skillfully guiding us through the passage of time and deepening our immersion in the historical narrative in a sensory manner. This meticulous attention to detail not only added visual depth to the storytelling but also enhanced the audience’s engagement with the narrative. There was so much attention to detail to bring believability to the setting. From the roving cars of the time to the bikes, costumes, and the set; all together create an immersive experience bringing us into the scene of the past. And the script? Outstanding. It was a good reflection of a properly researched work all integrated into the film script. From witty references to local jokes and slang like “Dundee,” the transformation of a name turned insulted cleverly explained within the narrative, every element was thoughtfully integrated to enhance authenticity and evoke laughter. While certain details were assumed or fictionalized, particularly in dialogue, they were handled with respect and precision, effectively conveying the film’s message with integrity. ##### Performance Awesome performance from all the actors. Especially Kehinde Bankole (middle-aged Funmilayo), Joke Silva (older Funmilayo), and Iyimide Ayo-Olumoko (young Funmilayo), it’s impressive to see how all characters play their roles and their character arc is not disrupted at any point. Again, aided by good scriptwriting. They all maintain consistency in character from the beginning to the end. From young Funmilayo we get the well-portrayed act from Iyimide showing Funmilayo forming the fundamental basis of what she fights for from her youth down to death. And also, Iremide Adeoye’s (young Israel) natural acting. The chemistry between young Funmilayo and Israel felt so authentic and unforced. Enhanced by good dialogue, their conversation came off as natural and smile-inducing. They both pulled it off with a natural flair. The exceptional performance of the actors can be attributed to the combination of excellent dialogue and impeccable delivery. Each actor embodied their character with believable reactions and precise interpretation, contributing to the overall authenticity of the film. ##### Final Thoughts One of the most commendable aspects of this film is its commitment to portraying the unvarnished truth respectfully and authentically. Despite potential biases, the film bravely prioritizes authenticity over sentimentality, even when addressing uncomfortable truths. Throughout, it remains steadfast in its portrayal of Funmilayo’s courageous battle against oppressive patriarchy, never compromising its dedication to liberation and historical accuracy. While the ending may feel abrupt, it serves as a poignant metaphor for the sudden and unexpected end to Funmilayo’s life. Just as she departed this world abruptly, the film concludes abruptly, leaving viewers yearning for closure. Yet, despite the lingering desire for a more satisfying ending, the impact of Funmilayo Ransome-Kuti’s inspirational life remains undiminished. Indeed, unlike “The Woman King,” which offers a fictionalized Western narrative inspired by similar historical roots, there’s this uniquely exhilarating feeling in witnessing Nigeria, under Bolanle Austen-Peters’ direction, present the unfiltered and original story of a true Woman King: Funmilayo Ransome-Kuti, the “Lioness of Lisabi.” ##### Verdict This film is the true classification of cinema. A truly unfiltered and well-portrayed form that immerses the viewers into its story leaving strong feelings of motivation, inspiration, and rushing emotions as the credits roll. And that’s what films should do! A good 4 out of 5! **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/funmilayo-ransome-kuti-o-god-of-israel-this-is-cinema/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/funmilayo-ransome-kuti-o-god-of-israel-this-is-cinema/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/funmilayo-ransome-kuti-o-god-of-israel-this-is-cinema/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/funmilayo-ransome-kuti-o-god-of-israel-this-is-cinema/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/funmilayo-ransome-kuti-o-god-of-israel-this-is-cinema/?share=linkedin) - **Categories:** Nollywood **Tags:** Adebayo Salami, Adunni Ade, Bolanle Austen-Peters, Cinema, Dele Odule, film, Funmi Abe, Ibrahim Suleiman, Iremide Adeoye, Iyimide Ayo-Olumoko, Jide Kosoko, Joke Silva, Kehinde Bankole, Keppy Ekpenyong-Bassey, Kunle Kuti, nollycritic, nollywood, Omowumi Dada, Patrick Dibuah, Reviews, Tunde Babalola, Yeni Kuti --- ### [Silence is Loud: New Short by Abba T. Makama Set For April Premiere](https://nollycritic.com/silence-is-loud-new-short-by-abba-t-makama-set-for-april-premiere/) **Published:** April 14, 2026 **Author:** Michael Arowoselu **Excerpt:** Abba T. Makama's Silence is Loud follows Henrietta, a passionate literature teacher and single mother, who begins to notice a troubling change in her student... **Content:** Abba T. Makama is known for his distinct, unconventional storytelling style in films such as *Green White Green*, *The Lost Okoroshi*, and *[Juju Stories](https://www.imdb.com/title/tt11989466/ "Juju Stories")*. His work has premiered at [TIFF](https://www.tiff.net/ "TIFF"), BFI London, and Locarno, and has been featured in outlets like *Variety*, *IndieWire*, and *The New York Times*. *Silence is Loud* follows Henrietta, a passionate literature teacher and single mother, who begins to notice a troubling change in her student, Ayo—withdrawn, increasingly silent, and struggling academically. As rumours spread that Ayo has contracted HIV, she becomes the target of bullying at school, rejection at home, and isolation from her community. In the midst of it all, she finds quiet refuge with Henrietta, who is navigating her own battles with stigma and workplace hostility. What begins as a shared experience of pain gradually evolves into a powerful bond—rooted in courage, resilience, and a refusal to stay silent. The film explores themes of bullying, stigma, sex education, and reproductive rights with honesty and emotional depth. It stars Sapphire Ekeng, Uzoamaka Power, Ozzy Agu, and Judith Audu. With *Silence is Loud*, he takes a more minimalist and restrained approach, delivering a deeply character-driven story that stands as one of his most emotionally resonant works to date. Abba T. Makama’s *Silence is Loud* premieres on [Zikoko’s](https://nollycritic.com/?s=zikoko "Zikoko's") Youtube channel on April 15, 2026. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/silence-is-loud-new-short-by-abba-t-makama-set-for-april-premiere/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/silence-is-loud-new-short-by-abba-t-makama-set-for-april-premiere/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/silence-is-loud-new-short-by-abba-t-makama-set-for-april-premiere/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/silence-is-loud-new-short-by-abba-t-makama-set-for-april-premiere/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/silence-is-loud-new-short-by-abba-t-makama-set-for-april-premiere/?share=linkedin) - **Categories:** Nollywood News **Tags:** Abba T. Makama, film, Judith Audu, nollywood, Ozzy Agu, Sapphire Ekeng, Silence is Loud, Uzoamaka Power, Zikoko --- ### [Birdie Through the Voices of Its Filmmakers](https://nollycritic.com/birdie-through-the-voices-of-its-filmmakers/) **Published:** March 12, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Following its premiere, Birdie entered the global festival conversation as one of the African-linked narratives selected for the U.S. Fiction Short Films **Content:** Following its premiere, *[Birdie](https://www.imdb.com/title/tt39161293/ "Birdie")* entered the global festival conversation as one of the African-linked narratives selected for the U.S. Fiction Short Films programme at the 2026 Sundance Film Festival, held from January 22 to February 1, 2026, where the 21-minute short made its world premiere. Directed, written, and produced by Nigerian-American filmmaker Praise Odigie Paige, and produced alongside Yety Akinola, Noni Limar, and Nat Majette, the film follows a Nigerian refugee family navigating displacement in 1970s rural Virginia after the Biafran War. Through a collaboration between [Nollycritic](https://nollycritic.com/ "Nollycritic") and [eFilmHub](https://efilmhub.com/ "eFilmHub"), we spoke with director [Praise Odigie Paige](https://www.imdb.com/name/nm9172088/ "Praise Odigie Paige") and producer and costume designer [Yety Akinola ](https://www.imdb.com/name/nm9588701/ "Yety Akinola ")about the making of *Birdie*, the film’s emotional/visual language, the challenges of building its world, and the questions of migration, identity, and memory that shape its heart. ## In Conversation with Praise Odigie Paige (**Writer, Director and Producer**) **Q: To begin, could you introduce yourself and tell us a little about your background in filmmaking and how the story of *Birdie* came about?** My name is Praise. I’m a writer, director and producer I’ve also been fortunate to work in spaces where I mentor younger creatives and help guide their work. Film actually found me in a way. I started out writing poetry when I was younger. I was trying to find language for experiences that felt difficult to express. I even thought about writing a novel when I was a teenager. When I went to college, I was initially studying to become a doctor because that felt like the expected path. Being African, I had convinced myself that this was the direction my life had to take. But I ended up taking a class that completely changed my life. It introduced me to filmmaking, and I realised it combined everything I loved about poetry and literature with the visual language I had always imagined in my mind. Before that moment, I had never really considered that someone like me could be the person directing films. Discovering that possibility changed everything. After that, life took its usual turns. As a first-generation immigrant and a first daughter, there were many responsibilities and practical realities to navigate. For a while, creative expression had to exist on the margins of my life. Eventually I reached a point where I realised that not expressing myself artistically felt unsustainable. I had experimented with storytelling in my early twenties, but I recognised that there was also a skill gap that required time, mentorship and practice. Over the next decade I tried to create opportunities to develop those skills without needing the enormous resources that filmmaking usually requires. *Birdie* came out of that moment of reflection. I was approaching thirty and asking myself what I truly wanted to commit to as an artist. In many ways the film became a gift to myself. It was a way of investing in something that once felt unrealistic but had always been deeply important to me. Instead of trying to make the film I thought people expected from me, I decided to make the film I personally wanted to see. A film that came from the heart and reflected my own artistic instincts. That’s how *Birdie* was born. **Q: One of the most striking aspects of the film is its use of silence and stillness. What drew you to that restrained style of storytelling?** Many of the films that have stayed with me are films that create space. Those quiet spaces allow experiences that are difficult to articulate to unfold naturally. That’s where I personally fell in love with cinema. I also wanted to give that type of storytelling to audiences who rarely see themselves represented in that space. It wasn’t necessarily an act of rebellion. It simply felt right for the characters and the world they inhabit. There is a kind of emotional restraint that I observed growing up in Igbo Catholic culture. That restraint shapes how people move, speak and express themselves. The characters in *Birdie* exist within that emotional structure. The quiet characters I remember most vividly from my childhood were often the ones who spoke the least. They were the girls who were overlooked. In many ways creating space for those characters is a form of care for the younger version of myself who was also quiet and observant. At the same time, the story itself required that pacing. The characters are living in a kind of liminal space. Their lives are paused. They are waiting for something to happen that will determine their future. When you exist in that kind of uncertainty, time stretches. The silence becomes heavy. That emotional tension shaped the rhythm of the film. **Q: How did you work with the actors to create performances that feel internal and lived-in rather than overly expressive?** Casting played a big role in that process. When you read Birdie on paper, you might imagine someone who is very bold and outwardly rebellious. But when I met Precious there was something about her quiet presence that really resonated with me. She felt like someone who often observes rather than dominates the room, and that contradiction interested me. I wanted to see how a rebellious spirit might exist within someone who is naturally more introspective. Precious brought a lot of herself to the role while also exploring experiences that were new to her. She was incredibly committed to the character and very thoughtful about the emotional journey of the film. The physical environment also helped shape the performances. Before we began filming, we spent time simply being in the space. We wanted the actors to feel the environment rather than immediately jumping into scenes. I grew up in a rural area in Ibara, and I remember the feeling of endless space and a slower rhythm of life. That kind of environment influences how people move and how they express themselves. Allowing the actors to experience that space helped them naturally settle into a quieter emotional register. **Q: How did you come up with the character names Birdie, English and Celeste?** Birdie’s actual name is Bernadette. She gives herself the nickname Birdie. English’s real name is Elizabeth. The nickname English reflects something about her personality. She is very structured, very disciplined, and in my mind she would have been someone who excelled academically. The name also carries a subtle reference to colonial influence. Naming a child English reflects the historical presence of colonial culture in Nigeria and the ways those influences shape identity. Birdie represents the opposite energy. She is a dreamer and an escapist. Her nickname reflects that desire to imagine a different life. Celeste was simply a name that felt right. There is something almost celestial in the way the character carries her devotion and her sense of responsibility. Sometimes names arrive intuitively. They either feel right for the character or they don’t. **Q: The pacing of the film feels very deliberate. How did you decide when to hold on to a moment and when to move forward?** A lot of that rhythm came directly from the performances. When we watched the footage, many of the small gestures felt meaningful enough that they deserved time. Those micro-expressions were communicating as much as dialogue would. The script itself was very visual, which helped everyone understand the emotional language of the film from the beginning. My role as a director was to allow the actors to focus on their characters’ internal worlds rather than worrying about the broader structure of the film. The editing process also played an important role. My editor and I discussed films that have a very patient rhythm, films that allow moments to breathe rather than cutting quickly between shots. We also approached the camera composition in a very intentional way. Instead of capturing many different angles, we focused on a small number of carefully composed frames. That approach naturally shaped the pacing of the film. **Q: How did you balance your own creative vision with the collaborative nature of filmmaking?** Collaboration is the core of filmmaking. People are not simply vessels for a director’s ideas. They bring their own perspectives and interpretations to the project. A film is like a painting. The final image depends on how each person contributes their brushstroke. For me, the key was choosing collaborators who understood the spirit of the film. Once that foundation was in place, I could remain open to suggestions while still trusting my own instincts when something felt essential to the story. There were moments during rehearsals or filming where you simply know that a particular take is right. Learning to recognise and trust those moments is part of the process. **Q: Finally, when audiences leave the cinema after watching *Birdie*, what do you hope stays with them?** My answer to that question changes sometimes, but right now I hope the characters stay with them. Empathy begins when you feel that you truly understand another person’s experience. When audiences spend time with characters like English, Birdie and Celeste, they begin to see the world through those perspectives. In a time when xenophobia and division are becoming more visible globally, stories like this can remind people of our shared humanity. If viewers leave the film thinking about English and what it means to carry responsibility at such a young age, or thinking about Birdie and her search for freedom, or thinking about Celeste and the difficult choices a mother must make to protect her children, then the film has done something meaningful. Ultimately I hope the story encourages a little more empathy, and perhaps even a little more courage in how we see one another. ![Birdie](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/Birdie_Poster_4050x6000px_SM-1.jpg?resize=640%2C948&ssl=1)![Birdie](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/birdie_stills_20251215_1_2E94_2E1.jpg?resize=640%2C360&ssl=1)![Birdie](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/birdie_stills_20251215_1_2E41_2E1.jpg?resize=640%2C360&ssl=1)![Birdie](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/birdie_stills_20251215_1.96.1-2.jpg?resize=640%2C360&ssl=1)## In Conversation with Yety Akinola **(Producer and Costume Designer**) **Q:** **Could you introduce yourself and tell us about your background, how you began producing, and how you became involved with *Birdie*?** **Yety Akinola:** Praise, our director, actually reached out to me to costume design *Birdie*. I’m represented by United Talent Agency worldwide for costume design, and she reached out with this beautiful deck and a gorgeous script and said, “Naija girl, Naija girl, let’s get it together. Let’s make something beautiful.” And I was like, yes, one hundred percent. Around that time I was also going through a period of reflection in my career. I would say COVID was probably the big turning point, when everything shut down. I started thinking internally about what the next step was for me and what kind of projects I wanted to invest in. Receiving scripts like *Birdie*, which I felt deserved to be made and deserved to be heard, really pushed that thinking further. It can be frustrating to always wait for someone else to greenlight a story or decide that it is worth the money and the time. *Birdie* was actually the second script I received during that period where the project had all the right pieces. It had a beautiful story, but it didn’t yet have the funding or a producer to move it to the next stage. The first project I had worked on in that capacity was *The Incredible Sensational Fiancé of Seyi Ajayi*, which premiered at AFRIFF in Lagos in November 2024 and then screened internationally throughout the year. We went to Fame Week in Cape Town, Hampton International Film Festival, Martha’s Vineyard International Film Festival, SeriesFest, all these Oscar-qualifying festivals. That project was also brought to me as a designer. The director, Abbesi Akhamie was struggling to find a producer and to raise the money. I think everyone reaches a point in their career where they decide how much they want to invest in stories that matter to them creatively and emotionally. So while I was on the festival circuit with that short film, I received *Birdie*. We were getting close to the wire in terms of shooting, and I thought, I would love to step in. This project deserves to be shown. I didn’t want to miss the opportunity. I believed we could fundraise the money, find the actors and fly everyone in. We shot in Virginia, so it was a complete location shoot. It involved getting everyone there, organising the logistics, and bringing the team together. That’s how I came on board as both producer and costume designer. **Q: Did you rely on crowdfunding, or were you able to find other sources of funding?** **Yety Akinola:** *Birdie* was primarily self-funded by the director. Praise came into the project saying that this was a story that had been on her heart for years and that it stemmed from her own personal story as an immigrant from Nigeria. The plan was to set a date to shoot and then fundraise to add money to the budget, especially for post-production and festival submissions. Over the past year and a half we have continued fundraising even after the shoot in order to rebuild our production fund and support impact screenings and festival circulation. So the fundraising process has really been ongoing. **Q: What was it about *Birdie* that pulled you into the project?** **Yety Akinola:** For me it was the story. The story connected Praise and I because we are both immigrants. I’m Nigerian but I was born in London. Praise was born in Nigeria and is Nigerian-American. The script explores a period story that hasn’t really been portrayed in this way before. When we first started talking about it, we were able to reference our own families, our parents, our aunties and uncles. My parents are in their seventies now. They were born in 1950, so they were teenagers during that era. Some of their friends were on the other side of the war or never came back from it. My father was one of the few who left to pursue a PhD abroad. Working on *Birdie* allowed me to connect my creative work directly to those histories. Many African children know that our parents sometimes don’t fully understand what we do if we are not doctors or engineers. But this project created a bridge. I could ask my mother about what life was like during that time. What music they listened to, how families coped, how identity was affected. She even began sharing documentation with me, letters and photographs from that period. Being able to build the world of the film through those personal archives made the story deeply meaningful. It connected me not just to the project, but to my own heritage in a way that I had not experienced through narrative filmmaking before. There are documentaries about the Biafran War, but very few narrative works that explore the emotional lives of people connected to that history. **Q: As both producer and costume designer, did overseeing the entire production influence how you approached the costume design?** **Yety Akinola:** On a short film, everything becomes everyone’s responsibility. The budget is never big enough and the time is never enough. As a producer, my role is to make sure that every department feels supported creatively while also making sure we stay within the limits of the budget. Because I come from a design background, I try to be the kind of producer I wish I had when I am working below the line. Instead of just handing a department a limited budget and telling them to make it work, I believe in having an honest conversation with the team about what the script requires and how we can realistically achieve it. For example, we were shooting on 35-millimetre film, which is very expensive. Once we received the cost estimates for film stock and processing, we had to look at the budget and decide where adjustments needed to be made. In the story, the family exists over what might technically be ten or fifteen days, which could mean ten or fifteen costume changes. That would increase the costume budget significantly. So we had to think creatively about how to tell the story without losing its integrity. We realised that this refugee family would not have arrived in Virginia with a large wardrobe. They would likely have a few garments, perhaps donations from the local church or nuns, and some pieces they carried with them. That idea also supported the tone of the story. The repetition of clothing helped reinforce the cyclical feeling of time within the film. So instead of completely new outfits every day, we created a wardrobe that reflected their limited circumstances while still conveying the emotional and historical reality of their situation. **Q: Did your roles as producer and costume designer ever conflict?** **Yety Akinola:** Ultimately no department is bigger than the film itself. Of course there were moments where the producer side of me had to step in and prioritise the overall production. But rather than thinking of it as conflict, I see it as collaborative problem solving. If we had to reduce costume changes, for example, that would lead to conversations with the director and cinematographer about how we might show the passage of time in other ways. The goal was always to protect the integrity of the story while working within the resources we had. **Q:** The costumes in *Birdie* feel closely tied to the characters’ psychology. How did you begin building the wardrobe language for the film? **Yety Akinola: Research was central to the process.** I looked at historical archives, documentary footage, and personal family materials to understand how people dressed during that time. But the most important part of the research was understanding the emotional lives of the characters. The story focuses heavily on the women in the family and on how war affects people who are not directly fighting but are still living with its consequences. Costume design and production design are often what first draws an audience into a film’s world. Clothing can immediately signal the period, the social circumstances of the characters and the emotional tone of the story. So we spent a lot of time discussing the backstory of each character. How they arrived in Virginia. What they might have carried with them. What parts of their identity they might still hold on to. There is also a soldier who appears in the story, and his wardrobe reflects a different psychological reality. As someone shaped by war, his clothing reflects discipline and routine. Even after the war ends, that structure remains part of him. Understanding those internal stories helped shape how each character appeared on screen. **Q: Was this your first time at Sundance?** **Yety Akinola:** No, it was my second. I previously designed the Ugandan-American short film *Rest Stop*, which premiered at TIFF and later screened at Sundance in 2023. That film won the Short Jury Prize. With *Birdie*, however, it was my first time attending Sundance as both producer and costume designer. **Q: Did that change your experience of the festival?** **Yety Akinola:** Very much so. When you are a costume designer, your work is largely finished once production ends. But as a producer, the film continues with you every day. There are emails to answer, meetings to attend, distribution discussions and festival logistics to manage. Attending Sundance itself becomes part of the production process. We had meetings with agents, potential distributors, programmers and other filmmakers. We were also building community. We hosted a panel at the festival and invited other African women filmmakers to participate. That included directors whose films were also screening at Sundance. Creating that space was important to me. During my first Sundance experience I didn’t necessarily have the opportunity to build that kind of community. This time, being able to bring those voices together felt incredibly meaningful. **Q: Do you feel *Birdie* is arriving at a particularly timely moment socially or politically?** **Yety Akinola:** Yes, I do. The film explores themes of displacement, migration and identity, and those issues are extremely relevant right now across the world. Our team itself represents different parts of the diaspora. I am based in London, Praise is in New York, and other members of the cast and crew are in Nigeria and across the United States. Around the time we received news that the film would premiere at Sundance, there were discussions about travel restrictions affecting Nigerians. Some filmmakers were unable to attend festivals because of those policies. At the same time, immigration debates are happening globally, whether in the United States, the United Kingdom or elsewhere. People move to new countries in search of opportunity, yet they are often told they do not belong. *Birdie* raises questions about what home really means. When people are displaced or forced to rebuild their lives elsewhere, what remains of home? And what happens when those identities are fractured across borders? **Q: What do you hope audiences take away from the film?** **Yety Akinola:** I hope audiences feel a sense of relief, almost like an exhale. For many people, seeing stories like this on screen can feel validating. It can feel like recognition that these histories and experiences matter. I hope audiences who have their own migration stories can connect with the film in personal ways. But I also hope it opens conversations about identity, displacement and the emotional consequences of war. For me, *Birdie* is not only about creating a beautiful film. It is about asking questions and creating space for conversations that have often been overlooked. **Conclusion** Through these conversations, *Birdie* emerges as a product of deeply personal histories, creative risk, and collaboration across continents. From its restrained visual language to its careful reconstruction of a displaced family’s world, *Birdie* reflects a commitment to telling a story rooted in migration, identity and historical memory. As the film continues its journey through festivals and audiences, the filmmakers hope it will encourage reflection on the emotional lives behind migration stories and open conversations about belonging, resilience and what it means to carry home across borders. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/birdie-through-the-voices-of-its-filmmakers/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/birdie-through-the-voices-of-its-filmmakers/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/birdie-through-the-voices-of-its-filmmakers/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/birdie-through-the-voices-of-its-filmmakers/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/birdie-through-the-voices-of-its-filmmakers/?share=linkedin) - **Categories:** Articles, Interviews **Tags:** Abis Yakimi, african cinema, Biafran War, Birdie, Diaspora Stories, eFilmHub, Eniola Margaret Abiru, Immigration Stories, Independent Film, Nat Majette, nollycritic, Noni Limar, Praise Odigie Paige, Precious Madwanusi, Shelia Chukwulozie, short films, Sundance Film Festival, Sundance film festival 2026, Yety Akinola --- ### [Damilola Orimogunje's Dear Ajayi Selected For the Hubert Bals Fund](https://nollycritic.com/damilola-orimogunjes-dear-ajayi-selected-for-the-hubert-bals-fund/) **Published:** April 14, 2026 **Author:** Esther Adamu **Excerpt:** Three African films, including Damilola Orimogunje's Dear Ajayi were each awarded 60,000 pounds by the international film festival Rotterdam's Hubert Bals... **Content:** Three African films, including Damilola Orimogunje’s *Dear Ajayi*, were each awarded £60,000 by the [International film festival Rotterdam’s Hubert Bals ](https://iffr.com/en/hubert-bals-fund "International film festival Rotterdam's Hubert Bals ")Fund under its HBF+ Europe schemes. [The Hubert Bals Fund](https://film-resource-africa.com/news/hubert-bals-fund-2026-hbf-europe-selections-nigerian-ethiopian-films "The Hubert Bals Fund"), founded in 1988, is the International Film Festival Rotterdam’s dedicated film development and co-financing initiative that supports idependent filmmakers from Africa, Asia, Latin America, the Middle East, and parts of Eastern Europe. The core aim is to help distinctive cinema talent reach completion and international audiences by providing targeted grants and creative development support. This year’s selection of films from Nigeria, Morocco, and Ethiopia was announced on 17 March 2026. Directed by [Damilola Orimogunje](https://africanfilmny.org/directors/damilola-orimogunje/ "Damilola Orimogunje"), the movie is set in late 1990s Ibadan. It is a drama about two estranged sisters who reunite to care for their paralysed mother after a family tragedy. Forced to live under the same roof, they confront grief, ambition, and long-buried family secrets. Notable cast members include Bimbo Akintola, Tosin Adeyemi, Tope Tedela, Kalu Ikeagwu, and Michelle Dede, among others. *[Dear Ajayi](https://thenollywoodreporter.com/news/damilola-orimogunje-begins-filming-dear-ajayi-after-8-years/ "Dear Ajayi")* is the only African feature among the HBF recipients selected specifically for post-production support. The Hubert Bals Fund was established to support innovative filmmakers, especially those from countries with limited film infrastructure, at all stages of production. Among the projects funded is *Dear Ajayi*, which was the only African feature selected specifically for post-production support. [Nollywood](https://nollycritic.com/ "Nollywood") is also included in this initiative. ![dear ajayi](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/04/SnapInsta.to_514968257_18492270538064692_4438943831932826717_n.jpg?resize=640%2C506&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/04/SnapInsta.to_515109369_18492270487064692_46781421786851152_n.jpg?resize=640%2C506&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/04/SnapInsta.to_514968257_18492270538064692_4438943831932826717_n.jpg?resize=640%2C506&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/04/SnapInsta.to_514801108_18492270511064692_8077885886587896764_n.jpg?resize=640%2C506&ssl=1) ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/damilola-orimogunjes-dear-ajayi-selected-for-the-hubert-bals-fund/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/damilola-orimogunjes-dear-ajayi-selected-for-the-hubert-bals-fund/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/damilola-orimogunjes-dear-ajayi-selected-for-the-hubert-bals-fund/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/damilola-orimogunjes-dear-ajayi-selected-for-the-hubert-bals-fund/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/damilola-orimogunjes-dear-ajayi-selected-for-the-hubert-bals-fund/?share=linkedin) - **Categories:** Nollywood News **Tags:** Asmae El Moudir, Bimbo Akintola, Damilola Orimogunje, Dear Ajayi, documentry, Don't Let the Sun Go Up on Me, HBF+ Europe schemes, Hubert Bals Fund, International Film Festival Rotterdam's Hubert Bals Fund, Kalu Ikeagwu, Michelle Dede, nollycritic, nollywood, Nollywood 2026, The Last tears of the Deceased, Tope Tedela, Tosin Adeyemi --- ### [The Return of Arinzo: A Hyped Comeback Undone an Underwhelming Payoff](https://nollycritic.com/the-return-of-arinzo-a-hyped-comeback-undone-an-underwhelming-payoff/) **Published:** April 11, 2026 **Author:** Shalom O. Obisesan **Excerpt:** The Return of Arinzo, directed by and starring Iyabo Ojo, arrives burdened with memory. Thirteen years after the original, Arinzo, it attempts to stretch... **Content:** *[The Return of Arinzo](https://nollycritic.com/the-return-of-arinzo-see-trailer-for-iyabo-ojos-new-movie/ "The Return of Arinzo")*, directed by and starring Iyabo Ojo, arrives burdened with memory. Thirteen years after the original, *Arinzo*, it attempts to stretch a contained story into something larger, more layered, more commercially expansive. Revenge, politics, family conflict, cross-border identity, even spiritual undertones all compete for space within a single narrative. The premise is immediate and loaded, a woman presumed dead returns, buried truths resurface, and power begins to shift. The film signals urgency, but what unfolds is something far less controlled. On paper, this is the kind of sequel that should deepen a world. What unfolds instead is a film that expands outward without strengthening its centre. ## *The Return of Arinzo* Directed by: Iyabo Ojo Produced by: Iyabo Ojo Genre: Action, Drama Released on: March 29, 2026 (Cinemas) Language: Yoruba, English ### **An Emotional Resurrection Without Weight** Arinzo’s return should carry consequence. A figure presumed dead does not simply reappear, she disturbs, she unsettles, she forces reckoning. Yet the film treats her arrival as an event to be delayed rather than an emotion to be earned. The build-up is extensive. Scenes accumulate, conflicts are introduced, tension is suggested. But when Arinzo finally emerges, the emotional shift barely registers. The characters do not reorganise themselves around her presence. Fear, guilt, awe, none of these land with the force they should. It becomes clear that the film is more invested in surrounding spectacle than in the psychology of return. Even its thematic ambitions struggle to take root. Revenge is declared but not interrogated. Forgiveness is mentioned but never practised. Power is displayed but rarely examined. The film speaks its ideas aloud without embedding them in behaviour, leaving its emotional core hollow. ### **A Narrative That Stretches Until It Fractures** The plot carries too much and controls too little. Political ambition, family drama, romantic threads, supernatural immunity, international movement across Nigeria, Ghana, and Tanzania all compete for attention. The pacing suffers immediately. Early sequences linger far beyond their narrative value. Interrogation scenes feel forced and unconvincing, raising questions the film does not care to answer. Important developments are buried under repetitive exchanges, while less relevant moments are given excessive time. The result is a slow, uneven rhythm that drains urgency. The structure also leans heavily on delay. The revelation of Arinzo arrives far too late, close to the film’s final stretch, weakening the promise embedded in the title itself. By the time she takes centre stage, anticipation has already thinned into indifference. Subplots emerge with the suggestion of purpose, then disappear without resolution. A character like Jali appears positioned for emotional conflict, only to vanish without consequence. Studio sequences involving musicians and producers interrupt rather than enhance the narrative. Even the cross-border settings, while visually appealing, feel disconnected from the story’s core. They function as spectacle rather than substance. When the film begins to lose coherence, it turns to narration. Characters explain what the film cannot dramatise. This reliance exposes structural fragility. A story that must constantly tell you what is happening has already lost control of how it unfolds. ### **Performances Fighting an Uneven Foundation** There are performances in *[The Return of Arinzo](https://www.imdb.com/title/tt40791660/ "The Return of Arinzo")* that attempt to hold the film together. Mercy Aigbe delivers with intention, shaping her character with a sharp, controlled energy that cuts through the surrounding inconsistency. She understands the stakes of her role and commits to them, even when the script offers limited support. Funke Akindele brings presence and familiarity, adding weight to her scenes, particularly in moments of confrontation. Bimbo Akintola contributes a grounded steadiness that the film benefits from, even in brief appearances. There are also smaller efforts worth noting. Enioluwa Adeoluwa shows visible improvement, delivering a performance that feels more controlled than expected within the film’s chaos. Yet these pockets of strength are surrounded by inconsistency. Several performances feel underdeveloped, some lacking conviction, others simply unnecessary. The casting itself raises questions. It begins to feel less like a deliberate assembly of talent and more like a network of proximity, where relationships dictate presence. Dialogue becomes a major obstacle. Much of it sounds rehearsed, delivered with a stiffness that breaks immersion. Some lines carry an artificial rhythm, almost mechanical in phrasing, which makes emotional moments feel constructed rather than lived. Even strong performers struggle within this constraint, their efforts undercut by writing that does not trust natural speech. ### **Where Craft Reaches Beyond the Story** There is visible effort in the film’s technical construction. The cinematography shows intention, particularly in its use of aerial shots to frame Lagos with scale and clarity. The campaign rally sequence stands out, with its use of a customised bus as a stage in a busy market, capturing a sense of political theatre that feels alive. *[The Return of Arinzo](https://www.imdb.com/title/tt40791660/ "The Return of Arinzo")* also attempts continuity with its predecessor, weaving in narrative callbacks and familiar character threads. This suggests an awareness of its own history, an effort to maintain connection with the original story world. The score supports mood without overwhelming it, and certain compositions show a desire to elevate the film visually beyond its origins. Yet these strengths are consistently undercut. The action sequences that are expected are only a few. Editing further contributes to the imbalance. Scenes extend beyond their usefulness, weakening rhythm and reinforcing the film’s sluggish pace. Tonal inconsistency becomes more visible here. The film signals action, political drama, and revenge, yet moves with the hesitation of something unsure of its identity. ## **Final Thoughts** There is ambition here that deserves acknowledgement. The attempt to bridge industries, to pull Nigerian and Tanzanian talent into a shared cinematic space, reflects a forward-looking instinct. Nollywood has seen the benefits of cross-industry collaboration before, and this film gestures toward that possibility again. But ambition without discipline exposes more than it builds. Yet ambition alone does not sustain a film. Structure, clarity, and restraint are what allow ambition to translate into impact. Here, the film reaches in too many directions at once, mistaking scale for substance. The result is a film that feels assembled rather than shaped. It gestures at meaning, but rarely settles long enough to explore it. Even its central promise, the return of Arinzo, becomes symbolic of its larger problem: a delayed arrival that never fully justifies the wait. ## **Verdict** *[The Return of Arinzo](https://www.imdb.com/title/tt40791660/ "The Return of Arinzo")* offers flashes of strong performance and visual ambition, but struggles to sustain either. Viewers drawn to its cast and spectacle may find moments to hold on to. For anyone seeking a focused, emotionally grounded story, it asks for more patience than it rewards. **Rating**: 1.5/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-return-of-arinzo-a-hyped-comeback-undone-an-underwhelming-payoff/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-return-of-arinzo-a-hyped-comeback-undone-an-underwhelming-payoff/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-return-of-arinzo-a-hyped-comeback-undone-an-underwhelming-payoff/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-return-of-arinzo-a-hyped-comeback-undone-an-underwhelming-payoff/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-return-of-arinzo-a-hyped-comeback-undone-an-underwhelming-payoff/?share=linkedin) - **Categories:** Reviews **Tags:** Abdulmalik Bashiru, action drama, action film, Adjetey Anang, Arinzo 2013, Ayo Adesanya Hassan, Balewa Bala Hamzat, Bimbo Akintola, Cinematography, cross-border collaboration, Diva Gold, Enioluwa Adeoluwa, Film Critique, film editing, Film review, Fisayo Amodemaja, Fuad Ferdinand, Funke Akindele, Iwalola Adekugbe, Iyabo Ojo, Juma Jux, Juwon Agboola, Juwon Ayorinde, Kiitan Bukola, Lam Chris Chidubem, Mercy Aigbe, Muka Ray Eyiwumi, Nasma Hassan, Nenesenor Abloso, nigerian cinema, Nollywood films, Olukanmi Abayomi, Omowunmi Aloba, performance analysis, Political drama, revenge thriller, Scarlet Gomez, supernatural themes, The Return of Arinzo, Uzor Arukwe, William Benson, Yomi Fash-Lanso, Zainab Bakare --- ### [AVRS Nigeria Set to Disburse 1.2 billion Copyright Levy](https://nollycritic.com/avrs-nigeria-set-to-disburse-1-2-billion-copyright-levy/) **Published:** April 10, 2026 **Author:** Esther Adamu **Excerpt:** The AVRS (Audio-Visual Rights Society) has announced its receipt of one billion, Two Hundred and five million, nine hundred and Fifty-Six Thousand... **Content:** [The Audio-Visual Rights Society](https://www.avrsnigeria.com/avrs-receives-%e2%82%a61-2-billion-copyright-levy-from-federal-government-disbursement-to-members-commences/ "The Audio-Visual Rights Society") has announced its receipt of one billion, Two Hundred and five million, nine hundred and Fifty-Six Thousand, Five Hundred and eighty Naira, Twenty Kobo from the Federal Government of Nigeria. The society has begun distributing the funds received, which is a part of the [Copyright](https://nollycritic.com/tag/nollywood-copyright/ "Copyright") Levy Scheme of the Audio-visual Rights Society. This distribution follows the approved framework and aligns with its mandate as Nigeria’s collective management organization for audiovisual works. The society acknowledges the collaborative efforts of the relevant government agencies in facilitating the release of the funds. AVRS also expresses its profound appreciation to the Federal Government of Nigeria for its commitment to strengthening the creative economy. They remain committed to transparency, accountability, and fair royalty distribution to their members. The Chairman of AVRS, [Mr Mahmood Ali-Balogun](https://en.wikipedia.org/wiki/Mahmood_Ali-Balogun "Mr Mahmood Ali-Balogun"), describes the development process: > As a significant milestone in the continued recognition of creators’ rights and remuneration under Nigeria’s Copyright System, he also noted that the copyright levy represents a legitimate compensation due to creators and rightsholders for the private copying of their works. The AVRS, since its creation and registration in 2013, remains resolute in ensuring that creators receive fair compensation for the use of their works. AVRS remains committed to transparency, accountability, and the equitable distribution of royalties to its members. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/avrs-nigeria-set-to-disburse-1-2-billion-copyright-levy/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/avrs-nigeria-set-to-disburse-1-2-billion-copyright-levy/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/avrs-nigeria-set-to-disburse-1-2-billion-copyright-levy/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/avrs-nigeria-set-to-disburse-1-2-billion-copyright-levy/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/avrs-nigeria-set-to-disburse-1-2-billion-copyright-levy/?share=linkedin) - **Categories:** Nollywood News **Tags:** Copyright levy scheme, Mr Mahmood Ali-Balogun, nollycritic, nollywood, Nollywood 2026, Nollywood news, The Audio Visual Rights Society, The Federal Government --- ### [NollywoodWeek: See the 2026 Official Film Selections](https://nollycritic.com/nollywoodweek-see-the-2026-official-film-selections/) **Published:** April 9, 2026 **Author:** Esther Adamu **Excerpt:** The Nollywoodweek Film Festival (NOW) is the leading international festival dedicated to Nigerian cinema outside Africa. The festival returns for its 13th... **Content:** [The Nollywoodweek Film Festival (NOW)](https://nollywoodweek.com/en/ "The Nollywood Film Festival (NOW)") is the leading international festival dedicated to Nigerian cinema outside Africa. The festival returns for its 13th edition in Paris from Wednesday, May 6 to Sunday, May 10, 2026. Organized by Okada Media and Held annually at Cinema I’Arlequin, the festival stands as a vibrant showcase for the best of Nigerian and African diaspora Cinema, bridging continents and cultures through storytelling. A highlight of this year’s festival is the expanded Nollykids programme, dedicated to children and families. In partnership with ToonTopia and Smids Animation Studios, NollyKids offers a curated selection of African animated films and interactive activities, aiming to introduce young audiences to the richness of African storytelling Nollywood Week 2026’s feature film lineup includes six Nigerian films and three Nigerian shorts, headlining the programme, ensuring both local and international audiences can engage with the films. **Below are the selected Nigerian titles at this year’s edition.** **Feature Films** **Evi** Directed by [Uyoyou Adia](https://nollycritic.com/tag/uyoyou-adia/ "Uyoyou Adia"), this musical Drama follows Evi-Oghene Donalds, a rising Afrobeats star, faces a personal and professional crisis after being dropped by her label. The film explores her journey through fame, loss, and self-discovery. **Ewo** [Ekene Som Mekwunye](https://whatkeptmeup.com/tag/ekene-mekwunye/)’s 2025 Yoruba-language drama centres on a crisis in the fictional Ogbojọ community after its king dies. The king’s youngest wife, Ewatomi, a Christian convert, absconds with his body to prevent a traditional burial ritual, sparking a crisis that challenges cultural and religious boundaries. **When Nigeria Happens** [Ema Edosio Deelen’s](https://nollycritic.com/ema-edosio-explores-dance-filmm-genre-in-when-nigeria-happens/ "Ema Edosio Deelen's") When Nigeria Happens tells the story about a group of street dancers trying to hold on to their dreams amid loss and the harsh realities of survival. The film celebrates resilience, friendship, and the transformative power of dance. **Onobiren: A Woman’s Story** Directed by [Famous Odion Iraoya ](https://nollycritic.com/onobiren-when-survival-shapes-a-womans-story/ "Famous Odion Iraoya ")and written by Laju Iren. The movie follows Roli’s journey from Warri to Lagos, which becomes a story of survival, identity, and the support systems women build for themselves. The film foregrounds women’s experiences in contemporary Nigeria. **Reel Love** A romantic Comedy by [Kayode Kasum](https://nollycritic.com/kayode-kasum-and-the-new-nollywood-romance-a-genre-bending-love-affair/ "Kayode Kasum"), which tells the story of Tomide, a popular relationship influencer, and Rachel, a woman he clashes with in a viral video, agree to a staged relationship for online damage control. As real feelings develop, their public and private lives collide. **Wire Wire** [Bolanle Austen-Peters](https://nollycritic.com/tag/bolanle-austen-peters/ "Bolanle Austen-Peters") directs this Crime thriller, which follows a young software developer whose life spirals after he is falsely accused of theft. As he fights to clear his name, he must also protect his groundbreaking tech project. Premiered at the 2026 Joburg Film Festival. **Shorts** **God’s Wife** A drama by Dika Ofoma Starring [Onyinye Odokoro](https://whatkeptmeup.com/tag/onyinye-odokoro/), Uzochukwu Nnadi, and Ego Nworji. God’s Wife follows the story of a widow pressured into a levirate marriage by her late husband’s family, forcing her to navigate the conflict between her Catholic faith and cultural expectations. **Hussaini** The film nominated for Best Short Film at the 2026 AMVCAs is a collaboration of Josh Olaoluwa and Orire Nwani. The Short follows Hussaini, who faces everyday pressures and expectations from his family and community. **In Her Shoes** Written and directed by [Ella Chikezie](https://whatkeptmeup.com/tag/ella-chikezie/). In Her Shoes tells the story of Halima, a 12-year-old autistic girl, who struggles to be understood at home and in school. Her father begins to see her differently, considering giving her a chance to live life on her own terms. Nollywoodweek Film Festival not only celebrates the achievements of Nollywood but also paves the way for future innovation and collaboration. As Nigerian filmmakers continue to break new ground, Nollywood Week remains a vital platform for showcasing their stories, connecting with audiences, and shaping the future of African and world cinema. The Nollywoodweek 2026 film festival will be held on 6-10 of May, 2026 at the Cinema L’Arlequin in Paris. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywoodweek-see-the-2026-official-film-selections/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywoodweek-see-the-2026-official-film-selections/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywoodweek-see-the-2026-official-film-selections/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywoodweek-see-the-2026-official-film-selections/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywoodweek-see-the-2026-official-film-selections/?share=linkedin) - **Categories:** Nollywood News **Tags:** AMVCA, Cinema I'Arlequin, Ekene Som Mekwunye, Ella Chikezie, Ema Edosio, Evi, Ewo, Famous Odion Iraoya, God's Wife, Hussaini, In Her Shoes, Kayode Kasum, Nigerian Film Festival 2026, nollycritic, Nollykids programme, nollywood, Nollywood 2026, nollywoodweek, Okada Media, Onobiren: A woman Story, Reel Love, Uyoyou Adia, When Nigeria Happens, Wire Wire --- ### [Evi: A Beautiful Illusion Searching for Emotional Truth](https://nollycritic.com/evi-a-beautiful-illusion-searching-for-emotional-truth/) **Published:** April 7, 2026 **Author:** Shalom O. Obisesan **Excerpt:** There is a quiet ambition running through Evi, one that reveals itself not in its dialogue or performances, but in how the film chooses... **Content:** There is a quiet ambition running through *[Evi](https://www.imdb.com/title/tt38632678/ "Evi")*, one that reveals itself not in its dialogue or performances, but in how the film chooses to look, sound, and move. Directed with a clear eye for visual rhythm and tonal control, this Nollywood music drama positions itself within a familiar space, the rise of a young female artist navigating identity, desire, and industry politics, yet attempts to stretch beyond convention through style. At its centre is Evi, played by Osas Okonyon, a performer whose journey is shaped as much by who is watching her as by who she believes herself to be. Around her orbit men like Dayo, played by Ibrahim Suleiman, and Kola, the fallen “star maker,” each representing different forms of control, validation, and projection. ## *Evi* (2026) Directed by: Uyoyou Adia Written by: Uyoyou Adia Genre: Drama Released on: March 27, 2026 (Cinemas) Language: English ### **Where Desire Meets Direction, But Rarely Depth** At its emotional core, *Evi* (and its eponymous character) is preoccupied with the idea of becoming. Not fame in its loudest, most celebratory sense, but the more internal transformation that comes with being shaped by external forces. Evi is not simply chasing success, she is searching for recognition, for someone to affirm that what she carries within her has value. This is where her connection with Dayo begins to take form, not as love, but as mutual need. He searches for a “muse”, someone whose presence can unlock his creativity. She searches for visibility, someone who can see her beyond obscurity. On paper, this dynamic carries weight. It speaks to a long-standing cultural pattern, particularly within creative industries, where women are often positioned as inspiration rather than originators. Yet the film struggles to translate this idea into something emotionally convincing. Their relationship unfolds with a kind of uncertainty that does not feel intentional. Moments that should build tension arrive prematurely or without proper grounding. An almost-kiss appears before the emotional groundwork has been laid, and just as quickly, the connection dissolves into a sudden declaration of focus and independence. The push and pull lacks psychological clarity. What remains is the outline of a compelling idea, but without the emotional density required to sustain it. ### **A Narrative That Moves, Then Hesitates** Structurally, the film carries the familiar rhythm of a rise narrative, but its pacing reveals a lack of discipline. Scenes linger longer than necessary, stretching the runtime without deepening the experience. At the same time, key developments arrive too easily. The leap from obscurity to viral success, marked by a sudden jump in streaming numbers, bypasses the labour, resistance, and uncertainty that typically define such journeys. It reduces what should feel earned into something conveniently delivered. There is also a recurring pattern of emotional interruption. Conflicts emerge, characters react, but the aftermath is often missing. Moments that should echo are quickly abandoned, leaving the narrative feeling incomplete in places. The film moves forward, but not always with momentum. It advances, then pauses, then advances again, creating a rhythm that feels inconsistent rather than measured. Kola’s arc sits at the centre of this imbalance. As a former industry figure undone by gambling, his story carries the potential for tragedy and redemption. The film tells us he has fallen, but rarely shows us the extent of that fall. His addiction lacks progression, his losses lack texture. He exists in a space that feels suspended between ruin and recovery, never fully committing to either. Even so, his eventual resolution lands with a degree of emotional clarity, suggesting that the film understands where he needs to arrive, even if it struggles with how he gets there. ### **Performances That Hover Between Presence and Distance** Osas Okonyon approaches Evi with a noticeable restraint. For a debut, there is control in her delivery, an awareness of the character’s external composure. But that control often comes at the cost of emotional access. There is a lingering distance, a sense that the performance never fully breaks through the surface. Whether this is a deliberate reflection of Evi’s guarded persona or a limitation in execution becomes difficult to determine. The film occasionally compensates through visual means, subtle camera movements, shifts in framing, an attempt to draw out what the performance withholds. Ibrahim Suleiman presents a more immediate challenge. As Dayo, he embodies the character’s emotional intent, but the musical dimension exposes a critical flaw. His singing lacks conviction, and the disconnect between voice and body becomes difficult to ignore. In a film so deeply tied to music, this misalignment breaks the illusion. It feels less like a performance choice and more like a casting oversight, one that disrupts immersion at key moments. Kola played by Uzor Arukwe, by contrast, carries a more grounded presence. There is a suggestion of history in his performance, an understanding of who the character was and who he has become. Yet even here, the writing limits the impact. Without a fully realised descent, the performance is left to imply what the script does not fully explore. ### **The Film’s Most Convincing Voice Lies in Its Craft** Where *Evi* finds its strongest footing is in its technical execution. The cinematography, attributed to Barnabas Emordi, is deliberate and composed. Every movement feels considered. The camera does not wander. It observes, it connects, it guides. There is a recurring visual language that links characters within shared spaces, often using background movement and spatial alignment to suggest unseen connections. A passing waiter becomes more than a background detail, functioning as a visual bridge between narrative threads. It is a subtle but intelligent use of the frame. The film’s visual palette leans into polish. Skin tones are rendered with care, lighting choices enhance rather than flatten, and the overall image carries a quiet elegance. Even when the environments feel too pristine for the realities they represent, the consistency of this aesthetic suggests intention. It is a stylised world, one that prioritises visual harmony over strict realism. Sound operates with a similar awareness. The music itself is compelling, lyrically rich and emotionally attuned to Evi’s internal state. There is a clear understanding of when to allow silence and when to let sound carry the moment. Editing supports the film’s visual ambitions, particularly in transitions that maintain spatial and emotional continuity. However, it does not fully resolve the pacing issues embedded in the narrative. The choreography, on the other hand, stands out for the wrong reasons. It lacks the precision and training expected of a rising music star, occasionally slipping into movements that feel closer to casual performance than professional craft. ## **Final Thoughts** *Evi* carries the weight of a film trying to define itself while simultaneously performing for its audience. Its title becomes unintentionally revealing, echoing a work caught between identities, between music and drama, between emotional truth and aesthetic control. There is something compelling in that tension. It reflects a broader conversation within [Nollywood](https://nollycritic.com/?s=nollywood+movies "Nollywood") about ambition, about the desire to elevate form while still holding onto familiar structures. What lingers is a collection of impressions. A striking image. A well-timed silence. A song that almost says everything the dialogue cannot. The film does not quite arrive at the depth it reaches for, but it reveals enough of its intention to suggest that the journey itself matters. It asks to be seen, much like its protagonist, even when it is still figuring out exactly what it wants to become. ## **Verdict** It offers visual and musical pleasures that keep the experience engaging. Viewers drawn to stylised filmmaking and music-driven narratives will find elements to appreciate. Those seeking emotional precision and narrative depth may find it just out of reach. Still a worthy watch. **Rating**: 3.1/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/evi-a-beautiful-illusion-searching-for-emotional-truth/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/evi-a-beautiful-illusion-searching-for-emotional-truth/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/evi-a-beautiful-illusion-searching-for-emotional-truth/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/evi-a-beautiful-illusion-searching-for-emotional-truth/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/evi-a-beautiful-illusion-searching-for-emotional-truth/?share=linkedin) - **Categories:** Reviews **Tags:** 2026, Annetta Adebusuyi, Barnabas Emordi, creative ambition, Evi film, female artist narrative, Film Critique, Gbubemi Ejeye, Ibrahim Suleiman, music and identity, nigerian cinema, nollycritic, nollywood, Nollywood music drama, Omowunmi Dada, Osas Okonyon, performance analysis, Review, Tomiwa Tegbe, Uyoyou Adia, Uzor Arukwe, VJ Adams, Waje Iruobe --- ### [The Creek: A Film Caught Between Urgency and Incompletion](https://nollycritic.com/the-creek-a-film-caught-between-urgency-and-incompletion/) **Published:** April 4, 2026 **Author:** Shalom O. Obisesan **Excerpt:** The Creek situates itself within the familiar terrain of the Niger Delta, drawing from a history of exploitation, resistance, and fractured loyalties **Content:** Directed by [Toka McBaror](https://www.imdb.com/name/nm8867677/?ref_=tt_ov_1_1 "Toka McBaror") and written by Emeka Jepherson, *[The Creek](https://www.imdb.com/title/tt38345778/ "The Creek")* situates itself within the familiar terrain of the Niger Delta, drawing from a history of exploitation, resistance, and fractured loyalties. Its premise carries urgency, a man returns after decades away, only to be pulled into a web of violence, power struggles, and survival within the creeks. It promises conflict. It promises movement. It promises a story shaped by tension. ## *The Creek* Directed by: Toka McBaror Written by: Emeka Jepherson Genre: Crime, Thriller Released on: March 27, 2026 (Cinemas) Language: English ### **An Emotional Core That Never Fully Forms** At the level of story, *[The Creek](https://nollycritic.com/the-creek-see-trailer-for-new-action-thriller/ "The Creek")* struggles to define its own centre. It gestures toward themes of oil exploitation, community suffering, and moral compromise, yet never settles long enough to interrogate any of them with clarity. The emotional throughline feels scattered, divided across multiple characters without a clear anchor. The film follows several perspectives, the returning outsider, the journalist, and the militants within the creeks, but none of these viewpoints fully develop into something cohesive. Their motivations are introduced, but rarely deepened. Their conflicts are suggested, but not meaningfully explored. Even the journalist figure, played by Sunshine Rosman, begins with the suggestion of agency. There is an early indication that she might drive her own narrative, challenge the system, and assert control over her story. That possibility fades quickly. The character is pulled back into a familiar pattern of vulnerability, one that limits her presence rather than expanding it. Across the board, the film presents emotional ideas without committing to them. What remains is a story that feels incomplete, not because it lacks themes, but because it does not stay with them long enough to give them weight. ### **A Narrative That Moves Without Momentum** Structurally, the film mirrors this lack of commitment. The plot introduces multiple threads, a rivalry between militants, a kidnapping, a journalistic investigation, and a suggested romantic connection, yet none are followed through with the depth or progression they require. Each subplot carries potential, particularly the hinted relationship between the journalist and the military figure, but these strands are either abandoned or abruptly resolved. The result is a narrative that feels rushed in its conclusions and underdeveloped in its build-up. The opening movement sets the tone for this imbalance. A kidnapping that should establish tension and urgency unfolds with little dramatic weight. There is no sense of escalation, no carefully constructed suspense. The moment arrives and passes without leaving a strong impression, weakening the foundation the rest of the film depends on. This pattern continues throughout. The plot does not collapse entirely, but it rarely intensifies. Instead, it moves from point to point with the feeling of a film eager to reach its conclusions without fully earning them. It resembles a sequence of answers presented without the necessary working, a narrative that prioritises outcome over process. ### **Performances Searching for Ground** The performances reflect the film’s broader instability. Sam Dede brings a degree of presence that suggests experience and control, grounding his scenes with a familiarity that the film itself lacks. There are moments where his performance hints at a deeper, more textured film beneath the surface. Bucci Franklin and Kelechi Udegbe operate within characters that are defined more by function than by depth. Their performances are serviceable, but limited by writing that does not allow for expansion. Jimmy Jean-Louis, positioned as a central figure, never fully anchors the narrative. His presence feels detached from the emotional stakes around him, which further contributes to the film’s lack of cohesion. For Sunshine Rosman, the issue extends beyond this film. Her portrayal here falls into a pattern that has become overly familiar, the vulnerable woman placed in danger, reacting rather than shaping events. The performance itself is not without effort, but the repetition of this character type limits its impact. Collectively, the cast struggles against material that does not give them enough to hold onto. The result is a set of performances that rarely rise above the film’s structural weaknesses. ### **Fragments of Craft in an Unsteady Frame** Technically, *The Creek* is functional, but inconsistent. The film makes use of real locations within riverine environments, and there are moments where this lends authenticity to its setting. The staging within these spaces is clear enough to follow, and the production manages to capture the physicality of the terrain without confusion. However, this sense of place is undermined by uneven execution elsewhere. The editing, particularly the use of abrupt jump cuts, disrupts continuity and weakens the already fragile tension within key scenes. Action sequences, which should provide intensity and release, are brief and underdeveloped. They arrive without sufficient build-up and conclude before they can leave an impression. Visually, the film does what is necessary, but rarely more. There is little stylistic distinction, no consistent visual language that elevates the material beyond its narrative limitations. The technical elements support the film, but they do not strengthen it. ### **Final Thoughts** There is a version of *The Creek* that feels urgent, politically charged, and emotionally grounded. You can sense it in the themes it gestures toward, in the environment it chooses, and in the conflicts it introduces. But the film does not fully realise that version of itself. Instead, it operates in fragments. Ideas are introduced, then left behind. Characters are positioned, then underused. Conflicts are established, then resolved without the necessary weight. Even its engagement with the Niger Delta, a setting rich with history and tension, feels more like a backdrop than a force shaping the narrative. What lingers is not confusion alone, but a sense of missed opportunity. The film does not fail because it lacks material. It falters because it does not organise that material into something coherent or lasting. ### **Verdict** It holds enough structure to remain watchable, but not enough depth to feel complete. Viewers interested in its themes may find moments to engage with, though patience is required. For most, it will register as a film with strong ideas that never fully come together. **Rating**: 1.6/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-creek-a-film-caught-between-urgency-and-incompletion/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-creek-a-film-caught-between-urgency-and-incompletion/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-creek-a-film-caught-between-urgency-and-incompletion/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-creek-a-film-caught-between-urgency-and-incompletion/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-creek-a-film-caught-between-urgency-and-incompletion/?share=linkedin) - **Categories:** Reviews **Tags:** action drama, Bucci Franklin, Charles Inojie, Chinwe Owoh, critique, Emeka Jepherson, environmental conflict, Film Critique, Jimmy Jean-Louis, Kelechi Udegbe, kidnapping, multiple storylines, Niger Delta, nigerian cinema, nollycritic, nollywood, oil exploitation, Review, Sam Dede, Sunshine Rosman, The Creek, Toka McBaror --- ### [Aba Blues: A Romance That Struggles to Ground Its Reality](https://nollycritic.com/aba-blues-a-romance-that-struggles-to-ground-its-reality/) **Published:** April 2, 2026 **Author:** Shalom O. Obisesan **Excerpt:** There is a deliberate identity to Aba Blues, one that announces itself through tone, structure, and language before it ever settles into story. **Content:** There is a deliberate identity to *[Aba Blues](https://www.imdb.com/title/tt40336019/ "Aba Blues")*, one that announces itself through tone, structure, and language before it ever settles into story. It is a film that leans into stylisation, into heightened dialogue, into a world that sits somewhere between the familiar and the constructed. Yet for all its intentionality, it struggles to reconcile what it wants to be with what it actually becomes. Directed by [Jack’enneth Opukeme](https://www.imdb.com/name/nm12981624/?ref_=tt_ov_1_1 "Jack’enneth Opukeme"), the film follows Amara as she navigates the emotional disruption caused by the return of a former lover, placing her in conflict with the quiet stability of her present marriage. It is a romance built on emotional contradiction. One that attempts to interrogate love as uncertainty, confusion, guilt, and lingering attachment. ## *Aba Blues* (2026) Directed by: Jack’enneth Opukeme Written by: Jack’enneth Opukeme Genre: Drama, Romance Released on: March 20, 2026 (Cinemas) Language: English ### A Narrative That Holds The plot of *Aba Blues* moves with a steady, almost deliberate restraint. It does not rush toward resolution, nor does it rely on excessive twists to maintain interest. Instead, it allows scenes to settle, conversations to stretch, and tension to build gradually. This works. The film remains consistently engaging, largely because its central conflict is inherently compelling. However, its narrative momentum is limited by its refusal to escalate heavily. While it’s present, it feels like there’s is no strong emotional peak, even where the tension reaches a decisive breaking point. The story sustains interest, but it does not feel intense. At times, the plot feels too comfortable within its own rhythm. Certain interactions repeat emotional beats without adding new layers, and while this aligns with the film’s reflective tone, it also slows its progression. The narrative does not collapse under its structure, but it never quite sharpens into something more forceful. ### A Love Story Anchored in Conflict and Contradiction *Aba Blues* is interested in emotional displacement, and this central dilemma is compelling because it resists simplicity. Amara is not just caught between choosing one of two men. She is negotiating between two versions of herself. One shaped by past decisions, emotional attachment, and unresolved guilt, and another defined by stability, patience, and a kind of love that demands acceptance rather than instinct. This is where the film quietly challenges familiar romantic conventions. The expectation often leans toward men who withdraw, hesitate, or fail to articulate emotional commitment. Here, the dynamic is inverted. Uzor remains present, expressive, and unwavering in his pursuit of the relationship, while Amara becomes the unstable centre, emotionally inconsistent and difficult to fully trust. Angel Anosike understands this tension and carries it with a performance that feels internally consistent, even when the film around her is not. There is a visible fragility to her portrayal, a controlled instability that allows her to move between both emotional poles without losing coherence. Her performance grounds the film in ways the writing often does not. Opposite her, Prince Nelson Enwerem’s Uzor is defined by an almost excessive emotional availability. He is patient, enduring, and unrelenting in his commitment. On paper, this risks flattening the conflict. In execution, it reframes it. His presence introduces a different kind of tension, one rooted not in unpredictability but in discomfort. The film asks what it means to be loved properly, and whether that kind of love can feel unfamiliar enough to be rejected. Dirim, however, is where the film begins to falter. ### **A Critical Weakness in Performance** The performances in *Aba Blues* exist in two distinct registers. Introduced as the emotional anchor of Amara’s past, Dirim is expected to embody the pull of history, regret, and unresolved desire. Instead, Jide Kene Achufusi delivers a performance that struggles to inhabit these demands. His portrayal leans heavily on articulation rather than emotional presence. Lines are delivered with precision but without the ease required to make them feel lived-in. This creates a disconnect between what the character represents and what is actually felt. The performance becomes increasingly difficult to engage with, particularly in moments that require emotional persuasion. Because of this, the film’s central conflict loses part of its weight. The audience is asked to believe in a love that is never fully realised on screen. On the other end, Angel Anosike and Prince Nelson Enwerem maintain a level of restraint that supports the film’s emotional tone. Enwerem, in particular, presents Uzor with a quiet persistence that avoids exaggeration even with heavy-handed dialogue. His presence reframes the romantic conflict as endurance. The inconsistency across performances contributes to a broader issue. The film aims for emotional realism, yet certain portrayals drift toward stylisation without control. This imbalance affects believability, particularly within a story that depends heavily on emotional credibility. ### **Stylisation as Strength and Limitation** *Aba Blues* is deeply invested in its language. Dialogue is dense, often poetic, and clearly written to carry thematic weight. This is not incidental. It is a deliberate stylistic choice that aligns with the film’s broader aesthetic, one that blends local textures with foreign tonal influences. At its best, this approach adds texture. It gives the film a distinct voice, one that separates it from more conventional romantic dramas. At its worst, it becomes excessive. The dialogue frequently overreaches, prioritising expression over authenticity. Characters speak in ways that feel constructed rather than organic, and while this may align with the film’s stylistic ambition, it also distances the audience from the emotional reality of the story. The writing attempts to compensate for gaps in performance and character development, but in doing so, it exposes those gaps even further. Visually, *Aba Blues* is composed with care. The cinematography by Barnabas Emordi is steady, measured, and attentive to stillness. The camera does not intrude. It observes. Frames are clean, deliberate, and often striking in their simplicity. There is a quiet confidence in how the film looks. The use of music is equally considered. The soundtracks move with the emotional rhythm of the film, never overwhelming but consistently present when needed. More importantly, the film understands restraint. Silence is used effectively, allowing certain moments to breathe without unnecessary scoring. Yet this controlled aesthetic introduces its own tension. The visual polish of the film often works against its narrative reality. Characters who are meant to exist within modest or strained circumstances are presented within spaces that feel overly refined. Costuming, makeup, and production design lean toward aesthetic beauty rather than lived-in authenticity. This creates a visible disconnect between the film’s world and its emotional stakes. Interestingly, this aligns with the film’s broader stylistic choices. Just as the dialogue leans toward embellishment and heightened expression, the visuals follow the same logic. Everything is slightly elevated, slightly too composed. It is a consistent choice, but one that distances the film from realism. ### Final Thoughts Despite its title, *[Aba Blues](https://nollycritic.com/aba-blues-new-nollywood-romance-hits-cinemas-march/ "Aba Blues")* does not meaningfully centre Aba within its narrative. The city is repeatedly referenced, positioned as culturally and symbolically significant, yet it never fully materialises within the story. It functions as a backdrop rather than an active force. There are attempts to embed cultural commentary through dialogue and isolated scenes, but these moments feel inserted rather than integrated. Conversations about identity, capitalism, and tradition interrupt the narrative flow instead of enriching it. Aba is spoken about, but rarely experienced. This disconnect reinforces a broader issue within the film. It gestures toward thematic depth without fully committing to it. The film attempts to engage with multiple ideas at once. Cultural identity, societal expectations, emotional guilt, and romantic conflict all coexist within its structure. However, there is a lack of discipline in how these elements are managed. Rather than weaving them together, the film presents them in fragments. Certain scenes, such as the intervention involving a widow or the overt declarations of cultural pride, feel detached from the central narrative. They do not emerge organically from the story but are instead positioned as statements the film wants to make. This creates a tension between storytelling and messaging, one that the film does not fully resolve. For all its inconsistencies, *Aba Blues* remains engaging. Its central conflict is strong enough to sustain interest, and its emotional core is clear, even when its execution is uneven. The film understands the complexity of its central idea. It recognises that love is not always about instinct, that guilt can distort desire, and that choosing what is right can feel less natural than returning to what is familiar. These are ideas worth exploring. ### **Verdict** An engaging romantic drama driven by a strong emotional premise, distinctive voice, and a compelling emotional foundation, but one that is limited by structural inconsistency, uneven performances, and an identity it never fully resolves. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/aba-blues-a-romance-that-struggles-to-ground-its-reality/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/aba-blues-a-romance-that-struggles-to-ground-its-reality/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/aba-blues-a-romance-that-struggles-to-ground-its-reality/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/aba-blues-a-romance-that-struggles-to-ground-its-reality/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/aba-blues-a-romance-that-struggles-to-ground-its-reality/?share=linkedin) - **Categories:** Reviews **Tags:** 2026, Aba Blues, Angel Anosike, Bimbo Akintola, Chuks Joseph, cultural identity, Eucharia Anunobi, Film Critique, Igbo culture, Jack’enneth Opukeme, Jide Kene Achufusi, love triangle, nigerian cinema, nollycritic, nollywood, Prince Nelson Enwerem, Romantic Drama --- ### [Echoes Before The Wedding: A Promising Wedding Day Drama That Falls Short](https://nollycritic.com/echoes-before-the-wedding-a-promising-wedding-day-drama-that-falls-short/) **Published:** March 29, 2026 **Author:** Uju Okosieme **Excerpt:** Echoes Before The Wedding marks the first EbonyLife ON Plus original film from Uche Jombo, and naturally, it sparked curiosity... **Content:** *[Echoes Before The Wedding](https://www.partyjolloftv.com/movies/echoes-before-the-wedding-1690 "Echoes Before The Wedding")* marks the first [EbonyLife ON Plus](https://nollycritic.com/ebonylife-on-plus-see-pricing-and-new-content-details/ "EbonyLife ON Plus") original film from Uche Jombo, and naturally, it sparked curiosity. With a premise centred on love, trust, and the emotional baggage that follows us into new relationships, the film promises a tense pre-wedding drama. But does it live up to that promise? Here’s what we think. ## *Echoes Before The Wedding* Directed by: Uche Jombo Produced by: Uche Jombo Genre: Drama Released on: March 21, 2026 (Ebonylife ON Plus) Language: English ## A Wedding Day Mystery That Struggles with Pacing The film begins on the morning of Adaora’s wedding when a mysterious message from a stranger causes her to question both her relationship and the life she’s about to step into. From there, the narrative unfolds through a series of flashbacks that piece together Adaora and Chuka’s journey toward their wedding while also revealing fragments of Adaora’s painful past. These flashbacks help contextualise Adaora’s deep distrust, especially considering the trauma she carries from a previous abusive marriage. However, the film spends a significant amount of time showing Adaora refusing to hear Chuka out. While her hesitation is understandable, the constant shutting down of conversation begins to feel repetitive. Both characters circle their issues for too long before finally opening up to each other, which ultimately slows the film’s pacing. ## A Compelling Idea Weighed Down by Weak Dialogue At its core, the story follows Adaora, a bride-to-be whose wedding day is thrown into turmoil by a suspicious text message about her fiancé. The message forces her to revisit the events that brought them together while confronting the emotional scars left behind by her abusive ex-husband. It’s a compelling premise that explores trust, healing, and the difficulty of starting over after trauma. Unfortunately, the execution doesn’t always do the concept justice. The dialogue often feels awkward or overly forced, whether due to the writing itself or the way certain lines are delivered. As a result, some emotional moments that should resonate more deeply fall flat. ## Performances That Lack Chemistry The casting choices also raise some questions. Uche Jombo plays Adaora opposite Daniel Etim-Effiong as her fiancé Chuka, while Annabel Thaddeus plays her best friend Nengi. Visually, Jombo appears noticeably older than both Etim-Effiong and Thaddeus. If the story had acknowledged this age difference as part of the narrative, it might have worked, but the film treats the characters as if they are roughly the same age. This makes the casting feel slightly mismatched. Performance-wise, the acting is mostly serviceable, though some choices feel questionable. More importantly, the romantic chemistry between Jombo and Etim-Effiong is minimal, which weakens the emotional stakes of a story that relies heavily on the audience believing in their relationship. ## A Simple Visual Approach That Serves the Story From a technical standpoint, the film keeps things relatively simple. Much of the story unfolds indoors in controlled environments, leaving little room for visual experimentation. One notable choice is the use of dimmer colour grading during flashbacks to Adaora’s past. This darker palette effectively mirrors both the emotional heaviness of those memories and the way traumatic moments fade and blur over time. ## A Message About Communication and Healing Despite its flaws, the film ultimately aligns with the type of storytelling we’ve come to expect from Uche Jombo Studios. The narrative is straightforward and emotionally driven, focusing on relationship dynamics and personal growth. One of the film’s stronger aspects is how it highlights the long-term consequences of early marriage for young girls. By illustrating how Adaora’s traumatic past continues to influence her present, the film highlights a societal issue that is often overlooked. It also emphasises the importance of honest communication in relationships, especially when past wounds threaten to undermine the future. ## Verdict While the film runs longer than it needs to and occasionally loses momentum, *Echoes Before The Wedding* still manages to deliver moments of emotional sincerity. Despite its uneven pacing, awkward dialogue, and lack of strong chemistry between the leads, it remains an easy watch with a meaningful message at its core. In the end, *Echoes Before The Wedding* earns **2.5 out of 5 stars**. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/echoes-before-the-wedding-a-promising-wedding-day-drama-that-falls-short/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/echoes-before-the-wedding-a-promising-wedding-day-drama-that-falls-short/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/echoes-before-the-wedding-a-promising-wedding-day-drama-that-falls-short/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/echoes-before-the-wedding-a-promising-wedding-day-drama-that-falls-short/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/echoes-before-the-wedding-a-promising-wedding-day-drama-that-falls-short/?share=linkedin) - **Categories:** Reviews **Tags:** Daniel Etim Effiong, Ebonylife, Mo Abudu, nollycritic, nollywood, ON PLUS, Reviews, Uche Jombo --- ### [Call of My Life: See the Official Trailer For New Rom-Com](https://nollycritic.com/call-of-my-life-see-the-official-trailer-for-new-rom-com/) **Published:** February 14, 2026 **Author:** Esther Adamu **Excerpt:** Bluhouse Studios has released the official trailer for Call of My Life, a Nollywood Modern romantic comedy directed by Dammy Twitch... **Content:** Bluhouse Studios has released the official trailer for Call of My Life, a Nollywood Modern romantic comedy directed by Dammy Twitch in his feature debut. The theme ” What if the love you have been waiting for is just a call away follows the story of Soluchi, a call centre agent who is still healing from the disappointment and heartbreak after being abandoned by her ex. During a routine customer call, she unexpectedly connects with Eli, a charming stranger. With his presence in her life, Soluchi begins to change her perspective on love. *Call of My Life* was produced by Blessing Uzzi for Bluehouse Studios, with a screenplay written by Uzoamaka Power and directed by Dammy Twitch. Known for directing commercials and music videos, Dammy Twitch also directed the 2023 short film *I Hate It Here*. In making *Call of My Life*, he aimed for his first feature film to reflect his heart, which is rooted in love and happiness. *Call of My life* marks Bluhouse Studios’ second theatrical production since *[Freedom Way](https://nollycritic.com/freedom-way-a-haunting-tale-on-lagos-life/ "Freedom Way")*, their debut last year. The movie had its shooting location in Lagos, Abuja, and Enugu, and also featured live performances from Nigerian music stars Jonny Drille and Cobhams Asuquo, adding a musical layer to the romantic storytelling. The cast highlights include Zubby Michael, Nkem Owoh, [Uzoamaka Power](https://www.imdb.com/name/nm10623301/ "Uzoamaka Power"), Andrew Bunting, Patience Ozokwor, Beverly Osu, and Samuel Animashaun Perry, popularly called Broda Shaggi. Coming to cinemas Nationwide on May 15, 2026, is a romantic drama that hinges on a single pivotal phone call. See trailer below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/call-of-my-life-see-the-official-trailer-for-new-rom-com/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/call-of-my-life-see-the-official-trailer-for-new-rom-com/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/call-of-my-life-see-the-official-trailer-for-new-rom-com/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/call-of-my-life-see-the-official-trailer-for-new-rom-com/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/call-of-my-life-see-the-official-trailer-for-new-rom-com/?share=linkedin) - **Categories:** Nollywood News **Tags:** Andrew Bunting, Beverly Osu, Blessing Uzzi, Bluhouse studios, Broda Shaggi, Call of my life, Cobhams Asuquo, Dammy Twitch, Freedom Way, I Hate it Here, Jonny Drille, Nkem Owoh, nollycritic, nollywood, Patience Ozokwor, Samuel Animashaun perry, Uzoamaka Power, Zubby Michael --- ### [Hijack 93 And Other Nollywood Films Inspired by Real Events](https://nollycritic.com/hijack-93-and-other-nollywood-films-inspired-by-real-events/) **Published:** October 28, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Hijack 93 is a shining example of the love-hate relationship audiences have with Nigerian films based on real events. These cinematic adventures often have... **Content:** *Hijack 93* is a shining example of the love-hate relationship audiences have with Nigerian films based on real events. These cinematic adventures often have us both cheering and cringing. Take, for instance, the baffling plot where three men decide to hijack a plane with absolutely zero plans. Nollywood has its moments of brilliance, but *Hijack 93* falls into confusion. The filmmakers clearly aimed to use storytelling to explore serious themes, but the narrative stumbles in several places, which leaves viewers distracted by its absurdity rather than engaged with the intended message. This exploration will delve into how these films artfully blur the boundaries between fiction and reality, offering a unique perspective on the complex dynamics of Nigerian society and its history. You may even find a few titles to add to your watchlist! ##### Hijack 93 (2024) Oh yes. We’re starting with this one. The official synopsis of the film captures this simply: “In an effort to overthrow their military-backed government, four men hijack an airplane and use the passengers as leverage in the name of social change.” Unfortunately, the film portrays the hijackers in a way that makes them come across as foolish rather than heroic or sympathetic, which weakens the intended message. *[Hijack 93](https://nollycritic.com/hijack-93-a-timely-attempt-at-retelling-nigerian-history/ "Hijack '93")* is a fictional dramatization of the infamous Nigeria Airways hijacking that took place on October 25, 1993, when four teenage boys: Richard Ogunderu, Kabir Adenuga, Benneth Oluwadaisi, and Kenny Rasaq-Lawal, seized control of a commercial flight from Lagos to Abuja. Armed with fake guns and driven by political frustration, the young hijackers aimed to draw attention to Nigeria’s turbulent political landscape, demanding the reinstatement of democratically elected leader Moshood Abiola and the resignation of the military-backed government. Their audacious plan quickly spiraled into chaos, culminating in a tense four-day standoff with authorities that resulted in the death of a crew member. While the hijacking was a misguided attempt to provoke action, it highlights the broader issues of justice and democracy in Nigeria. The film is set within Nigeria’s political unrest in the 1990s. The film reimagines and to an extent, recounts the events of the hijacking but also explores the complex motivations behind the men’s actions, ultimately portraying them as controversial figures; viewed by some as heroes who dared to challenge a corrupt regime. ##### 93 Days (2016) *93 Days* is based on the real-life events of the 2014 Ebola outbreak in Nigeria. The film focuses on the efforts of Dr. Ameyo Adadevoh and her medical team in Lagos, who played a pivotal role in containing the virus. The outbreak began when Patrick Sawyer, a Liberian-American diplomat, arrived in Lagos and was quarantined by Dr. Adadevoh after showing Ebola symptoms. Despite his resistance, she made the critical decision to prevent him from leaving the hospital, an act that ultimately stopped a wider spread of the virus in Nigeria. The containment strategy employed by Nigerian health workers, particularly through contact tracing, became a global model for managing Ebola cases. The film closely mirrors the actual events, highlighting the sacrifices and heroic efforts of health professionals who risked their lives to stop the spread of the virus. Through its portrayal of Dr. Adadevoh, *93 Days* emphasizes the human element of this battle, focusing on the moral and physical courage required to take necessary actions, even in the face of potential personal danger. The movie honors the memory of the real-life figures who were instrumental in preventing a national and possibly global catastrophe. ##### Invasion 1897 (2014) The real-life event depicted in *Invasion 1897* revolves around the British punitive expedition against the Benin Kingdom in February 1897. This marked a significant historical moment when British forces invaded the kingdom in response to the killing of their officials during an unapproved visit. The British troops looted the Benin Kingdom, burning the city to the ground and exiling Oba Ovonramwen, the once-powerful ruler of Benin. Thousands of cultural artifacts were stolen, many of which now reside in museums around the world, including the famous Benin Bronzes. The invasion marked the end of the Kingdom’s independence and the beginning of colonial rule in that region of present-day Nigeria. The film *Invasion 1897*, directed by Lancelot Oduwa Imasuen, retells this event through the lens of a fictional contemporary character: a young Benin prince who stands trial for stealing historical artifacts from a British museum. The prince’s defense journey takes viewers back to the historic events of 1897, linking the past to the present. The film reimagines the invasion by intertwining history with personal narratives of pride, loss, and the fight to reclaim cultural identity. While the film attempts to stay true to the essence of the historical events, it creatively mixes historical facts with fictional elements to draw attention to the ongoing conversation about the restitution of looted African artifacts. ##### Last Flight to Abuja (2012) *Last Flight to Abuja* is inspired by real-life air disasters that occurred in Nigeria in 2006. During that year, a series of fatal plane crashes shook the nation, sparking concerns about the safety of civil aviation. One of the most tragic incidents involved a commercial flight from Abuja to Lagos, which crashed shortly after takeoff, killing all passengers on board. These crashes exposed severe regulatory and infrastructural weaknesses in Nigeria’s aviation sector, leading to widespread calls for reforms. The film, though not based on one specific event, is a commentary on these disasters and the broader issues of aviation safety in Nigeria. In the film, directed by Obi Emelonye, the plot centres on passengers aboard a flight from Lagos to Abuja who must confront their fate when disaster strikes mid-flight. Through flashbacks, the film reveals the personal stories and motivations of each passenger, linking them to the eventual disaster. While the film blends fiction with historical elements, it echoes the real-world issues of negligence and inefficiency that plagued Nigeria’s aviation industry at the time. Emelonye’s film goes beyond entertainment, aiming to spotlight the importance of aviation safety reforms, offering a compelling narrative that reflects on both past tragedies and the challenges within the industry. ##### Elesin Oba: The King’s Horseman (2022) *Elesin Oba: The King’s Horseman* is inspired by the true events of 1946, when British colonial authorities prevented a royal horseman, Elesin, from committing ritual suicide after the death of his king. This ritual, integral to the Yoruba tradition, was meant to ensure the king’s safe passage into the afterlife and the protection of the community from disaster. The British intervention, however, disrupted this practice, leading to tension between traditional values and colonial imposition. Wole Soyinka’s *Death and the King’s Horseman*, on which the film is based, modifies this historical narrative. Soyinka shifts responsibility from colonial interference to Elesin himself, using this alteration to explore themes of personal duty and failure within the framework of cultural and ritualistic obligations. In *Elesin Oba: The King’s Horseman* (2022), directed by Biyi Bandele, the story follows Elesin Oba, played by Odunlade Adekola, as he grapples with fulfilling his ritualistic role after the king’s death. Set in 1940s Oyo Town, the film illustrates Elesin’s distractions, rooted in his desires and pleasures that delay his duty, leading to tragic consequences. While the historical backdrop of colonial interference remains present, the film focuses on the internal struggle of Elesin’s character, emphasizing the clash between individual desires and the burden of cultural duty. Through this lens, the film underscores Soyinka’s thematic focus on honour and responsibility, while also serving as a reflection on the broader tensions between tradition and colonialism during British rule in Nigeria. ##### Oloibiri (2016) *Oloibiri* is based on the true story of the first oil discovery in Nigeria, made in the town of Oloibiri, Bayelsa State, in 1956 by Shell-BP. This event marked the beginning of Nigeria’s oil boom and the exploitation of its vast petroleum resources. However, decades of unchecked oil drilling led to environmental degradation, poverty, and the marginalization of local communities, who saw little benefit from the wealth generated by the oil industry. The film shines a spotlight on the aftermath of this discovery, particularly focusing on the plight of the Niger Delta region, which has long suffered the consequences of environmental pollution and socio-economic neglect by both the government and multinational corporations. In *Oloibiri*, directed by Curtis Graham, the film tells the story of a former militant, Gunpowder (played by Richard Mofe-Damijo), who takes up arms against the oil companies that have ravaged his homeland. The film juxtaposes Gunpowder’s desperation with that of an elderly Chief, played by Olu Jacobs, who witnessed Oloibiri’s descent from a thriving community to a desolate land ruined by oil exploration. Through these characters, Oloibiri portrays the ongoing struggles of the Niger Delta people and the complex relationship between wealth, power, and exploitation. While the film draws on historical realities, it also explores the psychological and moral impact of the oil crisis, emphasizing the long-term effects on local communities and their fight for justice. ##### 76 (2016) *76* is inspired by the real-life events surrounding the 1976 military coup in Nigeria, which led to the assassination of General Murtala Mohammed, the country’s Head of State at the time. The coup, orchestrated by Lieutenant Colonel Buka Suka Dimka, was a pivotal moment in Nigeria’s political history and marked a period of instability and violence. The film takes place six years after the Nigerian Civil War and explores the personal and political repercussions of the coup, focusing on the lives of military officers and their families as they navigate the aftermath of the political upheaval. Directed by Izu Ojukwu, the film follows the story of Captain Joseph Dewa (played by Ramsey Nouah), an officer accused of involvement in the coup plot, and his wife, Suzy (played by Rita Dominic), as they struggle to prove his innocence. The film delves into the emotional toll of the coup on military families, revealing the strained relationships, fears, and loyalties tested in the wake of political turmoil. While the film weaves historical facts with fictionalized elements, *76* captures the atmosphere of paranoia and uncertainty that characterized Nigeria during this period. The film also serves as a reflection on the fragility of power and the human cost of political ambition, making it a poignant exploration of a critical chapter in Nigeria’s history. ##### 4-4-44 (2022) In *4-4-44*, the film draws inspiration from the real-life story of a couple, Hillary and Theresa, whose relationship is tested by the challenges of mental illness. Set against the backdrop of Nigeria’s struggle for independence in the 1940s and 1960s, the narrative explores their love and devotion amidst the trials that come with Theresa’s psychological struggles. The film’s narrator, Veronica, the couple’s daughter, reflects on the complexities of love and how it reshapes lives, emphasizing the emotional turmoil and resilience of the characters as they navigate societal pressures and personal challenges. The film retells this poignant story by oscillating between two timelines: the early stages of Hillary and Theresa’s romance and their later years facing the harsh realities of mental illness. It aims to humanize the struggles faced by those affected, highlighting the importance of support and understanding in relationships. Through the lens of love and commitment, *4-4-44* illustrates how the bond between Hillary and Theresa endures despite the challenges, showcasing the universal themes of love, family, and mental health awareness. ##### Dark October (2023) *[Dark October](https://www.imdb.com/title/tt26731175/ "Dark October")* is a film that dramatizes the tragic event known as the Aluu Four lynching, which took place on October 5, 2012, in Aluu, Rivers State, Nigeria. The film recounts the heartbreaking story of four university students: Ugonna Obuzor, Lloyd Toku, Chiadika Biringa, and Tekena Elkanah, who were falsely accused of theft and brutally killed by a mob in a shocking act of jungle justice. The narrative unfolds as the students, caught in a misunderstanding while confronting a debtor, become the victims of a community’s violent response fueled by fear and misinformation. Directed by Toka Mcbaror and produced by Linda Ikeji, *Dark October* sheds light on the chilling realities of mob justice in Nigeria, exploring the circumstances that led to the students’ tragic deaths and the societal issues that allow such atrocities to occur. The film not only serves as a significant reminder of the dangers of taking the law into one’s own hands but also aims to spark conversations about justice, accountability, and the need for systemic change within the Nigerian society. By bringing this painful chapter of recent history to the forefront, *Dark October* seeks to honour the memories of the Aluu Four while advocating for a future where such acts of violence are no longer tolerated. Within Nollywood, a striking genre has taken root: films born from real events! These cinematic tales breathe life into narratives that we’ve come to love. From heartrending dramas that echo the everyday struggles of individuals, to electrifying thrillers that plunge into the annals of history, Nigerian filmmakers wield the art of storytelling as a powerful tool, illuminating truths that might otherwise remain shrouded in darkness. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/hijack-93-and-other-nollywood-films-inspired-by-real-events/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/hijack-93-and-other-nollywood-films-inspired-by-real-events/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/hijack-93-and-other-nollywood-films-inspired-by-real-events/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/hijack-93-and-other-nollywood-films-inspired-by-real-events/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/hijack-93-and-other-nollywood-films-inspired-by-real-events/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** 4-4-44, 93 Days, Elesin Oba, Hijack 93, Invasion 1897, Last Flight to Abuja, Netflix, nollycritic, nollywood, Oloibiri, Prime Video --- ### [AMVCA 2026: See The Full List of Nominees](https://nollycritic.com/amvca-2026-see-the-full-list-of-nominees/) **Published:** March 29, 2026 **Author:** Michael Arowoselu **Excerpt:** The African Magic Movie Awards - AMVCA; is an award show presented by MultiChoice recognizing outstanding performances in television, film, entertainment, and now in digital content creation... **Content:** The African Magic Movie Awards – AMVCA; is an award show presented by MultiChoice recognizing outstanding performances in television, film, entertainment, and now in digital content creation. The nominees for the 2025 AMVCAs are in! AMVCA is an award show presented by [MultiChoice](https://www.dstv.com/africamagic/en-ng/show/amvca) recognizing outstanding performances in television, [film](https://nollycritic.com/the-best-10-nollywood-films-of-2023/), entertainment, and now in digital content creation throughout Nollywood and the entire African content. A major development ahead of this year’s nominations is the appointment of veteran actress Joke Silva as Head Judge. Silva takes over from long-standing head juror Femi Odugbemi. The 12th AMVCA will feature 32 award categories, comprising 18 jury-voting categories, 11 public-voting categories, and 3 special recognition awards, including Lifetime Achievement and Trailblazer honours. Here’s the full nominees list of 2026 AMVCA: ### **Best Director** • Akinola Davies Jr – *My Father’s Shadow* • Tunde Kelani – *Cordelia* • James Omokwe – *Osamede* • Daniel Etim Effiong – *The Herd* • Yemi Filmboy Morafa –*Gingerrr* • Asurf Amuwa Oluseyi – *3 Cold Dishes* **Best Movie** • *Gingerrr* *• The Herd* *• My Father’s Shadow* *• 3 Cold Dishes* • The Serpent’s Gift *• Behind The Scenes* **Best Writing (Movie):** • Lani Aisida – *The Herd* • Wale Davies – *My Father’s Shadow* • Ikenna Okpara – *Blackout* • Shirleen Wangari – *Cards On The Table* • Xavier Ighorodje – *Gingerrr* • Isaac Ayodeji – *Suky* • Tomi Adesina – *3 Cold Dishes* **Best Documentary:** • Beyond Olympic Glory • *The Good, The Bad of Afrobeat* • *The People Shall* • *Not Addressing This Anymore* • *BOU* **Best Digital Content:** • Elozonam Ogbolu, Genoveva Umeh • Destiny Ogie Osarewinda • Emmanuel Kanaga, Sophia Chisom • Benedict Ehimare Oriaifo • Taaooma • Steve Chuks • Akwaman **Best Scripted M-Net Original:** • Adam to Eve • Mother of The Brides • The Yard • The Low Priest • Bobo **Best Unscripted M-Net Original:** • Nigerian Idol S10 • Ultimate Girls Trip: Africa • Chapa Chapa My Love • Out N About (Harar) • Undugu **Best Scripted Original** **Series**: *• To Kill A Monkey* *• The Yard* *• The Chocolate Empire* *• Inimba* *• Kash Money* **Best Unscripted M-Net Original:** *• The Real Housewives Of Lagos S3* • Nigerian Idol S10 *• Ultimate Girls Trip: Africa* *• Offair With Gbemi And Toolz* *• Out N About (Harar)* **Best Indigenous Language (West Africa):** • The Serpent’s Gift • Lisabi: A Legend Is Born • Labake Olododo • Olorisha • Aljana **Best Indigenous Language (East Africa):** • Inside Job • Sayari • Addis Fikir • My Son • Kimote **Best Indigenous Language (Southern Africa):** • Bet I Love You • Sebata: The Beast • Ben Made It • Terra Of Queens And Kuma 2 • Tlhaho Ya Mosadi **Best Indigenous Language (Nothern Africa):** • The Omnipresent • The Delivery • The Hidden Voice • This Is Portsaid • Artal Alhanin: Our Memories **Best Indigenous M-Net Original:** • Inimba • Kukoyi • Undugu • Kampala Creme S2 • The Chocolate Empire • Mgbuka **Best Short Film:** *Rise* – Jessie J. Rowlands *Fleas* – Jordy Sank *Telephone* – Fimisinuola Adejonwo *Hussaini* – Orire Nwani and Josh Olaoluwa *My Body, God’s Temple* – Uzoamaka Power **Best Supporting Actress:** • Linda Ejiofor – *The Herd* • Olamide Kidbaby – *Oversabi Aunty* • Bisola Aiyeola *Gingerrr* • Sola Sobowale – *The Covenant* • Nadia Dutch – *Aljana* • Amal Umar – *The Herd* •Juliebrenda Nyambura – *MTV Shuga Mashariki* • Funke Akindele – *Behind The Scenes* **Best Lead Actor:** • Mike Ezuruonye – *Oversabi Aunty* • Lateef Adedimeji – *Lisabi 2* • William Benson – *To Kill A Monkey* • Kanayo O. Kanayo – *Grandpa Must Obey* • Khumbuza Meyiwa – Bet I Love You • Uzor Arukwe – *Colours Of Fire* • Wale Ojo – *3 Cold Dishes* • Femi Branch – *Red Circle* **Best Lead Actress:** • Linda Ejiofor – *The Serpent’s Gift* • Bimbo Akintola – *To Kill A Monkey* • Ifeoma Fafunwa – *The Lost Days* • Ariyike Owolagba – *Something About The Briggs* • Sola Sobowale – *Her Excellency* • Scarlet Gomez – *Behind The Scenes* • Genoveva Umeh – *The Herd* • Gloria Anozie-Young – *Mother Of The Brides* **Best Supporting Actor:** • Simileoluwa Hassan – *The Yard* • Lateef Adedimeji – *Gingerr* • Gabriel Afolayan – *Colours Of Fire* • Bucci Franklin – *To Kill A Monkey* • Femi Adebayo – *King Of Thieves 2* • Lateef Adedimeji – *Red Circle* • Femi Branch – *Owambe Thieves* • Uzor Arukwe – *Behind The Scenes* **Best Cinematography:** • Jermaine Edwards – *My Father’s Shadow* • Kabelo Thathe – *To Kill A Monkey* • Emmanuel Igbekele – *The Herd* • Daanong Gyang – *Finding Nina* • Emmanuel Igbekele – *The Serpent’s Gift* • KC Obiajulu – *Stitches* • Emmauel Igbekele – *Gingerrr* **Best Editing:** • Kazeem Agboola – *Cordelia* • Omar Guzman Castro – *My Father’s Shadow* • Wanguma Peter Chidebere, Dele Doherty – *Landline* • Asurf Amuwa Oluseyi – *3 Cold Dishes* • Winston Aig-Ohioma – *Osamede* • Daniel Anyiam – *To Kill A Monkey* **Best Sound Design:** • Pius Fatoke, CJ Mirra – *My Father’s Shadow* • Tolu Obanro – *Gingerrr* • Vaughan Phillips – *Ben Made It* • Tolu Obanro – *The Party* • Vaughan Phillips – *Sebata:The Beast* • Fisayo Adefolaju – *The Herd* **Best Score/Music** • Duval Timothy, CJ Mirra – *My Father’s Shadow* • Nissi Ogulu – *3 Cold Dishes* • Chubb Okobah – *Osamede* • Tolu Obanro – Gingerrr • Tolu Obanro – The Party • Sofresh – *MTV Shuga Mashariki* • Oscar Heman-Ackah – *To Kill A Monkey* **Best Art Direction:** • Zainab Oladipupo – *The Serpent’s Gift* • Omolade Abisola – *The Herd* • Ajamolaya Bunmi – *Colours Of Fire* • Olatunji Afolayan, Gideon O. Stephen – *Aljana* • Victor Akpan – *Suky* • Thabiso Senne – *Inimba* **Best Makeup:** • Mojisola Imam – B*ehind The Scenes* • Adeola Bamgboye – *Lisabi: A Legend Is Born* • Dablaq Artistry – *Gingerrr* • Adeola Bamgboye – *Abanisete* • Hakeem Effect – *Warlord* • Ruth Harcourt – Suky • Adeola Bamgboye – *Labake Olododo* **Best Costume Design:** • Mary Chukwuma – *The Serpent’s Gift* • Deola Art Alade, Darey Art Alade – *The Real Housewives Of Lagos* • Valerie Okeke – *Colours Of Fire* • Yolanda Okereke – *Something About The Briggs* • Ikechukwu Urum, John Joseph Angel – *To Kill A Monkey* **Best Writing in a TV Series:** • Donald Tombia, Timendu Aghahowa, Chiemeka Osuagwu- *The Wives* • Annette Shadeya, Natasha Likimani, Mkamzee Mwatela, Arnold Mwanjila, Makgano Mamabolo – *MTV Shuga Mashariki* • Xavier Ighorodje – *Our Husband* • Besufekade Mulu – *Addis Fikir* • Temilola Balogun – *Baba Oh* • Stephen Okonkwo – *The Party* • Yednekachew Ayne – *Gizat* The annual [AMVCA](https://www.dstv.com/africamagic/en-ng/show/amvca) ceremony for 2026 will be held in Lagos, Nigeria in May and will be broadcast live on all Africa Magic channels. Which Movies/Nominees are you rooting to win big at this years’ AMVCAs? Public voting is now open for select categories, viewers can vote and support their favourite nominees [here](https://www.dstv.com/africamagic/en-ng/show/amvca/season/12/how-to-vote-amvca-12/news "here"). ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/amvca-2026-see-the-full-list-of-nominees/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/amvca-2026-see-the-full-list-of-nominees/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/amvca-2026-see-the-full-list-of-nominees/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/amvca-2026-see-the-full-list-of-nominees/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/amvca-2026-see-the-full-list-of-nominees/?share=linkedin) - **Categories:** Articles, Nollywood News **Tags:** AMVCA, AMVCA 12, AMVCA 2026, nollycritic, nollywood --- ### [Cheta Chukwu's The Child Will Carry You Selected For FIFOI 2026](https://nollycritic.com/the-child-will-carry-you-get-selected-for-fifoi-2026/) **Published:** March 31, 2026 **Author:** Michael Arowoselu **Excerpt:** The Child Will Carry You, has been selected for the Project Market at the International Indian Ocean Film Festival (FIFOI)... **Content:** *The Child Will Carry You*, has been selected for the Project Market at the [International Indian Ocean Film Festival ](https://fifoi.re/en/homepage/ "International Indian Ocean Film Festival ")(FIFOI). Taking place from April 14 to 19, 2026 in Saint-Paul, Réunion Island (France). FIFOI is an international festival that brings together filmmakers and industry professionals from across the Indian Ocean region and beyond. As part of FIFOI: The Market, selected filmmakers are invited to present their projects to producers, financiers, and collaborators, opening up opportunities for development and co-production. The project is a Nigerian/Kenyan co-production, and I will be presenting *The Child Will Carry You* as part of the Short Film Pitch selection, alongside a diverse group of filmmakers from Kenya, South Africa, Madagascar, India, and Réunion Island. The selected projects include: *Chovu* – Lydia Matata (Kenya) *Ngithembe (Trust Me)* – Samke Makhoba (South Africa) *Sitraka Sy Telina* – Aina Randrianatoandro (Madagascar) *Leaking Fridge, Crying Baby* – Bauddhayan Mukherji (India) *Do Lo La Rivier I Koul Da’ Mèr* – Célia Berby Maillot (Réunion Island) *Babouk-Man* – Boris Lallemand (Réunion Island) *Bus Depot* – Prantik Narayan Basu (India) *The Child Will Carry You* – [Cheta Chukwu](https://www.imdb.com/name/nm6216272/ "Cheta Chukwu") (Kenya) *The Child Will Carry You* is a psychological drama rooted in magical realism. It follows a grieving mother, haunted by the loss of her unborn child, who finds solace in her imaginative son. When his mysterious presence begins to slip away, she is forced to confront her grief and fight with everything she has to make him stay. The project is produced by Kenyan producer Ivy Kiru (*Free Money*, Toronto International Film Festival) and Nigerian producer Orwi Manny Ameh (*Hello Rain*, BFI London Film Festival), and is currently in development. [Cheta Chukwu ](https://nollycritic.com/cheta-chukwu-selected-for-2025-red-sea-lodge/ "Cheta Chukwu ")believes that: > Being selected for FIFOI’s Project Market is a meaningful step for me and for the project. It offers an opportunity to engage with an international network of filmmakers and industry professionals, and to continue building the film within a global context. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/Ivy-Headshot-2-1.jpg?resize=640%2C582&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_3527.jpg?resize=640%2C640&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/DSC02343-1.jpg?resize=640%2C853&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_2942.jpg?resize=640%2C791&ssl=1) ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-child-will-carry-you-get-selected-for-fifoi-2026/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-child-will-carry-you-get-selected-for-fifoi-2026/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-child-will-carry-you-get-selected-for-fifoi-2026/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-child-will-carry-you-get-selected-for-fifoi-2026/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-child-will-carry-you-get-selected-for-fifoi-2026/?share=linkedin) - **Categories:** Nollywood News **Tags:** Cheta Chukwu, International Indian Ocean Film Festival, nollycritic, nollywood, vy Kiru --- ### [Queens Don’t Crawl: A Fresh Romance with a Strong Message](https://nollycritic.com/queens-dont-crawl-a-fresh-romance-with-a-strong-message/) **Published:** April 1, 2026 **Author:** Uju Okosieme **Excerpt:** Omoni Oboli's Queens Don't Crawl is her first EbonyLife ON Plus original. It quietly debuted earlier this year, and we’ve finally had... **Content:** Omoni Oboli’s *Queens Don’t Crawl* is her first [EbonyLife ON Plus ](https://ebonylifeonplus.com/ "EbonyLife ON Plus ")original. It quietly debuted earlier this year, and we’ve finally had the chance to check it out. Let’s get into it. ## *Queens Don’t Crawl* Directed by: Michael Ndiomu Produced by: Michael Ndiomu, Samuel Ifeanyi Nnam Genre: Thriller Released on: March 13, 2026 (Cinemas) Language: English ## A Viral Moment That Changes Everything *Queens Don’t Crawl* is an emotional drama about love, loss, pride, and redemption as a media star’s life begins to unravel after one poor decision. During a drunken toast at her friend Mirabel’s engagement party, Mena publicly admits she feels jealous of her friends’ marriages. Unfortunately for her, the moment is captured on video and quickly goes viral, triggering backlash that threatens both her reputation and her career. In an attempt to repair the damage, Mena lies during an interview and claims she is already in a relationship. What begins as a quick attempt to save face soon spirals into something much bigger when she meets a man who conveniently fits the exact description she gave on air, pulling her into a whirlwind romance she may not fully understand. ## Romance with a Twist Beneath the Surface At its core, the story follows Mena as she navigates the fallout from her viral embarrassment while desperately trying to reclaim both her image and her personal life. Her need to prove she has found love pushes her into a relationship that initially seems perfect but gradually begins to reveal cracks. While the film initially presents itself as a fairly straightforward romantic drama, certain elements help keep it interesting. Mena’s church background and Dave’s true intentions introduce layers that give the story a slightly darker and more intriguing edge than expected. These twists prevent the narrative from feeling like a typical Nollywood romance and add a level of unpredictability to the plot. ## Performances That Anchor the Film [Omoni Oboli ](https://nollycritic.com/omoni-oboli-the-art-of-reinvention-in-nollywood/ "Omoni Oboli ")delivers a solid performance as Mena, capturing both her vulnerability and stubborn pride as her life begins to spiral. Opposite her, Uzor Arukwe brings charm and quiet intensity to the role of Dave. Together, they share just enough chemistry to make the relationship believable. The film also benefits from a strong supporting cast, including Uzor Osimkpa, Akin Lewis, and Paul Utomi, all of whom add weight to the story and help ground the film’s emotional moments. ## Clean Visuals and Effective Sound Design From a technical perspective, the film adopts a vibrant colour palette that complements its themes and overall tone. The cinematography favours straightforward compositions rather than experimental visuals, which works well for the story being told. The music is also used effectively, particularly in moments where suspense begins to build. While the film doesn’t attempt anything particularly groundbreaking visually, its clean and polished presentation ensures the storytelling remains clear and engaging. ## When the Story Starts to Stretch One element that feels slightly mismatched is the title. *Queen’s Don’t Crawl*—the name of Mena’s podcast—does appear within the film, but it still feels somewhat disconnected from the overall story. For the most part, the film holds attention and maintains a unique tone. However, the final act begins to feel slightly stretched out, making the film seem longer than it needs to be. The major plot twist is somewhat surprising, but at the same time, it carries the feeling that viewers might have been able to see it coming if the clues had been more clearly emphasised. ## Verdict Ultimately, *Queen’s Don’t Crawl* explores the pressures placed on women by society and social media, particularly the expectation to find love and settle down. It highlights how those pressures can push people into difficult situations while also offering a hopeful reminder that redemption and clarity can still emerge from mistakes. While the film isn’t perfect, its performances and engaging premise make it an enjoyable watch. For that reason, it earns **3 out of 5 stars**. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/queens-dont-crawl-a-fresh-romance-with-a-strong-message/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/queens-dont-crawl-a-fresh-romance-with-a-strong-message/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/queens-dont-crawl-a-fresh-romance-with-a-strong-message/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/queens-dont-crawl-a-fresh-romance-with-a-strong-message/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/queens-dont-crawl-a-fresh-romance-with-a-strong-message/?share=linkedin) - **Categories:** Reviews **Tags:** Ebonylife, Mo Abudu, nollycritic, nollywood, Omoni Oboli, ON PLUS, Reviews, Uzor Arukwe --- ### [Headless: An Intriguing Idea Undone by Its Excesses](https://nollycritic.com/headless-an-intriguing-idea-undone-by-its-excesses/) **Published:** March 30, 2026 **Author:** Shalom O. Obisesan **Excerpt:** There is a version of Headless that feels genuinely exciting. Not because of what it is about, but because of what it tries to do... **Content:** There is a version of *[Headless](https://www.imdb.com/title/tt31541720/ "Headless")* that feels genuinely exciting. Not because of what it is about, but because of what it tries to do. A crime story folded into a reflection on Nollywood itself. A filmmaker at the centre of it all. A system exposed from within. These are strong, purposeful ideas. And for a good stretch of its runtime, the film holds your attention on the strength of that ambition alone. But *[Headless](https://nollycritic.com/headless-filmone-to-distribute-new-nollywood-thriller/ "Headless")* is also a film that keeps undercutting itself. It reaches for insight, then settles for surface. It builds tension, then explains it away. It gestures toward something sharper, more deliberate, but never quite commits even though it continuously attempts. ## *Headless* Directed by: Michael Ndiomu Produced by: Michael Ndiomu, Samuel Ifeanyi Nnam Genre: Thriller Released on: March 13, 2026 (Cinemas) Language: English ### **A Meta-Narrative Without Narrative Function** Directed by Michael Ndiomu, the film follows Erastus, played by Gideon Okeke, a struggling filmmaker whose pursuit of industry recognition entangles him in a network of crime and institutional compromise. The film introduces a meta-narrative centred on Nollywood’s hierarchy, particularly the idea of “cinema faces” and the divide between mainstream visibility and independent production spaces. While this layer suggests an intention to interrogate the industry, it eventually functions as decorative rather than structural. The narrative does not depend on it. The meta elements are presented, referenced, and acknowledged, but they do not shape character decisions or narrative progression in any meaningful way. As a result, what should operate as a critical lens becomes a superficial addition. The film gestures toward commentary without developing a clear position, reducing what could have been a defining strength to an underutilised concept. ### **Narrative Momentum Undermined by Excessive Explanation** For much of its duration, *Headless* maintains narrative engagement through its pacing and shifting dynamics. The stakes are clearly established, and the progression of events sustains attention. This control deteriorates in the final act. The film abandons restraint in favour of explicit exposition. Characters begin to over-articulate motivations, conflicts are resolved through extended dialogue, and key developments are explained rather than dramatised. This reliance on verbal clarification weakens the narrative’s tension and undermines its internal logic. The use of flashbacks to reinforce these explanations further exposes the lack of structural discipline. Rather than enriching the story, they function as corrective devices, compensating for information the film failed to communicate effectively within its primary timeline. The result is a conclusion that feels constructed for clarity rather than impact. ### **Performances Defined by Exaggeration Rather Than Nuance** The film’s struggle with believability is most evident in its performances. [Gideon Okeke](https://www.imdb.com/name/nm2367570/ "Gideon Okeke") delivers a portrayal that is persistently heightened, relying heavily on accent and external mannerisms. While these choices appear intended to ground the character in a specific cultural identity, they lack modulation. The performance does not evolve. It remains fixed in intensity, which diminishes its credibility over time. This issue extends beyond a single performance. Femi Branch and Baaj Adebule adopt similarly exaggerated approaches, reinforcing familiar archetypes rather than developing layered characters. These portrayals push the film away from realism and toward caricature, particularly in moments that demand psychological depth. The cumulative effect is a cast that operates on uneven tonal frequencies, preventing the film from establishing a consistent emotional register. ### **Tonal Instability and Inconsistent Characterisation** The film presents itself as grounded and reflective, yet its execution repeatedly contradicts that intention. Moments that should sustain dramatic weight are compromised by exaggerated reactions and overstated dialogue. The handling of antagonistic characters is particularly affected. Their motivations are not revealed through behaviour or implication but are instead articulated in direct, often excessive, exposition. This approach reduces complexity and aligns the film with familiar, less sophisticated narrative patterns. As a result, the film’s tonal identity remains unstable. It neither fully commits to realism nor effectively integrates its exaggerated elements into a cohesive stylistic framework. The most significant structural issue lies in the final act. The film transitions from controlled storytelling to overt explanation, resolving conflicts through dialogue-heavy sequences that prioritise completeness over credibility. Character decisions become increasingly difficult to justify, and key actions lack sufficient narrative grounding. The climax, introduces developments that are not adequately prepared for within the earlier stages of the film. This creates a disconnect between set-up and resolution, reinforcing the impression of a narrative that loses direction as it approaches its conclusion. What should function as a culmination instead exposes the film’s underlying weaknesses. ### **Final Thoughts** *Headless* is defined by the gap between its conceptual ambition and its execution. It introduces relevant ideas, constructs an engaging premise, and demonstrates an awareness of the industry it seeks to reflect. However, it fails to translate that awareness into a cohesive narrative. The meta-narrative lacks functional relevance, the performances lean too heavily on exaggeration, and the third act abandons discipline in favour of excessive explanation. Despite its strengths, the film ultimately reinforces a familiar pattern. Strong ideas are introduced but not fully realised. Narrative control is established but not sustained. The result is a film that remains engaging in parts, but is ultimately weakened by its inability to maintain clarity, restraint, and structural consistency. ### **Verdict** A conceptually strong film that loses precision in execution, undermined by exaggerated performances and a structurally weak final act. What remains is a film that is watchable, occasionally sharp, but ultimately defined by what it could have been. **Rating**: 1.75/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/headless-an-intriguing-idea-undone-by-its-excesses/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/headless-an-intriguing-idea-undone-by-its-excesses/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/headless-an-intriguing-idea-undone-by-its-excesses/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/headless-an-intriguing-idea-undone-by-its-excesses/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/headless-an-intriguing-idea-undone-by-its-excesses/?share=linkedin) - **Categories:** Reviews **Tags:** Baaj Adebule, cinema faces, corruption, crime drama, Femi Branch, Film Critique, Film review, Gideon Okeke, Headless, industry critique, meta-cinema, Michael Ndiomu, nigerian cinema, Nollytube, nollywood, Uzoamaka Aniunoh --- ### [Mother’s Love: Strong Themes Undone by Weak Believability](https://nollycritic.com/mothers-love-strong-themes-undone-by-weak-believability/) **Published:** March 23, 2026 **Author:** Shalom O. Obisesan **Excerpt:** At the centre of Mother’s Love is a conflict that feels immediately familiar. A child wants space. A parent, shaped by fear, refuses to let go. **Content:** At the centre of *[Mother’s Love](https://www.imdb.com/title/tt37658528/ "Mother’s Love")* is a conflict that feels immediately familiar. A child wants space. A parent, shaped by fear, refuses to let go. It is the kind of emotional tension that can easily ground a powerful story. The film recognises this tension. It just never fully convinces us of it. The intention is clear from the very beginning. This is a [film](https://nollycritic.com/?s=film "film") that wants to speak about grief, class, identity, and the emotional cost of overprotection. The problem is not what the film is trying to say. The problem is how it says it. *Mother’s Love* struggles to ground its world in believable human behaviour, and because of that, its emotional weight never fully lands. ## *Mother’s Love* Directed by: Omotola Jalade-Ekeinde Written by: Tyna Obahiagbon Genre: Drama Released on: March 6, 2026 (Cinemas) Language: English ## **When Grief Turns Into Caricature** One of the film’s central ideas is compelling. Parents, shaped by past loss, become overprotective to the point of suffocation. It is a familiar reality in many homes, and the film recognises this. The issue is that the portrayal of these parents rarely feels human. From the opening moments, their behaviour is exaggerated to the point of distraction. In an early social setting, a simple interaction between their daughter and a young man immediately escalates into an overly dramatic reaction. The father dismisses the boy’s presence entirely, ignoring basic courtesy, while the mother responds with a level of outrage that feels disproportionate to the situation. The dialogue in this moment does not sound like natural speech. It sounds like a performance of strict parenting rather than a lived experience of it. This becomes a recurring problem. The parents are clearly meant to be understood as people shaped by grief, but their actions are presented with such blunt intensity that they begin to resemble caricatures rather than individuals. The film tells us their pain, but it rarely allows us to feel it. Instead of layered emotional conflict, we get exaggerated control. As a result, the central tension between love and suffocation loses its complexity. What should feel like a tragic emotional contradiction instead feels simplified. ## **A Story That Explains Too Much and Shows Too Little** Another major weakness lies in the film’s writing. *Mother’s Love* frequently relies on heavy-handed exposition, where characters explain things the audience can already see. Moments that should be communicated through behaviour are instead spelled out through dialogue. Characters describe their circumstances, their differences, and even their emotions in ways that feel overly direct. Rather than trusting the audience to interpret the class divide or emotional tension, the film repeatedly verbalises it. This approach weakens immersion. Instead of being drawn into the story, the viewer becomes aware of the film trying to guide their reaction. The world stops feeling natural and starts feeling constructed. The issue is not that the themes are unclear. In fact, they are very clear. The issue is that they are presented without subtlety. ## **Class Divide Without Consequence** The film introduces a familiar but effective contrast between privilege and survival through its two central environments. On one side is wealth, control, and structure. On the other is a more grounded, communal existence shaped by necessity. Visually, this contrast works. The Makoko setting in particular feels lived-in and textured. The environment adds authenticity and provides a believable backdrop for the story’s exploration of class difference. However, the film does not push this idea far enough. The class divide remains mostly surface-level. It exists as a contrast, but it is rarely interrogated. The emotional and psychological impact of crossing between these worlds is not explored with the depth it deserves. We see the difference, but we are not made to fully feel what that difference costs. ## **Performances That Feel Performed** In a film driven by emotional conflict, performance becomes critical. Unfortunately, this is where *Mother’s Love* struggles the most. Noray Nehita’s portrayal of the lead character lacks the nuance required for the role. Her performance often leans toward exaggerated emotional expression, shifting between moods in a way that feels more acted than lived. In moments that require internal conflict, the portrayal becomes surface-level, relying on visible emotion rather than psychological depth. This creates a disconnect. The audience is told that the character is struggling, but the performance does not always make that struggle believable. [Omotola Jalade Ekeinde](https://www.imdb.com/name/nm2122395/ "Omotola Jalade Ekeinde") delivers a stronger performance in comparison, bringing presence and authority to her role. However, even her portrayal is not entirely free from the film’s broader tonal issue. The same tendency toward exaggeration appears, though it is more controlled. The result is a film where performances often feel like interpretations of emotion rather than natural expressions of it. ## **A Romance That Exists Because It Must** The romantic thread at the centre of the film feels underdeveloped. The connection between the two characters is present, but it does not feel fully earned. Their interactions lack the sense of familiarity and ease that would make the relationship convincing. Body language feels slightly forced, and dialogue often carries a performative quality rather than a natural rhythm. The relationship progresses in a way that feels expected rather than organic. It works within the structure of the story, but it does not deepen it. ## **Technical Competence, Uneven World-Building** From a technical standpoint, *Mother’s Love* is competent. The cinematography captures its environments clearly, and the visual contrast between locations is effective. However, the film’s sense of realism is inconsistent. While Makoko feels grounded and lived-in, other environments do not reach the same level of authenticity. The NYSC camp sequences, for instance, feel staged. The absence of expected details and the limited sense of activity reduce the believability of what should be a communal space. This inconsistency affects immersion. The film feels real in parts and artificial in others, preventing it from fully pulling the audience into its world. ## **Final Thoughts** *Mother’s Love* is a film with clear intentions. It wants to explore grief, control, class, and independence. These are meaningful themes, and the film understands their relevance. What it struggles with is execution. By simplifying complex human behaviour, relying on heavy exposition, and leaning into exaggerated performances, the film weakens its own emotional impact. Instead of drawing the audience into its world, it keeps them at a distance. The ideas are understood, but they are rarely felt. This is not a failure of vision. It is a failure of grounding. The film knows what it wants to say, but it does not always trust realism enough to let those ideas breathe. ## **Verdict** *Mother’s Love* presents relevant and relatable themes but struggles to translate them into a believable emotional experience. Viewers may recognise the issues it raises, but the film’s lack of subtlety and realism makes it difficult to fully connect with its story. **Rating**: 1.75/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/mothers-love-strong-themes-undone-by-weak-believability/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/mothers-love-strong-themes-undone-by-weak-believability/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/mothers-love-strong-themes-undone-by-weak-believability/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/mothers-love-strong-themes-undone-by-weak-believability/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/mothers-love-strong-themes-undone-by-weak-believability/?share=linkedin) - **Categories:** Reviews **Tags:** Baba Rex, class divide, coming-of-age, Drama, Film Critique, Film review, grief, Ifeanyi Kalu, lilian afegbai, Makoko, Mother’s Love, Nigerian Film, nollywood, Noray Nehita, NYSC, Olumide Oworu, Omotola Jalade Ekeinde, overprotective parenting, parental control, rich vs poor, romance drama, trauma, Tyna Obahiagbon --- ### [Olive Nwosu on the Origins and Social Realities of Lady](https://nollycritic.com/olive-nwosu-on-the-origins-and-social-realities-of-lady/) **Published:** March 20, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Olive Nwosu reflects on the film’s origins, the social realities that informed it, and the emotional architecture behind its characters... **Content:** Following its premiere at the **2026 Sundance Film Festival**, where it received the **Special Jury Award for Acting Ensemble**, *[Lady](https://www.imdb.com/title/tt38111477/ "Lady")* quickly entered the international festival conversation. Written and directed by Nigerian-British filmmaker **[Olive Nwosu](https://www.imdb.com/name/nm4572334/ "Olive Nwosu")**, the film marks her feature directorial debut and builds on the thematic interests she explored in her earlier short films *Troublemaker* and*[ Egungun](https://www.imdb.com/name/nm4572334/ " Egungun")*. Set in Lagos, *Lady* follows a rare female taxi driver navigating survival, ambition and emotional upheaval in a city shaped by protest, economic precarity and restless possibility. As the story unfolds, the film gradually expands beyond a portrait of one woman’s life to explore the systems that shape it: political unrest, gendered labour, migration dreams and the fragile solidarities that emerge among women trying to survive the same city. In this [interview](https://nollycritic.com/category/interviews/ "interview"), Olive Nwosu reflects on the film’s origins, the social realities that informed it, and the emotional architecture behind its characters. From the symbolism of Lagos itself to the complexities of agency, solidarity and freedom, the director discusses the creative decisions that shaped her debut feature. #### To start, could you introduce yourself and tell us a bit about your journey into filmmaking? And how did *Lady* come about? I’m Olive Nwosu. I’m a writer and director, and *Lady* is my debut feature. I’ve been in and out of film for about fifteen years now. It’s been quite a convoluted journey. I moved from Nigeria to the United States for my undergraduate degree, where I studied engineering. Because it was a liberal arts college, I was able to take classes in the arts and social sciences as well, and that’s where I took my first film class. I had always loved watching films, but only as a pastime. That course was an introduction to film theory, and it was the first time I encountered film in a serious intellectual context. It completely blew my mind. I had never realised that films could be studied and discussed with that level of depth. I knew that kind of analysis existed for literature, because I had always read books, but I had never considered it in relation to film. I was seventeen at the time, and I just loved it. While I started at Oberlin in Engineering, I eventually got a double major in Economics and Film. My school offered a few production courses as well, so I started making these like experimental, weird little videos while I was there and some documentary work. But then that was it. I graduated. I worked in finance. I worked in advertising. I did a master’s degree in psychology. But at the back of my mind, the love for filmmaking was always there. And I was trying to write a screenplay and just honestly trying to figure out if this was a viable career and what that looks like when you’re Nigerian. Eventually, when I was 25, I just thought you got to do what you love. You got to try at least. I left my job, moved from the UK, and applied to the MFA programme at Columbia University. And so it was very dramatic. I quit my job. I left the UK. I applied to my MFA program at Columbia. And that really was the big turning point. So I went to New York, did that for four years and just really learned the tools of filmmaking there. Those four years in New York gave me the time and space to think deeply about what kind of films I wanted to make. I also value the years I spent away from filmmaking before that, because they gave me life experiences to draw from. While in that programme, I made two short films, *Troublemaker* and *Egungun* *(Masquerade).* I also started writing the screenplay for *Lady* during a screenwriting class in my second year. Right after graduating, we were fortunate enough to have Film4 come on board to develop the project. And now, here we are. *Lady* exists. #### The film opens with Lagos literally upside down. Was that visual choice meant to signal that both the city and Lady’s world are out of balance, or were you also thinking about creating a kind of psychological disorientation for the audience? It was both. That shot came very early in my thinking about the film. It’s very much about the upside downness of the world and Lady’s world. It also really speaks to the subjective experience I want the audience to feel so that we are equally as imbalanced as she is. The film is highly subjective, and I wanted viewers to experience Lagos and Lady’s perspective alongside her. #### One thing that stood out is how the protests are constantly present throughout the film, yet Lady’s resistance feels much more internal. In a country where protest is often the loudest form of resistance, why did you choose to explore her struggle in a quieter, more interior way? The film really began as a character study. I wanted to investigate an interior awakening for a female character who is ambitious and in many ways so powerful, but unable and unwilling to examine her own inner demons. Lady believes she has agency. She works hard, she earns money, and she feels proud of her independence. And slowly over the course of the film, as the protest is happening, she has to contend with the reality that there are systems bigger than her that are pressing on her life. So no matter how much money she has, no matter how hard she works, no matter how much money she saves, if Lagos doesn’t change, she’s stuck. There is a real pain in realising that you are only one small part of a much larger structure. It’s almost like you’re a small piece of the big puzzle and you have no control of the big picture. The protests represent the larger social movement surrounding her. Lady’s journey begins as an internal struggle, but it eventually pushes her toward recognising that meaningful change requires collective action. #### The ending is quite striking and, for many viewers, unexpected. Did you always imagine the story concluding that way, or did that resolution evolve as you were developing the film? Yeah, it always felt like that’s the way it would end; around care and around love. To be honest, the relationship between Lady and Pinky is very real, and for me there was never a version of the story where Lady makes a purely individualistic choice. This idea also connects to the Igbo concept of *umu nna* or communal identity. In many Nigerian communities, identity is not purely individual but collective. The Western idea of the lone hero making a decision solely for themselves is not always how our societies function. Lady’s decision is shaped by that communal understanding of responsibility. #### I also wanted to ask about Freetown. It’s a real place, but in the film it almost feels symbolic as well. How did you think about it while writing the story? For Lady, Freetown is an ideal. It’s that psychological safe space and an imagined version of home that we all crave. Lady’s mother is from freetown as well so there’s that connection to home and to where one feels seen and safe and free so it carries that connection to origin and belonging. But Lady has never been there herself. She constructs an image of it in her mind as a place where she could be free and safe. Freetown is also a real place as well. It was founded by freed African slaves returning from the diaspora. But like many historical dreams, its reality has been complicated. The idea of Freetown in the film reflects a universal human longing for a place where one can feel truly at home. #### Pinky’s character complicates a lot of social ideas about shame and morality. In your research, you spent time speaking with sex workers in Lagos. Were you intentionally trying to frame sex work in the film as a form of agency as well as vulnerability? It’s complicated. While researching the film, I spent time speaking with sex workers and spending time in Makoko and other parts of Lagos. I felt many things. I felt that women should have more economic choices, because some women turned to sex work because they had very few economic options. Which is a very tough choice. But I also encountered a strong sense of agency among many of them. For some, leaving restrictive family structures and living independently in Lagos offered a sense of freedom they had never experienced before. And among them, I found a vibrant sense of freedom. There is humour, sadness, ugliness, and beauty. There’s camaraderie, a lot of love, makeup and clothes, and wanting to have a good time. But the next morning always brought the reality of the work they were doing. The precarity. The danger. Still real. The danger. So real. Ultimately, the research reinforced the idea that women need more economic choices. Many women are forced into difficult decisions because their options are limited. #### There’s also a fascinating parallel between Lady and Lagos itself. Both feel volatile, emotional, and unpredictable. Were you intentionally framing the city as something that mirrors the protagonist? Yes, absolutely. We had a line that I got rid of at some point, describing Lagos, as “our miserable mistress.” Because it’s true. The city carries the same emotional unpredictability as Lady herself. Because she is a taxi driver, she spends all her time moving through the city. She absorbs its energy and thrives within that chaos. The goal was for the audience to feel that energy alongside her. By the end of the film, it should feel as if you’ve been sitting in the car with her, travelling through Lagos and experiencing the city as she does. #### The friendships between the women feel very raw and lived-in rather than sentimental. How important was it for you to centre that sense of solidarity between women as a form of survival or even liberation? It was absolutely central to the film. The relationships between Lady, Pinky, Sugar, and the other women are about survival as much as friendship. When systems fail people, they often rely on each other. That sisterhood becomes a form of care and protection. These women hold one another through difficult moments, even though their relationships can be complicated and messy. Throughout the production we worked intentionally to build that emotional architecture among the actors so that the relationships would feel real on screen. Friendships, like families, are complicated. No friendship is perfect. You can hurt each other and still love each other deeply. That complexity was important to show. #### Another element that runs through the film is the voice of the radio host, DJ Revolution. His voice is present throughout the story. What role does that voice play in shaping Lady’s journey? Lady spends much of her time driving with the radio playing, so that voice becomes part of her daily environment. DJ Revolution represents a broader political consciousness in Lagos. His voice carries the film’s central ideas about liberation and collective awakening. He isn’t going to change Nigeria by himself, of course. But voices like that can spark reflection. If enough people begin to question their reality, then change can begin collectively. #### The idea of liberation seems to sit at the centre of the film as well. When you think about Lady’s journey, what do you feel freedom ultimately costs her? I think Lady lets go of one idea of freedom in order to embrace another. For much of the film she believes freedom exists somewhere else, in a place like Freetown. But over time she begins to realise that freedom might not require running away. Through her experiences and relationships, something inside her begins to heal. That healing allows her to reconsider what freedom actually means. #### There’s also that moment on the beach. Did you always see that scene as a necessary turning point for the character, something she needed to confront in order to move forward? Again, it comes back to agency. As a child, Lady had no agency in what her mother did. So as an adult, seeing a woman in need and choosing to act becomes crucial for her, even though the situation is more complex than that. In her reality, this is what is happening. From a psychological perspective, a person can remain stuck in a memory, frozen in trauma. Coming alive again often means being able to act, to reclaim ownership of an event or a story. Lady has to do that. And with that act comes a kind of release, one that allows her to let go of older ideas about what she wants for herself. Once something within you has healed, or a question has been answered, new possibilities begin to open up. #### Finally, what are the next steps for *Lady*? What can audiences expect in terms of the film’s journey after Sundance? We will continue on the festival circuit and, at some point, the film will come to cinemas. I am hopeful that everyone will come out to see it. I am especially curious about the conversations it might spark, particularly with African mothers. That is the conversation I am really waiting for. I suspect it will be interesting. Through Olive Nwosu’s reflections, *Lady* reveals itself as more than a portrait of one woman navigating Lagos. The film becomes a meditation on agency, community and the complicated paths people take in search of freedom. By situating Lady’s personal awakening within the wider political and social realities of the city, Nwosu crafts a story that moves between the intimate and the collective. As the film continues its festival journey and prepares for wider release, *[Lady](https://www.imdb.com/title/tt38111477/)* invites audiences to reflect on what liberation truly means, and on the choices people make when the dreams they chase begin to change shape. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/olive-nwosu-on-the-origins-and-social-realities-of-lady/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/olive-nwosu-on-the-origins-and-social-realities-of-lady/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/olive-nwosu-on-the-origins-and-social-realities-of-lady/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/olive-nwosu-on-the-origins-and-social-realities-of-lady/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/olive-nwosu-on-the-origins-and-social-realities-of-lady/?share=linkedin) - **Categories:** Articles, Interviews **Tags:** african cinema, Contemporary cinema, Diaspora film, egungun, Female directors, film, Film Analysis, film criticism, Film interviews, Gender and society, Identity, Independent Film, Lady film, Lagos, Migration, nigerian cinema, olive nwosu, Social realism, storytelling, Sundance Film Festival, women in film --- ### [Birdie Through the Eyes of Its Cast](https://nollycritic.com/birdie-through-the-eyes-of-its-cast/) **Published:** March 16, 2026 **Author:** Shalom O. Obisesan **Excerpt:** If Birdie is a film built on silence, then its performances are where that silence begins to speak. We spoke with actors... **Content:** If *[Birdie](https://www.imdb.com/title/tt39161293/ "Birdie")* is a film built on silence, then its performances are where that silence begins to speak. We spoke with actors [Sheila Chiamaka Chukwulozie](https://www.imdb.com/name/nm13205174/ "Sheila Chukwulozie"),[Eniola Margaret Abioro](https://www.imdb.com/name/nm10137207/ " Eniola Margaret Abioro"), and*[Precious Maduanusi](https://www.imdb.com/name/nm17969050/)* about building Celeste, English, and Birdie from the inside out. Their reflections reveal how the film’s grief, restraint, and emotional intelligence were carried through observation, stillness, and deeply personal connection. ![birdie](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/birdie_stills_20251215_1.18.1-1.jpg?resize=640%2C360&ssl=1)Precious Maduanusi (Birdie)## In Conversation with Precious Maduanusi **Actor (Birdie)** **Q:** Could you introduce yourself and tell us a little about your background and how you became involved in *Birdie*? **Precious Maduanusi:** Hi everyone. My name is Precious Maduanusi. I was born in Lagos, Nigeria. Growing up, I always loved film and television. I used to write and read a lot as a child. When I moved to the United States that interest stayed with me, and I became even more inspired by Hollywood and the storytelling culture here. I wanted to be part of that world, but I also wanted to help represent people who look like me. When I was younger I didn’t always see people who looked like me in the films I watched, aside from Nollywood. That made me want to be part of storytelling myself. That’s ultimately what led me to acting. **Q: How did your family react when they found out you were appearing in a film?** **Precious Maduanusi:** They actually haven’t seen the film yet. For my mum it still feels a little surreal. She’ll say things like, “You’re in a film?” It hasn’t fully sunk in for her yet. But my family has been very supportive. When I was at Sundance I was FaceTiming them a lot during the whole experience and sharing everything that was happening. **Q: When you first read the script, what was your emotional reaction to the story and to your character?** **Precious Maduanusi:** When I first heard about the project I was actually auditioning for the role of English. So when I read the script initially, I was reading it through the perspective of a very quiet and observant character. Later it was decided that I would play Birdie instead. That meant I had to shift how I approached the story. English observes everything, but Birdie is different. Birdie wants movement. She wants urgency. She wants life to change. That shift made the role very exciting for me because it gave me a lot to explore emotionally. At the same time, Birdie reminded me of myself during my teenage years when I wanted to try new things and explore the world. So I felt a strong connection to her. **Q: In what ways are you similar to Birdie, and in what ways are you different?** **Precious Maduanusi:** One similarity we share is the determination to pursue what we want, even when there is pressure around us. If I want something, I go for it. Birdie has that same spirit. Where we differ is in how bold she is. I’m bold, but Birdie is even bolder. There is a scene where she confronts her mother and says that her father is dead. Every time I watch that scene I think to myself that if I were in that situation with my own mother, I would never say it like that. As an African child, I would probably sit down and prepare the moment carefully before saying something like that. Birdie says it immediately and without hesitation. **Q: Was there a particular scene during filming that stayed with you?** **Precious Maduanusi:** We filmed a lot over four days, but one of the moments that stayed with me the most was the prayer scenes where the family kneels together. It might sound ironic because of Birdie’s personality, but those moments were very vulnerable for all three characters. When they kneel, pray and look at the cross, you feel hope, grief and uncertainty all existing in the same moment. Everything is hanging in the air emotionally. We actually practised those kneeling positions several times because Praise was very particular about how she wanted the moment to look and feel. **Q: If you had to describe Birdie in three words, what would they be?** **Precious Maduanusi:** Bold, explorer and girl. She is bold because she pushes against the limitations around her. She wants more from life. She is an explorer because she wants to experience new things and see what the world has to offer. And I say girl because we should remember that she is still very young. Beneath all of her boldness she is still a teenager trying to figure out life. **Q: Birdie seems both fragile and resilient. How did you balance those two sides of her character?** **Precious Maduanusi:** I give a lot of credit to Praise for helping guide that balance. There were moments where I thought Birdie should be more playful in certain scenes. Sometimes Praise encouraged restraint instead. At first I didn’t fully understand that direction, but when I watched the finished film at Sundance it made complete sense. Birdie wants to explore life, but she is still a girl living in the middle of uncertainty. Her father is missing during a war. That emotional reality never disappears. So even when she pushes forward, that weight is still present. **Q: If Birdie could speak freely without fear, what do you think she would say?** **Precious **Maduanusi**:** I think she would say, “It will be okay. It won’t be like before, but it will be okay.” Throughout the film Celeste and English struggle to accept what might have happened to their father. Birdie is the one who wants to move forward. Even if she does it in a messy way, she believes that life can continue and that the family can still build something new. **Q: What was the biggest challenge you faced while working on the film?** **Precious Maduanusi:** Sometimes it was the difference between how I imagined a scene and how Praise imagined it. But those conversations were actually very helpful. Praise and the producers created an environment where actors could share their thoughts and discuss ideas. I’ve heard stories about productions where actors are not encouraged to contribute creatively, so I really appreciated the openness on this set. **Q: Do you see yourself continuing to pursue acting?** **Precious Maduanusi:** Yes, absolutely. I’m actually starting my first acting classes soon. Working on *Birdie* was such a fulfilling experience and it confirmed that this is something I want to keep doing. I want to continue telling stories that inspire people and that help people feel seen and understood. **Q: Any final thoughts you would like to share with audiences?** **Precious Maduanusi:** I hope people support *Birdie* and take the time to watch it. It’s an important story about immigration, displacement, longing and identity. Those themes are very relevant today, especially in the current political climate in the United States. Stories like this deserve to be seen. ![birdie](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/birdie_stills_20251215_1_2E13_2E1.jpg?resize=640%2C360&ssl=1)**Sheila Chukwulozie** (Celeste)## In Conversation with Sheila Chukwulozie **(Celeste)** **Q: Before we talk about the film, could you introduce yourself and tell us a little about your background and how you got into acting?** **Sheila Chukwulozie:** I’ve kind of been doing this my whole life in a way. Since I was a child I’ve always been drawn to storytelling. I have three siblings, but they’re much older than me. The one closest to me is seven years older, so growing up it often felt like I was an only child. Because of that I spent a lot of time creating worlds for myself. I would make little plays with objects in the house. My mum sold shoes, so I would go to her store and create whole theatre scenarios with the shoes and bags. Typical childhood things, but I was always building worlds. That love for world-building stayed with me. I realised that acting was one way I could use my body and presence to communicate stories and ideas. When I went to university I studied theatre and dance, but I was also pursuing international relations and political science. At one point my design professor said something that really stayed with me. She said; “You don’t actually have to do all the other things. You’re very good at this.” As an African child, my instinct was to resist that idea. I thought I had to do everything and not waste opportunities. But eventually I realised that what I was doing in theatre wasn’t so different from what I was doing in political science. Both are about understanding the world and the relationships between people. The difference is that in one you write an essay, and in the other you build a world on stage or on screen. That’s really how I came fully into acting. **Q: When you first encountered Celeste in the script, what stood out to you about her? How did you begin building her world as a character?** **Sheila Chukwulozie:** When I first read the script, I didn’t just read Celeste. I saw her. I’m Igbo, and the film takes place within the historical backdrop of the Biafran War. That history has always interested me, especially the ways it continues to live in the lives of people who weren’t directly part of the war but come from families shaped by it. Growing up I observed the women in my family very closely. They often carried two versions of themselves. There was the outward self that handled responsibility and survival, and then there was the private self that appeared when no one was watching. When I saw Celeste on the page, I immediately recognised that duality. I knew this woman. In many ways she reminded me of the kind of mother I sometimes fear becoming. I saw elements of my grandmother in her. My mother often told me stories about how my grandmother raised somewhere between nine and eleven children during the war. Even without a war, raising that many children would be overwhelming. Doing it in the middle of conflict is unimaginable. There were stories of my grandmother having to leave her children temporarily to return to cities that were under threat because she needed to retrieve materials for her work. Those materials were how she earned money to support the family. So while she wasn’t fighting in the war, she was fighting another kind of war, one centred on survival. And in that context, the relationship between mother and child changes. Children stop being simply children. They become almost like soldiers in the struggle to survive. That emotional reality helped me understand Celeste deeply. **Q: Celeste feels emotionally complex in the film. At times she is guarded, and at other moments deeply vulnerable. What do you think she wants most, and what is she most afraid of losing?** **Sheila Chukwulozie:** I think Celeste wants what many people want. She wants love. But for her, love is inseparable from safety. Before the war she likely came from a relatively stable middle-class environment. Suddenly she finds herself in rural Appalachia, starting again from nothing. She also has to confront the reality that this new world is not a meritocracy. No matter what her background is, she is still a Black woman navigating America in the 1970s. That reality limits the safety she can create for her family. Because of that, she prioritises survival above everything else. If she can just make it through another day, maybe tomorrow will bring news about her husband. Maybe tomorrow they will hear that he is alive. In some ways I think she would rather return home than remain in Appalachia. But without her husband there is no clear path back. Waiting to hear from him is not just about love. It represents the possibility of returning home. **Q: Were there aspects of Celeste that pushed you outside your comfort zone as an actor?** **Sheila Chukwulozie:** Absolutely. This project was deeply emotional for me because I have been researching the Biafran War for a long time. The film approaches that history in a poetic way. It takes very difficult historical realities and expresses them through emotional experience rather than through facts. The hardest part for me was placing myself emotionally in a space similar to what women like my grandmother lived through. I tried to imagine that Celeste’s children were my mother and her siblings. In some ways it felt like time travelling. One thing I did was place photographs of my grandmother and my mother within the set environment. If you look closely in the kitchen scene, there’s a photo on the cabinet that is actually my grandmother. There’s another photograph on the dresser that is my mother. Seeing those images helped ground me emotionally during filming. They reminded me that for many people these experiences were not fictional stories but real lives. At the same time, it was challenging to step back into the present after a scene, knowing that many people in history never had the chance to step out of that reality. **Q: The film relies heavily on subtle expression rather than dramatic emotional displays. How did you communicate Celeste’s inner life through such restrained performance?** **Sheila Chukwulozie:** My theatre training helped a lot with that. One of my acting teachers taught us about the idea of “radiating energy.” In theatre you can’t rely on a camera zooming in on your face. You have to transmit emotional energy across the entire room. One exercise we practised involved observing how people move. For example, some people seem to walk from their head, some from their chest, some from their feet. These physical habits reveal aspects of their personalities. When building Celeste, I thought carefully about where her emotional energy lives in her body. That physical awareness helps convey emotion without needing large gestures. I also believe strongly that acting is not pretending. If it becomes pretend, it loses its authenticity. For me acting is about stepping fully into the emotional life of a character and allowing that life to exist within my body for the duration of the story. In order to portray Celeste’s grief and resilience, I had to locate those feelings within myself and allow them to manifest physically. **Q: What do you hope audiences feel toward Celeste by the end of the film? And what did you personally take away from playing her?** **Sheila Chukwulozie:** I hope audiences feel connected to her. Because the emotions are expressed so subtly, it might appear at first as though nothing is happening. But I hope viewers are willing to sit with the pace of the film and recognise the layers of emotion beneath the surface. Praise created something very delicate with this film. It is almost like a poem. Personally, the experience reminded me that it is okay to cry. It is okay to express emotion. One of the things I realised is that children are far more aware of their parents’ emotional states than we often assume. Parents sometimes believe they are protecting their children by hiding their feelings, but children are incredibly attuned to their parents’ emotional rhythms. That realisation stayed with me. **Q: Beyond acting, did you contribute to any other aspects of the film?** **Sheila Chukwulozie:** Yes, I collaborated on aspects of the film’s score. More broadly, I see myself as someone who creates expansive worlds. Whether it is through acting, music or other forms of storytelling, I try to build experiences that can grow beyond the initial project and continue evolving through the people who encounter them. ![birdie](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/birdie_stills_20251215_1_2E66_2E1.jpg?resize=640%2C360&ssl=1)Eniola Abioro (English)## In Conversation with Eniola Margaret Abioro **Actor (English)** **Q: Could you introduce yourself and tell us a little about your background and how you came to be part of *Birdie*?** **Eniola Margaret Abioro:** My name is Eniola Margaret Abioro. I’m from Nigeria and I grew up in Lagos. I’m Yoruba, and I was actually the only Yoruba girl in the cast. I’ve been modelling internationally for about eight years now. Acting wasn’t originally part of my plan at all. I was focused on runway and commercial modelling. The director of *Birdie*, Praise Odigie Paige, reached out to me on Instagram. At first I thought it was a scam because acting had never crossed my mind. But then my agent in Nigeria, Ms Bola, told me someone had been trying to reach me about a film role. That’s when I replied to Praise. Initially I auditioned for the role of Birdie, but she said no, you’re English. That’s the role I want you to play. And that’s how acting came into my life. **Q: Was this your first time acting?** **Eniola Margaret Abioro:** Yes. This was my first acting experience. **Q: If you had to describe English in three words, what would they be?** **Eniola Margaret **Abioro**:** Resilient. Selfless. Empathetic. She’s resilient because even though she’s going through the same hardship as the rest of her family, she’s still trying to hold things together. She’s very young but she’s already navigating responsibility. She’s selfless because she’s constantly thinking about the emotional state of the people around her. She wants to take away their pain if she could. And she’s empathetic because she understands what everyone in the house is feeling. She gives them space to experience their grief but she also stays close enough to support them. **Q: Do you see similarities between yourself and English?** **Eniola Margaret **Abioro**:** English is actually very close to who I am. I lost my father a few years ago, and English is also dealing with the absence of her father. When I moved to New York at nineteen, a lot of my motivation was about supporting my family. As an African child you grow up with that mindset. So in many ways English and I are very similar. I would say we are about ninety percent alike. **Q: What would you say makes up the ten percent difference?** **Eniola Margaret **Abioro**:** The difference is that I learned earlier that sometimes you have to step back. English carries everything for too long. She keeps trying to hold the family together even when it’s too heavy for her. In real life I realised earlier that sometimes you have to give people space to grieve. I would still be protective like English, but I know when to step back and allow people to process their emotions. **Q: You mentioned moving to New York. Did you come there specifically for modelling?** **Eniola Margaret **Abioro**:** Yes. Before modelling I was actually a primary school teacher in Nigeria. Then I was discovered by Ms Bola and eventually flown to Paris for Prada. After that I went to Milan for Prada as well. That’s how my modelling career started internationally. **Q: Coming from modelling, how did you approach a character with such emotional depth?** **Eniola Margaret Abioro:** That character already existed inside me. When Praise reached out, I actually wondered why she chose me. I thought, what kind of energy am I giving that makes her think I can do this? She told me she had been observing my work for a while and believed I had the right presence for the character. Even though I keep my personal life very private online, she said she could still see something in my demeanour that felt right for English. So when I started working on the role, it wasn’t about building something from nothing. It was more about controlling emotions that were already there so they wouldn’t overwhelm the performance. **Q: The film uses very little dialogue. How did you express English’s emotions through silence?** **Eniola Margaret Abioro:** Growing up in an African household, you learn silence very early. When elders are speaking, you don’t interrupt. You observe. So I drew on that experience. I thought about how emotions appear on someone’s face when they want to speak but cannot. For example, how do you show anger without saying anything? How do you show sadness when you’re trying to hide it? In many African homes people rarely say “I love you” directly. Love is expressed through actions. Someone might cook for you and say, come and eat. That is how love is communicated. So for the character I had to return to that emotional language where feelings exist beneath the surface rather than being spoken aloud. **Q:** There are moments in the film where English stands in the doorway looking outside. At first it seemed like she might be waiting for her father. What was happening in those moments? **Eniola Margaret Abioro:** She wasn’t looking out for her father. English already knows that her father is gone. She has accepted that reality before anyone else in the house. When she looks outside she’s actually watching her mother and her sister. She’s observing their reactions and trying to understand whether it is safe to express grief. In many African households the mother’s emotional state sets the tone for the entire family. Everyone watches the mother to see how they are supposed to behave. English is constantly monitoring those emotional signals. **Q:** So in a way she becomes the emotional watchtower of the family. **Eniola Margaret Abioro:** Exactly. She’s always watching. Watching everyone’s emotions and trying to keep things balanced. **Q:** What was the biggest challenge for you during production? **Eniola Margaret Abioro:** The hardest part was separating myself from the character. After shooting certain scenes I had to remind myself that this was a story and not my own life. When filming ended, I actually went to therapy because the role had affected me so deeply. I stopped posting on Instagram for a while because I needed time to detach emotionally from the character. Playing English required giving a lot of emotional energy. **Q:** At the end of the film there is a scene where English walks up the hill alone. What was happening internally for the character in that moment? **Eniola Margaret Abioro:** That moment is a kind of clarity walk. She leaves the house and walks simply to see how far she can go. It represents a small act of freedom. But it’s also a form of protest. Because once she leaves, her mother will ask, “Where is English?” That question has never been asked before. English has always been present, always watching over everyone else. When she steps away, the absence becomes visible. **Eniola Margaret Abioro:** Yes, definitely. Immediately after filming I said I would never act again because I didn’t realise how emotionally demanding it would be. But over time I learned that actors can leave a character behind once the work is done. Now I’m open to acting again and continuing to tell stories. ## Conclusion Across these conversations, it becomes clear that the emotional weight of *[Birdie](https://nollycritic.com/birdie-through-the-voices-of-its-filmmakers/ "Birdie")* rests heavily on the performances that bring its quiet world to life. For Shelia Chukwulozie, Eniola Margaret Abiru and Precious Madwanusi, portraying Celeste, English and Birdie required drawing from personal histories, cultural memory and emotional intuition to inhabit characters shaped by uncertainty and displacement. Their reflections reveal how the film’s restrained style depends on small gestures, silence and internal tension rather than dramatic expression. Together, their performances form the emotional core of *Birdie*, allowing audiences to experience the story not only as a historical moment but as a lived and deeply human experience of family, grief and endurance. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/birdie-through-the-eyes-of-its-cast/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/birdie-through-the-eyes-of-its-cast/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/birdie-through-the-eyes-of-its-cast/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/birdie-through-the-eyes-of-its-cast/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/birdie-through-the-eyes-of-its-cast/?share=linkedin) - **Categories:** Articles, Interviews **Tags:** Abis Yakimi, african cinema, Biafran War, Birdie, Diaspora Stories, eFilmHub, Eniola Abioro, Immigration Stories, Nat Majette, nollycritic, Noni Limar, Praise Odigie Paige, Precious Maduanusi, Sheila Chukwulozie, short films, Sundance Film Festival, Sundance film festival 2026, Yeti Akinola --- ### [Behind the Scenes Heads to Netflix This April](https://nollycritic.com/behind-the-scenes-heads-to-netflix-this-april/) **Published:** March 18, 2026 **Author:** Esther Adamu **Excerpt:** Latest Nollywood Blockbuster Behind the Scenes, directed and produced by Nollywood actress Funke Akindele on December 15, 2025, is set to begin streaming... **Content:** Latest Nollywood Blockbuster *[Behind the Scenes](https://nollycritic.com/behind-the-scenes-a-masterclass-in-saying-everything-out-loud/ "Behind the Scenes")*, directed and produced by Nollywood actress Funke Akindele on December 15, 2025, is set to begin streaming on Netflix next month. Following her successful three-year partnership with Prime Video, this film marks Funke Akindele’s first project on Netflix since *Omo Ghetto: The Saga.* A production carried out under her own TV Network, Funke Ayotunde Akindele Network (FAAN), with co-direction from Tunde Olaoye and distribution by filmOne. *[Behind the Scenes](https://www.imdb.com/title/tt38953750/ "Behind the Scenes")* tells the emotional struggles of a successful real estate mogul, Ronke Fernandez, as she faces the pressures of family expectations and the sacrifices she makes for her loved ones. The film explores deep themes of family, dynamics, greed, emotional debt, and the toll that being a breadwinner takes on individuals. Since its release, Behind the Scenes has dominated not just the box office, grossing over 2.7 billion across West Africa, but it has broken records as the top-performing Nollywood title in international markets like the United Kingdom, Ireland, the United States, and Canada. Funke Akindele leads an ensemble cast alongside Tobi Bakre, Iyabo Ojo, Scarlet Gomez, Ibrahim Chatta, Uche Montana, Iyabo Ojo, Uzor Arukwe, and Mr. Macaroni. Their performances coupled with Funke Akindele’s effort into the project has brought depth and emotion to the story told. If you are looking for something new to watch, or you missed it in the theatres, or you just want to watch it again, you can stream it on Netflix starting from April 3, 2026. See trailer below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/behind-the-scenes-heads-to-netflix-this-april/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/behind-the-scenes-heads-to-netflix-this-april/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/behind-the-scenes-heads-to-netflix-this-april/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/behind-the-scenes-heads-to-netflix-this-april/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/behind-the-scenes-heads-to-netflix-this-april/?share=linkedin) - **Categories:** Nollywood News **Tags:** Behind the Scenes, FAAN, FilmOne House, Funke Akindele, Ibrahim Chattah, Iyabo Ojo, Mr Macaroni, Netflix, nollycritic, nollywood, Omo Ghetto: The Saga, Prime Video, Scarlet Gomez, Tobi Bakre, Tunde Olaoye, Uche Montana, Uzor Arukwe --- ### [Avante: New Nollywood Movie Hits Cinemas April 3rd](https://nollycritic.com/avante-new-nollywood-movie-hits-cinemas-april-3rd/) **Published:** March 17, 2026 **Author:** Esther Adamu **Excerpt:** Avante, a new Nollywood thriller produced and directed by acclaimed Nigerian filmmaker Toka McBaror, showcases his captivating visual style and strong storytelling. **Content:** *Avante*, a new Nollywood thriller produced and directed by acclaimed Nigerian filmmaker [Toka McBaror](https://nollycritic.com/?s=toka+mcbaror "Toka McBaror"), showcases his captivating visual style and strong storytelling. The film explores themes of ambition, betrayal, and the personal cost of pursuing dreams, reflecting McBaror’s artistic style. What happens when a quest for vengeance evolves into a complicated romance with the killer’s daughter? This is the gripping story of *Avante*. It follows Gaju, a man consumed by a desire for revenge, who disguises himself as Albert, a humble farmhand, to infiltrate the estate of the man responsible for his parents’ death. However, his mission becomes complicated when he falls in love with the killer’s daughter, leading him to face a moral dilemma between seeking revenge and finding redemption. The film features a strong ensemble cast, including award-winning actor [Chimezie Imo](https://www.imdb.com/name/nm8560414/ "Chimezie Imo"), celebrated for his acclaimed performance in *The Breath of Life*, alongside Kingsley Okafor, known for his role in the drama series *Marriage Stunts*. These two plays lead casts in this project. Veteran actor Eddie Watson also takes part in this production. He is recognized for his roles in *The Waiter*. Completing the ensemble is Cameroonian producer and actress Ruth Nkweti, renowned for her performances in *Ejiro’s Lust* and *Last Tango in Abuja*. All this casts together tell a story that contributes meaningfully to the evolving narrative of Nollywood storytelling across the global stage. The film’s official premiere is scheduled for March 29, 2026, followed by its nationwide cinema release on April 3, 2026. See trailer below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/avante-new-nollywood-movie-hits-cinemas-april-3rd/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/avante-new-nollywood-movie-hits-cinemas-april-3rd/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/avante-new-nollywood-movie-hits-cinemas-april-3rd/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/avante-new-nollywood-movie-hits-cinemas-april-3rd/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/avante-new-nollywood-movie-hits-cinemas-april-3rd/?share=linkedin) - **Categories:** Nollywood News **Tags:** Avante, Chimezie Imoh, Eddie Watson, Ejiro's Lust, Kingsley Okafor, Last Tango in Abuja, Marriage Stunt, nigerian cinema, nollycritic, nollywood, Ruth Nkweti, The Breath of life, The Waiter, Toka McBaror, Trailer of Avante --- ### [The Return of Arinzo: See the Trailer for Iyabo Ojo's New Movie](https://nollycritic.com/the-return-of-arinzo-see-trailer-for-iyabo-ojos-new-movie/) **Published:** March 14, 2026 **Author:** Esther Adamu **Excerpt:** FESPRIS Production is back with The Return of Arinzo, a highly anticipated sequel to the 2021 Yoruba classic Arinzo. Written by Moshood Yakubu Olawale... **Content:** Fespris Production is back with *[The Return of Arinzo](https://africanmoviedb.com/title/the-return-of-arinzo-2026 "The Return of Arinzo")*, sequel to the 2021 Yoruba classic *Arinzo*, a sequel led and produced by Nollywood actress [Iyabo Ojo](https://nollycritic.com/?s=iyabo+ojo "Iyabo Ojo"). Written by Moshood Yakubu Olawale, the movie expands the world of Arinzo on a much larger international scale, with production spanning multiple African countries, including Nigeria, Ghana, and Tanzania. This highlights Nollywood’s growing presence on both the African and global stages. *Arinzo* tells the story of two sisters whose lives take completely different paths, ultimately leading to an inevitable conflict between them. Following the events of the End of Arinzo, everyone believed she was dead. Now that Arinzo has returned, the question remains: is she back seeking vengeance, or is she searching for answers? The project highlights several notable individuals, including Priscilla Ojo and Tanzanian singer Juma Jux, as well as Ghanaian actor Adjetey Anang. It also features Tanzanian actors Nana Dollz, Patrick Kanumba, Prisca Lyimo, and Zuhura Othman. Additionally, the impressive ensemble cast includes Nollywood actors Funke Akindele, Mercy Aigbe, Bimbo Akintola, Yinka Quadri, and Lalude. The *Return of Arinzo* will be distributed by FilmOne to cinemas nationwide on April 3, 2026. It will first premiere on March 29, 2026, at Balmoral Hall in Victoria Island, Lagos. See Trailer Below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-return-of-arinzo-see-trailer-for-iyabo-ojos-new-movie/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-return-of-arinzo-see-trailer-for-iyabo-ojos-new-movie/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-return-of-arinzo-see-trailer-for-iyabo-ojos-new-movie/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-return-of-arinzo-see-trailer-for-iyabo-ojos-new-movie/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-return-of-arinzo-see-trailer-for-iyabo-ojos-new-movie/?share=linkedin) - **Categories:** Nollywood News **Tags:** Adjetey Anang, Arinzo, Bimbo Akintola, FESPRIS Production, Funke Akindele, Iyabo Ojo, Juma Jux, Mercy Aigbe, Moshood Yakubu Olawale, Nana Dollz, Nigerian cinema movies, nollycritic, Nollywood 2026, Patrick Kanumba, Pricilla Ojo, Prisca Lyimo, The Return of Arinzo, Yinka Quadri, Zuhura Othman --- ### [Kunle Afolayan and the Cinema of Consequence](https://nollycritic.com/kunle-afolayan-and-the-cinema-of-consequence/) **Published:** March 16, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Kunle Afolayan films often begin with something ordinary: a discovery, an opportunity, a mistake, a decision that feels small in the moment... **Content:** [Kunle Afolayan](https://www.imdb.com/name/nm1875051/ "Kunle Afolayan")’s films often begin with something ordinary: a discovery, an opportunity, a mistake, a decision that feels small in the moment. Then the world shifts. What follows is rarely random. Across thrillers, historical dramas, family stories, and folklore epics, Kunle Afolayan keeps returning to a simple but unsettling idea: actions carry weight, and sooner or later that weight must be confronted. His characters chase progress, stability, love, or escape, only to realise that every step forward reshapes the ground beneath them. [Kunle Afolayan](https://nollycritic.com/?s=kunle+afolayan "Kunle Afolayan") doesn’t make films where things simply happen. In his stories, every decision matters, every shortcut carries a cost, and every victory arrives with something left behind. Whether he is working with folklore, history, romance, or grounded social drama, his films keep circling the same uneasy truth: choices have consequences, and sooner or later, they catch up with the people who make them. That idea shows up in different disguises across his filmography. Sometimes it looks supernatural, like a mysterious figurine promising prosperity or a man gifted with the power to defy death. Other times it feels painfully real, unfolding inside classrooms, workplaces, families, or systems that quietly shape how people live and survive. The genres shift, the tones evolve, but the tension remains familiar. Someone reaches for something better, and the world responds in ways they never fully anticipated. Kunle Afolayan’s characters are rarely passive observers of fate. They act. They choose. They push against tradition, ambition, love, poverty, or power, believing they can control the outcome. What makes his storytelling distinctive is how patiently he follows those choices to their logical end. Prosperity turns complicated. Justice becomes difficult. Survival demands compromise. Progress reveals hidden costs. His films ask not just what happens next, but what it takes to move forward in Nigerian society without losing something along the way. Seen together, his work forms what can best be described as a cinema of consequence. Different stories, different worlds, but the same underlying question runs through them all: ***when opportunity appears, what are we willing to risk, and what are we prepared to live with after the decision is made?*** ## **The Figurine: Prosperity as a Dangerous Bargain** The decisive moment in *The Figurine* is deceptively simple. Sola and Femi discover the Araromire statue and choose to keep it, accepting the promise of prosperity attached to it. From that point onward, Afolayan shifts the film’s tension away from supernatural spectacle toward psychological observation. Success arrives gradually, promotions, financial stability, improved relationships, all believable within everyday reality. What changes is not the world but perception. As Sola prospers, imbalance enters the friendship. Femi’s growing insecurity reframes ordinary setbacks as evidence of a curse. Kule Afolayan carefully withholds confirmation of supernatural intervention, forcing both characters and audience to interpret events through uncertainty. The figurine becomes a narrative catalyst rather than an active force. Consequence emerges from emotional response: envy alters behaviour, suspicion corrodes intimacy, and belief itself drives destruction. The film’s power lies in this ambiguity. By refusing clear answers, Kunle Afolayan shows how success can destabilise identity just as easily as failure. The tragedy feels earned because it grows from human reaction, not mystical punishment. ## **October 1: Independence Haunted by Its Past** If *The Figurine* explores personal imbalance, *October 1* expands consequence into national memory. Inspector Waziri’s decision to pursue a murder investigation despite mounting political pressure initiates a gradual excavation of history. Each clue uncovers not only evidence but suppressed trauma rooted in colonial authority. Kunle Afolayan uses the investigative structure to mirror historical revelation. Information is released slowly, allowing viewers to experience discovery alongside the detective. The murders begin as isolated crimes but are ultimately revealed as outcomes of systemic abuse, linking individual violence to inherited national wounds. Independence celebrations continue in the background, visually contrasting optimism with unresolved pain. Here, consequence operates across time. The past refuses closure, shaping the present long after its events have ended. He reframes independence not as resolution but as transition, suggesting that nations, like individuals, must confront what preceded them before genuine transformation can occur. ## **Phone Swap: Transformation Through Disruption** At first glance, *Phone Swap* appears lighter than Afolayan’s other works, yet its narrative engine remains consequence-driven. The accidental exchange of phones becomes meaningful only because both characters continue living through the disruption rather than correcting it immediately. Kunle Afolayan employs displacement as a storytelling device. By forcing characters into unfamiliar social environments, he exposes how identity is shaped by routine and class positioning. Awkward encounters reveal hidden assumptions, while everyday interactions challenge certainty about status and belonging. The film’s humour softens the transition, but the emotional movement is deliberate. Transformation occurs incrementally. Neither character experiences dramatic crisis; instead, awareness develops through repeated exposure to another perspective. The consequence of the initial accident is empathy, suggesting that growth often emerges not from trauma but from sustained encounter with difference. ## **The CEO: Ambition and the Logic of Competition** In *The CEO*, consequence unfolds within a system explicitly designed to reward ambition. Executives gathered for a retreat discover they are competitors for leadership, and each chooses strategy over transparency. Kunle Afolayan constructs the narrative as a closed environment where information becomes power and trust becomes liability. The film’s tension arises from escalation. Every strategic move creates unintended instability, alliances fracture, suspicion intensifies, and cooperation becomes impossible. He does not introduce an external antagonist; the system itself amplifies behavioural consequences. Characters destroy one another not because they are inherently malicious but because the structure encourages self-preservation. By the film’s conclusion, downfall feels inevitable. Success requires actions that undermine collective stability, demonstrating how institutions shape moral choices. Consequence here is systemic, produced by the environment characters willingly enter. ## **Citation: The Social Cost of Truth** In *Citation*, consequence begins with speech. Moremi’s decision to report misconduct transforms a private experience into public conflict. Rather than relying on dramatic spectacle, Afolayan builds tension through social dynamics: hesitant conversations, shifting loyalties, and the visible discomfort of institutions protecting authority. The film emphasises reaction over action. Long dialogue scenes allow viewers to observe how credibility is negotiated socially before it is determined legally. Support emerges cautiously, revealing fear embedded within institutional hierarchies. Afolayan shows consequence as relational, extending beyond the accusation to reshape friendships, reputations, and emotional security. The narrative demonstrates that truth is not a single event but a process that alters the environment around the person who speaks. Consequence unfolds through community response, making silence itself an active force within the story. ## **Swallow: Survival and Gradual Entrapment** *Swallow* presents consequence through accumulation. Tolani’s struggles are ordinary and repetitive: workplace exploitation, stagnant opportunities, and mounting economic pressure. Afolayan avoids dramatic turning points, instead allowing frustration to build through everyday experiences. Each setback narrows possibility. By the time drug trafficking appears as an option, the decision feels less like moral deviation and more like adaptation. Kunle Afolayan’s realism ensures viewers understand the logic behind the choice even as danger increases. The narrative emphasises inevitability, showing how circumstances and decisions interact over time. The consequence is not immediate punishment but entrapment, a gradual loss of freedom produced by earlier compromises. The film examines how economic structures quietly shape destiny long before crisis becomes visible. ## **Aníkúlápó: Desire and the Restoration of Balance** With *[Aníkúlápó](https://nollycritic.com/?s=anikulapo "Aníkúlápó")*, Afolayan turns to folklore to explore consequence on a mythic scale. Saro’s resurrection grants extraordinary power, but his decision to use it for personal advancement disrupts social and spiritual equilibrium. Wealth and influence expand rapidly, yet each gain deepens instability. The narrative follows oral storytelling logic: gift leads to excess, excess invites correction. Ritual imagery reinforces the sense that the world operates according to balance rather than chance. Consequence becomes cyclical, unfolding as restoration rather than revenge. By grounding myth in recognisable human desire, Afolayan connects ancient storytelling traditions to contemporary moral experience. The supernatural amplifies causality already present across his filmography. ## **Ijogbon: The Escalation of Small Decisions** In *Ijogbon*, consequence begins with youthful optimism. Four teenagers discover diamonds and choose secrecy, believing they can control the outcome. That decision immediately demands further deception, and each lie generates new complications. Afolayan structures tension through escalation. Trust fractures within the group, external threats intensify, and fear replaces excitement. The narrative demonstrates how quickly opportunity transforms into risk when foresight is absent. Nothing arrives unexpectedly; every danger emerges logically from earlier actions. The film returns consequence to a contemporary setting, showing that the pattern explored in myth and history persists within modern youth experience. ## Stories Defined by What Comes After So what makes Kunle Afolayan’s films linger long after the credits roll? In his worlds, progress comes with sacrifice, ambition invites complications, and even good intentions can leave lasting damage. His characters rarely walk away unchanged because their choices carry weight, and the films allow that weight to settle fully before letting us go. Across folklore epics, historical dramas, social stories, and grounded realism, Afolayan keeps returning to people trying to move forward within systems that shape their possibilities. Sometimes those systems are cultural traditions. Sometimes they are institutions, economic realities, or personal desires that spiral beyond control. Whatever form they take, the question remains familiar: how do you pursue a better life without losing something essential along the way? That consistency is what ties his filmography together. The genres evolve, the settings expand, and the visual ambition grows, but the emotional core stays recognisable. His cinema reminds us that actions rarely exist in isolation. Every decision touches family, community, history, or identity. Every gain leaves an imprint. Every shortcut asks for repayment. Perhaps that is why his films resonate so strongly with Nigerian audiences. They reflect a reality we understand instinctively, where success and struggle often arrive side by side, and where the consequences of today’s choices rarely belong to one person alone. Afolayan doesn’t simply tell stories about what happens. He shows us why it happens, and why it matters. Which of these films stayed with you the longest? Which consequences felt unavoidable, and which ones felt earned? Let’s talk about it in the comments. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kunle-afolayan-and-the-cinema-of-consequence/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kunle-afolayan-and-the-cinema-of-consequence/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kunle-afolayan-and-the-cinema-of-consequence/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kunle-afolayan-and-the-cinema-of-consequence/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kunle-afolayan-and-the-cinema-of-consequence/?share=linkedin) - **Categories:** Articles **Tags:** Ijogbon, Kunle Afolayan, nollycritic, nollywood, October 1, phone swap, The Ceo, The Figurine --- ### [6 Nollywood Movies That Celebrate Strong Mothers](https://nollycritic.com/8-nollywood-movies-that-celebrate-strong-mothers/) **Published:** March 14, 2026 **Author:** Esther Adamu **Excerpt:** Nollywood recognizes the powerful theme of motherhood, capturing its sacrifice, resilience, and strength through heartfelt storytelling. **Content:** Nollywood has long explored the powerful theme of [motherhood](https://nollycritic.com/nollywood-movies-with-tense-mother-son-dynamics/ "motherhood"), portraying its sacrifice, resilience, and emotional strength through compelling storytelling. This Mother’s Day, we highlight Nollywood movies that present mothers in different ways — the resilient mother, the protective mother, the sacrificial mother, and the misunderstood mother. These films remind us that the strength of motherhood appears in many forms. Here are Nollywood movies that showcase the many faces of motherhood. ### ***Elevator Baby*** **(2019)** Sometimes motherhood begins in the most unexpected circumstances. In *Elevator Baby*, a pregnant woman becomes trapped in a malfunctioning elevator while going into labour. In a moment filled with fear and vulnerability, she demonstrates remarkable strength as she prepares to bring new life into the world under unimaginable circumstances. Toyin Abraham’s character highlights not only the physical pain of childbirth but also the courage, determination, and emotional resilience required of a mother — particularly one navigating the journey of motherhood alone. The film stars Toyin Abraham, Timini Egbuson, Shaffy Bello, and Sambasa Nzeribe. **Stream *Elevator Baby* on Netflix.** ### ***Sis******ta (*****2022)** *Sista* portrays motherhood through the lens of resilience and perseverance. The film follows a single mother raising two children after being abandoned by their father. As she struggles to provide for her family and maintain stability in their lives, she embodies the quiet courage that many mothers demonstrate every day. Her journey reflects the emotional and practical challenges of raising children alone, while also celebrating the determination and love that drive mothers to keep going despite adversity. The cast includes Kehinde Bankole, Deyemi Okanlawon, and Bisola Aiyeola. **Stream *Sista* on Prime Video.** ### ***Gangs of Lagos* (2023)** Set in the gritty streets of Isale Eko, *Gangs of Lagos* follows a group of friends navigating crime, loyalty, and survival. Within the story are powerful portrayals of motherhood. Iyabo Ojo plays the mother of Obalola, a young boy at risk of being drawn into the violent life around him. Her character reflects the constant fear many parents face when raising children in environments shaped by crime and danger. Chioma Akpotha’s character, Mama Ify, represents another heartbreaking side of motherhood — the grief of losing a child. Together, these portrayals highlight the sacrifices, fears, and protective instincts that define many mothers’ experiences. The film stars Tobi Bakre, Adesua Etomi-Wellington, Chike, Bimbo Ademoye, and Iyabo Ojo. **Stream *Gangs of Lagos* on Amazon Prime Video.** ### ***My Mother is a Witch*** **(2025)** *My Mother Is a Witch* explores the strained relationship between a mother and her daughter shaped by pain, misunderstanding, and unresolved trauma. Growing up, the daughter saw her mother as a “witch” because of the harsh and abusive ways she tried to control her life. In reality, the mother was desperately trying to protect her from making life-altering decisions too early. The film follows the two as they are forced to confront their painful past and move beyond years of resentment and misunderstanding. Mercy Aigbe’s character shows love for her child through all their differences. The cast includes Mercy Aigbe, Timini Egbuson, Efe Irele, Neo Akpofure, and Matthew Idemudia. **Stream the film on Kava TV.** ### ***This Lady Called Life* (2020)** *This Lady Called Life* presents a complex portrayal of motherhood through the character of Aiye. Having grown up with a verbally abusive mother, Aiye carries deep emotional scars that affect her confidence and self-worth. Although she is a talented chef, the trauma from her childhood continues to shape her outlook on life. However, when her mother physically assaults her son, Aiye finally confronts years of suppressed pain and anger. In that moment, she chooses to break the cycle of abuse and protect her child from experiencing the same suffering she endured. The film stars Bisola Aiyeola, Bamidele Akingbulu, Lota Chukwu, and Wale Ojo. **Stream the film on Kava TV.** ### ***Atiko*** **(2024)** *Atiko* is a drama that explores culture, sacrifice, fate, and generational love. The story follows two lifelong friends who go to extraordinary lengths to secure a better future for their children. Their choices, however, come with painful consequences that weigh heavily on their lives. The film reflects the extreme sacrifices some mothers make to ensure comfort and opportunities for their children, even when those decisions carry emotional burdens that last a lifetime. The cast includes Adunni Ade, Adebowale Adebayo, and Teniola Aladese. **Stream *Atiko* on [Circuits](https://www.circuits.tv/vod/67656a6804aeac00238d4f11 "Circuits").** These films show how Nollywood continues to portray mothers as some of the strongest and most influential figures in its stories. Through different genres and narratives, they highlight the sacrifices, struggles, and deep love that define motherhood. **Happy Mother’s Day from NollyCritic.** ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/8-nollywood-movies-that-celebrate-strong-mothers/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/8-nollywood-movies-that-celebrate-strong-mothers/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/8-nollywood-movies-that-celebrate-strong-mothers/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/8-nollywood-movies-that-celebrate-strong-mothers/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/8-nollywood-movies-that-celebrate-strong-mothers/?share=linkedin) - **Categories:** Articles, Movies **Tags:** atiko, Bisola Aiyeola, chike, Efe Irele, Elevator Baby, Gang of Lagos, Kehinde Bankole, My Mother is a Witch, Neflix, Neo Akpofure, nollycritic, nollywood, Prime Video, Sambasa Nzeribe, Shaffy Bello, Sista, This Lady Called Life, Timini Egbuson, Toyin Abraham --- ### [Onobiren: When Survival Shapes a Woman’s Story](https://nollycritic.com/onobiren-when-survival-shapes-a-womans-story/) **Published:** March 13, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Onobiren: A Woman’s Story, written by Laju Iren and directed by Famous Odion Iraoya, approaches its narrative from this quieter register. **Content:** Revenge, ambition, and triumph are familiar engines in Nollywood storytelling. Yet some films move in quieter directions, choosing endurance over the expected. *[Onobiren: A Woman’s Story](https://www.imdb.com/title/tt39379386/)*, written by Laju Iren and directed by[ Famous Odion Iraoya](https://www.imdb.com/name/nm7752659/ " Famous Odion Iraoya"), approaches its narrative from this quieter register. The title itself, drawn from the Itsekiri word for “woman,” frames the story as both intimate and emblematic. Set between the riverine fishing communities of Delta State and the urban pressures of Lagos, the film follows Roli, a young woman navigating economic hardship, cultural expectation, and the fragile opportunities that emerge when circumstance forces action. From the beginning, the film signals its interest in endurance rather than rebellion. Roli’s story unfolds through recollection as she narrates her past during an interview, retracing the circumstances that shaped her journey. What emerges is a reflective drama about survival, female solidarity, and the unpredictable ways opportunity can appear within hardship. Yet the same calm realism that gives the story sincerity occasionally softens its emotional force, leaving the film admirable rather than deeply stirring. What unfolds is less a triumphant rise than a slow negotiation with life’s tides. ## *Onobiren: A Woman’s Story* Directed by: Famous Odion Iraoya Written by: Laju Iren Genre: Drama Released on: March 6, 2026 (Cinemas) Language: English ### A Life Moving With the Tides At the heart of *Onobiren* lies a character shaped more by circumstance than ambition. Roli grows up within a fishing community where gender expectations quietly dictate who belongs on the water and who does not. Women are discouraged from entering the sea. Tradition suggests that their presence might chase the fish away. Yet Roli’s father gently disrupts this belief. Rather than reinforcing the taboo, he invites her onto the boat. This early encouragement plants the seed of possibility, though the film never portrays Roli as a woman driven by a grand dream. Instead, she appears adaptive. Life pushes her forward. After her father’s death, her path bends toward education. Later, when her brother’s illness demands a costly medical intervention, the pressure of survival redirects her once again. Fishing becomes not a calling she fiercely pursues, but a skill she returns to when necessity demands it. The film’s approach to gender conflict is equally restrained. Patriarchal ideas certainly exist within Roli’s community. Her brother repeats the familiar warning that women should not fish. Her mother imagines a different future for her daughter, one shaped by professional respectability rather than labour on the water. Yet the story never becomes a dramatic rebellion against these expectations. Instead, the resistance is quiet. Roli simply continues forward, navigating spaces where her presence slowly becomes undeniable. Female solidarity becomes the emotional backbone of this journey. Characters who could easily have been rivals instead offer support. Bisola Aiyeola’s character stands out here, helping Roli build connections and expand her fishing business. Even within the morally ambiguous household where Roli temporarily finds shelter, unexpected compassion emerges. The result is a story where survival rarely appears as a solitary act. Progress happens through networks of empathy rather than individual conquest. ### A Story Carried by Circumstance The plot of *Onobiren* unfolds through a reflective narrative structure. The film begins with Roli recounting her life during an interview with a television presenter, establishing a framework that frequently returns throughout the story. This device transforms the film into a kind of oral testimony, allowing past events to unfold like memories shaped by reflection rather than immediate drama. Roli’s journey moves from Warri to Lagos, guided by the urgent need to secure medical care for her brother. In search, she returns to fishing and lands a contract worth fifteen million naira, an opportunity that could save her family. What follows is a sequence of setbacks and small victories typical of survival narratives. Rival fishers sabotage her boats. Time runs dangerously short. Yet through persistence and unexpected assistance, the possibility of success remains within reach. One of the film’s most striking narrative choices arrives near the climax. After the sabotage threatens to destroy everything she has worked toward, Roli and her team suddenly manage to catch enough fish within two days to meet the contract’s demands. The film frames this moment as a miracle. For viewers inclined toward faith, the event reads as divine intervention, an answer to prayer during a moment of desperation. For others, it may feel closer to coincidence, a symbolic reminder that fortune sometimes shifts without warning. This dual interpretation reveals the film’s delicate relationship with spirituality. Rather than preaching explicitly, *Onobiren* allows faith to hover quietly within the narrative. Miracles are suggested rather than declared, leaving the audience to decide whether providence or chance guides the outcome. Still, the story occasionally struggles with emotional weight. Because Roli is propelled forward largely by circumstance rather than personal transformation, the film rarely pauses to explore the deeper psychological impact of its events. Even the death of her brother, a moment that should reshape the character’s emotional landscape, passes with limited reflection before the narrative moves toward the next stage of her life. ### Performances Grounded in Restraint Ruby Akubueze anchors the film with a controlled and understated performance as Roli. She resists melodrama, allowing the character’s resilience to emerge through composure rather than theatrical expression. The portrayal aligns with the film’s overall tone. Roli does not announce her strength. She simply continues moving forward. Bisola Aiyeola contributes warmth and credibility as one of the figures who support Roli’s journey. Her presence reinforces the film’s central theme of women lifting one another in environments where opportunity rarely arrives freely. Deyemi Okanlawon’s role complements this dynamic, presenting a male character whose empathy challenges the rigid expectations often associated with patriarchal settings. Patience Ozokwor delivers a memorable turn as Mama, a woman whose desperation for a grandchild leads her toward morally questionable choices. Her character embodies the social pressures surrounding marriage, fertility, and family reputation. Her character represents the generational beliefs surrounding marriage, fertility, and family honour. Norbert Young appears briefly but effectively, grounding the narrative with quiet authority. His single moment of clarity regarding the complexities of infertility serves as a subtle reminder that societal assumptions often oversimplify deeply personal struggles. Together, the cast creates a believable social environment where competing expectations collide. ### Quiet Craft and Narrative Efficiency Technically, *[Onobiren](https://onobiren.com/ "Onobiren")* adopts a restrained visual style that prioritises clarity over experimentation. It adopts a polished but understated filmmaking style. The cinematography remains mostly stable, favouring composed frames that allow performances and dialogue to carry the narrative weight. The camera rarely calls attention to itself through dramatic movement or stylised angles. The river itself functions more as a narrative device than a visual metaphor. While fishing and water imagery frequently appear within the story and dialogue, the film does not stylise the environment through cinematic language. Instead, the camera observes events with practical efficiency, reflecting a storytelling tradition that values narrative progression over aesthetic flourish. The film stops short of turning the water into an overt visual metaphor. Its symbolic meaning emerges primarily through narration and dialogue rather than through visual design. Sound design and music follow a similar philosophy. The soundtrack complements the emotional tone of each scene without overwhelming it. Dialogue shifts naturally between English, pidgin, and Itsekiri, grounding the film in its cultural setting. One notable storytelling device is the use of narration. Roli’s voice frequently bridges the past and present, drawing connections between personal memories and broader reflections about life’s unpredictable currents. At times the narration feels carefully constructed, almost poetic in its metaphors about tides and survival. Yet it also provides the film with a cohesive emotional thread that ties its many events together. ### Final Thoughts *[Onobiren](https://nollycritic.com/onobiren-a-womans-story-new-movie-set-for-cinemas-this-march/ "Onobiren")* ultimately presents a story where survival matters more than conquest. It presents resilience as a gradual process rather than a dramatic victory. Roli does not overthrow oppressive systems through dramatic rebellion. She adapts, navigates, and endures. Her victories arrive not through ambition alone but through circumstance, solidarity, and the quiet persistence required to keep moving forward. This approach gives the film a grounded realism. Life rarely unfolds through heroic arcs. Life rarely moves according to cinematic logic. More often, it moves through small decisions shaped by necessity. People often reach unexpected destinations through a series of small decisions made under pressure. Yet this same realism that makes the story believable also softens the emotional force of the story. Because Roli’s journey is driven more by events than by internal transformation, the film occasionally struggles to generate the depth of feeling that inspirational narratives often seek. The film invites admiration more than it provokes deep feeling. Viewers respect Roli’s perseverance, but the narrative rarely pushes them into the kind of emotional immersion that inspirational dramas often aim to achieve. Still, the film’s central message remains clear. Progress sometimes begins with nothing more dramatic than refusing to remain where circumstance has placed you. The title *Onobiren* suggests a universal story about womanhood. In truth, the film remains closely tied to the particular experience of its protagonist. Still, within that specificity lies its broader appeal. Viewers may recognise fragments of their own struggles within Roli’s path, whether those struggles involve gender expectations, economic hardship, or the unpredictable ways life redirects ambition. Like the tides that shape the riverine world where Roli begins her journey, progress in *Onobiren* arrives gradually. It is rarely dramatic, rarely triumphant, but always persistent. ### Verdict *Onobiren* offers a thoughtful and quietly inspirational portrait of perseverance shaped by circumstance rather than ambition. Viewers drawn to reflective dramas about survival and community support will find meaning in its restrained storytelling. Those expecting a more emotionally intense or dramatically empowering narrative may admire the story’s sincerity while wishing it stirred deeper feeling. **Rating**: 2.75/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/onobiren-when-survival-shapes-a-womans-story/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/onobiren-when-survival-shapes-a-womans-story/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/onobiren-when-survival-shapes-a-womans-story/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/onobiren-when-survival-shapes-a-womans-story/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/onobiren-when-survival-shapes-a-womans-story/?share=linkedin) - **Categories:** Reviews --- ### [The Creek: See Trailer for New Action Thriller](https://nollycritic.com/the-creek-see-trailer-for-new-action-thriller/) **Published:** March 11, 2026 **Author:** Esther Adamu **Excerpt:** The Creek takes audiences into the creeks and waterways of the Niger Delta, exploring how the oil industry affects local communities. **Content:** *The Creek* is an upcoming action-drama from Nollywood, directed by acclaimed Nigerian filmmaker[ Toka McBaror](https://www.imdb.com/name/nm8867677/ " Toka McBaror"). (*[The Waiter](https://nollycritic.com/ayo-makuns-the-waiter-set-for-december-release/ "The Waiter")*) The film’s tagline, “Blood and Oil,” suggests themes of environmental degradation, resource exploitation, and the struggle for justice in the region. The movie portrays battle scenes and is dramatized using actual battlefield equipment in communities such as the Niger Delta, Johannesburg, and London. The story delves into the conflict surrounding oil exploration in the Niger Delta, highlighting the significant amount taken from the people and the minimal benefits provided to them. *The Creek* takes audiences into the creeks and waterways of the Niger Delta, exploring how the oil industry affects local communities. It highlights the difficult choices that indigenous people must make in their fight for their rights, their lives, and their sources of livelihood. The film features a mix of Nollywood veterans and newer faces, including Chinwe Owoh, Sam Dede, Charles Inojie, Bucci Franklin, Sunshine Rosman, Jimmy Jean-Louis, and Kelechi Udegbe. The movie is set against the backdrop of the pain, neglect, suffering, environmental struggles, and exploitation of the people, resources, and lands from where Nigeria derives much of its national wealth. *The Creek* is one of the most ambitious African productions to date. Filmed in Nigeria and South Africa, it features a multinational cast and crew of over 550 members. Additionally, the film stars real-life militants from the Niger Delta, providing vibrant authenticity and gritty realism to the production. As Nollywood continues to expand its storytelling scope and global reach, *The Creek* stands out as a film that reflects the industry’s commitment to telling meaningful African stories. *The Creek* is coming to Cinemas this April, see trailer below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-creek-see-trailer-for-new-action-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-creek-see-trailer-for-new-action-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-creek-see-trailer-for-new-action-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-creek-see-trailer-for-new-action-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-creek-see-trailer-for-new-action-thriller/?share=linkedin) - **Categories:** Nollywood News **Tags:** Bucchi Franklin, Bucci Franklin, Charles Inojie, Chinwe Owoh, Jimmy Jean-Louis, Kelechi Udegbe, Niger-Delta, nigerian cinema, nollycritic, nollywood, Nollywood 2026, Sam Dede, Sunshine Rosman, The Creek, Toka McBaror --- ### [Son of the Soil: Violence and the Uneasy Gaze of Lagos](https://nollycritic.com/son-of-the-soil-violence-and-the-uneasy-gaze-of-lagos/) **Published:** March 9, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Son of the Soil, directed by Chee Keong Cheung and written by and starring Razaq Adoti, travels this path through the streets of Lagos... **Content:** Revenge stories often follow familiar paths. Something terrible happens. A wounded protagonist sets out to restore balance through violence. *[Son of the Soil](https://www.imdb.com/title/tt32362662/ "Son of the Soil")*, directed by Chee Keong Cheung and written by and starring Razaq Adoti, travels this path through the streets of Lagos. The film follows Zion Ladejo, a former Nigerian soldier who returns from the United States after troubling events involving his sister Ronke draw him back into the city and into the orbit of a dangerous drug circulating through its criminal underworld. What follows is a tense journey through confrontations, chases, and uneasy alliances as Zion moves deeper into Lagos’s volatile landscape. Along the way, the film hints at larger questions about belonging, identity, and disruption, even as its relentless action keeps those ideas slightly out of reach. ## *Son of the Soil* Directed by: Chee Keong Cheung Written by: Razaq Adoti Genre: Action, Thriller Released on: March 1, 2026 (Netflix) Language: English ### A Man Who No Longer Knows His Own Home *[Son of the Soil](https://nollycritic.com/son-of-the-soil-to-premiere-on-netflix-this-march/ "Son of the Soil")* gestures toward a story about belonging. Zion returns to Lagos assuming a familiarity the city no longer grants him. The film, however, quietly undermines this assumption. His motivations are clear from the beginning. Rage and a sense of obligation to family drive him forward. A deeply personal incident becomes the emotional engine of the narrative, yet the story rarely pauses to explore the psychological cost of that experience. Instead, Zion moves through Lagos with the determination of a man who has already accepted his fate. Redemption is not part of his vocabulary. The film never frames his journey as a path toward healing. From the moment he arrives, his trajectory feels sealed. Revenge is not a choice but a condition he must carry to its end. The irony lies in how the city receives him.Through its title, the film seems to frame Zion as the “son of the soil”, though what unfolds on screen repeatedly exposes his distance from the land he once knew. His speech struggles with familiar Yoruba expressions. He calls his mother “Ma” rather than the more culturally rooted forms one might expect. Small details accumulate until the illusion of belonging collapses. Meanwhile, the characters who move most confidently through Lagos are those who never left it. Remi, the street girl who moves independently and follows Zion through the city’s labyrinth, understands the streets with instinctive intelligence. Local kingpins such as Jagunlabi and Saka Bula command territories shaped by lived familiarity. Even the background figures who occupy markets and roadside spaces seem more embedded in the city’s rhythms than the protagonist himself. Lagos itself becomes a central character. Shot on location, the city feels alive. Markets bustle, streets teem, onlookers watch from the edges. The camera captures a world where ordinary residents continue their lives beyond the frame. This spatial authenticity grounds the story in a recognisable reality. The distinction between actors and background figures sometimes blurs, giving the impression that the violence is unfolding within a real social environment rather than a carefully controlled film set. One confrontation crystallises this tension. When Jagunlabi sides with Zion against Saka Bula, the latter questions the decision. Why support an outsider, an “Americanah”, instead of another local power? During the standoff, Jagunlabi invokes the phrase “sons of the soil”, hinting at a deeper conflict about who truly belongs to the land. The moment carries thematic weight. The film touches it briefly, then moves on. ### Revenge in Motion The plot of *Son of the Soil* unfolds with relentless forward momentum. After receiving a distress message from his sister, Zion returns to Lagos, where questions surrounding the circumstances of that call pull him into the city’s criminal underworld. Each step brings him closer to Dr Baptiste, a medical professional secretly distributing a dangerous drug known as Matrix across the city. This structure follows the classic revenge blueprint. Leads appear. Fights erupt. Clues emerge through intimidation and violence. The narrative advances through encounters rather than investigation. Zion walks into hostile territory again and again, absorbing brutal beatings before pushing forward to the next confrontation. The pacing rarely slows. Even moments that should carry emotional gravity rush past with surprising speed. Early in the film Zion wakes from a coma after being nearly beaten to death. His first question to his grieving mother concerns how long he has been unconscious. The answer matters less than his immediate desire to return to the hunt. That sense of urgency defines the film’s rhythm. The plot moves efficiently from one set piece to another. Keke chases replace conventional car pursuits. Street fights erupt in markets and alleyways. Violence arrives quickly and frequently. In the middle of these sequences, the film occasionally reveals the limits of staging in a public city. During the keke chase in particular, real bystanders drift into the frame, people walking past, smiling, or watching the spectacle unfold. Their presence can momentarily break the illusion. Armed men are running through the streets while curious onlookers stare in amusement rather than alarm, a reaction that slightly weakens the scene’s believability. At the same time, these intrusions echo the film’s larger visual approach. Lagos never feels fully controlled by the camera. The city keeps pressing into the frame, reminding the viewer that the action unfolds within a real and unpredictable environment. Yet that relentless movement carries a cost. The story surrounding the action often feels thin. Dr Baptiste functions primarily as a target rather than a fully realised antagonist, a looming figure whose motivations remain frustratingly vague. Because the film invests so heavily in physical confrontation, the conflict between him and Zion rarely develops into something more ideological. The narrative hints at deeper stakes but never fully explores them, leaving the central rivalry without the emotional gravity the film occasionally gestures toward. At times the narrative also relies on convenient hesitation from its villains. Characters who clearly possess the opportunity to eliminate Zion instead prolong the confrontation, allowing the story to continue moving forward. These moments reveal the mechanics of genre storytelling at work. The film protects its protagonist even when the logic of the situation suggests otherwise. One antagonist chooses intimidation over a decisive attack, while another abandons a clear advantage in favour of a prolonged fight. The effect occasionally feels less like strategy and more like narrative preservation. ### Faces That Carry the Weight of the Streets Razaaq Adoti approaches Zion with physical commitment. The role demands endurance more than nuance, and Adoti throws himself into the brutality of the action. His Zion staggers through the film battered and stubborn, absorbing punishment with a grim determination that mirrors the character’s emotional tunnel vision. The performance, however, reveals an interesting dissonance. Zion is written as someone familiar with Lagos, a man who once navigated its streets long before leaving for America. Adoti’s delivery often suggests otherwise. His speech patterns and mannerisms carry the distance of someone who has lived away from the environment for too long. Whether intentional or not, this disconnection reinforces the film’s underlying tension about identity. The supporting cast supplies some of the *Son of the Soil* ‘s most grounded moments, though not without curious choices. Patience Ozokwor approaches Zion’s mother with her usual screen authority, carrying the weary composure of a woman watching her son drift toward inevitable consequences. Yet the performance occasionally raises questions about believability. Her use of Yoruba is surprisingly sparse, appearing only in brief moments where the language might otherwise feel natural. Most of the time she defaults to English, which creates a slight distance from the cultural setting the film is trying to establish. Strangely, this oddity ends up echoing Zion’s own linguistic disconnection from Lagos. The result is a performance that feels both steady and slightly out of place, reflecting the same uneasy relationship with identity that shadows the film’s protagonist. Damilola Ogunsi gives Jagunlabi a controlled menace that hints at deeper layers beneath the surface of the city’s criminal hierarchy. Taye Arimoro approaches Saka Bula from a different angle altogether. His villainy carries a strange charm. The character is clearly dangerous, yet Arimoro plays him with an irritating confidence that somehow becomes entertaining to watch. He leans into the character’s abrasiveness, allowing Saka Bula to be both menacing and deliberately aggravating. It is not the polished, calculating villain often found in crime thrillers. Instead, Arimoro embraces a kind of chaotic antagonism, the sort of character who seems to enjoy the performance of being the bad guy. The result is a villain who feels unpredictably alive. His presence becomes one of the film’s more memorable sparks of personality within an otherwise familiar revenge framework. The film’s most memorable presence arrives through Ijelu Folajimi as Remi. Small in stature but sharp in instinct, she navigates the streets with a confidence Zion never quite achieves. Her performance carries the authenticity of someone who understands the city’s pulse. Yet Remi’s role within the story feels oddly uncertain. The relationship between her and Zion sometimes appears unnecessary and narratively forced, as if the film is searching for an emotional thread to bind the protagonist to the streets he barely understands. Still, her presence hints at a deeper symbolic function. Remi appears at moments when death or danger has just passed through the environment, almost like a witness moving between fragments of the city’s violence. Through her, the film briefly reveals Lagos from the perspective of those who survive by instinct rather than force. While the script never fully develops this idea, Remi momentarily embodies the city’s resilience, a child navigating the same terrain that repeatedly overwhelms the film’s adult protagonist. ### The Camera That Never Lets You Rest If *Son of the Soil* finds its strongest identity anywhere, it is within its visual language. The film rarely allows the image to settle. Dutch angles tilt the frame, crash zooms push abruptly into faces, and handheld movement follows characters through crowded streets. The camera behaves less like a guide and more like a witness, observing events as they unfold rather than carefully staging them. This restless style produces a persistent unease that mirrors the chaos of the environment. The style also recalls an earlier strain of action filmmaking. The exaggerated Dutch angles, abrupt zooms, and rough handheld framing evoke the visual grammar of late twentieth century action cinema, where urgency mattered more than visual elegance. Instead of the smooth choreography seen in contemporary blockbusters, the film leans toward a raw, almost documentary-like immediacy. Shots often feel improvised rather than polished, as if the camera is struggling to keep up with events unfolding in real time. This gives the action a tactile quality. The viewer is not simply watching a staged spectacle but experiencing the chaos of bodies colliding within a living environment. The effect is that Lagos never feels neatly composed. The camera appears to stand somewhere within the streets rather than above them. Markets spill into the frame, alleyways feel tight and unpredictable, and movement constantly interrupts the image. The city pushes back against the camera’s control, creating the sense that what we are seeing exists within a living environment rather than a carefully contained film set. Cinematographer Jack Thompson-Roylance reinforces this atmosphere through colour and texture. The palette leans toward earthy tones, rusted browns, faded reds, and the worn greys of concrete and metal. Even daylight scenes carry a roughness rather than polish. At night, warm streetlights wash the city in amber hues while deep shadows swallow the edges of the frame. The result is a Lagos that feels visually dense, a place where colour carries both energy and strain. Street scenes occasionally reveal how difficult it is to fully control a real environment. Curious onlookers sometimes drift into the background, people who appear to be watching the production rather than participating in it. Their presence briefly cracks the illusion. Yet the film’s rapid editing and constant camera movement absorb these moments before they become distracting. Instead, they reinforce the sense that the story unfolds within a city that continues to exist beyond the film’s control. Editing keeps the narrative in constant motion. Quick cuts give the action urgency, though they sometimes make the choreography harder to follow. The sound design supports the physical intensity of the fights, amplifying every strike, gunshot, and metallic clash. The drawback of this approach is that the film rarely allows visual stillness. Scenes that might benefit from quiet observation are filmed with the same kinetic energy as the action sequences. Moments of grief and reflection pass quickly, leaving little space for the emotional weight of those moments to settle. Still, when the style works, it gives *Son of the Soil* its most distinctive identity. The film may follow a familiar revenge blueprint, but visually it insists on experiencing that story from inside the restless pulse of Lagos itself. ### Final Thoughts He returns to Lagos assuming a familiarity that the city no longer grants him. The city responds differently. Lagos moves around him with its own logic, guided by people who understand its rhythms far better than he does. Remi survives by reading the streets. Jagunlabi and Saka Bula rule territories built on familiarity with the environment. Zion simply pushes forward, driven by grief that leaves little room for reflection. The drug Matrix represents one form of foreign poison entering the city. Zion’s arrival introduces another. His violence destabilises the fragile order already present within the criminal world. By the time his revenge is complete, the deeper problems remain untouched. This leaves the film with an uneasy conclusion. The villain falls. The violence subsides. Yet the soil itself has not changed. There is an irony buried in this tension. The man whose story anchors the film may not be its true “son of the soil” at all. From the opening moments, the cinematography positions the viewer at a distance. Angles feel tilted, frames catch fragments of movement, and the camera often watches rather than participates. We observe Lagos the way an outsider might, piecing together the city through scattered impressions. In that sense, Zion’s alienation mirrors our own. The film places us in the same position, watching events unfold without fully belonging to the environment we are seeing. This perspective becomes even more interesting when one considers the film’s authorship. Chee Keong Cheung, a British-Chinese filmmaker, approaches Lagos from outside its cultural centre. His direction often carries the grammar of global action cinema, particularly Hollywood revenge thrillers. Certain moments reveal this clearly. One scene has Zion stumbling through the streets in a hospital gown, his exposed backside drawing amused reactions from passers-by. It plays like a familiar gag from Western action comedies, a trope rarely found in Nigerian storytelling traditions. The moment is funny, but it also reveals the film’s vantage point. We are watching Lagos filtered through an external cinematic lens. Perhaps that is the *Son of the Soil* ‘s quiet irony. The camera observes the city just as Zion does, slightly displaced, slightly unfamiliar, trying to interpret a world that refuses to behave according to its expectations. ### Verdict *Son of the Soil* delivers a tense, visually energetic ride through the streets of Lagos. Viewers who enjoy relentless action and gritty urban settings will find plenty to engage with. Those searching for deeper thematic reflection may leave feeling that the film uncovers compelling ideas but never quite digs far enough into the soil beneath them. Rating: 2.75/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/son-of-the-soil-violence-and-the-uneasy-gaze-of-lagos/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/son-of-the-soil-violence-and-the-uneasy-gaze-of-lagos/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/son-of-the-soil-violence-and-the-uneasy-gaze-of-lagos/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/son-of-the-soil-violence-and-the-uneasy-gaze-of-lagos/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/son-of-the-soil-violence-and-the-uneasy-gaze-of-lagos/?share=linkedin) - **Categories:** Reviews **Tags:** Chee Keong Cheung, crime and revenge, critique, cultural identity, Damilola Ogunsi, Film review, Ijelu Folajimi, Jack Thompson-Roylance, Lagos crime drama, nigerian cinema, Nollywood action film, Patience Ozokwor, Philip Asaya, Razaaq Adoti, revenge thriller, Sharon Rotimi, Son of the Soil, Taye Arimoro, urban violence --- ### [8 Nollywood Movies to See This International Women's Day](https://nollycritic.com/8-nollywood-movies-to-see-this-international-womens-day/) **Published:** March 8, 2026 **Author:** Esther Adamu **Excerpt:** The Impact of women in Nollywood cannot be over emphasized! Every year on March 8, the world celebrates International Women's Day, a day dedicated ... **Content:** The Impact of women in Nollywood cannot be overemphasized! Every year on March 8, the world celebrates [International Women’s Day](https://www.internationalwomensday.com/ "International Women's Day"), a day dedicated to recognizing women across the Globe. Nollywood has long served as a platform for telling and showcasing stories of resilience, ambition, courage, Solidarity, love, leadership, and power through the Lens of women’s experience. Here are eight Nollywood movies that celebrates [women](https://nollycritic.com/forget-the-spotlight-these-women-are-nollywoods-real-mvps/ "women") who challenge norms, drive narratives, and shape their own destinies. ***Amina* (2021)** *Amina* is a pre-colonial African leadership movie directed by Izu Ojukwu and based on the 16th century Zazzau Queen warrior. This historical epic tells the story of a fearless leader who rose to power and led armies to expand her kingdom, challenging cultural norms that have excluded women from being warriors. The Movie presented a rare depiction of pre-colonial African female leadership. Amina refused to back down from challenges, embodying resilience and strength even when faced with resistance from her own people. This film stars Okey Ogunjiofor as Queen Amina, Abu Chris Gbakann, Mjinyawa, Karbarkai, and others. *Amina* is currently on Netflix! ***Funmilayo Ransome-Kuti* (2024)** Before girl power was a slogan, Funmilayo Ransome-Kuti was living it. This biographical film tells the story of Nigerian activist *Funmilayo Ransome Kuti*. Known for her fearless resistance against unfair taxation and colonial policies, she led one of the most significant women’s protests in Nigerian history. The cast used to tell the story of Funmilayo Ransome Kuti includes Kehinde Bankole, Joke Silva, Iyimide Ayo-Olumoko, Ibrahim Suleiman, and others. Fierce, visionary, and unstoppable, Funmilayo’s story is a reminder that women don’t just break barriers; they rewrite history. You can see *Funmilayo Ransome-Kuti* on Prime Video. ***Breaded Life*** **(2021)** A Breaded Life is a comedy-drama directed by Biodun Stephen. The film follows a privileged young man who mysteriously wakes up in an alternative reality where no one remembers him and where he is no longer rich. While the story centers on his transformation, the film introduces a hardworking bread seller whose resilience, compassion, and determination shape the narrative. Through humour and commentary, the film celebrates everyday women whose strength lies in perseverance and kindness. Few casts of *Breaded Life* include Timini Egbuson, Bimbo Ademoye, Shaffy Bello, Bisola Aiyeola and Bolaji Ogunmola. Breaded Life is streaming on Netflix! ***Oloture*** **(2019)** This is an intense investigative drama. *Oloture’s* story follows a journalist who goes undercover to expose the brutal underworld of human trafficking networks. As she immerses herself in the dangerous world she is reporting on, she experiences the harsh realities faced by women who were sexually trafficked. The film highlights the duality of women’s reality in such situations, revealing their vulnerability to exploitation while also showcasing the resilience and strength they summon in their struggle for survival. The film stars Sharon Ooja, Beverly Osu, Ada Ameh, Blossom Chukwujekwu and others *Oloture* can be streamed on Netflix. ***Blood Sisters*** **(2022)** In this thriller series, two best friends are forced to go on the run after a shocking crime ties them to a powerful and dangerous family. As they run and fight to stay alive, their friendship and determination become their greatest weapons, turning them from victims into survivors. The series highlights female friendship, loyalty, and the collective strength of women in challenging situations. The casts include Dima-Okojie, Nancy Isime, Ramsey Nouah, Kate Henshaw, Wale Ojo and Gabriel Afolayan. You can stream *Blood Sisters* on Netflix! ***Onobiren: A Woman’s Story*** **(2026)** This film follows a woman’s journey to define her own destiny while honouring her roots and balancing societal and family expectations with her personal ambitions. The story begins with Roil, who grew up in a fishing community where customs and gender roles strongly influence the path women are expected to take. Determined to pursue a different life, she leaves Warri for Lagos, a journey of self-discovery, resilience, and Identity. The casts include Patience Ozokwor, Deyemi Okanlawon, Bisola Aiyeola, Norbert Young, Chude Jideonwo, Desmond Bryce, and Temitope Tampe Aje, among others. *Onobiren: A Woman’s Story* is currently in cinemas. ***Lionheart*** **(2018)** Directed by and starring Genevieve Nnaji, *Lionheart* tells the story of a woman determined to prove herself in a male-dominated business world. When her father falls ill, she must step up to run the family company, challenging both corporate rivals and cultural expectations. Nollywood’s first Netflix original explored the themes of resilience, women’s empowerment, and the challenges they face in a male-dominated society. Adaeze’s journey reflects the challenges many women face in professional spaces while proving that capability, not gender, defines leadership. The cast of *Lionheart* includes Pete Edochie, Genevieve Nnaji, Nkem Owoh, Phyno, Onyeka Onwenu, and Jemima Osunde. Stream *Lionheart* on Netflix! ***I am Anis*** Written by Mannie Oiseomaye and Biodun Stephen, with Stephen also directing and producing. Inspired by real events, the film tells the story of Anisola Williams, whose seemingly perfect life takes an unexpected turn, uncovering long-buried truths. The film stars Shaffy Bello, Tina Mba, Charles Inojie, Toyin Oshinaike, Lina Idoko, Debo Adedayo (Mr Macaroni), Rykardo Agbor, Martha Ehinome, Chimela Nwachukwu, and Karen Spikes. You can stream *I am Anis* on Circuits TV. These Nollywood films serve as powerful reminders of the many ways. Whether portraying historical figures, survivors, activists, leaders, or journalists, these films highlight the resilience and complexity of women’s experiences. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/8-nollywood-movies-to-see-this-international-womens-day/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/8-nollywood-movies-to-see-this-international-womens-day/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/8-nollywood-movies-to-see-this-international-womens-day/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/8-nollywood-movies-to-see-this-international-womens-day/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/8-nollywood-movies-to-see-this-international-womens-day/?share=linkedin) - **Categories:** Articles, Movies **Tags:** Abu Chris Gbakann, Amazon Prime Video, Amina, blood sisters, Breaded Life, Funmilayo Ransome-Kuti, i am anis, Ibrahim Suleiman, International womens day, Izu Ojukwu, Joke Silva, Karbarkai, Kehinde Bankole, Lionheart, Mjinyawa, Netflix, nollycritic, nollywood, Okey Ogunjiofor, Oloture, Onobiren: A woman Story, Shaffy Bello, Wale Ojo --- ### [HER Docuseries: Zikoko Releases the Second Season](https://nollycritic.com/her-docuseries-zikoko-releases-the-second-season/) **Published:** March 7, 2026 **Author:** Esther Adamu **Excerpt:** Culture publication Zikoko, a flagship brand of Big Cabal Media, is excited to announce the release of the second season of HER... **Content:** Culture publication [Zikoko](https://nollycritic.com/?s=zikoko "Zikoko"), a flagship brand of Big Cabal Media, is excited to announce the release of the second season of *HER*, a docuseries that highlights the stories of five inspiring Nigerian women. These women have achieved financial success, built strong businesses, and developed profitable personal brands despite facing numerous challenges. Last year, [Zikoko](https://www.zikoko.com/ "Zikoko") brought stories of remarkable women who have built their own spaces in various sectors. The first centres on Ibukun IBK Akinola, co-founder and payments director at PiggyVest. Akinola opens up about her pivotal role in managing backend operations for a company that processed over 835 billion naira in user disbursements in 2024 alone. The next was Tara Oluwatomisin, a professional footballer-turned-henna artist; Hassana Maina followed, a lawyer who empowers women in displaced communities; and last was Nneka Nnanna, a self-taught linguist and Korean content creator. In this second season of *Her: The docuseries*, the story goes beyond the accolades and tells the stories of five unique Nigerian women. These women faced economic uncertainty yet chose to build businesses, creating lucrative enterprises that offer tremendous value to the communities they operate in. Each episode features a HER queen who redefined industries and created new blueprints for success by seeking out solutions to difficult problems. Her: the docuseries is part of Zikoko’s broader transition to the story campaign, which aims to reshape narratives around women’s financial independence and autonomy. Through storytelling Zikoko has shown that with determination, focus and drive, any woman can become a change agent. The Docuseries launches today, Saturday, March 7, on Zikoko’s YouTube channel. Source: Press release from Big Cabal Media. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/her-docuseries-zikoko-releases-the-second-season/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/her-docuseries-zikoko-releases-the-second-season/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/her-docuseries-zikoko-releases-the-second-season/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/her-docuseries-zikoko-releases-the-second-season/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/her-docuseries-zikoko-releases-the-second-season/?share=linkedin) - **Categories:** Nollywood News **Tags:** Big Cabal Media, Her: A Docuseries, nollycritic, nollywood, Zikoko, Zikoko Her: The docuseries --- ### [Canal+ to Shut Down Showmax after 11 years of Operation](https://nollycritic.com/canal-to-shut-down-showmax-after-11-years-of-operation/) **Published:** March 6, 2026 **Author:** Esther Adamu **Excerpt:** Canal+ is set to shut down popular online video-on-demand streaming platform Showmax as part of cost-cutting measures after more than a.. **Content:** [Canal+](http://canalplus.com/ "Canal+") is set to shut down popular online video-on-demand streaming platform Showmax as part of cost-cutting measures after more than a decade of operation. The decision to end the streaming service is a significant step in the company’s efforts to save costs. Originally launched in 2015 as a flagship product of South Africa’s Multichoice, [Showmax](https://nollycritic.com/?s=showmax "Showmax") expanded over the years and has served audiences across multiple African countries. This Shutdown will bring an end to 11 years long operation of the streaming platform. In February 2024, MultiChoice relaunched an updated version of Showmax in partnership with [NBCUniversal](https://www.nbcuniversal.com/ "NBCUniversal"), a subsidiary of Comcast headquartered in New York City. Despite a 300-million-dollar investment in technology and content production, the new Showmax still failed to hit subscribers’ growth target. During an investor call earlier this year, Canal+ Chief Executive Officer Maxime Saada mentioned that Showmax had not been commercially successful and a decision on its future would be taken. On March 5, 2026, an email was sent to subscribers stating that, following a review, the board had decided to discontinue the streaming service in the near future. The email also included: > We understand that this news may raise questions. Showmax subscribers are a priority for us, and we are working on plans to ensure clear communication and a smooth transition when the time comes. We will share Further details well in advance, including timelines and any future steps, should they be required. While Multichoice has not confirmed a specific date for this inevitable shutdown, it assures subscribers that the service will continue operating for the time being. MultiChoice has already begun rebranding several Originals as content for its television channels. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/canal-to-shut-down-showmax-after-11-years-of-operation/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/canal-to-shut-down-showmax-after-11-years-of-operation/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/canal-to-shut-down-showmax-after-11-years-of-operation/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/canal-to-shut-down-showmax-after-11-years-of-operation/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/canal-to-shut-down-showmax-after-11-years-of-operation/?share=linkedin) - **Categories:** Nollywood News **Tags:** Canal+, Maxime Saada, Multichoice, NBCUniversal, nollycritic, nollywood, Nollywood 2026, Showmax, Showmax shut down --- ### [New Nollywood Movies to See This March 2026](https://nollycritic.com/new-nollywood-movies-to-see-this-march-2026/) **Published:** March 3, 2026 **Author:** Esther Adamu **Excerpt:** Happy New Month, Nollywood Fam! This March is serving up more than just spring vibes, it is bringing a fresh wave of must watch... **Content:** Happy New Month, Nollywood Fam! This March is serving up more than just spring vibes; it is bringing a fresh wave of must-watch movies that will have you glued to your screen. From heart-racing thrillers to Rom-coms, action, dramas, horror, and a few laugh-out-loud comedies. This month’s lineup has it all, and it is proof that your watch list is about to get a serious upgrade. Without Further ado, here is a list of Nollywood movies on our radar this month. What are you waiting for? Come and see movies everyone will be talking about! ### ***Son of the Soil* (2025) –** ****March 1**** A former Nigerian special ops paratrooper returns home after the tragic death of his sister. Initially, it was intended to bury his sister, but as the movie progresses, it evolves into a story of vengeance. The movie blends action, drama, and family drama, reflecting the strength and resilience of African roots. The Film stars: Razaaq Adoti, Patience Ozokwor, Iretioluwa Doyle, Emeka Golden, Taye Arimoro and others I will not be spilling more tea, so set your calendars, as this highly anticipated Nollywood movie is set to premiere on [Netflix](https://www.netflix.com/browse "Netflix") on March 1st. ### *****Ori: Rebirth***** ****(2025) – March 5**** Bisade, a once-celebrated young man, who is caught in a spiritual warfare orchestrated by his mother-in-law. Bisade goes from a grace to grass situation. The narrative is a blend of supernatural politics and familial devotion, making it a compelling watch for Nollywood fans and lovers of spiritual drama. The cast includes: Muyiwa Ademola, Toyin Abraham, Sola Sobowale, Joke Muyiwa, Omowunmi Dada, Dele Odule, and Odunlade Adekola. *Ori: Rebirth* will stream on Kava Tv from March 5. ### ***Mother’s Love* (2026) –** ****March**** 6 A young woman from a wealthy family, has her life shattered by her father’s controlling grip. Finally allowed to experience freedom through the NYSC program, she embarks on a journey of self-discovery, befriending a young man from a humble background who challenges her perspectives. The cast includes Noray Nehita, Omotola Jalade-Ekeinde, Oluwatosin Olumide Oworu, and Lilian Afegbai. Mother’s Love is set to premiere on March 6, 2026, in Cinemas Nationwide. ### ****Kilanko: The Invincible Child (2026)** –** ****March**** 6 Produced by Rotimi Salami and directed by Allwell Ademola before her passing. The film revolves around the Yoruba abiku mythology, focusing on the story of a child born to a dying mother. The narrative delves into the secrets, pain, and unraveling mysteries surrounding these spirit children. The movie highlights the impact of their existence on the family and community. The film stars Rotimi Salami, Allwell Ademola, Ibrahim Chatta, Tina Mba, Afeez Abiodun, and Tokunbo Malvin, among others. *Kilanko: The Invisible Child* will be in cinemas March 6th. ### *******Onobiren: A Woman’s Story*** (2026)** –** ****March**** 6 Follow Roli’s journey from Warri to Lagos when what begins as a familiar narrative quickly transforms when she chooses a different path, one driven by purpose, survival, and self-discovery; powered by fishing roots and the magic that happens when women support women. The film stars; Patience Ozokwor, Deyemi Okanlawon, Bisola Aiyeola, Norbert Young, Chude Jideonwo, Desmond Bryce, Ruby Akubueze, and Temitope Tampe Aje, among others. *[Onobiren: A Woman’s Story](https://nollycritic.com/onobiren-a-womans-story-new-movie-set-for-cinemas-this-march/ "Onobiren: A Woman's Story")* is scheduled to hit cinemas across Nigeria and Ghana from the 6th of March 2026. ### *******Headless*** (2026)** –** ****March**** 13 The Film directed and written by Michael W. Ndiomu, follows a morally ambiguous Nollywood film producer who is discovered with a decapitated human head in the boot of his car. The investigation that follows exposes dark intersections between politics, crime, and the film industry. The film stars Gideon Okeke who plays the lead role, Uzoamaka Aniunoh, Baaj Adebule, Ruby Okezie, Iremide Adeoye, Femi Branch, and Segun Arinze among others. *[Headless](https://nollycritic.com/headless-filmone-to-distribute-new-nollywood-thriller/ "Headless")* movie set to be released nationwide in theatres across Nigeria on March 13th. ### *****Irete: The Reckoning*** **(2026) – March 20th**** Directed by Segun Ogungbe, this film explores the bonds of shattered vows and the allure of forbidden desires. The plot revolves around a sacred oath that is betrayed, leading to dire consequences for the characters involved. The movie has a stellar cast of Nollywood actors which includes; Deyemi Okanlawon, Femi Adebayo, Odunlade Adekola, Wumi Toriola, Sola Sobowale, Fathia Williams Balogun, Dele Odule, and Broda Shaggi. Irete: The Reckoning is set to be released in cinemas starting from March 20, 2026. ### ********Aba Blues****** **(2026) – March 20th**** This is a Nigerian drama set in the commercial heartbeat of Abia State, focusing on the lives of individuals navigating complex relationships and the challenges they face. The story follows a woman as she confronts her former boyfriend’s return and the psychological effects of love. It explores the theme of love, loss, ambition, and emotional resilience. The Lead roles are played by Angel Anosike, Prince Nelson Enwerem, and Jide Kene Achufusi with a dynamic supporting ensemble. *Aba Blues* will arrive in cinemas nationwide across Nigeria from March 20th. ### ***********Eleko: Oba Esugbayi********* **(2026) – March 20th**** Produced by Jide Kosoko Film Presentation and aims to tell the story and life of Oba Esugbayi Eleko, the Eleko of Lagos. The film tells how Oba Esugbayi Eleko fought to protect the cultural dignity and freedom of Lagos under the colonial British Rule. The Film Portrays not just the story of a man but also the heart and soul of a people fighting for not just their identity but also for the identities of future generations to come. The movie features a mix of seasoned actors and emerging talents, including Femi Branch, Yemi Solade, Yinka Quadri, Hassan Taiwo, Bidemi Kosoko, Sola Kosoko Abina, Jumoke Odetola, Yomi Fash Lanso, among others. *Eleko: Oba Esugbayi* is set to premiere nationwide on March 20, 2026. ### ***Evi*** **(2026) – March 27th** A famous singer loses everything when her label drops her without pay. With help from her friend and manager, she struggles to rebuild her career and find herself again. Watch as this movie unfolds Directed by Uyoyou Adia. The cast for the Nollywood film *Evi* includes: Osas Okonyon, Uzor Arukwe, Omowunmi Dada, Waje Iruobe, Ibrahim Suleiman, Femi Branch, Michael Ejoor, V J Adams and others. *[Evi](https://nollymeter.com/movies/evi "Evi")* will be available fin cinemas across Nigeria starting March 27, 2026. Which of these Nollywood movies do you anticipate the most? Stay tuned, as we will update this list with more Nollywood movies. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-nollywood-movies-to-see-this-march-2026/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-nollywood-movies-to-see-this-march-2026/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-nollywood-movies-to-see-this-march-2026/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-nollywood-movies-to-see-this-march-2026/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-nollywood-movies-to-see-this-march-2026/?share=linkedin) - **Categories:** Articles, Movies **Tags:** Aba Blues, Call of my life, Evi, Headless, Irete: The Reckoning, Kilanko: The invincible child, Mother's Love, Movies to see in March 2026, nollycritic, nollywood, Nollywood 2026, Onobiren: A woman Story, Ori (Rebirth), Son of the Soil movie --- ### [See The Official Trailer for Eleko (Oba Esugbayi)](https://nollycritic.com/see-the-official-trailer-for-eleko-oba-esugbayi/) **Published:** March 4, 2026 **Author:** Esther Adamu **Excerpt:** The official trailer for Jide Kosoko's Eleko (Oba Esugbayi), Nollywood's first full-length historical biopic has been released. **Content:** The official trailer for Jide Kosoko’s *Eleko (Oba Esugbayi)*, Nollywood’s first full-length historical biopic has been released. Produced by the prestigious [Nollywood](https://nollycritic.com/?s=NOLLYWOOD "Nollywood") actor Jide Kosoko under his emblem, Jide Kosoko Film Presentation, and directed by three accomplished filmmakers, Adebayo Tijani, Babatunde Kosoko, and Tunde Olaoye, whose combined expertise promises to deliver a visually stunning and emotionally gripping narrative. The film is set in the early 20th century, during the reign of Oba Esugbayi Eleko of Lagos, a revered monarch remembered for his bold resistance against British Colonial domination. The film positions itself as a cultural reawakening, telling one of Lagos most defining historical chapters: the story of Oba Esugbayi and colonial Lagos. At the center of the film is the compelling story of [Oba Esugbayi Eleko](https://en.wikipedia.org/wiki/Eshugbayi_Eleko "Oba Esugbayi Eleko"), a Lagos monarch who firmly opposed colonial interference in the governance and traditions of his people. His resistance put him at odds with British authorities, leading to intense political struggles and eventual exile. This ultimately established his enduring legacy as a symbol of pride and sovereignty for the Yoruba people and African in general. *Eleko (Oba Esugbayi)* stars Femi Branch, Kosoko, Yemi Solade, Dele Odule, Bidemi Kosoko, Femi Adebayo, Odunlade Adekola, Gabriel Afolayan, Yomi Fash-Lanso, Adebayo Salami, Saheed Balogun, Rotimi Salami, Broda Shaggi, among others, to tell a story that blends history, drama, and cultural heritage. This film not only celebrates the courage of Oba Esugbayi, but it also highlights the political tension, cultural conflict, colonial dominance, and personal sacrifice that defined the era. The trailer dropped ahead of the film’s grand premiere scheduled for March 14, 2026, with its Nationwide Cinema release six days after, on March 20, 2026. See trailer below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-official-trailer-for-eleko-oba-esugbayi/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-official-trailer-for-eleko-oba-esugbayi/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-official-trailer-for-eleko-oba-esugbayi/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-official-trailer-for-eleko-oba-esugbayi/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-official-trailer-for-eleko-oba-esugbayi/?share=linkedin) - **Categories:** Nollywood News **Tags:** Adebayo Salami, Adebayo Tijani, Babatunde Kosoko, Bidemi Kosoko, Broda Shaggi, Dele Odule, Eleko (Oba Esugbayi), Femi Adebayo, Femi Branch, Gaberiel Afolayan, Jide Kosoko, Nigerian Cinema 2026, nollycritic, nollywood, Odunlade Adekola, Rotimi Salami, Saheed Balogun, Tunde Olaoye, Yemi Solade, Yomi Fash-Lanso --- ### [Mike Afolarin: The Making of a Nollywood Leading Man](https://nollycritic.com/mike-afolarin-the-making-of-a-nollywood-leading-man/) **Published:** February 28, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Mike Afolarin’s entry into acting began not with film sets but with university theatre. While studying Economics at the University of Lagos... **Content:** Some actors arrive in Nollywood through a single defining role, their presence immediately fixed in the public imagination. Mike Afolarin’s rise has followed a quieter trajectory. His career has not been defined by sudden discovery but by accumulation, years spent learning proximity to storytelling before occupying its centre. What appears today as momentum is the result of gradual formation rather than rapid ascent. Born [Michael Oladapo Afolarin](https://www.imdb.com/name/nm10404026/ "Michael Oladapo Afolarin") on September 1, 1993, in Lagos State, Nigeria, Mike Afolarin grew up primarily in Lagos, though some accounts note an early childhood period in Ibadan before his family returned permanently to the city when he was seven. Educated at Federal Government College, Ijanikin, and later graduating with a Bachelor’s degree in Economics from the University of Lagos in 2016, his early path suggested professional conventionality rather than artistic ambition. Acting emerged gradually, beginning with stage performances during his university years before expanding into filmmaking and photography work behind the camera. Yet the analytical discipline of his academic background and the emotional introspection he has since spoken about in interviews would quietly shape the performer he would become. In interviews, Afolarin has spoken about an emotional distance from his preacher father, an experience that encouraged inward reflection rather than expressive display. That introspection would later become central to his artistic identity. His craft arrived through watching, assisting, and understanding before visibility followed. ## **Before Visibility: Learning the Industry from the Margins** Mike Afolarin’s entry into acting began not with film sets but with university theatre. While studying Economics at the University of Lagos, he participated in the stage play *Magic Time* in 2013, an experience that introduced him to performance as collaborative storytelling rather than individual display. Between 2013 and 2017, he worked largely behind the scenes, gaining practical understanding of production environments. He served as a set designer on *Ajuwaya* in 2017 and later worked in aerial cinematography, contributing drone footage to projects including an Oyo State investment documentary in 2018. He worked with film crews, engaged in photography, and participated in production environments where observation mattered more than visibility. This awareness continues to influence the controlled naturalism of his performances. Photography also became central to his creative identity. Since 2018, he has maintained professional aerial and portrait photography work, later sharing much of it through social media platforms where he built a following that blends fashion, visual storytelling, and behind-the-scenes documentation. ## Early Screen Work: Gradual Entry Into Nollywood Afolarin’s earliest screen appearances arrived through small but varied roles that allowed experimentation without immediate industry pressure.In *We Tha Boyz* and *Kasala!*, where he appeared as Chikodi, he operated inside stories propelled by group dynamics rather than individual character arcs, learning how presence could register even without narrative centrality. Television expanded that experience. In *Ajoche*, portraying Young Odumu introduced him to period storytelling early in his career, requiring composure within culturally formal material. Additional appearances in *Blast*, *The Accused*, and *Fortunately Ridiculous* exposed him to varying tonal registers, from drama to satire, allowing experimentation across styles without the pressure of carrying a project. A significant turning point came in 2019 with the Africa Magic series *Brethren*, where he played Kinto, a street-smart hustler navigating survival and loyalty. Running for over two hundred episodes, the series quietly built his early fanbase and allowed him to develop character endurance, an essential skill rarely acquired through short film roles. The experience grounded him in long-form storytelling and sharpened his ability to sustain emotional continuity across extended narratives. That same year, his appearance as Tunde Ajadi in Funke Akindele’s *Your Excellency* introduced him to a wider audience through political comedy. The role earned consecutive Best of Nollywood Award nominations in 2019 and 2020, marking the first moment industry recognition began to gather around his work. ## **Breakthrough: Far From Home** Mike Afolarin’s defining breakthrough arrived in 2022 with [Netflix’s](https://www.netflix.com/browse "Netflix’s") young-adult drama *Far From Home*, where he played Ishaya Bello, a financially struggling teenager navigating privilege and deception after gaining admission into an elite school. The series placed him at the centre of a story driven almost entirely by youth perspective, requiring him to carry emotional credibility across every episode. His performance anchored the series emotionally, balancing charm with vulnerability and moral ambiguity. Rather than presenting Ishaya as heroic, Afolarin portrayed him as conflicted and reactive, allowing hesitation and insecurity to drive the character’s emotional arc. The role required sustained internal tension across the series, drawing on the patience developed during his television work in *Brethren*. The role introduced him simultaneously to Nigerian and international audiences, collapsing the traditional gap between local fame and global recognition. The performance earned him a nomination at the Future Awards Africa in 2022 and reshaped industry perception of his potential. In interviews, Afolarin has credited the series with changing how casting directors viewed him, opening doors to roles that extended beyond supporting appearances. ## **Expanding Range: From Breakout Star to Exploration** Following *Far From Home*, Mike Afolarin avoided remaining confined to youthful archetypes. His film choices began moving across contrasting narrative environments rather than repeating familiar character types. He moved across genres and production scales, appearing in films such as *Adire* and *Anchor* in 2023 before entering an especially prolific period throughout 2024. His role as Oyemekun in Bolanle Austen-Peters’ historical epic *House of Ga’a* marked a significant shift into period drama, earning him a nomination for Best Supporting Actor at the 2025 Africa Magic Viewers’ Choice Awards. The performance demonstrated a willingness to inhabit culturally rooted narratives distinct from contemporary urban roles. The same period saw appearances across diverse projects including *Water and Garri*, *Freedom Way*, *3 Working Days*, *Ajosepo*, *Boy Trouble*, *Bottom Line*, *Our Father*, *The Other Side of the Bridge*, *This Is Lagos*, *Asiri Ade*, and Akay Mason’s crime thriller *Red Circle*. The range of these productions reflects an actor actively testing boundaries rather than consolidating a single screen identity. That same year, he appeared as King Kator in *[A Lagos Love Story](https://nollycritic.com/a-lagos-love-story-the-hype-the-stars-the-disappointment/ "A Lagos Love Story")*, portraying a flamboyant music star and contributing original songs to the film’s soundtrack, including the track “Wait for Me.” The project expanded his creative footprint beyond acting, reinforcing his multidisciplinary instincts. Taken together, these films show an actor experimenting with scale, tone, and character identity rather than consolidating a single screen persona. ## **Performance Identity** A defining characteristic of Mike Afolarin’s performances is the uncertainty his characters carry. Across roles, he often portrays young men navigating ambition, loneliness, or shifting identity, allowing emotional change to emerge through hesitation rather than declaration. The introspection he has connected to personal experience becomes visible not through dramatic intensity but through restraint, small pauses and recalibrated reactions that suggest thought unfolding in real time. This quality became particularly visible in *Far From Home*, where Ishaya Bello functions less as a heroic figure than as a character defined by contradiction. The performance relies on hesitation and internal conflict. This approach aligns closely with streaming-era storytelling aesthetics, where conversational realism and psychological nuance travel more easily across international audiences. This approach gives his performances an unusual elasticity. He can inhabit morally ambiguous or socially uncertain characters without forcing audience sympathy, relying instead on recognisable human hesitation. The performances feel less constructed around heroism than around uncertainty, suggesting an actor interested in portraying people still figuring themselves out rather than characters already defined. ## **Creative Practice Beyond Acting** Outside acting, Mike Afolarin continues to work as a filmmaker, photographer, and occasional musician. His photography, including widely circulated black-and-white portraits of fellow actors such as Genoveva Umeh, reveals an ongoing engagement with visual storytelling. His presence at Lagos Fashion Week 2025, where he modeled for Orange Culture, further reflects the fluid relationship between fashion, cinema, and celebrity identity within contemporary Nigerian culture. This multidisciplinary background places him among a growing class of Nollywood creatives who approach acting as one component of broader storytelling practice rather than a singular career path. The distinction may prove important as Nigerian cinema increasingly favours creators capable of navigating multiple roles within production ecosystems. Across mediums, his creative work reflects the same impulse visible in his acting: an interest in atmosphere, observation, and emotional presence. ## **An Actor Still Defining Himself** Mike Afolarin’s story so far resists definitive framing because its central movement remains ongoing. His career has progressed through preparation, gradual recognition, and deliberate expansion rather than sudden transformation. What distinguishes his trajectory is not speed but awareness, a sense of becoming visible only after understanding the space he occupies. The roles he chooses suggest an actor interested less in arrival than in discovery. Each project appears to function as inquiry rather than confirmation, testing how identity can be expressed through different characters and creative mediums. If the early phase of his career reveals anything clearly, it is that visibility came late enough to be intentional. The next stage will determine whether that patience becomes the foundation of longevity or merely the prelude to reinvention. For now, Mike Afolarin stands not as a finished figure but as an artist still assembling himself in public, one role at a time. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/mike-afolarin-the-making-of-a-nollywood-leading-man/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/mike-afolarin-the-making-of-a-nollywood-leading-man/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/mike-afolarin-the-making-of-a-nollywood-leading-man/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/mike-afolarin-the-making-of-a-nollywood-leading-man/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/mike-afolarin-the-making-of-a-nollywood-leading-man/?share=linkedin) - **Categories:** Articles, The New Nollywood **Tags:** 3 Working Days, A lagos love story, Adire, Africa Magic Viewers’ Choice Awards, Ajoche, Ajosepo, AMVCA, Anchor, Asiri Ade, Best of Nollywood Awards, Bolanle Austen-Peters, Bottom Line, Boy Trouble, Brethren, Far From Home, Freedom Way, Funke Akindele, Future Awards Africa, House of Ga’a, Ishaya Bello, James Omokwe, Kasala, Mike Afolarin, Netflix Nigeria, Nigerian actors, nigerian cinema, nollywood, Nollywood New Generation, Our Father, Red circle, Rising Nollywood Stars, The Other Side of the Bridge, This is Lagos, water and garri, We Tha Boyz, Your Excellency --- ### [Aba Blues: New Romance Drama Hits Cinemas This March](https://nollycritic.com/aba-blues-new-nollywood-romance-hits-cinemas-march/) **Published:** February 26, 2026 **Author:** Esther Adamu **Excerpt:** FilmOne Studios has announced the upcoming release of Aba Blues, a Romantic Nollywood drama set in the vibrant commercial city of Aba, Abia State. **Content:** [FilmOne Studios](https://www.filmoneng.com/ "FilmOne Studios") has announced the upcoming release of *Aba Blues*, a Romantic Nollywood drama set in the vibrant commercial city of Aba, Abia State. Aba Blues promises a heartfelt story that blends love, ambition, resilience, and the lingering shadows of the past. Set in the busiest trading hubs of Abia State, *Aba Blues* goes beyond Scenery. Aba provides a compelling backdrop for the film’s emotional narrative, breathing life into the story. Known for its industry, hustle, and creative fire, the city shapes every decision, adding cultural depth and realism to the unfolding drama. Aba Blues explores betrayal, longing, social pressure, and the personal cost of ambition, all told with intimacy and cultural depth. *Aba Blues* Story, Rooted in Love, Dreams, and Redemption, is written and directed by Jack’enneth Opukeme. The visionary filmmaker behind *[Farmer’s Bride](https://nollycritic.com/farmers-bride-forbidden-love-cultural-expectations-and-freedom/ "Farmer's Bride")*, a filmOne original that shook the Nollywood landscape and sparked conversations across the industry, and Aba Blues carries the same creative signature, combining visually striking scenes with deep emotional substance. Speaking on the project, Ladun Awobokun, chief content officer of FilmOne Entertainment, noted: > *Aba Blues* represents the stories we are intentional about telling at FilmOne: honest, emotionally resonant, and rooted in who we are. It is a story of love and resilience, but also of consequences and choice. Jack’enneth Opukeme added: > This is a film about flawed people navigating complex relationships. Aba has a rhythm you cannot ignore. That rhythm shaped the tone, the pacing, and the emotional core of the story Backed by Powerhouse producers, *Aba Blues* is produced by Barbara Babarinsa and supported by esteemed production companies FilmOne Studios and Inkblot Productions. These two influential studios in Nollywood are known for consistently delivering high-quality cinematic projects that resonate with both local and international audiences. The casts includes Angel Anosike, Prince Nelson, Jidekene Achufusi, Toni Tones, Bimbo Akintola, Eucharia Anunobi, and Odunlade Adekola. Together, they deliver a powerful performance layered with authenticity, vulnerability, tension, and emotional honesty. It’s positioned as a film that captures both the vibrancy of Aba and the universal challenges of love and sacrifice. At its core, Aba Blues is about people, their dreams, their contradictions, and the quiet resilience required to survive both love and expectation. The film is being heavily marketed as a cinematic experience, presenting it as more than just another romantic drama; instead, it is a visually rich and emotionally engaging journey. The Nollywood drama *Aba Blues* opens in cinemas nationwide from Friday, March 20th, 2026. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/aba-blues-new-nollywood-romance-hits-cinemas-march/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/aba-blues-new-nollywood-romance-hits-cinemas-march/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/aba-blues-new-nollywood-romance-hits-cinemas-march/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/aba-blues-new-nollywood-romance-hits-cinemas-march/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/aba-blues-new-nollywood-romance-hits-cinemas-march/?share=linkedin) - **Categories:** Nollywood News **Tags:** Aba Blues, Angel Anosike, Barbara Babarinsa, Bimbo Akintola, Eucharia Anunobi, Filmone entertainment, Jack'enneth Opukeme, Jidekene Achufusi, Ladun Awobokun, nollycritic, nollywood, Nollywood Romantic Movie, Odunlade Adekola, Prince Nelson, Toni Tones --- ### [Omoni Oboli - The Art of Reinvention in Nollywood](https://nollycritic.com/omoni-oboli-the-art-of-reinvention-in-nollywood/) **Published:** February 25, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Omoni Oboli entered Nollywood in the late 1990s during the direct-to-video surge. Early appearances in films like Bitter Encounter... **Content:** Few careers in Nollywood reflect the industry’s evolution as clearly as [Omoni Oboli’s](https://www.imdb.com/name/nm3729477/ "Omoni Oboli’s"). Actress, writer, director, and producer, She has worked through multiple phases of Nigerian filmmaking without remaining tied to any single one. Her on-screen talent is matched by her command behind the camera, positioning her among Nollywood’s most adaptable filmmakers. From the home-video boom of the 1990s to cinema expansion, streaming experimentation, and the current creator-driven digital economy, her trajectory reveals a filmmaker shaped by change rather than stability. Born on 22 April 1978 and later trained in Digital Filmmaking at the New York Film Academy, Oboli entered Nollywood at a time when the industry was still forming its professional identity. Her longevity is not simply the result of visibility or star power. Instead, it emerges from an ability to recognise structural shifts within the industry and reposition herself accordingly. Each stage of her career aligns with a wider transformation in how Nigerian films are produced, distributed, and consumed. Understanding her journey therefore requires looking beyond individual successes and examining how her career moves alongside Nollywood’s own reinventions. ## The Video Era: Early Beginnings and Industry Foundations Omoni Oboli entered Nollywood in the late 1990s during the direct-to-video surge. Early appearances in films like *Bitter Encounter* and *Not My Will* placed her within the first generation of performers working in an industry driven more by accessibility than formal cinematic ambition. These productions prioritised speed and audience reach, creating visibility but offering limited long-term artistic infrastructure. Her temporary departure from acting to pursue education coincided with a critical moment in Nollywood’s development. By the time she returned, the industry had begun moving toward improved technical standards and international engagement. This timing proved significant. Rather than remaining associated solely with early video filmmaking, Oboli re-entered an industry attempting to redefine itself. Her appearance in *The Figurine* in 2009 positioned her within this phase of Nigerian cinema. The film’s emphasis on craft and visual storytelling marked a departure from earlier production models and helped introduce a more globally conscious era. For Oboli, it represented both a reintroduction and a recalibration of her screen identity. ### International Recognition: Performance and Global Visibility The transition became fully visible with *Anchor Baby* in 2010. It wasn’t until her role as Joyce Unanga in the film that she gained widespread recognition. Her performance in the film was lauded by both local and international audiences, earning her the Best Actress awards at the Los Angeles Movie Awards and the Harlem International Film Festival in 2010. These accolades signaled her arrival as a serious talent in Nollywood. In 2011, Omoni received a nomination for Best Actress in a Leading Role at the Africa Movie Academy Awards (AMAA), cementing her place among the top actors in Nollywood. The phase established her credibility as a serious performer and expanded her professional identity beyond national recognition. ### The Multi-Hyphenate Era: Creative Control and Commercial Filmmaking The mid-2010s marked the most decisive transformation in Oboli’s career as she moved behind the camera and assumed creative control. Omoni Oboli’s transition into directing and producing has been as seamless as her acting career. She made her directorial debut with *Being Mrs Elliott* in 2014, a film she also produced and starred in. The film was both a commercial and critical success, leading to more directorial projects. She emerged as a filmmaker operating within mainstream Nollywood while centring stories shaped by female perspectives. Rather than pursuing niche artistic positioning, her directing choices engaged directly with commercial audiences, exploring marriage, ambition, and gender negotiation within familiar social settings. In 2015, she directed *The First Lady*, and in 2016, she directed and produced *Wives on Strike*, a film that became a box-office hit. The success of Wives on Strike led to a sequel, *Wives on Strike: The Revolution* (2017) The success of *Wives on Strike* later expanded into television projects across the late 2010s, culminating in *Last Year Single*, released on Netflix in 2024. Her directorial film *Okafor’s Law* (2016) caused a stir in the Nigerian film industry due to its bold subject matter and Omoni’s confident direction. Although the film received mixed reviews, it highlighted her ability to take creative risks and delve into unconventional narratives. In 2019, she directed *Love Is War,* a politically charged film that explored the complexities of marriage and politics. *Moms at War*, and *Love Is War* demonstrated a consistent thematic interest in domestic power structures and interpersonal politics. These works balanced accessibility with commentary, reinforcing the viability of female-led narratives within Nigeria’s commercial cinema landscape. Omoni Oboli’s producing credits are equally impressive. She produced *Domitilla: The Sequel* in 2023, a continuation of the classic Nollywood film that revisits themes of survival, sisterhood, and societal constraints. In addition, she was the associate producer of *Oloture* (2019). Her other producing credits include *Moms at War* (2018), *Wives on Strike* (2016), and *Being Mrs Elliott* (2014). Her recent productions, mostly released on YouTube, such as *The One Who Stole My Heart* 1&2 (2023, 2024), *Irreplaceable* (2024), and *Cold as Ice* (2024), showcase her continued commitment to bringing diverse and captivating stories to the screen. Omoni’s recent projects *Wives on Strike: The Uprising* (2024), and *Last Year Single* (2024) reflect her consistent output in Nollywood while balancing both TV and film ventures. ### Omoni Oboli’s Versatility as an Actress Simultaneously, her acting career remained active through appearances in *Fifty*, *The Wedding Party 2*, *Sugar Rush*, and *Òlòtūré*. Maintaining visibility in front of the camera while directing and producing strengthened her position as a creative entrepreneur rather than a performer dependent on external opportunities. This era established authorship as the defining feature of her career. Omoni Oboli has portrayed a wide array of characters across different genres, establishing her reputation as a versatile actress. She displayed her dramatic abilities in films like *Render to Caesar* (2014) where she played Alero, *Brother’s Keeper* (2014) as Mena, and *Being Mrs Elliott* (2014), where she portrayed Lara, a woman torn between two men. The latter earned her the Big Screen Actress of the Year award at the 2014 ELOY Awards. Her performances often resonate because of their depth and emotional authenticity, whether she’s playing a powerful political figure in *Love Is War* (2019) as Hankuri Phillips or a more comedic role in *Moms at War* (2018), where she plays the competitive Ebubechukwu Ubosi. In *The First Lady* (2015), Omoni took on the character of Michelle, a streetwise woman who takes control of her destiny, a role that showcased her comedic skill. In 2016, she starred as Ejiro in *Okafor’s Law*, a film that she also directed. Omoni’s diverse roles continued in 2019 with her portrayal of Mrs. Madueke in the action-comedy *Sugar Rush*, which balanced humor and drama, and her appearance as Alero in *Oloture* (and *Oloture: The Journey*, 2024), a gritty film that tackles the issue of human trafficking. ### **Streaming Transition: Industry Expansion and Uncertainty** The early 2020s introduced another industry shift as global streaming platforms expanded into African markets. Nollywood entered a period of experimentation shaped by international partnerships, new funding structures, and evolving audience expectations. While many filmmakers pursued streaming exclusivity, the long-term sustainability of these arrangements remained uncertain. Omoni Oboli’s work during this period reflected both participation and observation. Her involvement in projects such as *Domitilla: The Sequel* in 2023 aligned with an industry revisiting legacy intellectual properties while searching for stable distribution models. The moment represented transition rather than resolution, as filmmakers navigated changing economic realities and fluctuating platform investment. The instability of the streaming era ultimately prepared the ground for her next reinvention. ### **The YouTube Era: Direct Distribution and Digital Reinvention** Oboli’s most significant career shift arrived through digital self-distribution. With the launch of her YouTube platform, Omoni Oboli TV, she began releasing feature films directly to audiences, bypassing traditional theatrical systems and subscription platforms. This decision reflected a broader industry pivot as filmmakers explored alternatives to increasingly selective streaming deals. The viral success of[ *Love in Every Word*](https://nollycritic.com/?s=love+in+every+word " Love in Every Word") in 2025 demonstrated the effectiveness of the model, attracting millions of views within days and reshaping conversations around digital film consumption in Nigeria. Subsequent releases followed in rapid succession, forming an expansive catalogue of relationship-driven dramas designed for immediate accessibility and audience engagement. The pace of production during this period signals a deliberate response to algorithm-driven visibility rather than creative excess. By controlling distribution and audience access, Oboli positioned herself within a growing movement toward filmmaker independence. The strategy reframes YouTube not as an informal platform but as a legitimate exhibition space capable of sustaining commercial filmmaking. ## **Authorship, Advocacy, and Industry Influence** Beyond filmmaking, Oboli’s influence extends into advocacy for women within the Nigerian film industry. Her participation in *Amaka’s Kin: The Women of Nollywood* highlighted the often under-documented contributions of female creatives. Yet her impact operates most clearly through practice rather than declaration. By consistently placing women at the centre of commercially viable narratives, she has helped normalise female authorship within mainstream Nollywood storytelling. Furthermore, she actively engages in philanthropic initiatives, notably through her charity, The Omoni Oboli Foundation. This foundation focuses on providing educational support and healthcare resources for underprivileged communities, demonstrating her commitment to uplifting those in need and making a positive impact on society. ### Awards and Recognitions Throughout her career, Omoni Oboli has been recognised with numerous awards and nominations, highlighting her impact both in front of and behind the camera. She has won prestigious awards at international film festivals for her performances. In 2010, she was awarded Best Actress at both the Harlem International Film Festival and the Los Angeles Movie Awards for her role in *Anchor Baby*. This performance also earned her a nomination for Best Actress in a Leading Role at the Africa Movie Academy Awards (AMAA) in 2010 and 2011. In 2014, she was named Sun Nollywood Personality of the Year, acknowledging her impact on the Nigerian entertainment industry. Her ability to juggle multiple roles as an actress, writer, director, and producer has made her a revered figure in Nollywood. Her success continued with a nomination at the 2016 AMAA for Best Actress in a Leading Role, for her performance in *Fifty*, shared with Iretiola Doyle, Dakore Akande, and Nse Ikpe-Etim. These accolades underscore Omoni’s versatility and excellence, reinforcing her sustained relevance across multiple phases of the industry. ### **Legacy in Motion** Omoni Oboli’s career resists simple categorisation because it has never remained anchored to a single industrial moment. She began within the video-film era, gained international credibility during Nollywood’s cinematic awakening, consolidated authority through commercial filmmaking, navigated the uncertainties of streaming expansion, and now operates within a creator-controlled digital ecosystem. What emerges is not a story of reinvention for its own sake but one of strategic adaptation. Each transition reflects an understanding that Nollywood is defined by movement, not permanence. Where many careers peak within one phase of the industry, hers progresses alongside its transformations. Her legacy therefore lies less in any individual film than in a pattern of responsiveness. In an industry shaped by constant evolution, longevity belongs to those who anticipate change before it becomes unavoidable. Omoni Oboli’s career suggests that survival in Nollywood depends on recognising change early and moving with it. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/omoni-oboli-the-art-of-reinvention-in-nollywood/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/omoni-oboli-the-art-of-reinvention-in-nollywood/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/omoni-oboli-the-art-of-reinvention-in-nollywood/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/omoni-oboli-the-art-of-reinvention-in-nollywood/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/omoni-oboli-the-art-of-reinvention-in-nollywood/?share=linkedin) - **Categories:** Articles, Story So Far **Tags:** Africa Movie Academy Awards, Amaa, Anchor Baby, Being Mrs Elliott, Cold as Ice, Domitilla: The Sequel, Fifty, Harlem International Film Festival, Irreplaceable, Last Year Single, Los Angeles Movie Awards, Love in Every Word, Love is War, Moms at War, New York Film Academy, nigerian cinema, Nigerian Filmmakers, nollywood, Nollywood Actresses, Nollywood directors, Nollywood Producers, Okafor’s Law, Oloture, oloture: The Journey, Omoni Oboli, Sugar Rush, The Figurine, The First Lady, The One Who Stole My Heart, Wives on Strike, Wives on Strike: The Revolution, Wives on Strike: The Uprising, Women in Nollywood --- ### [Editi Effiong Annouces The Black Book 2: Old Scores](https://nollycritic.com/editi-effiong-annouces-the-black-book-2-old-scores/) **Published:** February 24, 2026 **Author:** Esther Adamu **Excerpt:** Editi Effiong, the founder of Anakle Film, returns as both writer and director for "The Black Book 2: Old Scores," a sequel... **Content:** Editi Effiong, the founder of [Anakle Films](https://nollycritic.com/mimi-bartels-joins-anakle-films-as-creative-head-and-co-founder/ "Anakle Films"), returns as both writer and director for *The Black Book 2: Old Scores*, a sequel to the 2023 action thriller *[The Black Book](https://www.imdb.com/title/tt24083908/ "The Black Book")*. This film is a revenge action thriller that set records worldwide. Nicholas Weinstock, an Emmy-winning producer, joins him in the production. The first film, The Black Book, released on Netflix on September 22, 2023, is a crime thriller directed and produced by Editi Effiong in his feature directorial debut. The movie, made on a $1 million budget, reached No. 3 on Netflix’s global charts in 2023 and appeared as part of the top 10 in over 69 countries, and accumulated more than 20 million views worldwide. Effiong said in a statement. > *The Black Book* showed us that local stories can spark global conversations: With Old Scores, we’re not just continuing a story, we’re continuing a movement, one that affirms the power of African voices to shape cinema worldwide. Weinstock added: > What Editi’s created with *The Black Book* is unique in its power: not just a great action film but a film franchise of extraordinary skill, ambition, and worldwide commercial appeal. The story draws its background from Nigeria’s history of military rule, police brutality, and government corruption. It will explore themes of justice, societal unrest in contemporary Nigeria, and redemption. It stars Richard Mofe-Damijo as Paul Edima. The feature picks up where Black Book ended, with Paul Edima, a former military guerrilla, whose past resurfaces after the unjust killing of his son, continues his fight against the corrupt system, exploring justice, redemption, and societal issues in present-day Nigeria. The anticipated Sequel pulled talent from all over the world, like China, Japan, the UK, the US, and Nigeria, with at least 300 crew members participating in its filming, which took place in the Niger Delta region The cast includes Richard Mofe Damijo, Kate Henshaw, Shaffy Bello, Bright Okpocha, Alex Usifo, Enwongo Wongi Ibom, Chidi Ajufo, Ayobami Awe, Zack Amata, William Benson, Masami Kosaka, Rick Kieswetter, Soibifaa Dokubo, Sola Fosudo, Bob-Manuel Udokwu, and others. The filming wrapped up in late 2025 and is now in post-production, but no release date, platform, or distribution for The Black Book 2 has been announced so far. ![The Black Book 2](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/20260223_101253.jpg?resize=640%2C268&ssl=1) ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/editi-effiong-annouces-the-black-book-2-old-scores/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/editi-effiong-annouces-the-black-book-2-old-scores/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/editi-effiong-annouces-the-black-book-2-old-scores/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/editi-effiong-annouces-the-black-book-2-old-scores/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/editi-effiong-annouces-the-black-book-2-old-scores/?share=linkedin) - **Categories:** Nollywood News **Tags:** Editi Effiong, Netflix Global Charts, Nicholas Weinstock, nollycritic, nollywood, Richard Mofe Damijo, the black book --- ### [BAFTA 2026: Every Nigerian Win at This Year's Edition](https://nollycritic.com/bafta-2026-every-nigerian-win-at-this-years-edition/) **Published:** February 23, 2026 **Author:** Esther Adamu **Excerpt:** Nigerians celebrated significant achievements at the 2026 EE BAFTA Film Awards in London on Sunday, February 22nd, with awards... **Content:** Nigerians celebrated significant achievements at the 2026 EE [BAFTA](https://www.bafta.org/ "BAFTA") Film Awards in London on Sunday, February 22nd, with awards presented to standout winners in acting and filmmaking from around the world, and Nigeria included. Actress Wunmi Mosaku was awarded the Best Supporting Actress for her role in *Sinners*, adding another major career milestone to her earlier BAFTA win in 2017 for *Our Loved Boy*, the true story of the murder of Damilola Taylor, directed by Euros Lyn. Her current win reinforces her standing as one of the African actors working across British and Hollywood productions. Another Talent recognized at the 2026 BAFTA Awards was *[My Father’s Shadow](https://www.imdb.com/title/tt35695538/ "My Father's Shadow")*, directed by Akinola Davies Jr. and produced by Wale Davies, the Nigerian filmmaking brothers. This film won Outstanding Debut by a British Writer, Director, or Producer. The film explores the themes of fatherhood, memory, and the impact of political turmoil on family relationships, set against the backdrop of Lagos during the political turbulence of the 1993 election crisis. [*My Father’s Shadow* ](https://nollycritic.com/akinola-davies-jr-s-my-fathers-shadow-lands-gotham-breakthrough-director-nomination/ "My Father’s Shadow ")follows the emotional journey of a father and his two sons as they navigate uncertainty in a city filled with tension. My father’s shadow has gained widespread international recognition. Before the BAFTA award, the film previously made history as the first Nigerian production selected for the official lineup at the Cannes Film Festival, where it premiered in the Un Certain Regard section to critical acclaim. Aside from the Nigerian wins, One Battle After Another dominated major categories, winning six awards, including Best Film and Best Director for Paul Thomas Anderson. The ceremony recognized talents beyond performance, extending its focus to Industry Contribution. Clare Binns received the award for Outstanding British Contribution to Cinema, while My Father’s Shadow was honoured in the Outstanding Debut category. The Nigerian Film Industry is commanding significantly across international film festival selections, cross-border collaboration, and consistent award recognition. With the success of Nigerian creatives at this year’s BAFTAs awards, the expansion of African storytelling into mainstream global cinema and digital platforms is greatly undeniable. ![BAFTA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/2f57f050-1026-11f1-ab85-f7fb8d09b1b3.jpg?resize=640%2C360&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/gettyimages-2263007967-640x640-1.jpg?resize=640%2C360&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/akinola.webp?resize=640%2C427&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/1000375214-1.jpg?resize=640%2C427&ssl=1) ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/bafta-2026-every-nigerian-win-at-this-years-edition/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/bafta-2026-every-nigerian-win-at-this-years-edition/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/bafta-2026-every-nigerian-win-at-this-years-edition/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/bafta-2026-every-nigerian-win-at-this-years-edition/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/bafta-2026-every-nigerian-win-at-this-years-edition/?share=linkedin) - **Categories:** Nollywood News **Tags:** 2026 BAFTA Film Awards, Akinola Davies Jr., Cannes Film, I swear, My Father's Shadow, nollycritic, nollywood, Our Loved Boy, Robert Aramayo, Sinners, Wales Davies, Wunmi Mosaku --- ### [Love and New Notes: Kayode Kasum’s Intriguing Genre Fusion](https://nollycritic.com/love-and-new-notes-kayode-kasums-intriguing-genre-fusion/) **Published:** February 19, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Love and New Notes, directed by Kayode Kasum, is a period romantic thriller set in 1984 Nigeria during a high-chaotic currency change. **Content:** *[Love and New Notes](https://www.imdb.com/title/tt39362137/ "Love and New Notes")*, directed by Kayode Kasum, is a period romantic thriller set in 1984 Nigeria during a high-chaotic currency change. Timini Egbuson stars as Boma, Sophia Alakija plays Chioma, partners in a believable relationship. Odunlade Adekola is Bode, Eniola Badmus is Wura Badamosi, and Toluwa George is Ebi. The film follows a struggling young couple whose relationship and ambitions collide with the high-stakes deadline to swap old Naira notes. The film blends romance, thriller, comedy, and touches of horror, releasing on February 13, 2026, to capitalise on Valentine’s weekend. It marks another Kasum-Timini collaboration after successes like [*Reel Love* ](https://nollycritic.com/reel-love-is-this-romance-real-or-for-reels/ "Reel Love ")and *All’s Fair in Love*, continuing the director’s pattern of genre fusion around the holiday season. The result is a confident, layered story that rewards attention. ## *Love and New Notes* Directed by: Kayode Kasum Written by: Stephen Okonkwo Genre: Romance, Thriller Released on: February 13, 2026 (Cinemas) Language: English ### **A Period Story Where Love Meets Economic Chaos** The narrative unfolds against Nigeria’s sudden currency swap, where old Naira notes must be exchanged before a strict deadline. The story centres Boma and Chioma, a struggling young couple considering a risky move involving a mysteriously weird, wealthy woman who recently hired one of them to manage her finances. The film uses the 1984 setting to ground its tension in real historical pressure, blending suspense with romance and light comedy. Suspense builds through subtle hints and layered cues. *Love and New Notes* operates within a layered emotional and psychological space, blending romance, domestic tension, and thriller undertones into a carefully structured narrative. From its earliest moments, it signals that it expects attentiveness. Nothing is accidental. Every tonal shift, framing choice, and sound cue functions as part of a broader design. At the center of the story are interpersonal dynamics shaped by suspicion, emotional repression, and gradually mounting unease. The relationships between Boma, Chioma, Wura, and Bode form the emotional architecture of the narrative. What initially appears domestic and grounded steadily acquires a psychological density that recontextualizes earlier interactions. From the opening sequences, there are hints that all is not as straightforward as it seems. Dialogue carries double meanings. Certain reactions feel slightly off. The mood occasionally shifts before there is narrative justification for it. These micro-disruptions cultivate tension long before overt thriller elements surface. The film’s strength lies in this layered construction. It does not rely solely on plot twists; it constructs atmosphere. And atmosphere, here, is cumulative. By the time revelations unfold, the groundwork has been carefully laid. Nothing feels random. The oddness that once seemed subtle now feels inevitable. ### **Genre Fusion That Reflects Kasum’s Style** [Kayode Kasum](https://nollycritic.com/kayode-kasum-and-the-new-nollywood-romance-a-genre-bending-love-affair/ "Kayode Kasum") continues his reputation as Nollywood’s love practitioner and genre blender. Like *Reel Love* (digital culture), *This Lady Called Life* (personal growth), and *All’s Fair in Love* (rivalry/ambition), *Love and New Notes* refuses to stay in one lane. Romance is the foundation, but suspense, thriller elements, comedy, and occasional horror weave in seamlessly. The tonal shifts work because the core story is tightly plotted, giving room for experimentation. The period setting is evoked through wardrobe, set design, vintage cars, hairstyles, makeup, furniture, and props. The 1980s feel lived-in, making the chaos of currency change feel immediate and relatable. ### **Performances That Shine in Key Moments** Timini Egbuson brings Boma to life with natural charisma. His chemistry with Sophia Alakija feels believable, built on their previous collaboration in *Dinner at My Place*. Timini also speaks some Yoruba, adding an interesting layer. Sophia Alakija delivers a strong, controlled performance, handling emotional demands with credibility. Odunlade Adekola stands out as Bode. His performance is restrained, emotional, and layered, avoiding repetitive traits from more commercial roles. He works exceptionally well with scene partners, conveying tension convincingly. This could earn him a supporting actor nomination. Eniola Badmus as Wura Badamosi brings nuance and presence. The character is not necessarily likable, but her delivery, posture, and interactions give depth. Her dynamic with Odunlade is compelling. Toluwa George as Ebi is impressive, playing a child with emotional authenticity. ### **Technical Craft That Elevates the Period** One of the film’s most sophisticated achievements is how it externalizes psychological tension through cinematic language. The argument scene between Boma and Chioma is exemplary. The choice to frame the confrontation from a distance is not merely aesthetic, it is thematic. At first, we observe as passive witnesses. The camera’s detachment positions us as outsiders looking in, mirroring how spectators typically consume drama. Their dialogue drives the conflict, but the spatial distance creates restraint. However, as the argument intensifies, the psychological pull becomes palpable. The audience instinctively leans in emotionally, if not physically. The film anticipates this response. The gradual tightening of focus mirrors how the human mind narrows during conflict. We move from observer to participant. This is controlled filmmaking. The escalation is internal before it becomes external. The sound design deepens this effect. Booming non-diegetic music underscores the confrontation, subtly amplifying the emotional stakes. Then, at the precise breaking point of the argument, the music cuts abruptly. Silence takes over. That sudden withdrawal is more jarring than any crescendo. It forces the audience into raw confrontation with the emotional fallout. It is restrained, intelligent tension-building, proof that the film understands rhythm. The direction is remarkably assured. Time transitions are planned and fluid, allowing the narrative to move between moments without disorientation. The film trusts visual storytelling rather than over-reliance on exposition. Cinematography adapts to emotional shifts: softer compositions during romantic beats, brighter pacing in comedic stretches, and sharper, more deliberate framing in thriller-inflected sequences. The occasional jump scare is used sparingly, not as a cheap tactic, but as punctuation within an atmosphere already seeded with unease. Importantly, the eeriness is not introduced abruptly. It is embedded from the beginning. Subtle cues: glances, coughs, pauses, framing choices, tonal inconsistencies, notable dialogue, etc., create an undercurrent of oddness. The film invites the audience to read between the lines. Set design and production evoke the 1980s convincingly. Vintage cars are a strong touch. Wardrobe, hairstyles, makeup, furniture, and props ground the era. The film feels crafted for cinema, demanding attention to subtle hints and connections. ### **Final Thoughts** *Love and New Notes* is a smart release that blends genres with confidence. The core story is solid, tightly plotted, allowing room for romance, suspense, comedy, and thriller elements to work in harmony. Performances are strong, especially Odunlade Adekola, Eniola Badmus, and Toluwa George. Technical craft: sound, cinematography, period detail elevates the experience. The film rewards close viewing, with foreshadowing and layers that reward attention. Dialogue could better reflect the 1980s some lines sounded contemporary rather than historically grounded. Some plot elements lack clarity or backstory (Bode’s finances, certain incidents). Narrative threads occasionally feel loosely tied. For viewers who prefer genre purity, tonal shifts may jar. For those open to hybrid storytelling, the blend is enjoyable. The film is not flawless, but its ambition, craft, and performances make it worth seeing. ### **Verdict** *Love and New Notes* is a film marked by structural intelligence. If there is a defining strength, it is control. It offers strong performances, period immersion, and layered storytelling that rewards attention. Ambitious and entertaining. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/love-and-new-notes-kayode-kasums-intriguing-genre-fusion/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/love-and-new-notes-kayode-kasums-intriguing-genre-fusion/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/love-and-new-notes-kayode-kasums-intriguing-genre-fusion/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/love-and-new-notes-kayode-kasums-intriguing-genre-fusion/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/love-and-new-notes-kayode-kasums-intriguing-genre-fusion/?share=linkedin) - **Categories:** Reviews **Tags:** 1984 currency change, critique, Eniola Badmus, Kayode Kasum, love and new notes, Nollywood period drama, Odunlade Adekola, Review, romance thriller, Sophia Alakija, Timini Egbuson, Toluwa George --- ### [Mothers of Chibok: New Documentary Set for Nationwide Release](https://nollycritic.com/mothers-of-chibok-new-documentary-set-for-nationwide-release/) **Published:** February 20, 2026 **Author:** Esther Adamu **Excerpt:** Emmy-winning filmmaker, Joel 'Kachi' Benson, and award-winning veteran actor and producer, Joke Silva, are set to bring Mothers of Chibok... **Content:** Nigeria’s first Documentary Emmy-winning filmmaker, [Joel ‘Kachi’ Benson](https://nollycritic.com/kachi-benson-makes-emmy-history-as-madu-wins-for-nigeria/ "Joel 'Kachi' Benson"), and award-winning veteran actor and producer, Joke Silva, are set to bring *Mothers of Chibok* to cinemas nationwide beginning February 27th, 2026, in partnership with FilmOne House Entertainment. While April 2014 is remembered for the abduction of the Chibok school girls, *Mothers of Chibok* features a narrative about the Women who remained, their resilience, and their fight for justice. The documentary, over the course of a farming season, follows four mothers as they farm their land to fund their children’s education and rebuild the community despite the continued shadow of Insurgency. The release marks the widest theatrical rollout for a locally produced documentary in Nigeria. *Mothers of Chibok* is produced by Jamie Patricof, Racheal Halilej, Katie McNeill, Kachi Benson, Samira Mohammad, and Adeyinka Oduniyi. The Executive producers, in addition to Joke Sliva, include Ian Darling, Adam & Melony Lewis, Debbie L. McLeod, among others. Co-executive producers include Marni E.J. Grossman, Ann W. Lovell, Jennifer Pelling, and others. The studios used for production include JB Multimedia, Hunting Lane, and Impact Partners in association with Shark Island Productions. Joke Sliva praised Kachi for making an incredible movie after watching it. She noted that by listening to the voices and observing the routines of the mothers, the audience gains a deeper understanding of the Chibok tragedy, recognizing it as a story about family, community, and education. She said: > I realized that we don’t often think about these women. We don’t understand what their journey has been. I could not be prouder of a filmmaker like Kachi, whose record of the endurance, resistance, and resilience of the *mothers of Chibok* will make it harder for future generations to forget what happened to the girls and their families in 2014 and what continues to happen now. Kachi Bensons intended to move beyond the tragedy headlines because tragedy is just one part of the story, the one that the world is quick to see. Kachi used this documentary to truly show the depth of their strength and resilience, a side of these heroines that the world never sees. This film shows how women have stood and continue to stand as pillars in the Chibok communities, comforting each other, hoping, and working together to make tomorrow better for their children. Victoria Ogar, the head of distribution at [FilmOne Entertainmen](https://www.filmoneng.com/home "FilmOne Entertainmen")t, expresses excitement about bringing this powerful and hopeful documentary to audiences nationwide. Victoria further said: > We believe there is a growing audience for documentary storytelling in West Africa, and we are excited for them to discover Kachi’s beautiful film, which deserves to be seen in a theatrical environment *Mothers of Chibok* premiered at DocNYC and screened at major international film festivals, winning the Encounters AI Jazeera Award for Best African Feature-Length Documentary. The film arrives at a moment of renewed conversation around education, security, and community resilience in Nigeria From February 27th, the documentary *Mothers of Chibok* will launch in FilmOne cinemas across Nigeria and Ghana. Source: Press release from SoMe Solutionns. See trailer below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/mothers-of-chibok-new-documentary-set-for-nationwide-release/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/mothers-of-chibok-new-documentary-set-for-nationwide-release/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/mothers-of-chibok-new-documentary-set-for-nationwide-release/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/mothers-of-chibok-new-documentary-set-for-nationwide-release/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/mothers-of-chibok-new-documentary-set-for-nationwide-release/?share=linkedin) - **Categories:** Nollywood News **Tags:** Adam & Melony Lewis, Adeyinka Oduniyi, Ann W. Lovell, Debbie L. McLeod, Filmone entertainment, Ian Darling, Jamine patricof, Jennifer pelling, Joel Kachi Benson, Joke Silva, Katie McNeil, Marni E, Marni E.J. Grossman, Mothers of Chibok, nollycritic, nollywood, Racheal Halilej, Samira Mohammed, Victoria Ogar --- ### [Everything Is New Again: A Sincere Look at Late-Life Love](https://nollycritic.com/everything-is-new-again-a-sincere-look-at-late-life-love/) **Published:** February 9, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Everything Is New Again, directed by Chinaza “Naz” Onuzo, is a mature romantic drama that centres on Funmi, a 45-year... **Content:** *[Everything Is New Again](https://www.nollymeter.com/movies/everything-is-new-again "Everything Is New Again")*, directed by [Chinaza “Naz” Onuzo](http://imdb.com/name/nm6576882/ "Chinaza “Naz” Onuzo"), is a mature romantic drama that centres on Funmi, a 45-year-old Lagos interior designer played by Mercy Aigbe. After navigating divorce and public humiliation, she enters a relationship with Ekene, a 27-year-old photographer portrayed by Vine Olugu. The film explores age-gap romance from a woman’s perspective and frames love as meaningful yet impermanent. Supporting roles include Nancy Isime as Funmi’s friend and Gbemi Akinlade as her teenage daughter, Eniola. The film arrives with quiet confidence and emotional generosity, but uneven writing and dialogue keep it from fully delivering on its thoughtful intentions. ## *Everything Is New Again* Directed by: Chinaza “Naz” Onuzo Written by: Nicole Chikwe Genre: Drama, Romance Released on: January 30, 2026 (Cinemas) Language: English ### **A Story of Reinvention and Unconventional Romance** The narrative follows Funmi as she rebuilds her life after a painful divorce. She meets Ekene, and their connection grows into something unexpected and complex. The film refuses to judge the age difference or reduce the relationship to cliché. Instead, it presents love as a moment that can be real without needing to be forever. Funmi’s journey is one of rediscovery, reclaiming confidence, facing vulnerability, and learning to let go when the time comes. The story resists easy moralising. It allows inconvenient feelings to exist without heavy-handed condemnation. Romance here is a chapter shaped by timing, choice, and mutual need. Scenes with friends and family ground the emotional stakes, offering glimpses of warmth and relatability amid the heavier moments. ### **Themes of Timing, Choice, and Letting Go** The film understands that love later in life is rarely neat. It explores insecurity, emotional dependence, and the bravery required to embrace something unconventional. Funmi’s arc carries the weight of reinvention moving beyond shame and societal expectation toward self-acceptance. The generational contrast between Funmi and her teenage daughter adds texture, highlighting how different life stages shape views on love and worth. The relationship between Funmi and Ekene is treated with maturity. It is not idealised or demonised. The film asks what happens when two people meet at different points in life and still find meaning in each other. It handles the theme of impermanence with care, suggesting that some connections matter even if they do not last. ### **Performances That Elevate the Material** Mercy Aigbe anchors *Everything Is New Again* with quiet assurance. She brings credibility to Funmi’s journey, balancing confidence with vulnerability. The role demands lived-in emotional depth, and Aigbe delivers it naturally. Viewers accustomed to her work in Yoruba-language films may notice the shift to a contemporary, English-speaking urban character, but she settles comfortably into the rhythm. Vine Olugu holds his own as Ekene. His physical presence is part of the appeal, but what stands out is his emotional availability. In softer, sincere moments, he matches the film’s tone without strain. Nancy Isime adds levity as Funmi’s friend, grounding heavier scenes with humour. Gbemi Akinlade is convincingly natural as the teenage daughter, reinforcing the generational contrast. The supporting cast is solid, though some characters feel underwritten, hinting at a richer ensemble story constrained by the script’s narrower focus. ### **Technical Choices That Serve Atmosphere** Cinematography and production design create a warm, lived-in Lagos setting. Interiors feel authentic to an interior designer’s world: tasteful, personal, and reflective of Funmi’s profession. Lighting is soft and intimate in emotional scenes, supporting the film’s gentle tone. The overall look is polished and inviting, prioritising comfort over bold experimentation. Sound and music are used conservatively, allowing dialogue and silence to carry the mood. The film avoids heavy-handed cues, letting quieter moments breathe. Editing keeps the pace steady, focusing on character interactions rather than rapid cuts. The technical execution is competent and understated, aligning with the film’s aim to feel intimate and reflective. ### **Final Thoughts** *Everything Is New Again* arrives with a sincere intention: to treat late-life love with maturity and nuance. It resists easy answers and allows complicated feelings to exist without apology. The film understands that romance can be meaningful even when it is temporary. Its heart is generous, and its ideas are thoughtful. Yet the execution does not always match the ambition. Dialogue often announces emotions rather than letting them emerge naturally. Romantic beats lean on familiar shorthand instead of earning their weight. Conflict is gestured toward rather than fully explored. For viewers who value intent and emotional subtext, the film feels affirming and quietly brave. For those who need tighter logic and deeper character motivation, it can feel hollow or overwritten. The divide is real, but neither response is wrong. The film wants to say something important about love, age, and letting go. It does not always know how to say it convincingly, but the effort itself carries value. ### **Verdict** *Everything Is New Again* suits viewers who appreciate mature romance and emotional subtext over tight plotting. It offers warmth, relatability, and a rare perspective on age-gap love from a woman’s point of view. Sincere but uneven. **Rating**: 2.25/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/everything-is-new-again-a-sincere-look-at-late-life-love/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/everything-is-new-again-a-sincere-look-at-late-life-love/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/everything-is-new-again-a-sincere-look-at-late-life-love/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/everything-is-new-again-a-sincere-look-at-late-life-love/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/everything-is-new-again-a-sincere-look-at-late-life-love/?share=linkedin) - **Categories:** Reviews **Tags:** age-gap love, Angel Unigwe, Chinaza onuzo, critique, divorce, everything is new again, Gbemi Akinlade, Mercy Aigbe, Nancy Isime, Nollywood Romance, reinvention, Review, Vine Olugu --- ### [Son of the Soil to Premiere on Netflix This March](https://nollycritic.com/son-of-the-soil-to-premiere-on-netflix-this-march/) **Published:** February 18, 2026 **Author:** Esther Adamu **Excerpt:** Son of the Soil, directed by Chee Keong Cheung, is set to premiere on Netflix across Africa on March 1st... **Content:** *[Son of the Soil](https://nollycritic.com/son-of-the-soil-see-the-trailer-for-chee-keong-cheungs-new-action-thriller/ "Son of the Soil")*, directed by Chee Keong Cheung, is set to premiere on Netflix across Africa on March 1st after an Impressive run at international film festivals and in cinemas. The film, which features Nollywood veterans such as Patience Ozokwo, Ireti Doyle, and Razaq Adoti, marks a significant step in African storytelling on the global stage. *[Son of the Soil](https://www.imdb.com/title/tt32362662/ "Son of the Soil")* is a British Nigerian co-production, featuring cinematography by Jack Thompson Roylance and music composed by Tolu Obanro. It was shot in Lagos, highlighting the city’s dynamic landscape. This all together helped to enhance the film’s emotional depth and action sequences. The story follows Zion Ladejo, a former Nigerian Special Operations paratrooper who returns home after a personal tragedy and becomes entangled with dangerous criminal networks. The story mixes character drama with action set pieces. Razaq Adoti takes the lead in this emotional and action-packed sequence, drawing on his international experience from previous roles in major productions. The ensemble cast also features Taye Arimoro, Sunshine Rosman, Damilola Ogunsi, Philip Asaya, Emeka Golden, Sharon Rotimi, and Ijelu Folajimi who won an award for best Nollywood Child actor and also brought fresh energy to the Project. Distributed by[ Nile Entertainment](https://nollycritic.com/nile-entertainment-secures-rights-to-son-of-the-soil/ " Nile Entertainment"), *Son of the Soil* previously premiered at the 34th Pan African Film Festival, where it attracted attention for its ambitious action style and cross-cultural production, and with its Netflix premiere, it signals the continued growth of African action cinema and reinforces another major expanding footprint in the global entertainment industry. Son of the Soil hits [Netflix](https://www.netflix.com/browse "Netflix") release on March 1st, 2026. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/son-of-the-soil-to-premiere-on-netflix-this-march/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/son-of-the-soil-to-premiere-on-netflix-this-march/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/son-of-the-soil-to-premiere-on-netflix-this-march/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/son-of-the-soil-to-premiere-on-netflix-this-march/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/son-of-the-soil-to-premiere-on-netflix-this-march/?share=linkedin) - **Categories:** Nollywood News **Tags:** Chee Keong Cheung, Damilola Ogunsi, Ireti Doyle, Jack Thompson, Netflix, Netflix Son of the soil premiere, nile entertainment, nollycritic, Nollycritic News, nollywood, Nollywood Netfilx Movie, Patience Ozokwo, Razaq Adoti, Sharon Rotimi, Son of the Soil, Sunshine Rosman, Taye Arimoro --- ### [How Afro-Wren Is Repositioning Nigerian Actors for Global Cinema](https://nollycritic.com/how-afro-wren-is-repositioning-nigerian-actors-for-global-cinema/) **Published:** February 18, 2026 **Author:** Michael Arowoselu **Excerpt:** Filmmaker and casting director Olasunkanmi Adebayo, through his company Afro-Wren Productions, is quietly reshaping that trajectory. His work is not simply about... **Content:** [Nollywood](https://nollycritic.com/?s=NOLLYWOOD "Nollywood") is one of the largest film industries in the world, prolific, culturally dominant, and deeply influential across the African continent and its global diaspora. For decades, its actors have commanded immense local audiences. Yet meaningful crossover into major international productions, particularly in lead roles has remained rare. That is beginning to change. When Lady premiered at the [Sundance Film Festival](https://festival.sundance.org/ "Sundance Film Festival") and later screened at the Berlin International Film Festival, the moment signalled more than festival success. It marked a rare milestone for African-led cinema on the global stage. That momentum culminated in the film receiving the World Cinema Dramatic Special Jury Award for Acting Ensemble at Sundance, a powerful validation of both performance and process. Filmmaker and casting director Olasunkanmi Adebayo, through his company [Afro-Wren Productions](https://afrowrenproductions.com.ng/ "Afro-Wren Productions"), is quietly reshaping that trajectory. His work is not simply about casting; it is about building a bridge by identifying, training, and positioning African actors for global screens with intentionality and international rigour. On Lady, Adebayo led the casting, coaching, and performance development of emerging and non-traditional Nollywood talent in lead roles, a bold decision in an industry often driven by established star systems. Rather than relying on familiar names, the production invested in preparation: intensive workshops, character excavation, extended screen tests, and a 14-month casting process conducted across Lagos and southwestern Nigeria. The process blended trained actors, first-time performers, and sex workers, centering emotional truth, lived experience, and performance integrity over recognisability. > “We weren’t just casting actors, we were building trust, community, and emotional safety around stories that rarely get told authentically,” Adebayo explains. > “Lady took 14months of casting because we weren’t searching for familiarity, we were searching fortruth.” Working closely with writer-director Olive Nwosu, and supported by international partners including HanWay Films, BFI, and Film4, the production challenged long-standing assumptions about where global-ready talent must come from and what infrastructure African actors need to lead internationally visible work. Central to this process was actor wellbeing. Psychologists and intimacy coordinators were embedded into casting, rehearsal, and preparation, reframing actor preparation as emotional safeguarding rather than extraction. > “Actor preparation became care work as much as performance work,” Adebayo notes. > “Working with psychologists and intimacy coordinators transformed how I think about actor readiness, safety, and consent.” The result was seismic. *Lady* went on to win at Sundance and receive major spotlight recognition at the Berlinale, including a sold-out European premiere at Berlinale Panorama where both the film and its cast were celebrated on the international stage. For Nollywood, this was more than a festival run. It was validation. It proved that when African actors are equipped with the right infrastructure, time, and care, they can anchor globally competitive cinema at the highest level. But Adebayo’s work does not end there. Beyond feature films, Afro-Wren has built a track record in talent development and international circulation. Through Film Lab Africa, the company has worked closely with emerging actors and filmmakers to develop performances, produce short films, and strategically position those works at international festivals, creating early global exposure for local talent. Afro-Wren’s approach to casting and performance has also translated into global short-form and documentary success. The company served as Casting Director on Milk (Herconomy: Breast Milk Money), a project that went on to receive multiple international honours, including top awards at the The Lovies and a shortlist placement at the Cannes Lions International Festival of Creativity. The recognition further demonstrated Afro-Wren’s ability to deliver globally resonant performances across formats and platforms. Adebayo also served as Casting Director on[ *Clarissa*, the forthcoming feature by Chuko Esiri and Arie Esiri](https://nollycritic.com/clarissa-esiri-brothers-new-movie-secure-neon-distribution-deal/ " Clarissa, the forthcoming feature by Chuko Esiri and Arie Esiri"), working alongside internationally renowned casting director Nina Gold. The project pairs local Nigerian talent with globally recognised actors, offering a sophisticated model of cross-border casting rooted in creative integration rather than hierarchy. This approach marks a critical evolution in how African talent is positioned within global storytelling. It moves beyond co-production as a financial structure and into creative integration where casting becomes a deliberate act of cultural alignment. At a time when Nollywood is increasingly visible through internationally acclaimed filmmakers such as Akinola Davies Jr. and CJ Obasi, Adebayo’s focus on performance preparation addresses a long-standing gap in global expansion strategies. Infrastructure around actors like training, coaching, emotional safety, and international readiness has often been the missing link. By centering emerging talent and investing in process, Olasunkanmi and Afro-Wren Productions are advancing a sustainable model for crossover success. For investors, studios, and international partners, the message is clear: the pipeline is strengthening. The talent is prepared. The audience is already global. As Nollywood continues to expand its footprint across streamers, festivals, and international co-productions, this moment signals more than momentum. It signals maturation. The next wave of African cinema will not only travel, it will lead. And the actors at its centre will arrive fully prepared. Source: Press release from Afro-Wren Productions. ![lady cast](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SAVE_20260217_103002.jpg?resize=640%2C853&ssl=1)![lady cast](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SAVE_20260217_153825.jpg?resize=640%2C853&ssl=1)![lady cast](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SAVE_20260217_103028.jpg?resize=640%2C853&ssl=1)![lady cast](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SAVE_20260217_102932.jpg?resize=640%2C480&ssl=1)![lady cast](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/Photo-from-Black-Coffee.jpg?resize=640%2C853&ssl=1) ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/how-afro-wren-is-repositioning-nigerian-actors-for-global-cinema/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/how-afro-wren-is-repositioning-nigerian-actors-for-global-cinema/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/how-afro-wren-is-repositioning-nigerian-actors-for-global-cinema/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/how-afro-wren-is-repositioning-nigerian-actors-for-global-cinema/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/how-afro-wren-is-repositioning-nigerian-actors-for-global-cinema/?share=linkedin) - **Categories:** Articles **Tags:** Afro-Wren Production, lady, nollywood, Olasunkanmi Adebayo, olive nwosu, Sundance --- ### [A Blue Butterfly: What We Know About CJ Obasi's New Psychological Thriller](https://nollycritic.com/a-blue-butterfly-what-we-know-about-cj-obasis-new-psychological-drama/) **Published:** February 17, 2026 **Author:** Esther Adamu **Excerpt:** Acclaimed Nigerian filmmaker CJ Obasi cast Steve Toussaint and Sanaa Lathan to play the lead in the upcoming psychological Drama "A Blue Butterfly." **Content:** *House of the Dragons* actor, Steve Toussaint and [Sanaa Lathan](https://www.imdb.com/name/nm0005125/ "Sanaa Lathan") (*Love and Basketball*) will play lead in the upcoming psychological thriller; *A Blue Butterfly* by acclaimed Nigerian filmmaker [CJ Obasi](https://nollycritic.com/?s=cj+obasi "CJ Obasi"). The film begins production in early March, principal photography both in London and in Rwanda’s capital, Kigali. The Script of *A Blue Butterfly* was by Steve Toussaint, produced by Stella Nwimo, and co-produced by Rebecca Long for the Boudica Entertainment. The story follows Sentwali, a man haunted by his past who lives a cocooned existence as a limousine driver. His only human connection is Joseph, a frail Holocaust survivor who rides in his limousine and understands the weight of forced violence. When Sentwali meets charismatic Emily, who sees past his carefully maintained distance, a possibility of redemption and a future begins to flicker into existence. The narratives explore themes of survivor’s guilt, redemption, the impossibility of self-forgiveness, and the lingering weight of violence and survival. [CJ Obasi](https://www.imdb.com/name/nm5236429/ "CJ Obasi,"), whose third feature, *Mami Wata*, debuted at Sundance 2023 and won the Dramatic Competition, was also Nigeria’s entry for the Best International Feature Oscar. Stella Nwimo recently produced Olive Nwosu’s film *Lady*, which debuted at Sundance and is currently playing in the Panorama section at Berlinale. Nwimo and Long are meeting with sales executives about the project. This project highlights CJ Obasi’s growing international presence, following his reputation for bold storytelling in African cinema and the collaboration between Nigerian and UK creatives, a trend of cross-cultural productions bridging African and Western film industries. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-blue-butterfly-what-we-know-about-cj-obasis-new-psychological-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-blue-butterfly-what-we-know-about-cj-obasis-new-psychological-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-blue-butterfly-what-we-know-about-cj-obasis-new-psychological-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-blue-butterfly-what-we-know-about-cj-obasis-new-psychological-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-blue-butterfly-what-we-know-about-cj-obasis-new-psychological-drama/?share=linkedin) - **Categories:** Nollywood News **Tags:** A Blue Butterfly, Best international feature oscar, Boudica Entertainment, Fiery Obasi, lady, mami wata, nollycritic, nollywood, Rebecca Long, Sanaa Lathan, Stella Nwimo, Steve Toussaint, Sundance2023 --- ### [How Agesinkole 2 Changed the Nollywood Distribution Playbook](https://nollycritic.com/how-agesinkole-2-changed-the-nollywood-distribution-playbook/) **Published:** February 15, 2026 **Author:** Ikenna Churchill **Excerpt:** Around December 2025, when all Nollywood top filmmakers released their films, Femi Adebayo’s Agesinkole 2: King of Thieves changed part of Nollywood history. **Content:** Around December 2025, when all [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") top filmmakers released their films, Femi Adebayo’s *[Agesinkole 2: King of Thieves](https://www.imdb.com/title/tt39029586/)* changed part of Nollywood history. The film made about ₦417 million in just [12 days](https://guardian.ng/life/life-features/femi-adebayos-agesinkole-2-grosses-%E2%82%A6417m-in-12-days/) by showing in community cinemas at lower ticket prices, rather than relying mainly on traditional multiplexes. In Lagos, tickets sold for around ₦4,000, while in smaller cities they cost about ₦3,000. This made it easier for audiences often priced out of regular cinemas to attend. This strategy marked the first Nollywood film released primarily through community venues, a model many in the industry now see as an important test in distribution. The success of *Agesinkole 2* prompts a new look at how Nigerian films are distributed and who gets to see them. For decades, Nollywood films have relied on mainstream cinema chains, mainly in big cities like Lagos, Abuja, and Port Harcourt. These chains typically offer higher ticket prices, leaving many people with limited access to theatrical releases. This model represents wider issues in Nigerian cinema that have often excluded many everyday viewers from experiencing films. In contrast, the community cinema approach used for *Agesinkole 2* brought screenings closer to audiences often overlooked by traditional methods. Smaller towns and neighbourhood screening sites hosted showings, turning local halls, cultural centres, and informal venues into shared spaces for watching films. The film’s storyline, rooted in Yoruba epic tradition and local cultural contexts, appealed to grassroots audiences. This mix of local relevance and accessibility created not only viewers but also a sense of community involvement rarely found in larger cinema chains. The timing of this experiment is significant. In 2025, the Nigerian box office reached a record high of roughly ₦15.6 billion in total [revenue](https://www.kristinareports.com/nollywood-overtakes-hollywood-in-west-africas-%e2%82%a615-6bn-2025-box-office), with Nollywood films capturing nearly half of the market for the first time in West Africa’s cinema history. This milestone indicated a major change in audience behavior, showing that local films resonate more with Nigerian viewers. Blockbusters like *[Behind The Scenes,](https://nollycritic.com/behind-the-scenes-a-masterclass-in-saying-everything-out-loud/ "Behind The Scenes,")* which has grossed over ₦1.7 billion in typical theatrical windows, demonstrate the ongoing strength of mainstream distribution. However, their success also highlights the divide between major urban audiences and the rest of the country. Overall, Nollywood audiences have become more diverse in their tastes and expectations. Recent years have seen films like *Everybody Loves Jenifa* and *Alakada Bad & Boujee* reach over ₦1 billion, reflecting a demand for culturally grounded comedies and dramas that rule traditional cinema screens. Meanwhile, other Nollywood titles like *Makemation, Gingerrr*, and Labake Olododo have performed well at the box office, even among crowded release schedules. These numbers show an expanding industry, yet one still influenced by the economics of screen locations, audience attendance, and ticket prices. This expansion hasn’t been without challenges. Cinema exhibitors and filmmakers have argued over revenue splits, screen allocation, and market access. Some producers claim that cinema chains and distributors take too much of the ticket sales, leaving movie investors with only a small portion of the profits. These disputes highlight the weaknesses of the traditional distribution model, which still struggles to address essential issues of access and ownership within the industry. *Agesinkole 2*’s success in community cinemas directly challenges these norms. By bringing the film to audiences in their own towns, this model expanded market reach and lessened the dependence on urban screens. For filmmakers looking beyond Lagos, Abuja, and any other top city, it suggests that distribution can be a creative approach rather than a fixed system. It also raises questions about sustainable pricing, revenue sharing, and how cinema experiences can become truly nationwide rather than city-focused. Industry observers view the community cinema model as a scalable alternative that needs careful management. Affordable pricing can increase attendance, but can also strain revenue per seat and long-term financial health if strong partnerships and sponsorships do not support it. The model also relies on finding or creating screen spaces in non-traditional venues, which requires coordination, marketing, and often local investment. These challenges are significant but may be manageable for a sector willing to innovate. For audiences, the appeal is clear. Community cinema brings films to neighborhoods where people can come together, socialize, and connect over stories that resonate culturally. In many towns, watching a Nollywood film locally becomes more than just entertainment; it turns into a community event that strengthens cultural ties and shared identity. This stands in stark contrast to the more transactional experience of a multiplex, where films are part of a larger global catalog and are often expensive. What *Agesinkole 2* indicates about Nollywood’s future is twofold. First, it shows that audiences want access and inclusion, not just high production values or star power. Second, it suggests that distribution strategies can be understood as a form of creative production, shaping how stories are perceived, experienced, and valued. If Nollywood aims to sustain its growth and deepen its cultural impact, the industry may need to invest in new distribution strategies that go beyond multiplexes and recognize the community as a central audience. Ultimately, the big takeaway from *Agesinkole* 2 is that cinema isn’t just a product; it is a space for participation. The films that will succeed broadly are those that engage people where they are, not just where screens exist. In that sense, Nollywood’s distribution methods are shifting not because they have to, but because audiences across Nigeria are ready for cinema that belongs to everyone. ## Author - ![Ikenna Churchill](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/e312d6884f18aca2f95d030201b2d6e7.jpg?resize=80%2C80&ssl=1) [Ikenna Churchill](https://nollycritic.com/author/sknypipo_bc/ "Ikenna Churchill") [ ](mailto:lumide93@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/how-agesinkole-2-changed-the-nollywood-distribution-playbook/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/how-agesinkole-2-changed-the-nollywood-distribution-playbook/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/how-agesinkole-2-changed-the-nollywood-distribution-playbook/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/how-agesinkole-2-changed-the-nollywood-distribution-playbook/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/how-agesinkole-2-changed-the-nollywood-distribution-playbook/?share=linkedin) - **Categories:** Articles **Tags:** agesinkole, Cinema, Femi Adebayo, king of thieves, nollywood --- ### [Onobiren - A Woman's Story: New Movie Set For Cinemas This March](https://nollycritic.com/onobiren-a-womans-story-new-movie-set-for-cinemas-this-march/) **Published:** February 14, 2026 **Author:** Esther Adamu **Excerpt:** Onobiren: A Woman's Story is a Nigerian Drama produced by Laju Iren Films. The movie is one of the most anticipated Nollywood **Content:** *[Onobiren: A Woman’s Story](https://m.imdb.com/title/tt39379386/?ref_=nm_flmg_job_1_accord_1_unrel_cdt_t_1 "Onobiren: A Woman's Story")* is a Nigerian Drama produced by Laju Iren Films. The Film is an emotionally rich movie that celebrates womanhood, resilience, culture, and the power of choosing one’s path. In this work, it is the character’s chosen path to journey from Warri to Lagos, the bustling city. The story follows the character of Roli, a young woman who leaves Warri for Lagos, carrying the weight of family expectations, cultural expectation and personal responsibility. Her arrival in the busy city of Lagos begins to follow a familiar narrative of a young woman seeking a better life, but this evolves into a deeper story. Instead of surrendering to the expectations of family and community, Roli chose another path, one defined by intentions, self-discovery, purpose, survival, independence, and the courage to rewrite her own destiny, powered by her fishing roots and the magic that occurs when women support women. *Onobiren: A Woman’s Story* balances tradition with choosing one’s own path rather than the path chosen for you by others. The Film beautifully portrays the Itsekiri culture through the background of Roli, rooted in traditional fishing. These roots were not disregarded but became her drive, the foundation for her growth, and not a limitation to achieving her dreams. A central theme in this film is the transformative power of women helping women, through shared struggle and collective Roli discovers that survival does not come from standing alone but from leaning and asking for help from the community, especially in moments of uncertainty. The cast used to portray the themes of self-discovery, women supporting women, traditions vs modernity, and survival includes Patience Ozokwor, Deyemi Okanlawon, Bisola Aiyeola, Norbert Young, Chude Jideonwo, Desmond Bryce, Ruby Akubueze, and Temitope Tampe Aje, among others. Through the blend of rich cultural themes, contemporary storytelling, and a stellar cast ensemble, Onobiren: the story of a woman speaks to women across generations and to anyone who is torn between tradition and self-discovery. *Onobiren: A Woman’s Story* is a Nigerian Drama produced by Laju Iren Films. The movie is one of the most anticipated [Nollywood Films](https://nollycritic.com/?s=nollywood+movies "Nollywood Films") of the year and is scheduled to hit cinemas across Nigeria and Ghana from the 6th of March 2026, with ticket preorders via *[onobiren.com](http://onobiren.com "onobiren.com")* from January 30th. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/onobiren-a-womans-story-new-movie-set-for-cinemas-this-march/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/onobiren-a-womans-story-new-movie-set-for-cinemas-this-march/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/onobiren-a-womans-story-new-movie-set-for-cinemas-this-march/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/onobiren-a-womans-story-new-movie-set-for-cinemas-this-march/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/onobiren-a-womans-story-new-movie-set-for-cinemas-this-march/?share=linkedin) - **Categories:** Nollywood News **Tags:** Bisola Aiyeola, Chude Jideonwo, Desmond Bryce, Deyemi Okolanwon, Laju iren films, nollycritic, nollywood, Norbert Young, Onobiren: a woman's story, Patience Ozokwor, Ruby Akubueze, Temitope Tampe Aje --- ### [See The New Trailer For Kilanko: The Invisible Child](https://nollycritic.com/see-the-new-trailer-for-kilanko-the-invisible-child/) **Published:** February 11, 2026 **Author:** Esther Adamu **Excerpt:** The Film Kilanko: The Invisible Child, produced by Rotimi Salami and directed by Allwell Ademola before her passing... **Content:** The Film *Kilanko: The Invisible Child*, produced by Rotimi Salami and directed by Allwell Ademola before her passing in December 2025, will be arriving in cinemas this March. The Film; *Kilanko* is a collaboration between Rotimi Salami and Allwell Ademola and is being presented as Ademola’s final directional work and film. It is framed to become a significant part of her artistic, creative Legacy. The full cast list of this movie project has not been publicly released, but from the trailer of the movie, one should expect old Nollywood veterans and a few modern movie actors to tell the story behind the title truly. A few of the actors include Rotimi Salami, Allwell Ademola, Ibrahim Chatta, Olarotimi Fakunle, Tina Mba, Abdulgafar Ahmad Oluwatoyin, famously known as The Cute Abiola, Bimbo Manuel, Saidi Balogun, Bakare Zainab and many others. *Kilanko: The Invisible Child* has been described by [Cinemax](https://www.cinemaxdr.com/ "Cinemax") as an epic tale unlike anything ever witnessed before, where the pain is hidden, Sacrifice is sacred, and mothers become deities. Thes film will premiere on March 1, 2026, followed by its general cinema release on March 6 through Cinemax distribution. See trailer below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-new-trailer-for-kilanko-the-invisible-child/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-new-trailer-for-kilanko-the-invisible-child/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-new-trailer-for-kilanko-the-invisible-child/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-new-trailer-for-kilanko-the-invisible-child/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-new-trailer-for-kilanko-the-invisible-child/?share=linkedin) - **Categories:** Nollywood News **Tags:** Abdulgafar Abiola, Allwell Ademola, Bakare Zainab, Bimbo Manuel, cinemax, Ibrahim Chatta, Kilanko: The invincible child, nollycritic, nollywood, Olarotimi Fakunle, Rotimi Salami, Saidi Balogun, The Cute Abiola, Tina Mba --- ### [Headless: FilmOne to Distribute New Nollywood Thriller](https://nollycritic.com/headless-filmone-to-distribute-new-nollywood-thriller/) **Published:** February 9, 2026 **Author:** Esther Adamu **Excerpt:** FilmOne Entertainment has officially signed a distribution agreement for one ofour highly anticipated Nigerian feature film Headless, marking another... **Content:** [FilmOne Entertainment](https://www.filmoneng.com/home "FilmOne Entertainment") has officially signed a distribution agreement for one of our highly anticipated Nollywood films; *[Headless](https://nollycritic.com/?s=headless "Headless")*, marking another significant collaboration within Nigeria’s growing film ecosystem. The signing ceremony, held at the Filmhouse Support Office in Lagos, was attended by filmmaker and Maturion Films CEO, Michael W. Ndiomu, formally sealing the partnership that will bring Headless to cinemas nationwide. The agreement reflects FilmOne Entertainment’s continued commitment to championing Nigerian stories and ensuring quality local films reach audiences at scale. With FilmOne’s robust distribution network and strategic market reach, *Headless* is set to screen across multiple cities, giving cinema-goers nationwide the opportunity to experience the film on the big screen. Speaking at the signing, Michael W. Ndiomu shared his excitement about the collaboration: > “I’m thrilled to be working with FilmOne Entertainment on Headless. Their platform gives the film the visibility and reach it deserves. What makes this project especially personal is the level of commitment on set: the lead actor performed a death-defying stunt himself, without a stunt double. That authenticity translates directly to the screen, and we’re confident audiences will feel it.” Renowned for its strategic approach to film distribution, FilmOne Entertainment will deploy its extensive cinema network and marketing expertise to maximise the film’s visibility and audience impact across Nigeria. Also commenting on the partnership, Ladun Awobokun, Chief Content Officer, FilmOne Entertainment, said: > “Headless is a strong and compelling addition to Nigeria’s cinematic landscape. We’re excited to partner with Michael W. Ndiomu to bring this story to audiences across the country and to continue spotlighting the depth of creativity and talent within our local film industry.” *Headless* first premiered as the Opening Night Film at AFRIFF 2024, setting the tonefor a memorable festival experience. The project is led by producer Michael W. Ndiomu, whose previous work includes the Netflix hit *The Origin: Madam Koi-Koi*, also distributed by FilmOne Entertainment; further reinforcing a partnership rooted in trust, shared ambition and proven success. The Film directed and written by Michael W. Ndiomu, follows a morally ambiguous Nollywood film producer who is discovered with a decapitated human head in the boot of his car. The investigation that follows exposes dark intersections between politics, crime, and the film industry. The film stars Gideon Okeke who plays the lead role, Uzoamaka Aniunoh, Baaj Adebule, Ruby Okezie, Iremide Adeoye, Femi Branch, and Segun Arinze among others. See the Trailer below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/headless-filmone-to-distribute-new-nollywood-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/headless-filmone-to-distribute-new-nollywood-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/headless-filmone-to-distribute-new-nollywood-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/headless-filmone-to-distribute-new-nollywood-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/headless-filmone-to-distribute-new-nollywood-thriller/?share=linkedin) - **Categories:** Nollywood News **Tags:** Baaj Adebule, Femi Branch, FilmOne Nollywood thriller headless distribution deal, Gideon Okeke, Headless movie, Iremide Adeoye, Michael W. Ndiomu, nollycritic, nollywood, Ruby Okezie, Segun Arinze, Uzoamaka Aniunoh --- ### [Anikulapo: Where Exactly Did Things Go Wrong?](https://nollycritic.com/anikulapo-where-exactly-did-things-go-wrong/) **Published:** February 7, 2026 **Author:** Victor Alabi **Excerpt:** Having just rewatched the entire series, Anikulapo is also a story about love and longing which we see from the perspective... **Content:** [Kunle Afolayan](https://www.imdb.com/name/nm1875051/ "Kunle Afolayan") has set his craft apart from every other director in Nigeria, and audience who have followed his craft from the very beginning can attest to this fact. The *Anikulapo* franchise which has been tagged the Nigerian version of ‘Game of Thrones’ is his biggest production yet given the massive scale, the story, the characters and the platform. Like some of if not most of Kunle Afolayan’s movies, there is always the presence of the supernatural rooted in African spiritualism. That is his trademark. **Theme-embodying Characters**. Having just rewatched the entire series, *Anikulapo* is also a story about love and longing which we see from the perspective of Awolaran whose love for Omowunmi runs so deep he was willing to go face to face against his feared and nuisance of a father whose journey we will look into shortly. In an era, where the powerful took whatever or whomever they wanted to either breed with, marry or enslave, Awolaran stands apart and this is evident when even Awarun tells Awolaran’s father, Bashorun when he came to complain to her that it was either she didn’t provide the most beautiful woman for his son to sleep with or his son did not like women or was simply impotent. Awarun tells the Bashorun that men like his son fall under a category of people who will not lay with anyone asides from the person they are deeply in love with and Awolaran fits this description perfectly. We see his love and longing for Omowunmi when he had to challenge his father, when he had to fight Prince Kuranga in a very uneven match, we see it from the way he cherished and respected the choices of Omowunmi and never once be selfish about his own personal desires. This deep and consistent characterization is rare in modern Nollywood cinema and no, the *odogwufication* of love in Nollywood doesn’t count as that in itself is more of a trade – your love for my pockets. The writers of *[Anikulapo](https://nollycritic.com/?s=anikulapo "Anikulapo")* the series created Awolaran’s character to be something more, something different, a breath of fresh air, a reminder of the definition of love that the Nigerian mind have forgotten because they live in a culture that has defined love by how deep the pockets of their partners are. Just as we have characters like Awolaran, we had his polar opposites in characters like Omowunmi and Arolake. I do not know if it was merely a function of the writing or the way the writers intended her to be, but you’d think Omowunmi wouldn’t have moved on so quickly from Awolaran. Let’s give her the excuse of not being in love with Awolaran – though her character stated she loves him during her conversation with Kuranga after he had beaten Awolaran black and blue – the way he was in love with her, why did it take her so little time to throw away their history together. History they had built since they were children. It was quick, brutal and inhumane, but I believe it is indeed the kind of person she is and on this again, the writers were consistent and spot-on, hence it was simply a function of her character. She moved on Awolaran, moved on from Kuranga after a brief stint of *mourning* him, and before her capture into slavery, she was already priming her emotions to fall in love with Kuranga’s younger brother. The character of Omowunmi embodies deeper themes such as disloyalty and entitlement which leads her to make self-serving choices every single time we see her on screen, and ultimately culminates in her fleeing a place she was well taken care of into slavery. To discuss Arolake, let’s back up last season. Arolake embodies the unending greed of humans, the dissatisfaction that drove her to pounce on Saro while she still married to the King. How higher could she have gone after being married to a King and reaping the benefits that came with it? But for our Arolake, that simply wasn’t enough for her, she wanted more, she craved more. And she got it. She was given another start by the Spirits – a depthless pocket – and even that wealth wasn’t enough. She still longed to be accepted back by the same King whom she had cheated on. There’s a Yoruba proverb roughly translated into English that says, “What you’re looking for that you think is so far away is right inside your pocket.” She had Akin right beside her who is willing to accept her for who she is, but her greed, her dissatisfaction made her want more than she could actually handle, and that led her back to the King and to a death which unfortunately didn’t come, but the damage to her name, reputation and character in Oyo had already been doubled. Thankfully, she had a new start *again*, but she had to sacrifice her wealth. Despite that sacrifice, she was once again blessed with the one thing she had been denied off since the very start of Anikulapo – a child. One will think her now having a child of her own would satiate her hunger, but again like she had shown us before time and time again, she wanted more. This time, she wanted more money to buy new clothes, when they have enough. Arolake embodies the insatiable wants of man, and she embodies it well. Then to Bashorun Ogunjimi, a character embodying the themes of man’s desperation to attain and hold on to power using whatever means necessary. This is a theme as old as time itself and Owobo Ogunde does his best to embody this character with the material he’s been given, even adding his own twist to it. We’ve followed his power-seeking journey throughout the series from hunting down Anikulapo to get the ability to raise to dead, burning his relationship with Awarun in the process despite his claim to love her to the extent of making her his wife to charming the King’s daughter Omowunmi and killing Kuranga in the process simply because he wanted access to the more – the throne by proxy of marriage between his son and the King’s daughter which only led to his death. Usually, death is a turning point for characters, but for Bashorun Ogunjimi death only made him hungrier and more desperate for power, leading him to find a way out of hell which results in unimaginable cost to his body and soul so much so that he has to feed on the souls of men and women to keep him from returning back to the land of the dead. When it comes to characterization and consistency, the writers of Anikulapo have done a splendid job as they have defined the thematic roles of major characters deeply which is a rare feat and it is to be celebrated. That said, what exactly is going on in this season? The stories were disjointed, the Crown Prince Aderoju had no major purpose asides from when he went to Ede to bring his sister back, which made little to no impact on the story. Episode five came a little too late with the filler episodes absolutely unnecessary as they added no real value to the overall plot. Though I appreciated the multiple perspective of the characters which was well done in the first Anikulapo series, it was abysmally done in this second season. The multiple perspective was messy, the story incoherent and incomplete which is why I’ll treat the plot between the Crown Prince and the mythical deer woman has nonexistent. This season tries to delve further into the themes of slave trade, and watching it was heart wrenching. The storytelling around slavery and slave trade didn’t come with the usual brutality we are used to, it snuck up on us, crawled into the skin and stayed there because it hit close to home. Seeing the earliest form of corruption in the form of Awarun paying off the King, the Chiefs, the entire kingdom just so they can turn a blind eye to her slave trade with she co-runs with her daughter. The convenience and absence of remorse with which they conducted that vile trade was one of the more powerful things that was well-done in the show. Her daughter going as far as falling in love with the Portuguese like he would treat her differently from the people she had been selling off to him. This is one of the plots that makes me look forward to the next season – how the writers intend to delve into this story especially now that the stakes has been raised with the capture of the King’s daughter, Omowunmi. Will the King go for the jugular and erase Awarun, her daughter and their accomplices from Oyo Kingdom or will the King go to war against Ede Kingdom for losing his daughter? For both of the above scenarios, I doubt they would happen as we’ve come to know that Alaafin Ademuyiwa is a coward and we see that play in his dealings with his chiefs, unable to go toe-to toe with Bashorun Ogunjimi, unable to stop the Ede warriors to taking his daughter right under his nose, powerless to stopping one of his Queens from fleeing the palace with his children so I do not expect a radical change from such a character as Alaafin Ademuyiwa. Although season two of *Anikulapo* is underwhelming, it still leaves me wondering what direction Kunle Afolayan intends to take the third season. Will it suffer the same fate the final season Game of Thrones suffered or will it find a way to merge its stories, cut out the noise and focus on what really matters and come out on top? ## Author - ![Victor Alabi](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/47724365bd287911c5da380a0ec0c1e4.jpg?resize=80%2C80&ssl=1) [Victor Alabi](https://nollycritic.com/author/victoralabi/ "Victor Alabi") [ ](mailto:dalabivictor@outlook.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/anikulapo-where-exactly-did-things-go-wrong/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/anikulapo-where-exactly-did-things-go-wrong/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/anikulapo-where-exactly-did-things-go-wrong/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/anikulapo-where-exactly-did-things-go-wrong/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/anikulapo-where-exactly-did-things-go-wrong/?share=linkedin) - **Categories:** Articles **Tags:** Abike Dabiri-Erewa, Afrofusion, Aisha Lawal, Anikulapo: Rise of the Sceptre, Aníkúlápó: The Ghoul Awakens, Bimbo Ademoye, Bukumi Adeaga-Ilori, Eyiyemi Afolayan, Gabriel Afolayan, Kunle Afolayan, Lateef Adedimeji, Moji Afolayan, Nollywood series, Owobo Ogunde, power and betrayal, slave trade, Sola Sobowale, Taiwo Hassan, Teniola Aladese, Yoruba mythology --- ### [Clarissa: New Movie by the Esiri Brothers Secure Distribution Deal](https://nollycritic.com/clarissa-esiri-brothers-new-movie-secure-neon-distribution-deal/) **Published:** February 7, 2026 **Author:** Esther Adamu **Excerpt:** Clarissa is a contemporary drama that adapts the core themes and narrative structure of Virginia Woolf's 1925 Literary work.. **Content:** The Nigerian Filmmaking duo Chuko and Arie Esiri has secured a distribution deal with American independent film production and distribution company NEON for their latest project titled *[Clarissa](https://www.imdb.com/title/tt33335610/ "Clarissa")*. Neon, which holds U.S. international sales rights, has built a strong reputation for bringing global cinemas to American audiences. And this time their Selection is *Clarissa*. *Clarissa* is a contemporary drama that adapts the core themes and narrative structure of Virginia Woolf’s 1925 Literary work, Mrs Dalloway, to the vibrant, complex environment of modern-day Lagos State. The Esiri brothers’ sophomore film follows *Clarissa*, played by Sophie Okonedo, a Lagos socialite who hosts a party, which later becomes a crucible for emotional reckoning among old friends who have not seen each other in years. As the night unfolds, the group of friends shares memories, unresolved love, buried desires, and lost dreams. The film’s narrative alternates between present-day Lagos and flashbacks to the protagonists’ childhood in Abraka, Delta State, which is the Esiri brothers’ hometown. The film is directed and produced by Arie and Chuko Esiri, with Chuko also serving as the screenwriter. The executive producers include lead actress Sophie Okonedo, Dolly Omodolapo Kola-Balogun, Osahon Okunbo, and Jason Reif. They are joined by Theresa Park for Per Capita Productions and Nicholas Weinstock for Invention Studios as principal producers. The ensemble cast of *Clarissa* were internationally acclaimed actors, many of whom are part of the Nigerian diaspora and have achieved recognition in both African and Western cinemas. The cast includes Sophie Okonedo, who plays the protagonist role of Clarissa, David Oyelowo, Nikki Amuka-Bird, India Amarteifio, Toheeb Jimoh, Jude Akuwudike, Fortune Nwafor, Danny Sapani, and Joke Silva, enriching the film’s diversity, each bringing a wealth of experience from both African and international production. The distribution deal between the Esiri brothers and NEON was officially announced on February 6, 2026, following the completion of principal photography in Nigeria. This deal marks another major step for the twin brothers, who first gained international recognition with their debut film, *[Eyimofe](https://nollycritic.com/?s=eyimofe "Eyimofe")*. *Eyimofe* after its release in 2020 screened at major international film festivals and was later distributed in North America by Janus Films before becoming the first Nigerian movie title to be added to the Criterion Collection. NEON, which has gained a reputation for distribution of Oscar-winning drama *Parasite* that became the first non-English language film to win the Academy Awards, has acquired worldwide rights to *Clarissa*, marking one of the most significant international distribution agreements for a Nigerian-directed film to date. ![clarissa](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/IMG_5896.webp?resize=640%2C360&ssl=1) ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/clarissa-esiri-brothers-new-movie-secure-neon-distribution-deal/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/clarissa-esiri-brothers-new-movie-secure-neon-distribution-deal/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/clarissa-esiri-brothers-new-movie-secure-neon-distribution-deal/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/clarissa-esiri-brothers-new-movie-secure-neon-distribution-deal/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/clarissa-esiri-brothers-new-movie-secure-neon-distribution-deal/?share=linkedin) - **Categories:** Nollywood News **Tags:** Arie Esiri, Chuko Esiri, Clarissa, Criterion Collection, Danny Sapani, David oyewole, Esiri Brothers, India Amarteifio, Janus Films, Joke Silva, Mrs Dalloway, NEON, Nikki Amuka-Bird, nollycritic, nollywood, Sophie Okonedo, Toheeb Jimoh, Virgina Woolf --- ### [Efunroye: See the Trailer for Faithia Williams New Epic](https://nollycritic.com/efunroye-see-the-trailer-for-faithia-williams-new-epic/) **Published:** February 7, 2026 **Author:** Esther Adamu **Excerpt:** Faithia Balogun Williams' new production; Efunroye - The Unicorn portrays the life and influence of Efunroye Tinubu, a prominent 19th... **Content:** Faithia Balogun Williams’ new production;*[ Efunroye – The Unicorn](https://nollycritic.com/efunronnye-faithia-williams-controversial-celebration-of-a-complex-figure/ " Efunroye - The Unicorn")* portrays the life and influence of [Efunroye Tinubu](https://en.wikipedia.org/wiki/Efunroye_Tinubu "Efunroye Tinubu"), a prominent 19th century Yoruba merchant and powerbroker who played a major role in Lagos politics and commerce. The Film follows the rise of a young girl born near Abeokuta who learns the tradecraft of her mother and grandmother, grows into a resourceful, formidable Yoruba woman and merchant, and builds power through trade, politics, and alliances. The movie will tell the core story of Efunroye’s journey from market seller to influential kingmaker. The film, set in pre-colonial and early colonial Yoruba lands celebrate not only the history of the Yoruba people but also the legacy and recognition of women in leadership. The lead character of Efunroye Tinubu is portrayed by Faithia Williams, who is also doubles as a film producer. A few supporting casts shown in promotional materials include Mercy Aigbe, Odunlade Adekola, Ibrahim Yekini, Saidi Balogun, Taiwo Hassan, Ibrahim Chatta, Layi Wasabi, Eniola Ajao, Femi Branch, and Femi Adebayo, among others. Full character assignments and a complete cast list are not yet published, but the movie trailer suggests a mix of Yoruba film veterans and rising stars. *Efunroye – The Unicorn* premieres on May 1st, 2026, in Cinemas Nationwide. The movie is distributed by FilmOne Entertainment. See the trailer below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/efunroye-see-the-trailer-for-faithia-williams-new-epic/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/efunroye-see-the-trailer-for-faithia-williams-new-epic/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/efunroye-see-the-trailer-for-faithia-williams-new-epic/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/efunroye-see-the-trailer-for-faithia-williams-new-epic/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/efunroye-see-the-trailer-for-faithia-williams-new-epic/?share=linkedin) - **Categories:** Nollywood News **Tags:** efunroye: The Unicorn, Eniola ajao, Faithia Williams Balogun, Femi Adebayo, Femi Branch, Ibrahim Chatta, Ibrahim Yekini, KAP Film Village, Kunle Afolayan, Layi Wasabi, Mercy Aigbe, nigerian cinema, Nollwood 2026, nollycritic, nollywood, Odunlade Adekola, Saidi Balogun, Taiwo Hassan --- ### [Kiriji: New Nollywood Epic Wraps Principal Photography](https://nollycritic.com/kiriji-new-nollywood-epic-wraps-principal-photography/) **Published:** February 6, 2026 **Author:** Esther Adamu **Excerpt:** The 2026 Nollywood epic production by Lateef and Adebimpe Adedimeji titled Kiriji has officially been wrapped up. The Filming concluded after months... **Content:** The 2026 Nollywood epic production by Lateef and Adebimpe Adedimeji titled *Kiriji* has officially been wrapped up. The Filming concluded after months of intensive work across locations in Ekiti and Ibadan, where the cast and crew recreated the 19th-century battlefields with authentic costumes and war chants. The project has been hailed as a cultural preservation effort, ensuring that the story of Yoruba resilience and unity is shown and passed from generation to generation. The film was directed by Kayode Kasum, with a screenplay by Muritala Sule. seeks to bring to life the dramatic events of the Kiriji War, also known as the Ekiti–Parapo War, which raged from 1877 to 1893 among the Yoruba sub-ethnic kingdoms. While the official release Date has not been announced, available information shows that *Kiriji* closely dramatizes key events, battles, and personal stories from both sides of the conflict. And the wrap-up signals that audiences will soon witness one of Nigeria’s most historical dramas. Lateef Adedimeji has consistently emphasized the film’s mission to “tell our stories ourselves” and to “showcase our land to the world.” To truly tell the story, the casting of Kiriji was a mix of established actors and over 6,000 extras from Ekiti reflect the scale of historical events. This ensured Authenticity in both language and performance. The Cast includes Lateef Adedimeji, Adebimpe Adedimeji, Odunlade Adekola, Tobi Bakare, Uzee Usman, Bukky Wright, Femi Branch, and Additional Local actors over 6,000 from Ekiti. The upcoming film *Kiriji* is expected to weave the historical figures during the Kijiri war into a narrative that highlights both the brutality of the war and the resilience of the Yoruba people. More than a war Drama, the movie goes deep into the history of the Yoruba people, which has become part of their cultural heritage. It teaches the modern Yoruba indigene, especially those who hail from Ekiti, Ibadan, Ijebu, Egba, among others, an important part of their historical culture and ancestral land. ![kiriji](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SnapInsta.to_624069255_18378040963152100_5721847658438319394_n.jpg?resize=640%2C853&ssl=1)![kiriji](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SnapInsta.to_624716166_18378040972152100_1542296056621852882_n.jpg?resize=640%2C852&ssl=1)![kiriji](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SnapInsta.to_624076214_18378041047152100_6823723511748111677_n.jpg?resize=640%2C853&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SnapInsta.to_624398618_18560511946031546_3138485965121465400_n.jpg?resize=640%2C853&ssl=1)![kiriji](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SnapInsta.to_624484255_18558647965001387_7735892137616160953_n.jpg?resize=640%2C853&ssl=1)![kiriji](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SnapInsta.to_624831982_18560511880031546_4644458883728275078_n.jpg?resize=640%2C853&ssl=1)![kiriji](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SnapInsta.to_624697298_18560511901031546_5456579912549932001_n.jpg?resize=640%2C853&ssl=1) ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kiriji-new-nollywood-epic-wraps-principal-photography/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kiriji-new-nollywood-epic-wraps-principal-photography/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kiriji-new-nollywood-epic-wraps-principal-photography/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kiriji-new-nollywood-epic-wraps-principal-photography/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kiriji-new-nollywood-epic-wraps-principal-photography/?share=linkedin) - **Categories:** Nollywood, Nollywood News **Tags:** Adebimpe Oyebade Adedimeji, Adedimeji Lateef, bukky wright, Femi Branch, Kayode Kasum director, Muritala sule screenplay, nollycritic, nollywood, Nollywood 2026, Odunlade Adekola, the Adedimejis upcoming movie Kiriji, The Kijiri war 1877, Tobi Bakare, Uzee Usman --- ### [Here's the 2026 Nollywood in Hollywood Official Film Selection](https://nollycritic.com/heres-the-2026-nollywood-in-hollywood-official-film-selection/) **Published:** February 6, 2026 **Author:** Esther Adamu **Excerpt:** Every Year, Nollywood in Hollywood curates films that reflects diversity and artistic ambition of Nigerian cinema. Los Angeles, CA - Feb 3rd, 2026... **Content:** Every Year, [Nollywood in Hollywood](https://www.nollywoodinhollywood.com/ "Nollywood in Hollywood") curates films that reflects diversity and artistic ambition of Nigerian cinema. In Los Angeles, CA, on Feb 3rd, 2026, Nollywood in Hollywood unveiled its selection of three Films for the seventh Edition of its film showcase. Past editions featured works of leading filmmakers, including films selected by the Official Selection Committee as Nigerian submissions for the Academy Awards’ best international film category. The film selection was unveiled at the special preview screening of **[“My Father’s Shadow”](https://nollycritic.com/my-fathers-shadow-an-intriguing-24-hour-odyssey/ ""My Father's Shadow"")** in Los Angeles, co-presented by Nollywood in Hollywood, the film was united kingdom’s official submission for the best international films category at the 98th Academy Awards, symbolising Nigerian’s presence on the world cinema stage. The selected 2026 lineup features[ “**Stitches**“](https://nollycritic.com/stitches-suffers-at-the-helm-of-an-overly-familiar-plot/ " "Stitches""), “**When Nigeria Happens**“, and “**To Adaego with Love**,” which spans modern romance, contemporary dance drama, and historical storytelling. Together, these movies reflect the cultural depth, contemporary pulse, and historical depth of Nollywood storytelling. Every Screening will be accompanied by a conversation with the filmmakers, Shirley Frimpong-Manso, Ema Edosio-Deelen, and Nwamaka Chikezie. The 2026 Nollywood in Hollywood Showcase will unfold over two days. It will begin on Friday, March 6th, 2026, at the Aero Theatre, Santa Monica, California, with the opening film “**Stitches**“. Directed by the acclaimed Ghanaian filmmaker Shirley Frimpong-Manso. A modern romantic movie that tells the story of a talented fashion designer whose modest beginnings in Lagos high society are complicated by love, ambition, and family secrets. The second will be the matinee screening of “**When Nigeria Happens**“, directed by Ema Edosio-Deelen, on March 7th, 2026, at Norris Cinema Theatre, University of Southern California, Los Angeles. The film explores the challenges of pursuing artistic dreams in the complex city of Lagos. The film blends drama and interpretative dance to capture the resilience and emotional struggles of Nigerian youth. The 2026 edition concludes on Saturday evening in the same cinema, closing the Showcase is “**To Adaego with Love**“, a historical romance set in 1975, directed by Nwamaka Chikezie. The film explores forbidden love between Adaego, an Igbo schoolteacher, and a Northern soldier, examining the themes of reconciliation, identity, and resilience. Nollywood in Hollywood, founded in 2018 by Nigerian American filmmaker Ose Oyamendan, has promoted Nigerian cinema through cultural exchange and international collaboration. presented in collaboration with American Cinematheque, the USC School of Cinematic Arts, and O2A Media. The Showcase convenes filmmakers, industry professionals, and audience for screenings, discussion, and networking. The 2026 seventh Showcase edition is another year to celebrate growth, convene, and network. ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/heres-the-2026-nollywood-in-hollywood-official-film-selection/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/heres-the-2026-nollywood-in-hollywood-official-film-selection/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/heres-the-2026-nollywood-in-hollywood-official-film-selection/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/heres-the-2026-nollywood-in-hollywood-official-film-selection/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/heres-the-2026-nollywood-in-hollywood-official-film-selection/?share=linkedin) - **Categories:** Nollywood News **Tags:** 2026 Nollywood movie lineup, American Cinematheque, Ema Edosio Deelen, International film awards, My Father's Shadow, nollycritic, Nollycritic News, Nollyhood in hollyhood 2026 film showcase, nollywood, Nollywood in Hollywood, Nollywood in Hollywood 2026, Nwamaka Chikezie, O2A Media, Ose Oyamendan, Shirley Frimpong-Manso, Stiches, The USC School of Cinematic Arts, To Adaego With Love, When Nigeria Happens --- ### [Aníkúlápó - The Ghoul Awakens: A Franchise in Search of Its Own Justification](https://nollycritic.com/anikulapo-the-ghoul-awakens-a-franchise-in-search-of-its-own-justification/) **Published:** February 5, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Aníkúlápó: The Ghoul Awakens is the third chapter in Kunle Afolayan’s franchise, a five-episode Netflix series that premiered on January 30, 2026. **Content:** *[Aníkúlápó: The Ghoul Awakens](https://nollycritic.com/anikulapo-the-ghoul-awakens-see-the-trailer-for-new-kunle-afolayan-series/ "Aníkúlápó: The Ghoul Awakens")* is the third chapter in Kunle Afolayan’s franchise, a five-episode Netflix series that premiered on January 30, 2026. Returning stars include Kunle Remi (absent this season), Bimbo Ademoye as Arolake, Owobo Ogunde as Bashorun Ogunjimi, and new faces like; Abike Dabiri-Erewa as Iyalode, and others including Taiwo Hassan, Sola Sobowale, Gabriel Afolayan, Lateef Adedimeji, Eyiyemi Afolayan, Moji Afolayan, Aisha Lawal, and Bukumi Adeaga-Ilori. Directed by [Kunle Afolayan](https://www.imdb.com/name/nm1875051/ "Kunle Afolayan"), the series expands Yoruba mythology into darker territory, introducing ghouls, soul-feeding, and colonial shadows while shifting from intimate folklore to broader empire intrigue. It is ambitious and visually rich, but the weight of too many subplots and a scattered focus dulls the soul of what made the original film special. ## *Aníkúlápó: The Ghoul Awakens* Directed by: Kunle Afolayan Produced by: Kunle Afolayan Genre: Epic, Supernatural Released on: January 30, 2025 (Netflix) Language: Yoruba #### A Franchise Expanding Beyond Its Roots The series picks up after *Aníkúlápó*: *[Rise of the Spectre](https://nollycritic.com/anikulapo-rise-of-the-spectre-what-to-expect/ "Rise of the Spectre")*, where Bashorun Ogunjimi’s ambitions led to his downfall. His passage into the afterlife, visually coded as hell (despite the unconvincing CGI), establishes continuity and initially reassures the viewer that the franchise still understands its own mythology. Bashorun’s defining trait has always been his scheming nature, and the series wastes no time reaffirming this. Now in the afterlife, he schemes his way back to the living world, returning not fully alive nor dead. While his return to the living world happens quickly and easily, it does preserve the franchise’s central obsession with death as a negotiable boundary. Despite lending the season its title, the ‘ghoul’ rarely feels like the story’s driving force. Bashorun operates mostly in the background, orchestrating events rather than directly shaping them. While he is technically responsible for the disappearances, the narrative repeatedly sidelines him in favour of other plotlines. The rules governing his existence remain vague, not in a deliberate, mythic way, but in a manner that suggests uncertainty on the part of the writing itself. This creates a fundamental imbalance. The series insists that the ghoul is a threat, yet it never allows him to dominate the narrative space long enough for that threat to register emotionally. Instead of escalating dread, the story disperses attention. The question becomes unavoidable. If the ghoul is not the focus, then what is? Back to the plot progression. Prince Aderoju returns to Oyo to celebration, but discovers his sister Omowunmi is missing from the palace. She was married to Kuranga (killed secretly by Bashorun), and tradition demanded she wed his younger brother Asiru. Aderoju secretly brings her back, breaking fragile peace between Oyo and Ede. Omowunmi’s return is hidden, but the king’s discovery forces Aderoju to send her back, risking war. Akin and Arolake move to Ilú Saki for a fresh start. Arolake becomes pregnant and gives birth, but finances tighten, exhaustion sets in, and resentment brews. Akin considers joining a singing troupe to raise money, but Arolake notices chemistry between him and the troupe’s female lead. Awarun and her daughter run a slave trade business, while European ships signal colonial influence. Multiple subplots unfold simultaneously: palace intrigue, family rescue, pregnancy struggles, slave trade, and the ghoul’s quiet terror. The narrative spreads across Oyo, Ede, Ilú Saki, and Cape Coast, broadening the world but scattering focus. #### Love, Power, and the Weight of Myth Reintroducing the death-to-life motif through Bashorun rather than Saro is, on paper, an interesting narrative choice. Bashorun returns as something undefined, a ghoul, neither alive nor dead, bound by unclear rules and sustained only by feeding on the souls of others. It is a solid mythological hook, unsettling, morally charged, and well aligned with the world *Aníkúlápó* originally built. The problem is that the series never commits to this premise as its centre. The franchise began with intimate folklore and personal consequences. This season widens to empire politics, slave trade, and colonial shadows. Love stories multiply: three major ones, each with struggles. The ghoul, central to the title, takes a backseat, working behind the scenes while the subplots dominate. The show explores power as theft, not destiny. Resurrection and soul-feeding reframe ambition as a curse. Betrayal returns in new forms, but the story leans on grand visuals over tight narrative. Mythology is deep, but the writing sometimes feels stretched, introducing ideas for plot convenience rather than organic growth. One of the most persistent issues with **Aníkúlápó*: The Ghoul Awakens* is how long it takes to establish its purpose. Five episodes pass without the season articulating a clear narrative or thematic destination. The story is constantly in motion, yet rarely progressing. Multiple plot threads unfold simultaneously across different locations. Akin and Arolake relocate, attempt to rebuild their lives, face financial difficulties, and navigate pregnancy and childbirth. Arolake discards the magical pouch of limitless money after developing a conscience, a decision with massive implications that the series barely interrogates. Akin joins a dance troupe to raise funds, a development that feels incidental rather than organic. Elsewhere, the crown prince Aderoju (who appears out of nowhere) returns and immediately reasserts himself, demanding his sister back from Ede. What could have been a serious political and moral conflict is resolved with surprising ease once his father intervenes. At the same time, the princess, spiritually unmoored after Karanga’s death, drifts through the narrative. Her inability to find peace leads her to flee, stowing away with servants bound for another land, only to end up captured by slave traders. This storyline alone contains enough weight for an entire season, yet here it exists as just another strand in an already overcrowded tapestry. The result is not richness but congestion. #### **Performances That Anchor and Drift**, and Afterthought Characters Owobo Ogunde’s Bashorun Ogunjimi revival is a grand return. He plays the ghoul like second nature, fierce and commanding. His performance commands fear, even when the character steps back from the foreground. Bimbo Ademoye delivers one of the standout performances of the show as she continues Arolake’s cycle, struggling to rebuild but facing new hurt. The cast is rich and intentional, from veterans to new faces. Diction is weighty and ceremonial, evoking classic stage play rather than modern screen. Everyone is grounded, fully embodied: royalty, warriors, lovers, villains. The collective commitment to old Yoruba intonation adds gravitas and authenticity. The series repeatedly introduces characters and ideas as conveniences rather than necessities. New characters like Prince Aderoju appear with little narrative groundwork and are quickly absorbed into the sprawl. Developments occur because the plot requires momentum, not because character arcs demand them. Arolake’s husband’s sudden discovery of a singing talent and subsequent performance career exemplifies this problem. There is no emotional or narrative preparation for this shift. It exists purely to generate movement and maintain attention. The same is true of the multiple romantic subplots introduced throughout the season. Three separate love stories are layered onto the narrative, each with its own conflicts and emotional beats. None are given the depth required to matter. Instead of enriching the story, they compete for space and further erode focus. #### Technical Craft: Rich but Uneven Cinematography is crisp and immersive. Sets feel lived-in, costumes rich with Yoruba culture. Portuguese characters are thoughtfully styled. The aesthetic pleases overall. A few tribal marks look like face paint, Asiru’s hair and beard verge on comedic, but these are minor. The score and music, composed by Oludamilola Adewale Aluko aim to serve as an emotional guide through the narrative. They are purposeful in intent, rising to heighten mood during key dramatic turns and ritual moments. Yet for a film of this mythic scale and visual grandeur, the overall soundscape feels strangely restrained. Where sweeping, soul-stirring orchestral layers or enigmatic motifs could have deepened the sense of ancient power and cosmic stakes, the music remains understated, often instrumental, subtle, and content to merely underscore rather than truly elevate. The result is a peculiar silence beneath the spectacle: the score is there, but it rarely fills the frame with the kind of transcendent, haunting presence that the world-building and cultural weight seem to demand. The film look compliments the genre. However, CGI is uneven especially for the ghoul, turning tension into unintentional comedy. #### Final Thoughts Disappointing. Tonally, the series drifts far from its mythic roots. At times, it feels less like a historical fantasy grounded in folklore and consequence, and more like a domestic drama where conflicts emerge and dissolve with soap-like regularity. Many scenes play as though events are occurring simply because the format demands activity, not because the story requires it. This tonal confusion underscores a deeper issue. The series does not seem to know why it exists beyond sustaining the franchise. Perhaps the most damaging choice is how the season ends. After five episodes, and roughly five hours of storytelling, the series resolves almost nothing. Major plotlines are cut short. Conflicts remain suspended. There is no sense of culmination, no thematic or emotional closure, not even the courtesy of a clear continuation marker. This abrupt ending feels calculated rather than artistic, a deliberate withholding designed to manufacture anticipation for another instalment. Instead, it produces irritation. The series had ample time to justify its existence and tell a complete story. The refusal to commit to finality only reinforces the perception of a franchise stretched beyond its natural lifespan. The material feels overextended. Continuing this franchise no longer feels like exploration. It feels like obligation. At this stage, the argument that *Aníkúlápó* should have remained a film series becomes difficult to ignore. The first film justified its scope and ambition. Subsequent entries, especially *The Ghoul Awakens*, struggle under the weight of episodic expansion. What might have worked as a tightly constructed sequel film collapses when stretched into a series format that demands constant escalation without narrative discipline. *Aníkúlápó: The Ghoul Awakens* is not undone by a lack of ideas, but by an excess of them and a refusal to prioritise. It is everything everywhere all at once, without the precision, restraint, or purpose required to make such ambition coherent. The season introduces mythology, politics, romance, migration, slavery, spirituality, and family drama, yet never decides which of these deserves to lead. By the end, the most pressing question is no longer what happens next, but why this story is still being told. ### Verdict *Aníkúlápó: The Ghoul Awakens* suits viewers who love Yoruba mythology and visual grandeur, even if pacing and plot waver. It offers rich cultural depth and ambitious world-building, but demands patience with its sprawl. Ambitious yet uneven, overly disappointing. It risks losing the original spark that made the first feature film so unforgettable. **Rating**: 2.4/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/anikulapo-the-ghoul-awakens-a-franchise-in-search-of-its-own-justification/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/anikulapo-the-ghoul-awakens-a-franchise-in-search-of-its-own-justification/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/anikulapo-the-ghoul-awakens-a-franchise-in-search-of-its-own-justification/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/anikulapo-the-ghoul-awakens-a-franchise-in-search-of-its-own-justification/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/anikulapo-the-ghoul-awakens-a-franchise-in-search-of-its-own-justification/?share=linkedin) - **Categories:** Reviews **Tags:** Abike Dabiri-Erewa, Afrofusion, Aisha Lawal, Anikulapo: Rise of the Sceptre, Aníkúlápó: The Ghoul Awakens, Bimbo Ademoye, Bukumi Adeaga-Ilori, critique, Eyiyemi Afolayan, franchise sequel, Gabriel Afolayan, Kunle Afolayan, Lateef Adedimeji, Moji Afolayan, Nollywood series, Owobo Ogunde, power and betrayal, slave trade, Sola Sobowale, Taiwo Hassan, Teniola Aladese, Yoruba mythology --- ### [Alive Till Dawn: This New Zombie Flick is More Amusing than Terrifying](https://nollycritic.com/alive-till-dawn-this-new-zombie-flick-is-more-amusing-than-terrifying/) **Published:** February 6, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Alive Till Dawn is a siege-style zombie thriller that uses the apocalypse as a backdrop to explore survival, loyalty, fear... **Content:** [*Alive Till Dawn*,](https://www.imdb.com/title/tt39050239/ "Alive Till Dawn,") directed by Sulaiman Ogegbe and co-produced by Uzor Arukwe, is a 105-minute Nigerian zombie thriller released in cinemas on January 30, 2026. Sunshine Rosman stars as Alex, a police officer’s daughter thrust into survival during a viral outbreak. Michael Dappa plays Isaac, a hyper-dramatic ex-prisoner ally, and Uzor Arukwe is Badu, the domineering ex-convict leader. The film claims to be Nigeria’s first major box-office zombie apocalypse story, drawing from polluted water origins and urban chaos in Abuja. It tries to weave local issues like environmental neglect into a classic siege setup, but slow pacing, weak characters, and heavy reliance on plot armour keep it from landing with real bite. ## *Alive Till Dawn* Directed by: Sulaiman Ogegbe Written by: Daisy Olowu Genre: Horror, Thriller Released on: January 29, 2025 (Cinemas) Language: English ### **A Fresh Genre Attempt Rooted in Real Crisis** The film opens with a clear nod to Nigerian realities: workers dump a hazardous material into a water body, followed by a UNICEF intertitle stating 117,000 children die yearly from water-related illness: the highest globally. This sets up a zombie outbreak tied to pollution, a smart way to ground Western horror in local social concern. The story then shifts to Abuja, where the virus spreads rapidly through the city. A group of survivors including cops, civilians, and a few shady characters, barricade themselves inside a rundown police station, turning it into their last stronghold against the undead horde outside. The narrative is largely contained to this siege location, focusing on dwindling supplies, internal conflicts, moral dilemmas (who gets sacrificed, who gets let in), and the constant threat of infection. The central figure is Alex (Sunshine Rosman), daughter of a high-ranking police officer, who becomes the primary lens through which the audience experiences the outbreak. Her personal struggles and survival arc dominate the film, with her emotional journey providing the main thread. Supporting characters include Isaac (Michael Dappa), a hyper-dramatic former prisoner who becomes her ally, and Badu (Uzor Arukwe), a domineering ex-convict who proclaims himself leader and undermines collective survival through ego-driven decisions. The group faces repeated threats from both the zombies outside and tensions within. The plot follows their attempts to ration resources, make tough calls, and hold the station against the growing horde, while Alex navigates personal loss. ### **Social Commentary That Starts Strong** *[Alive Till Dawn](https://nollycritic.com/uzor-arukwe-to-lead-cast-of-alive-till-dawn-a-new-zombie-horror/ "Alive Till Dawn")* is a siege-style zombie thriller that uses the apocalypse as a backdrop to explore survival, loyalty, fear, and systemic failure in a Nigerian context. The opening gesture toward systemic ruin is powerful: polluted rivers, contaminated crops, protests for government aid shown on TV. It starts with a clear social commentary on water pollution and its deadly consequences, particularly for children, grounding the horror in real infrastructural neglect. These moments feel urgent and grounded, echoing real infrastructural failures in Nigeria. Yet the film quickly shifts focus to the police station and its insulated figures. The police station setting turns the outbreak into a pressure cooker where the real danger often comes from inside: arguments over leadership, rationing, trust, and who deserves to be saved. The everyman world becomes a visual backdrop, the apocalypse treated as a personal drama rather than a societal collapse, leaving the broader commentary feeling half-committed. The film centres on Alex, whose arc carries the emotional weight. She is burdened by personal loss and becomes the story’s primary vessel for grappling with the chaos. Isaac stands as her ally, bringing passion and a love dynamic that tries to humanise the group. Badu represents ego and dominance, repeatedly insisting zombies aren’t real (a nod to Nigerian scepticism toward Western horror tropes) and making selfish choices that threaten everyone. Thematically, the film gestures toward how corrupt systems and privilege insulate some while exposing others. ### **Performances That Range From Solid to Stiff** Sunshine Rosman anchors the film as Alex. She carries fear and determination convincingly, especially in moments of personal loss. Her arc gives the story its only real emotional pulse. Michael Dappa brings passion to Isaac, the hyper-dramatic former prisoner who stands up for Alex against Badu. His energy adds some life to the group dynamic, including a love angle that tries to humanise the chaos. Uzor Arukwe’s Badu should be intimidating, but his exaggerated style and shouting come across as screeching, making the character more comical than threatening. The ensemble feels archetypal: the strong leader, the funny sidekick, the damsel with little depth beyond surface roles. Dialogue switches awkwardly from pidgin to polished English, breaking immersion and making characters feel inconsistent. ### **Technical Choices That Show Promise and Limits** Cinematography captures Abuja’s urban sprawl with wide shots of streets and abandoned cars, evoking isolation. Harsh fluorescent lighting in the station flickers during power outages, adding claustrophobia. Quick cuts build suspense in early zombie attacks, and shadowy lighting creates pervasive gloom. Sound design stands out with eerie moans, realistic gunshots, and a score mixing Nigerian percussion with synth tension. The zombies themselves are convincing in close-ups (makeup and prosthetics shine) showing veiny skin and bloody bites, but feel sluggish and comical in wider shots, more amusing than terrifying. The score and shadowy lighting create mood, but the film sometimes feels slow and talk-heavy, prioritising dialogue and internal drama over action and zombie threat. But limitations show. Jump scares are overused, losing impact. CGI for larger zombie crowds looks dated, like early 2000s video game renders. Zombies move sluggishly, almost comically, with smeared palm oil for blood that recalls old ritual film makeup. The shaky “zombie” camera adds tension but feels intrusive at times. ### **Final Thoughts** *Alive Till Dawn* deserves credit for trying something new in Nollywood horror. Tying a zombie outbreak to water pollution is a clever way to make the genre feel local and urgent. The production team pushed hard to bring this to cinemas, and moments of physical action and zombie makeup show real effort. Yet the film falters where it matters most: the human side. The characters remain flat archetypes, driven purely by plot goals without any real emotional growth or inner change. Dialogue is stiff and robotic, pacing drags with repetitive talk, and plot armour protects key figures in ways that feel too convenient. The zombies are the best part, but without caring about the people, the stakes feel hollow. For a genre that thrives on emotional connection, this one asks us to follow characters “alive till dawn” without giving us reason to care if they survive. ### **Verdict** *Alive Till Dawn* suits viewers curious about Nollywood exploring uncharted territories who can forgive underdeveloped characters and slow pacing. It offers a few heart-racing moments and a fresh local angle, but lacks emotional depth. Ambitious and watchable, it’s a step forward for the genre with plenty of room to grow. **Rating**: 2.35/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/alive-till-dawn-this-new-zombie-flick-is-more-amusing-than-terrifying/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/alive-till-dawn-this-new-zombie-flick-is-more-amusing-than-terrifying/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/alive-till-dawn-this-new-zombie-flick-is-more-amusing-than-terrifying/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/alive-till-dawn-this-new-zombie-flick-is-more-amusing-than-terrifying/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/alive-till-dawn-this-new-zombie-flick-is-more-amusing-than-terrifying/?share=linkedin) - **Categories:** Reviews **Tags:** alive till dawn, critique, Michael Dappa, Nollywood horror, Sulaiman Ogegbe, Sunshine Rosman, Uzor Arukwe, water pollution, zombie apocalypse --- ### [Here's What Happened at the Lagos Business of Film Summit](https://nollycritic.com/heres-what-happened-at-the-lagos-business-of-film-summit/) **Published:** February 5, 2026 **Author:** Esther Adamu **Excerpt:** On the 30th of January 2026, CEO Ope Ajayi of Cinemax Distribution Limited hosted the Lagos Business of Film Summit with the... **Content:** Aside from the ‘dancing to promote cinema movies saga’, a lot happened at the 2026 Lagos Business of [Film](https://nollycritic.com/?s=film "Film") Summit and here’s how it unfolded. On the 30th of January 2026, CEO Ope Ajayi of [Cinemax Distribution Limited](https://www.cinemaxdr.com/ "Cinemax Distribution Limited") hosted the Lagos Business of Film Summit with the theme *“Unlocking the potential of Nollywood, The Next Decade.”* This summit featured a roster of speakers, including filmmakers, distributors, actors, policymakers, and investors, who brought unique expertise and perspectives to the table. Present at this summit was Ope Ajayi, the Host and a seasoned business manager and entertainment executive with over 21 years of experience spanning financial services and film distribution. As CEO of Cinemax, he has overseen the distribution of blockbuster titles and played a very important role in expanding cinema infrastructure across Nigeria and Cameroon. Mo Abudu, CEO of Ebonylife Media, and Bolaji Balogun, CEO of Chapel Hill Denham, who were keynote speakers at the summit, delivered powerful addresses on Nollywood’s future, focusing on investment, infrastructure, global partnerships, and positioning Nigerian cinema as one of the major economic drivers. Also, Kunle Afolayan, multi-award-winning filmmaker celebrated for his research-driven approach to storytelling, was also present at the summit alongside Dr. Shaibu Husseini, leader of Nigeria’s primary film regulatory body (NFVCB). Central to the discussion was the question of how Nollywood can secure sustainable financing for decades, providing Nigerian filmmakers who have relied heavily on private investors and personal funds with adequate resources to expand their horizons and achieve even greater heights than they have already reached. The speakers highlighted the urgent need for structured talent development. Most industry professionals are self-taught, and the absence of large-scale training institutions threatens to constrain future growth. Distribution was another focal point. While Lagos has a growing number of cinemas, the demand far outpaces the supply. Stakeholders highlighted the importance of expanding cinema infrastructure across Nigeria and leveraging digital movie platforms like Netflix, Amazon Prime, and Showmax to reach global audiences. Ensuring the promotion of movies not just within Nigeria but also to African and international countries. Cinemax CEO Ope Ajayi underscored the importance of policy reforms and reliable industry data. He also called for government agencies and private firms to collaborate on building transparent data systems that can guide decision-making and attract international partnerships. The major announcement made includes the Chapel Hill opening of the application for Creatives Catalyst 2, a funding and business development initiative targeting entrepreneurs across Nigeria’s creative economy. The funds aim to provide both capital and structured business support followed by Dr. Shaibu Husseini’s unveiling of the new NFVCB’s framework for community cinemas and regulated mobile exhibition platforms. This is designed to expand audience reach, create new revenue streams, and formalize alternative exhibition channels, particularly in underserved areas. Mo Abudu announced plans to open a replica of Ebonylife Studio in London by July 2026, signaling a strategic push into the global market and the growing importance of international partnerships for Nigerian producers. The Lagos Business of Film Summit concluded on an optimistic note. With streaming platforms opening new markets, international co-productions gaining traction, and Nigerian stories resonating globally, Nollywood stands at the threshold of unprecedented growth. The next decade, as envisioned as the theme and central discussion of the Lagos Business of Film Summit, could see Nigerian cinema not only to entertain but also to redefine African storytelling on the world stage. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SnapInsta.to_626004361_17851734627667075_3213351115315687616_n-1-1.webp?resize=640%2C640&ssl=1)![Lagos Business of Film Summit](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SnapInsta.to_625056594_17851734606667075_6555663148550816117_n.webp?resize=640%2C640&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SnapInsta.to_625922456_17851734618667075_1399026982436558693_n.webp?resize=640%2C640&ssl=1)![Lagos Business of Film Summit](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SnapInsta.to_625056594_17851734606667075_6555663148550816117_n.webp?resize=640%2C640&ssl=1)![Lagos Business of Film Summit](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SnapInsta.to_626293053_17851734663667075_4518043055182305813_n.webp?resize=640%2C640&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SnapInsta.to_626297982_17851734786667075_5520496655710988869_n.webp?resize=640%2C640&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SnapInsta.to_625897639_17851734795667075_2051594337164554842_n.webp?resize=640%2C640&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SnapInsta.to_626280765_17851734777667075_3439370496576860685_n.webp?resize=640%2C640&ssl=1)![Lagos Business of Film Summit](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/02/SnapInsta.to_625047256_17851734762667075_7896852055917489223_n.webp?resize=640%2C640&ssl=1) ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/heres-what-happened-at-the-lagos-business-of-film-summit/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/heres-what-happened-at-the-lagos-business-of-film-summit/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/heres-what-happened-at-the-lagos-business-of-film-summit/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/heres-what-happened-at-the-lagos-business-of-film-summit/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/heres-what-happened-at-the-lagos-business-of-film-summit/?share=linkedin) - **Categories:** Nollywood News **Tags:** Amazon Prime Video, Bolaji Balogun, CEO of Ebonylife media, Cinemax CEO Ope Ajayi, CinemaxNG, Dr. Shaibu Husseini Leader of NFVCB, Kunle Afolayan, Mo Abudu, Netflix, nollycritic, nollywood, Nollywood 2026, Nollywood news, Showmax, The Lagos Business of film summit 2026 --- ### [Neptune3 Studios Expands Its Youth Franchise With Best Friends in the World: The Year Between](https://nollycritic.com/neptune3-studios-expands-its-youth-franchise-with-best-friends-in-the-world-the-year-between/) **Published:** January 22, 2026 **Author:** Michael Arowoselu **Excerpt:** Neptune3 Studios has announced a new project titled Best Friends in the World: The Year Between, a continuation of its widely acclaimed... **Content:** [Neptune3 Studios](https://www.neptune3studios.com/ "Neptune3 Studios") has announced a new project titled ***Best Friends in the World: The Year Between***, a continuation of its widely acclaimed youth series *Best Friends in the World*. The upcoming scripted youth drama shifts focus to the often-overlooked spaces between major life chapters — the quiet moments where growth, distance, and emotional change begin to reshape friendships. Described as a coming-of-age and friendship [drama](https://nollycritic.com/?s=drama "drama"), *The Year Between* explores the emotional, personal, and relational shifts that occur when best friends are no longer in the same place mentally, emotionally, or physically, yet remain deeply connected. ### A Story About Quiet Change Set within the familiar world audiences have come to love, *Best Friends in the World: The Year Between* examines how time, personal development, and evolving priorities test bonds that once felt unbreakable. Rather than centring dramatic fallout or obvious turning points, the project zooms in on subtler experiences: silences that grow heavier, misunderstandings that linger, emotional maturity, and the slow process of self-discovery. **Logline:** *When life quietly pulls best friends in different directions, the space between who they were and who they are becoming tests their bond in ways they never expected.* According to Neptune3 Studios, this chapter reflects a more introspective phase of youth — one where friendships are not necessarily broken, but transformed. > “This chapter is about what happens when life starts to shift quietly,” a representative from Neptune3 Studios explains. “It’s about the emotional in-between: when friendships are no longer what they used to be but haven’t fully become what they will be.” ### Emotional Realism Over Spectacle The series deliberately avoids heightened drama in favour of emotional realism, focusing on **friendship drift**, **communication gaps**, **identity**, and the quiet grief that accompanies growing up. The narrative recognises that adulthood doesn’t always announce itself loudly; sometimes, it arrives through distance, silence, and change. By spotlighting these in-between moments, *The Year Between* adds depth to the *Best Friends in the World* franchise, highlighting the complexity of maintaining connection while growing into oneself — a theme that resonates deeply with audiences navigating identity, transition, and adulthood. ### Continuing Neptune3 Studios’ Youth-Forward Vision With its signature warmth, honesty, and youth-centred storytelling, the project continues Neptune3 Studios’ commitment to culturally resonant narratives that reflect the lived realities of young Nigerians. The franchise has built a strong following for its authentic portrayal of friendship, growing pains, and coming-of-age experiences, and *The Year Between* signals a more reflective evolution of that vision. Further details regarding release dates and viewing platforms are expected to be announced in the coming months. For now, *Best Friends in the World: The Year Between* positions itself not just as a continuation, but as an emotional pause — a reminder that some of the most significant changes happen quietly. *And those are often the ones that last.* ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/01/11-1.png?resize=640%2C800&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/01/9-1.png?resize=640%2C360&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/01/15-1.png?resize=640%2C800&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/01/8-2.png?resize=640%2C360&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/01/2-1.png?resize=640%2C360&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/01/1-1.png?resize=640%2C360&ssl=1) ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/neptune3-studios-expands-its-youth-franchise-with-best-friends-in-the-world-the-year-between/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/neptune3-studios-expands-its-youth-franchise-with-best-friends-in-the-world-the-year-between/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/neptune3-studios-expands-its-youth-franchise-with-best-friends-in-the-world-the-year-between/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/neptune3-studios-expands-its-youth-franchise-with-best-friends-in-the-world-the-year-between/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/neptune3-studios-expands-its-youth-franchise-with-best-friends-in-the-world-the-year-between/?share=linkedin) - **Categories:** Nollywood News **Tags:** Best Friends in the World Franchise, Coming-of-Age Drama, Coming-of-Age Transitions, Emotional Realism, Friendship and Growth, Friendship Drama, Growing Up in Nigeria, Neptune3 Studios, Neptune3 Studios Projects, Nigerian Coming-of-Age Stories, Nigerian Screen Stories, Nigerian TV Series, Nigerian Web Series, Nigerian Youth Storytelling, Nollywood Series News, Nollywood tv, Nollywood Youth Series, Scripted Series, The Year Between, Youth Drama, Youth Identity --- ### [Friends Indeed: Friendship Meets Betrayal in New Nollywood Movie](https://nollycritic.com/friends-indeed-friendship-meets-betrayal-in-new-nollywood-movie/) **Published:** February 3, 2026 **Author:** Esther Adamu **Excerpt:** Richards Omos-Iboyi directs the 2026 Nollywood Drama "Friends Indeed," which set its tone as a cautionary tale of trust and friendship. **Content:** Richards Omos-Iboyi directs the 2026 [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") Drama [*Friends Indeed*](https://www.imdb.com/title/tt39311174/ "Friends Indeed"), which sets its tone as a cautionary tale of trust and friendship. The Acclaimed filmmaker explores the fragile bonds that hold together friendship and how easily those bonds can be tested when ambition, societal pressure, and personal desires come into play. Nigerian cinemas are set to welcome this powerful new drama on February 6th as Friends Indeed arrives on the big screen, promising audiences an emotional journey through friendship, betrayal, money, ambitions, and the corruptions that come with power. The story centres on four lifelong friends navigating life in bustling Lagos. Their friendship, built on years of trust and shared experiences, begins to fracture as each pursues personal ambitions. What starts as harmless competition for relevance and success spirals into envy and rivalry. The desire for money, recognition, and elite connections becomes the driving force behind their choices. Their connection became a stepping stone used by each other to achieve their selfish interests. Leading the cast is Lilian Esoro, who delivers a compelling performance that captures emotional vulnerability and inner conflict. Venita Akpofure brings depth and intensity to her role, portraying a character caught between loyalty and personal ambition. Ifeanyi Kalu adds a strong emotional presence, while Padita Agu and Anthony Monjaro contribute layered performances that further drive the film’s dramatic tension. Other casts include Priscilla Okpara, veteran actor Akin Lewis, Henry Arnold, and popular comedian MC Lively, who adds moments of comic relief without undermining the film’s serious themes. *Friends Indeed* is set against a contemporary Nigerian backdrop, and it captures the realities of urban life, ambition, and social influence, making it highly relatable to a wide audience. Its themes do not only resonate in Nigeria but also across cultures, as the challenges of trust, loyalty, and friendship are universal. Beyond its dramatic elements, the film also serves as a social commentary on how society places pressure on individuals to succeed at all costs. It highlights how financial ambition and the pursuit of power can reshape relationships which most times leads to irreversible consequences. *Friends Indeed* will premiere in cinemas on February 6, 2026. See the trailer below! ## Author - ![Esther Adamu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/aa.jpg?resize=80%2C80&ssl=1) [Esther Adamu](https://nollycritic.com/author/esther-adamu/ "Esther Adamu") Law student and writing intern at NollyCritic with a passion for Nollywood and African cinema. [ ](mailto:estheradamu962@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/friends-indeed-friendship-meets-betrayal-in-new-nollywood-movie/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/friends-indeed-friendship-meets-betrayal-in-new-nollywood-movie/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/friends-indeed-friendship-meets-betrayal-in-new-nollywood-movie/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/friends-indeed-friendship-meets-betrayal-in-new-nollywood-movie/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/friends-indeed-friendship-meets-betrayal-in-new-nollywood-movie/?share=linkedin) - **Categories:** Nollywood News **Tags:** 2026 releases, Akin Lewis, Anthony Monjaro, friends indeed, Henry Arnold, Ifeanyi Kalu, Lilian Esoro, Mc Lively, nigerian cinema, nollycritic, nollywood, Nollywood 2026, Nollywood Releases 2026, padita agu, priscilla okpara, Richards Omos-Iboyi, Venita Akpofure --- ### [New Nollywood Movies and Series To See in February 2026](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-february-2026/) **Published:** February 1, 2026 **Author:** Michael Arowoselu **Excerpt:** Happy new month Nollywood fam! This month of love is full of new Nollywood titles.. Rom-coms, thrillers, dramas, comedy, horror, February has them all! **Content:** Happy new month [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") fam! This month of love is full of new Nollywood titles.. Rom-coms, thrillers, dramas, comedy, horror, February has them all! Without further ado, here is are the Nollywood movies and Series on our radar this Month. Oya now, let’s go! ### *Alive Till Dawn* (2026) — January 29 In the chaos of a ZOMBIE virus outbreak, an unlikely alliance forms when civilians, police officers, and criminals find themselves trapped inside a besieged police station. As the night unfolds, they must navigate treacherous undead hordes, and escape the building to reach the means to a rumored safe haven or become the very monsters they’re fighting against! The film stars; Sunshine Rosman, Chisom Agoawuike, Michael Dappa, and Uzor Arukwe. [*Alive Till Dawn* ](https://www.imdb.com/title/tt39050239/ "Alive Till Dawn ")is now showing in Cinemas Nationwide. ### *Red Circle* (2025) — January 29 Directed by Akay Mason and produced by Rixel Studios, [*Red Circle* ](https://nollycritic.com/red-circle-see-the-trailer-for-nora-awolowos-new-thriller/ "Red Circle ")follows the story of a journalist caught in the middle of a dangerous investigation. The cast includes Folu Storms, Bukky Wright, Timini Egbuson, Tobi Bakre, Lateef Adedimeji, Omowunmi Dada, Mike Afolarin, Femi Branch, Ruggedman and Debo Macaroni. *[Red Circle](https://www.imdb.com/title/tt32634351/?ref_=mv_close)* is now streaming on Kava. ### *Anikulapo: The Ghoul Awakens* (2026) — January 30 Once power is awakened, it demands a price. From Oyo to foreign lands, love is tested, loyalties are shaken. This season, survival is the real crown, and everything you think you know will be questioned. Several familiar faces return, including Kunle Remi, Bimbo Ademoye, alongside other cast members from the earlier instalments. The new season also introduces fresh characters played by Okusaga Adeoluwa, Bukunmi ‘KieKie’ Adeaga-Ilori, Antar Laniyan, Saidi Balogun, Teniola Aladese, and Fella Makafui. *Anikulapo: The Ghoul Awakens* is now streaming on Netflix. ### *Everything is New Again* (2026) — January 30 Set in Lagos, Everything is New Again explores an age-gap romance, it follows an older woman who finds herself drawn to a younger man despite family opposition and social status. The film stars; Vine Olugu, Mercy Aigbe, Ngozi Nwosu, Nancy Isime, Abayomi Alvin, Angel Unigwe, Desmond Elliot, and Olumide Oworu. Now Showing in Cinemas. ### *Bro Code* (2026) — February 1 Chris, KC and Arinze are smooth talking bachelors who think they’ve cracked the code to dating, but when their egos clash with love, obsession and a few unpredictable women, the game flips. With a line-up including Mike Ezuruonye as Chris, Daniel Etim Effiong as KC, and Majid Michel as Arinze, the film teases a comedy about reckless bachelors and the chaos of romance. Now streaming on EbonylifeONPlus. ### *To Adaego with Love* (2026) — February 6 Set in 1975, in the aftermath of the Nigerian civil war, a forbidden romance blooms between Major Balarabe Alkali, a charismatic Northern soldier on a mission of reconciliation, and Adaego, a young teacher from war-torn Eastern Nigeria, as they use the power of music to bridge tribal divides in a fractured nation but face insurmountable challenges brought on by duty, family, and tradition. The film stars Chisom Agoawuike, Adam Garba Chioma Chukwuka, Bob Manuel Udokwu, Riyo David, Demi Banwo, Tonia Chukwurah, Six Foot Plus, and the late Onyeka Onwenu. The film is slated for a February 6, 2026 release in cinemas. ### *Friends Indeed* (2026) — February 6 Four lifelong friends see their once-unbreakable bond tested when ambition and the race for social status turn friendship into rivalry. What begins as harmless competition soon spirals into envy, betrayal, and deceit, exposing hidden insecurities and dangerous secrets. As trust fractures and loyalties shift, the women are forced to confront the true price of success—and whether their sisterhood can survive it. The film stars; Lilian Esoro, Ifeanyi Kalu, Venita Akpofure, Priscilla Okpara, Akin Lewis, and many others. Friends Indeed premieres in cinemas on February 6. ### **Greatest Oath – The Rescue** (2026) — February 6 Inspector Uyi Williams faces a tough job as a police officer while also caring for his sick daughter and dealing with problems in his marriage. When a dangerous group kidnaps people in the city, Uyi joins a special team to find their secret hideout and stop them. Produced by Ocean Portal Entertainment, the police drama stars Ifeanyi Azodo, Karo Benedict, Yvonne Jegede and Kenneth Ibeanusi. Coming to cinemas nationwide. ### *Love and New Notes* (2026) — February 13 Love & New Notes is a heartfelt romantic drama that explores love, timing, sacrifice, and the courage it takes to start again. When passion, ambition, and real-life pressures collide, two souls must decide if love is enough or if growth sometimes comes at a cost. The film stars; Odunlade Adekola, Sophie Alakija, Timini Egbuson and many others. *[Love and New Notes](https://www.imdb.com/title/tt39362137/ "Love and New Notes")* will premiere in cinemas on February 13, 2026. Which of these Nollywood movies do you anticipate the most? Stay updated as we’ll add more Nollywood movies to this list. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-february-2026/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-february-2026/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-february-2026/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-february-2026/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-february-2026/?share=linkedin) - **Categories:** Movies, Nollywood **Tags:** alive till dawn, Anikulapo, everything is new again, friends indeed, love and new notes, nollycritic, nollywood, Red circle, To Adaego With Love --- ### [The Most Anticipated Nollywood Titles of 2026](https://nollycritic.com/the-most-anticipated-nollywood-titles-of-2026/) **Published:** January 15, 2026 **Author:** Shalom O. Obisesan **Excerpt:** If 2025 felt uneven for Nollywood, 2026 is shaping up to be its corrective year. From genre-bending experiments and ambitious **Content:** If 2025 felt uneven for [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood"), 2026 is shaping up to be its corrective year. From genre-bending experiments and ambitious historical dramas to long-delayed titles finally finding release windows, the year’s slate reflects an industry recalibrating its ambitions. While a strong lineup of films already has confirmed release dates and active promotional campaigns, 2026 is also expected to welcome projects that slipped through last year’s cracks, alongside sequels and franchise expansions designed to sustain audience loyalty. This list highlights the confirmed heavyweights, the delayed films audiences are still waiting for, and the franchises poised to extend Nollywood’s cinematic universes. ### **Aníkúlápó: Season Two** *Release date: 30 January 2026* Kunle Afolayan’s historical fantasy returns with a second season that expands its mythological world. A follow‑on to both the 2022 hit film and the Season One series *Aníkúlápó: Rise of the Spectre*, this expanded narrative maintains Afolayan’s role as director and producer under KAP Motion Pictures while broadening its ensemble cast. Returning leads include Kunle Remi, Sola Sobowale, Bimbo Ademoye, Eyiyemi Afolayan, Aisha Lawal, Moji Afolayan, Taiwo Hassan and Lateef Adedimeji, complemented by new additions such as Bukunmi Adeaga‑Ilori (“KieKie”), Teniola Aladese, Antar Laniyan, Saidi Balogun and Okusaga Adeoluwa, among others. Filmed across Nigeria and Ghana through a collaboration with the Ghana National Film Authority, the season’s narratives are expected to deepen themes of power, consequence and spiritual reckoning while exploring broader historical intersections. ### **The Other Side of the Bridge** *Release date: 17 April 2026* A sports drama rooted in Lagos, *[The Other Side of the Bridge](https://www.imdb.com/title/tt34477317/)* is a sports drama produced by Demi Banwo in collaboration with Lord Tanner Studios, unfolding the rivalry of two boxers from opposite parts of Lagos whose paths collide inside and outside the ring. Emphasis on physical training and realism sets it apart from more conventional Nollywood dramas. ### **Finding Messiah** *Finding Messiah* is a much‑anticipated political musical drama written, directed, executive produced and musically scored by Oscar Heman‑Ackah, marking his ambitious first foray into Nollywood filmmaking. Set in the fictional ancient Republic of Zambay, a richly imagined civilisation complete with its own culture and newly created language “Ngazala”, the film blends political intrigue with musical storytelling, drawing comparisons to large‑scale fantasy worlds in global cinema. Its ensemble cast features Nollywood legends and veteran performers such as Pete Edochie, Ngozi Ezeonu, Taiwo Ajayi‑Lycett, Alex Usifo (portraying Zambay’s tyrannical figure), Ejike Asiegbu and Keppy Ekpeyong, alongside cross‑industry stars including Bucci Franklin, Majid Michael, Sunshine Rosman, Daddy Showkey, Uzi Kwednu and Lilian Afegbai. One of the project’s standout elements has been its original soundtrack, “The Prison Song,” produced by Heman‑Ackah and featuring artists Jacob Hunter and Double G, which has circulated widely online and helped sustain buzz for the film years ahead of its release. Though a formal 2026 release date hasn’t been confirmed, *Finding Messiah*’s scale, musical innovation, and political undercurrents have made still the most talked‑about upcoming Nollywood films. ### **I Do Not Come to You by Chance** Adapted from Adaobi Tricia Nwaubani’s acclaimed novel by director Ishaya Bako, the film explores cybercrime, family obligation, and moral compromise. Despite festival attention since 2023, the film’s release has been deferred repeatedly, leaving fans eagerly awaiting its eventual distribution. ### **77: The Festac Conspiracy** The sequel to *76* premiered at international festivals but has yet to reach Nigerian audiences in a meaningful way. Directed by Izu Ojukwu and featuring an ensemble including Ramsey Nouah, Rita Dominic and Daniel Etim Effiong, *77: The Festac Conspiracy* reimagines the historic FESTAC ’77 cultural festival with political intrigue and period detail. With its historical and political framing, it remains one of the most talked-about unreleased titles. ### **To Adaego With Love** Set in 1975 Nigeria, a soldier and a school teacher from rival tribes fall in love in a country still grappling with the aftermath of civil war and deep-rooted social divisions. Directed by Nwamaka Chikezie. The film stars Chisom Agoawuike, Adam Garba Chioma Chukwuka, Bob Manuel Udokwu, Riyo David, Demi Banwo, Tonia Chukwurah, Six Foot Plus, and the late Onyeka Onwenu. *To Adaego with Love* was one of the biggest winners at AFRIFF 2025, earning both Best Feature Film and Best Screenplay for the screenplay. The film is slated for a February 6, 2026 release in cinemas. ### **King of Boys: The Beginning of the End** As part of the *King of Boys* universe, it continues the political and criminal saga that has become one of Nollywood’s most recognisable franchises. The film’s ensemble led by Sola Sobowale and featuring Adesua Etomi‑Wellington and Reminisce ensures its cultural resonance will carry deeply into 2026’s industry conversation as audiences continue to unpack its narrative impact. ### **Prophetess 2** Produced by Anthill Studios with Toyin Abraham reprising her role from the original, *Prophetess 2* builds on the commercial success of its predecessor. While cast details remain partly unconfirmed, Abraham’s return and the comedic spiritual misadventure format have generated substantial audience interest as a franchise title keeping comedy at the forefront of mainstream Nollywood releases. ### **Issakaba: The Return** First released in 2001, *Issakaba* is widely regarded as one of Nollywood’s most influential action films. Inspired by the real-life Bakassi Boys vigilante movement in southeastern Nigeria, the original film directed by Lancelot Oduwa Imasuen, fused crime drama with mysticism, folklore, and street-level justice. Its commercial success spawned multiple instalments and helped cement Sam Dede’s portrayal of Ebube as one of Nollywood’s most recognisable action heroes. More than two decades later, a sequel is on the way, marking the franchise’s official return. Lancelot Oduwa Imasuen returns as director, with Sam Dede reprising his iconic role, anchoring the film in continuity rather than nostalgia alone. The new instalment expands the cast to include Chidi Mokeme, Iyabo Ojo, Regina Daniels, and Phyna. ### **Sugar Rush 2** The sequel to Jade Osiberu’s 2019 hit *Sugar Rush* remains one of the most talked-about unreleased Nollywood films. The original film, directed by Kayode Kasum, stood out for its polished action-comedy blend, female-led narrative, and box-office success, following three sisters who stumble into a dangerous criminal underworld after discovering a stash of money. Its sharp pacing and mainstream appeal marked it as one of Nollywood’s most commercially confident releases of its time. *Sugar Rush 2* sees the return of Bisola Aiyeola, Adesua Etomi-Wellington, and Bimbo Ademoye as the Sugar sisters, with Jade Osiberu again attached as producer. Although the film wrapped principal photography some time ago, it has yet to receive a confirmed release date, making its absence increasingly conspicuous. ### Blood Sisters Season 2 Following the breakout success of its first season, *Blood Sisters* returns with a second instalment that expands one of Netflix Nigeria’s most visible original crime franchises. Created and executive produced by Mo Abudu under EbonyLife Studios, the second season, directed by Kayode Kasum and Daniel Oriahi, continues the Nigerian drama with original cast members including Nancy Isime and Ini-Dima Okojie as two friends forced into a violent fugitive life after a wedding-night murder, with Deyemi Okanlawon, Kate Henshaw, Uche Jombo, Danjuma and Genoveva Umeh in key supporting roles. While full plot details for Season Two remain under wraps, the continuation is expected to deepen the show’s exploration of betrayal, power, and female survival within elite Nigerian society. With Netflix backing, proven audience appetite, and a recognisable creative team, *Blood Sisters: Season Two* remains one of the most anticipated Nollywood series expected to surface in 2026. ### The Secret Lives Of Baba Segi’s Wives Lola Shoneyin’s acclaimed novel, *The Secret Lives of Baba Segi’s Wives*, gets a big screen adaptation this year. Directed by Daniel Oriahi and written for the screen by Adze Ugah, the story follows Baba Segi, his four wives, seven children, and a family secret that has been hidden for years. Produced by EbonyLife Group in partnership with Genesis Group, Nile Media Entertainment Group, and Silverbird Group, the adaptation is currently eyeing a December cinema release. The Film Stars Odunlade Adekola, Iyabo Ojo, Mercy Aigbe, Bimbo Ademoye, Omowunmi Dada, Shaffy Bello, Bisola Aiyeola, Lateef Adedimeji, Kunle Remi, and Tina Mba. ## Special Mentions ### **Phoenix Fury** *Phoenix Fury* is a revenge drama directed by Ifeanyi Azodo that earned festival buzz and critical attention but has not yet seen wide release. *Phoenix Fury* stars Uzoamaka Power and Richard Mofe-Damijo. Despite strong critical signals, it has yet to receive a wide commercial release. ### **Headless** A psychological thriller by Michael W. Ndiomu centres on a film producer confronted by the consequences of a buried crime. Its premise and early buzz positioned it as a prestige thriller, making its continued absence noticeable. The ensemble is reported to include Gideon Okeke, Baaj Adebule, Gbubemi Ejeye and Segun Arinze, though public details remain limited. ## **Why 2026 Matters** Taken together, these films point to a Nollywood industry in transition, more willing to take genre risks, revisit history with seriousness, and invest in long-term franchises. While not every anticipated title will necessarily land this year, 2026 already feels like a convergence point where ambition, patience, and audience curiosity finally meet. For Nollywood, this is not just a busy year. It is a defining one. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-most-anticipated-nollywood-titles-of-2026/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-most-anticipated-nollywood-titles-of-2026/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-most-anticipated-nollywood-titles-of-2026/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-most-anticipated-nollywood-titles-of-2026/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-most-anticipated-nollywood-titles-of-2026/?share=linkedin) - **Categories:** Articles, Movies **Tags:** 77 the festac conspiracy, alive till dawn, Anikulapo Season 2, Evi, Finding Messiah, Headless, Hell Ride, Igbo Landing, Issakaba The Return, Iya Mi, king of boys, Love & New Notes, Most Anticipated Nollywood Films, Mothers of Chibok, nollycritic, nollywood, Nollywood Releases 2026, Onobiren, Phoenix Fury, Prophetess 2, Sugar Rush 2, To Adaego With Love, Upcoming Nigerian Movies 2026 --- ### [Anikulapo: The Ghoul Awakens - See the Trailer For New Kunle Afolayan Series](https://nollycritic.com/anikulapo-the-ghoul-awakens-see-the-trailer-for-new-kunle-afolayan-series/) **Published:** January 19, 2026 **Author:** Michael Arowoselu **Excerpt:** Anikulapo, Kunle Afolayan’s historical fantasy returns with a second season that expands its mythological world. A follow‑on to both the... **Content:** Kunle Afolayan’s historical fantasy returns with a second season that expands its mythological world. A follow‑on to both the 2022 hit film and the Season One series[ *Aníkúlápó: Rise of the Spectre*,](https://nollycritic.com/anikulapo-rise-of-the-spectre-what-to-expect/ " Aníkúlápó: Rise of the Spectre,") this expanded narrative maintains Afolayan’s role as director and producer under KAP Motion Pictures while broadening its ensemble cast. The synopsis reads; Once power is awakened, it demands a price. From Oyo to foreign lands, love is tested, loyalties are shaken. This season, survival is the real crown, and everything you think you know will be questioned. Returning leads include Kunle Remi, Sola Sobowale, Bimbo Ademoye, Eyiyemi Afolayan, Aisha Lawal, Moji Afolayan, Taiwo Hassan and Lateef Adedimeji, complemented by new additions such as Bukunmi Adeaga‑Ilori (“KieKie”), Teniola Aladese, Antar Laniyan, Saidi Balogun and Okusaga Adeoluwa, among others. Filmed across Nigeria and Ghana through a collaboration with the Ghana National Film Authority, the season’s narratives are expected to deepen themes of power, consequence and spiritual reckoning while exploring broader historical intersections. [*Anikulapo*: The Ghoul Awakens](https://www.imdb.com/title/tt21432050/ "Anikulapo: The Ghoul Awakens")[ ]()Premieres on Netflix, January 30, 2026. See the trailer below ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/anikulapo-the-ghoul-awakens-see-the-trailer-for-new-kunle-afolayan-series/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/anikulapo-the-ghoul-awakens-see-the-trailer-for-new-kunle-afolayan-series/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/anikulapo-the-ghoul-awakens-see-the-trailer-for-new-kunle-afolayan-series/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/anikulapo-the-ghoul-awakens-see-the-trailer-for-new-kunle-afolayan-series/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/anikulapo-the-ghoul-awakens-see-the-trailer-for-new-kunle-afolayan-series/?share=linkedin) - **Categories:** Nollywood News **Tags:** Aisha Lawal, Anikulapo, Antar Laniyan, Bimbo Ademoye, Bukunmi Adeaga‑Ilori (“KieKie”), Eyiyemi Afolayan, Kunle Afolayan, kunle remi, Moji Afolayan, Netflix, Sola Sobowale, Taiwo Hassan and Lateef Adedimeji, Teniola Aladese --- ### [Supernowa: A Rare Nollywood Film Exploring Childhood Anxiety and Grief](https://nollycritic.com/supernowa-a-rare-nollywood-film-exploring-childhood-anxiety-and-grief/) **Published:** January 15, 2026 **Author:** Uju Okosieme **Excerpt:** Nemsia Studios kicks off the year strongly with Supernowa, director Sonia Irabor's first film starring Darasimi Nadi. Now streaming on Prime Video... **Content:** [Nemsia Studios ](https://nemsiastudios.com/ "Nemsia Studios ")kicks off the year strongly with *[Supernowa](https://www.imdb.com/title/tt39292421/ "Supernowa")*, director Sonia Irabor’s first film starring Darasimi Nadi. Now streaming on Prime Video, the film stands out by centring a child’s inner world — something Nollywood doesn’t explore nearly enough. With that alone, it already earns attention. ## *Supernowa* Directed by: Sonia Irabor Genre: Sonia Irabor Released on: January 9, 2025 (Prime Video) Language: English, ## An Inner Battle Framed by Competition The synopsis introduces Nowa Ohini, a gifted twelve-year-old who prefers to remain invisible. Pushed into a spelling competition by a new teacher and her brother, Nowa must face the embodiment of her anxiety and decide whether to continue hiding or finally step into the spotlight. At its core, the film revolves around Nowa’s struggle with anxiety. This is supported by quieter subplots: the family’s unresolved grief over Osas’ death, Eki’s attempt to prove a point through the spelling bee, Junior’s self-serving motivations, and the tension between father and son. All of these orbit Nowa’s emotional state, even when they don’t fully land. ## A Promising Story Undone by Uneven Pacing The film follows Nowa as she navigates grief, brilliance, and overwhelming pressure. The spelling bee, intended as a tool for growth, instead becomes the primary source of her rising anxiety, amplified by expectations from both her teacher and her brother. Unfortunately, the pacing works against the story. By the time we reach the first spelling bee, where Nowa has a panic attack, and Eki confronts Junior, the moment feels rushed. While Eki’s frustration is understandable, her reaction doesn’t quite match what we’ve been shown. With only a single scene establishing Junior’s pressure on Nowa, the film expects that moment alone to justify the emotional explosion that follows, leaving the payoff feeling unearned. ## Performances That Shine and Struggle Darasimi Nadi delivers a compelling performance, successfully stepping outside her usual typecasting. Her portrayal of Nowa is grounded and emotionally sincere, making it easy to connect with the character’s inner turmoil. The sibling dynamic between Darasimi Nadi and Nonso Bassey works on a casting level, and the family unit feels thoughtfully assembled overall. However, Nonso Bassey’s performance struggles in key moments. Scenes that call for heightened emotional intensity — particularly his confrontations with his father — feel muted when they should carry more force. In the early confrontation where Junior is meant to be drunk, the performance doesn’t convincingly communicate that state, ultimately dulling the impact of the scene. Onyinye Odokoro delivers a steady and believable performance as Eki, while the rest of the cast supports the narrative competently without leaving a lasting impression. ## Intentional Visuals Marred by Sound Issues The film’s cool-toned colour grading suits its sombre emotional landscape, and the use of creative shots reflects a clear sense of intentionality behind the camera. However, these strengths are undermined by moments where the sound inexplicably cuts out, pulling the viewer out of the story. One area where the film excels is production design. The Ohini home feels lived-in and personal, with thoughtful details, from photographs to books and small decorative items, that subtly reinforce the family’s history. ## An Engaging Concept That Needed Higher Stakes From the opening scene, *Supernowa* draws you in, immediately sparking curiosity about Nowa’s dreams and the direction of the story. The decision to structure the film around defining words is a clever narrative touch that complements the spelling bee motif. Using a monster as a visual representation of anxiety is another inspired choice, offering a fresh way to explore mental health struggles. That said, the spelling bee itself never feels as consequential as it should. By the final moments, the lack of tension becomes apparent, likely a direct result of the film’s pacing issues. What should have been a climactic emotional release instead feels subdued. ## Verdict Stories like *Supernowa* deserve a place in [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood"), and the film succeeds in handling themes of grief and anxiety with care and originality. While uneven pacing and underdeveloped build-up hold it back from reaching its full potential, its intentions and emotional core remain commendable. **Rating**: 2.85/5 ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/supernowa-a-rare-nollywood-film-exploring-childhood-anxiety-and-grief/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/supernowa-a-rare-nollywood-film-exploring-childhood-anxiety-and-grief/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/supernowa-a-rare-nollywood-film-exploring-childhood-anxiety-and-grief/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/supernowa-a-rare-nollywood-film-exploring-childhood-anxiety-and-grief/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/supernowa-a-rare-nollywood-film-exploring-childhood-anxiety-and-grief/?share=linkedin) - **Categories:** Reviews **Tags:** Darasimi Nadi, nollycritic, nollywood, Nonso Bassey, Onyinye Odokoro, Prime Video, Supernowa --- ### [See The Most Anticipated Nollywood Movies of 2025](https://nollycritic.com/see-the-most-anticipated-nollywood-movies-of-2025/) **Published:** January 21, 2025 **Author:** Fisayo Adekoya **Excerpt:** Nollywood movies are gearing up to dominate 2025, offering a spectacular mix of drama, action, and heartfelt stories. This year’s lineup will captivate audience **Content:** [Nollywood movies](https://nollycritic.com/the-most-anticipated-nollywood-movies-of-2024/ "Nollywood movies") are gearing up to dominate 2025, offering a spectacular mix of drama, action, and heartfelt stories. This year’s lineup will captivate audiences with top-notch storytelling, star-studded casts, and the creative vision of directors like Kunle Afolayan, Kemi Adetiba, and Niyi Akinmolayan. As fans eagerly await the release of these films, it’s clear that Nollywood is set to deliver unforgettable cinematic experiences. Here’s a closer look at the most anticipated Nollywood movies coming your way in 2025: ##### Finding Messiah *Finding Messiah* is a political music drama directed by Ghanaian Nigerian music executive, Oscar Heman-Ackah. Set in the fictional Republic of Zambay, the film introduces an ancient civilization with its own culture and language. The cast includes Nollywood veterans Pete Edochie, Ngozi Ezeonu, Taiwo Ajayi-Lycett, Alex Usifo, and Ejike Asiegbu. Also starring are galala singer Daddy Showkey, Sunshine Rosman, Bucci Franklin, and Uzi Kwednu. This film blends drama and music, promising a unique cinematic experience. ##### To Kill a Monkey *To Kill a Monkey* is set to be one of the most exciting series of 2025. Directed by Kemi Adetiba, it tells the story of Efemini, a man whose life takes an unexpected turn after reconnecting with an old friend. Forced into a world of cybercrime, he finds himself making choices that challenge his morals, all while trying to stay one step ahead of the consequences. The series stars Bucci Franklin, William Benson, Stella Damasus, Bimbo Akintola, Micheal Ejoor, Chidi Mokeme, Lilian Afegbai, and Sunshine Roseman. With its gripping story and powerhouse cast, *To Kill a Monkey* is sure to be a must-watch in 2025. ##### King of Boys: The Beginning of the End Kemi Adetiba is back at it again with *King of Boys: The Beginning of the End*, the much-anticipated third season. The fierce Alhaja Eniola Salami, played by Sola Sobowale, is returning to face even bigger challenges in her quest for power. Fans can expect returning stars like Efa Iwara and Titi Kuti, along with new twists that promise to take the drama to another level. Get ready for an intense ride as this thrilling saga continues! ##### Recall *[Recall](https://www.imdb.com/title/tt34476668/ "Recall")*, directed by Kunle Afolayan, premiered at AFRIFF in November 2024 and is set to make its Netflix debut in 2025. The film tells the story of Goke and Anita, a couple whose seemingly perfect relationship takes a mysterious turn, testing their trust and love in unexpected ways. Featuring a talented cast, including Sharon Ooja, Olarotimi Michael Fakunle, Jimmy Jean-Louis, and Bimbo Akintola, *Recall* delves into the complexities of love, loss, and the consequences of hidden truths. Produced by KAP Motion Pictures, this psychological thriller is sure to be one of the standout releases of 2025. ##### 77: The Festac Conspiracy *77: The Festac Conspiracy* is a historical drama directed by Izu Ojukwu, set to premiere in 2025. This sequel to the hit film *76* follows Captain Joseph Dewa, played by Ramsey Nouah, as he faces the political turmoil surrounding Nigeria’s 1977 Festival of Arts and Culture (FESTAC ’77). The film features an impressive cast, including Rita Dominic, Ibinabo Fiberesima, Seun Kuti, and Daniel K. Daniel. Produced by Adonis Production, *77: The Festac Conspiracy* promises to be a powerful exploration of Nigeria’s rich cultural history, and the challenges faced during a turbulent period. ##### Blood Sisters 2 *Blood Sisters* returns for its much-anticipated second season on Netflix. After the shocking events of the first season, Sarah and Kemi find themselves facing even more dangerous situations. With fresh twists and new characters, the stakes are higher than ever. Filming wrapped up in December 2024, and while the release date is yet to be announced, anticipation is already growing. This season promises to bring even more suspense, drama, and intrigue as the story unfolds. Fans of the first season won’t want to miss what’s next for *Blood Sisters* in 2025! ##### Hell Ride *Hell Ride*, directed by Uche Odoh, premiered at AFRIFF in November 2024 and is set for a public release in 2025. The film follows Chimdi Abiodun, a female taxi driver in Lagos, played by Chioma Chukwuka Akpotha. Chimdi faces the challenges of caring for her ill daughter, dealing with an irresponsible husband, and stepping up as the sole breadwinner after losing her job. With a talented cast that includes Femi Adebayo, Shalewa Ashafa, and Bolaji ‘Mr. Latin’ Amusan, *Hell Ride* mixes drama and comedy to highlight a woman’s resilience in the face of adversity. ##### Sugar Rush 2 *Sugar Rush 2* is the much-awaited sequel to the 2019 hit, directed by Jade Osiberu. The Sugar Sisters—Adesua Etomi-Wellington, Bimbo Ademoye, and Bisola Aiyeola—are back, ready to take on a new set of challenges that will test their bond and resilience. Filmed in Johannesburg, South Africa, *Sugar Rush 2* brings the lively energy of Lagos and the festive spirit of “Detty December” to the screen. While the official release date is still under wraps, this comedy-drama promises to deliver more laughs, excitement, and unforgettable moments in 2025. ##### Headless *Headless* is a psychological thriller set to premiere in 2025. Directed by Michael W. Ndiomu, the film follows a 100-year-old top killer as she faces the consequences of her past actions and the dark secrets she’s been running from. With a talented cast delivering compelling performances, *Headless* promises a gripping story that delves deep into themes of guilt, redemption, and the haunting effects of a violent life. Expect high tension and intense drama, marking a bold new entry in Nollywood’s thriller genre. ##### Finding Me Funke Akindele brings another captivating story to life with *Finding Me*. Featuring an ensemble cast that includes Shaffy Bello, Sharon Ooja, Dakore Egbuson-Akande, and Femi Adebayo, the film dives into themes of self-discovery and resilience. Produced by Funke’s FAAN studio, this project promises the emotional depth and stellar performances her productions are known for. With a 2025 release expected, *Finding Me* is a Nollywood title to keep an eye on. ##### Wire Wire Bolanle Austen-Peters is bringing the heat in 2025 with *Wire Wire*, a gripping drama that delves into the world of corporate fraud. Known for her knack for telling compelling stories, BAP teams up with a stellar cast, including Shaffy Bello, Neo Akpofure, Bisola Aiyeola, Erica Nlewedim, and Tacha. With its sharp focus on greed, deceit, and ambition, *Wire Wire* promises a thrilling cinematic experience. Produced by Bolanle Austen-Peters Productions, the film is expected to premiere on Prime Video this year. Keep an eye out for this one—it’s set to spark conversations! ##### Over the Bridge *Over the Bridge* is a psychological thriller directed by Tolu Ajayi, exploring themes of corruption and mental health in Lagos. The film follows Folarin, an investment banker, who seeks answers in a remote fishing village after his high-profile project faces setbacks. Starring Ozzy Agu as Folarin, Segilola Ogidan as his wife Jumoke, and Paul Adams as his boss Michael, the film has garnered praise for its intricate storytelling and strong performances. Having premiered at the 31st New York African Film Festival in May 2024, *Over the Bridge* is a must-watch for fans of gripping drama. ##### Phoenix Fury *Phoenix Fury*, directed by Ifeoma Chukwuogo, made waves at AFRIFF 2024, where it won Best Film at the 13th Globe Awards. The film follows Ifeatu and Ewura-Ama, two women connected by a shared past and driven by a quest for revenge. With a stellar cast, including Uzoamaka Aniunoh, Ama K. Abebrese, Onyinye Odokoro, and Richard Mofe-Damijo, the movie dives into themes of betrayal, resilience, and healing. Shot across Nigeria and Ghana, the film’s striking visuals and powerful story promise to leave a mark when it releases in 2025. ##### I Do Not Come to You by Chance *I Do Not Come to You by Chance* brings Adaobi Tricia Nwaubani’s award-winning novel to life. Directed by Ishaya Bako and executively produced by Genevieve Nnaji, the film follows Kingsley Ibe, a young graduate forced into the world of internet fraud to support his struggling family under the guidance of his uncle, Cash Daddy. With its emotional depth and powerful performances, the film explores themes of family, sacrifice, and survival. After its premieres at TIFF 2023 and IFFR 2024, it’s set for release in 2025. ##### This Is Lagos *This Is Lagos* is a drama-comedy directed by Kenneth Gyang that follows Stevo, an aspiring rapper who, after a failed heist, ends up with stolen money and finds himself tangled in the criminal underworld. As he tries to escape his past and pursue his music dreams, the film explores the gritty realities of Lagos and the choices that define one’s fate. Starring Mike Afolarin, Gabriel Afolayan, and Kate Henshaw-Nuttal, *This Is Lagos* blends crime, comedy, and music to deliver an unforgettable story of ambition and survival. After being showcased at the 31st New York African Film Festival, the film is set to hit screens in 2025. With such an exciting lineup, we can’t help but look forward to the release of these Nollywood movies. Each film promises to deliver something unique, from captivating performances to unforgettable stories. As 2025 unfolds, we eagerly anticipate the magic, drama, and thrill that these movies will bring to our screens. It’s a great time to be a Nollywood fan! ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-most-anticipated-nollywood-movies-of-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-most-anticipated-nollywood-movies-of-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-most-anticipated-nollywood-movies-of-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-most-anticipated-nollywood-movies-of-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-most-anticipated-nollywood-movies-of-2025/?share=linkedin) - **Categories:** Articles, Movies **Tags:** Anticipated Nollywood movies, film, Funke Akindele, Must-watch Nigerian movies, New Nollywood releases, nollycritic, nollywood, Nollywood 2025, Nollywood action movies, Upcoming Nigerian movies --- ### [The Covenant: A Supernatural Thriller on Power and Betrayal](https://nollycritic.com/the-covenant-a-supernatural-thriller-on-power-and-betrayal/) **Published:** January 11, 2026 **Author:** Shalom O. Obisesan **Excerpt:** The Covenant, a five-episode Netflix series directed by the late Dimeji Ajibola and produced by Vincent Okonkwo, is a gripping supernatural thriller **Content:** *[The Covenant](https://nollycritic.com/the-covenant-new-tv-series-set-for-netflix-this-december/ "The Covenant")*, a five-episode Netflix series directed by the late [Dimeji Ajibola](https://www.imdb.com/name/nm7970786/ "Dimeji Ajibola") and produced by Vincent Okonkwo, is a gripping supernatural thriller centred on two brothers, Dagogo (Gideon Okeke) and Celestine/Sting (Zubby Michael). The series blends action, suspense, and mysticism, centring on two brothers whose bond is tested by a mysterious disappearance and hidden truths. Set in the Niger Delta creeks, it explores family loyalty, forgiveness, and the dark side of power. ## *The Covenant* Directed by: Dimeji Ajibola Produced by: Vincent Okokwo Genre: Supernatural Crime Thriller Released on: December 12, 2025 (Netflix) Language: Pidgin English, English ### **A Search That Uncovers Hidden Truths** The series opens with Celestine’s disappearance and Dagogo’s relentless search, but as layers of conspiracies and mystical politics emerge, momentum wavers under the weight of exposition and delayed central mysteries. The Spare, a source of immense power demanding grave sacrifice, is revealed slowly, leaving the audience grappling with shifting allegiances and motivations. Twists arrive frequently. Some land with satisfying shock, others (like the revelation that Chief Kalu is the ultimate antagonist) feel abrupt, dislocating narrative rhythm and leaving questions about prior foreshadowing. Certain threads, such as Belma’s true loyalties or the interplay between Belma and the reverend, hang unresolved, adding intrigue but also frustration for viewers invested in coherent payoff. Costuming and visual differentiation posed occasional challenges in following the plot, especially among factions like the militants, blurring clarity during key confrontations. Dialogue, while functional, often drags, slowing the pace of episodes that otherwise build suspense and tension effectively. Despite these flaws, the plot maintains enough forward thrust to keep curiosity alive, particularly through the unpredictable interventions of mystical forces and shifting alliances. ### **Cults, Rituals, and the Spear’s True Cost** The story of *The Covenant* is less about action and more about the emotional gravity of decisions made in fear and love. Dagogo’s journey to find his brother Celestine is complicated not just by external threats but by the heavy weight of legacy, secrecy, and moral debt. Their mother, Stella (Sola Sobowale), carries a history that is both protective and damning. From the outset, her duality is palpable. Sola Sobowale’s performance embodies a woman who is at once nurturing and calculating, concealing a deep burden that shapes her sons’ destinies. Early hints of her duplicity give way to more sinister truths, particularly the chilling moment where she kills Peter to safeguard her children, revealing the cost of her allegiance and the sharp edges of maternal love twisted by survival. The narrative also navigates the tensions within the Brotherhood, custodians of the mystical artefact known as the Spare. Naomi’s conflicted position and her interactions with Dagogo and Celestine highlight the ambiguity of morality in this universe. Power, loyalty, and desire for control are never black and white; the Spare becomes both a literal and symbolic object of temptation, ambition, and grief. Characters like Scourge (Uzee Usman) and Belma (Tope Olowoniyan) complicate the emotional stakes, and Belma’s enigmatic presence adding layers of mystery, debt, and revelation. The story thrives on these emotional and ethical contradictions, even when narrative cohesion falters. ### **Performances That Carry the Weight** Sola Sobowale as Stella is perfect for the role. She brings duality: a double-sided nature of good and evil, sadness and hidden menace that balances maternal warmth with the latent menace of moral compromise. Her moments of subtle deception, particularly the interplay of sadness and calculated action, reveal a mastery of subtext rarely seen in ensemble-driven series. The rest of the cast is solid. Gideon Okeke and Zubie Michael carry the brothers’ bond convincingly. Tope Olowoniyan’s Belma provides a compelling wild card, her quiet authority and enigmatic presence a highlight that grows in potency across episodes. Naomi and the Brotherhood collectively navigate a moral grey zone, and while some interactions feel stilted due to expository dialogue, they nevertheless convey the tension of loyalty, obligation, and fear. ### **The Architecture of Suspense and Mystery** The production value and direction are intentional and solid. Dimeji Ajibola’s direction is deliberate, sculpting tension through spatial framing and controlled pacing. Editing mostly preserves clarity, though the narrative occasionally lingers too long on dialogue-heavy exposition or mystical interludes, diluting suspense.The dialogue is a bit too slow, dragging the pace. Costuming has issues. It is difficult to differentiate between some characters, especially the militants. At some point, even between soldiers and attackers, the difference in factions is hard to tell. They look the same, leading to slight confusion. Overall, the series leverages technical elements to evoke unease, mystery, and moral complexity. ### **Final Thoughts** *The Covenant* is a supernatural thriller that digs deep into loyalty, betrayal, and the cost of blood. It examines the intersection of family loyalty, mystical power, and human ambition, offering moments of reflection on the lengths one will go to protect kin. The series invites viewers to consider not only who holds power, but what they are willing to sacrifice to wield it. The series has a lot of moving parts — cults, rituals, immortal spears, betrayals — but it keeps the story flowing. It is an exploration of the tension between appearance and truth, loyalty and self-interest, good intentions and catastrophic consequences. The production value is solid, the direction intentional, and the performances carry the weight. Some twists land, others do not. The final twist feels abrupt and unearned, leaving things hanging. The series is easy to get through in one sitting, but unforgiving viewers may struggle with these flaws. If you enjoy a flowing story, you will likely be fine. ### **Verdict** *The Covenant* will engage viewers who enjoy morally complex stories and mystical intrigue. While its pacing and occasional exposition may test patience, the series rewards investment with layered characters and high-stakes tension. Fans of dramas that combine family, power struggles, and supernatural elements will find it compelling and memorable. It offers suspense, twists, and emotional weight, even with some pacing and consistency issues. Gripping and ambitious, it delivers on the promise of brotherhood and betrayal. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-covenant-a-supernatural-thriller-on-power-and-betrayal/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-covenant-a-supernatural-thriller-on-power-and-betrayal/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-covenant-a-supernatural-thriller-on-power-and-betrayal/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-covenant-a-supernatural-thriller-on-power-and-betrayal/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-covenant-a-supernatural-thriller-on-power-and-betrayal/?share=linkedin) - **Categories:** Reviews **Tags:** Betrayal, critique, Dimeji Ajibola, family loyalty, Gideon Okeke, mystical drama, nollywood, Psychological Drama, Review, Sola Sobowale, supernatural intrigue, suspense, Tope Olowoniyan, Uzee Usman, Vincent Okonkwo, Zubby Michael --- ### [Best Nollywood Performances of 2025: Our Standout Picks](https://nollycritic.com/best-nollywood-performances-of-2025-our-standout-picks/) **Published:** January 9, 2026 **Author:** Shalom O. Obisesan **Excerpt:** With the wide range of films and series released in 2025, Nollywood offered no shortage of memorable stories. But beyond plots, concepts or buzz... **Content:** With the wide range of films and series released in 2025, Nollywood offered no shortage of memorable stories. But beyond plots, concepts or buzz, certain performances stood out for how deliberately they were constructed and how deeply they lingered. These were performances shaped by physical detail, emotional intelligence, restraint and psychological clarity. Reflecting on the year that just passed, here are Nollycritic’s picks for the best Nollywood performances of 2025, chosen for how convincingly each actor embodied their character and elevated the material through craft. ## **Lina Idoko — *I Am Anis* (Younger Anisola Williams)** [Lina Idoko](https://www.imdb.com/name/nm13326381/ "Lina Idoko")’s performance in *[I Am Anis](https://nollycritic.com/i-am-anis-a-powerful-story-of-survival-and-second-chances/ "I Am Anis")* is a **breakout dramatic effort** — one of the most emotionally resonant younger protagonist portrayals we’ve seen in Nollywood for some time. Her work elevates flashback sequences that might otherwise have felt perfunctory, ensuring that the audience doesn’t just *understand* Anisola’s past, but *feels* it. Her performance is not designed to impress in isolation but to lay emotional foundations that the film later builds upon. She approaches the role with a clear understanding of continuity, shaping a character whose emotional openness explains, rather than contradicts, the adult Anisola we eventually meet. She doesn’t just play the character — she *lives the thresholds of her pain and her resilience*, making audiences invest in a redemption arc that the film itself sometimes rushes through. That balance — vulnerability without self-pity is where Idoko’s performance shines brightest. ## **Genoveva Umeh — *Baby Farm* (Ebun)** [Genoveva Umeh](https://www.imdb.com/name/nm11869960/ "Genoveva Umeh") delivers one of the most physically expressive performances of the year in *[Baby Farm](https://nollycritic.com/baby-farm-a-sanctuary-of-many-doors-and-few-exits/ "Baby Farm")*. Her portrayal of Ebun is defined by tension held within the body. She consistently folds her arms inward, tightens her shoulders and limits her movements, creating a physical language that mirrors the character’s psychological unease. Umeh understands that trauma often lives in repetition. The guarded posture, the controlled stillness, the reluctance to fully relax even in moments of calm. These choices become a visual pattern that makes Ebun’s mental state legible without the need for dialogue. Her performance thrives in silence, using micro expressions and restrained reactions to convey fear, distrust and emotional fatigue. Rather than dramatise suffering, Umeh internalises it. She allows discomfort to sit on her face, in her breathing, in the way she occupies space. The result is a portrayal that feels deeply lived in. Ebun is not defined by plot circumstances alone but by how those circumstances have reshaped her body and instincts. It is a performance built on observation, not imitation. ## **Onyinye Odokoro — *Baby Farm* (Adanna)** [Onyinye Odokoro’](https://www.imdb.com/name/nm11397408/ "Onyinye Odokoro’")s Adanna is driven by urgency, and that urgency is present in every physical and emotional choice she makes. From the outset, her posture is alert, her movements purposeful, as though the character is constantly bracing herself for what comes next. This physical readiness gives the performance a sense of momentum that carries through the series. Odokoro is particularly effective in charting emotional progression. Adanna’s fear does not remain static. It evolves into determination, exhaustion and eventually desperation, each stage reflected through subtle changes in energy and movement. Her shoulders grow heavier. Her pace slows. Her reactions become more instinctive than measured. Her scenes with Genoveva Umeh are grounded in mutual awareness rather than forced emotional beats. The connection between their characters feels earned because Odokoro listens as much as she reacts. She allows moments to unfold organically, trusting stillness when necessary. The performance feels anchored in emotional truth, making Adanna’s journey compelling without being overstated. ## **Padita Agu — *Blackout* (Judith)** [Padita Agu](https://www.imdb.com/name/nm2276868/ "Padita Agu")’s performance in *[Blackout](https://nollycritic.com/blackout-this-thriller-is-a-theatrical-masterpiece-a-must-see/ "Blackout")* is defined by control and emotional precision. She approaches Judith as a character whose world gradually collapses, and she lets that collapse register in increments rather than sudden shifts. Early confidence gives way to unease, then fear, and finally emotional exhaustion. Padita Agu’s performance in *Blackout* is a masterclass in emotional transition. Judith begins the film grounded and emotionally open, and Agu carefully dismantles that stability as the story unfolds. What makes her performance so compelling is her control over emotional pacing. Fear does not arrive suddenly. It creeps in gradually, first through subtle unease, then through visible panic, and finally through emotional exhaustion. Agu’s physical transformation across the film is subtle but deliberate. Her movements become tighter, her gestures more economical, as the character’s sense of safety erodes. She communicates panic not through heightened emotion but through restraint, allowing fear to settle into her posture and expression. One of her greatest strengths lies in her facial expressiveness. The camera frequently lingers on her reactions, and she fills those moments with layered emotion. Confusion, suspicion, fear and resolve often coexist in a single look. This complexity prevents Judith from becoming a one note victim figure. Instead, she feels psychologically complete, shaped by circumstance but never flattened by it. ## **Gideon Okeke — *Blackout* (Daniel)** [Gideon Okeke](https://www.imdb.com/name/nm2367570/ "Gideon Okeke")’s portrayal of Daniel is unsettling precisely because it resists clear categorisation. He plays the character as a man whose charm and menace exist simultaneously, and he never signals which side will surface next. This ambiguity is central to the performance’s effectiveness. He resists easy classification, presenting a character whose charm and threat coexist without clear separation. His stillness becomes a tool. Where tension might normally be externalised, Okeke internalises it, allowing unease to grow through contradiction. A warm smile paired with unsettling timing. Reassuring words delivered with unreadable eyes. These choices keep the character unpredictable without tipping into caricature. His interaction with Padita Agu is particularly effective because of how responsive it is. Okeke adjusts his performance moment to moment, allowing the dynamic between their characters to feel psychologically dangerous rather than performative. It is a measured, intelligent performance. ## **Bucci Franklin — *To Kill A Monkey* (Oboz)** [Bucci Franklin](https://www.imdb.com/name/nm7475880/ "Bucci Franklin")’s portrayal of Oboz in [*To Kill A Monkey* ](https://nollycritic.com/to-kill-a-monkey-a-gritty-tale-of-betrayal-and-survival/ "To Kill A Monkey ")resonated deeply with audiences because of its emotional accessibility. Franklin plays Oboz as a man driven by loyalty and flawed affection, and he allows those traits to shape every choice the character makes. His performance invites empathy even when the narrative turns tragic. Franklin’s physicality reinforces this openness. He leans into scenes, reaches out instinctively and reacts emotionally rather than strategically. These choices make Oboz feel human rather than symbolic. His performance reminds viewers that emotional truth often lies in simplicity, not complexity. In moments of betrayal and loss, he does not pull back. He commits fully, trusting the material and the character’s emotional logic. The performance works because it feels human. Oboz is flawed, emotionally exposed and recognisable. Franklin does not attempt to elevate the character beyond the story. He grounds him within it. ## **William Benson — *To Kill A Monkey* (Efe)** [William Benson](https://www.imdb.com/name/nm7484901/ "William Benson")’s performance in *To Kill A Monkey* is defined by psychological tension and relational awareness. As Efe, he operates within a moral grey area, and Benson approaches this ambiguity with care. His reactions often lag by a fraction of a second, suggesting internal conflict rather than certainty. Benson’s performance provides essential emotional structure. He supports the narrative by grounding its most volatile moments in believable character psychology, making the story’s turns feel earned rather than abrupt. ### **Final Note** These Nollywood performances stood out in 2025 because they were built with intention. Each actor approached their role with an understanding of character, emotional continuity and physical detail. Together, they reflect a year where performance craft took centre stage, shaping stories through precision, restraint and emotional clarity. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/best-nollywood-performances-of-2025-our-standout-picks/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/best-nollywood-performances-of-2025-our-standout-picks/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/best-nollywood-performances-of-2025-our-standout-picks/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/best-nollywood-performances-of-2025-our-standout-picks/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/best-nollywood-performances-of-2025-our-standout-picks/?share=linkedin) - **Categories:** Articles **Tags:** baby farm, Blackout, Bucci Franklin, Genoveva Umeh, Gideon Okeke, I am Ais, i am anis, Lina Idoko, Netflix, nigerian cinema, nollycritic, nollywood, Onyinye Odokoro, padita agu, William Benson --- ### [Baby Farm: A Sanctuary of Many Doors and Few Exits](https://nollycritic.com/baby-farm-a-sanctuary-of-many-doors-and-few-exits/) **Published:** March 28, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Baby Farm opens the door to one of society’s darkest corners. A white couple running a "sanctuary" for pregnant, helpless girls. **Content:** [*Baby Farm* ](https://nollycritic.com/mo-abudus-baby-farm-to-premiere-on-netflix-this-march/ "Baby Farm ")opens the door to one of society’s darkest corners. A white couple running a “sanctuary” for pregnant, helpless girls. But underneath the carefully painted walls is a reality far darker. A woman seeking the one thing her fame and wealth cannot buy. A girl, trapped between her past and her unborn child, steps into a house where charity is a veil, and beneath it, something sinister lurks. ## *Baby Farm* Durected by: Walter Taylour and Kayode Kasum. Produced by: Temidayo Makanjuola and Inem King Genre: Thriller Released on: March 21, 2025 (Netflix) Language: English ### A Sanctuary that Becomes a Cage There is something deeply unsettling about places that promise salvation but hide something far worse. From the very first frame, *Baby Farm* sets an unsettling tone. The opening shot is intimate and raw: a woman in labour, her face contorted in agony. There’s no glamour, no softening of the pain—only the stark reality of childbirth. This directorial choice immediately signals that the series will not be an easy watch. It’s an introduction that demands attention, a visual and emotional warning of the horrors to come. We later learn that this woman is Ebun (Genoveva Umeh), but *Baby Farm* is not only her story—it is Adanna’s (Onyinye Odokoro). Adanna’s journey begins with her desperate escape to Lagos after discovering she is pregnant. She is young, alone, and vulnerable, quickly finding herself homeless before being taken in by the Evans Foundation. ### The World of *Baby Farm*: How the Film Traps Us There’s what we are told, and there’s what we see. The Evans Foundation presents itself as a refuge—a home for teenage mothers abandoned by their families, a place where shame turns to solace. But beneath the carefully curated charity lies a thriving market, a system where desperation is currency and newborns are the product. That is the world *Baby Farm* drops us into—a world where kindness is a façade, and innocence is easily exploited. Motherhood is not a choice here, and babies are not born into the arms of their mothers but into a system that sees them as currency. *Baby Farm*—a name that strips away the illusion of safety, revealing the cold, transactional reality beneath. The series attempts to pull us into this world of deception and desperation—but does it fully immerse us, or does it falter when it matters most? One of the film’s strongest tools is its dialogue. Conversations are precise, and real, carrying the weight of manipulation, fear, and quiet defiance. The writing lets us sit in the tension, forcing us to read between the lines. ***Episode 1: Lost and Found*** The first episode is all about deception—the warmth of The Evans Foundation masking something much colder. Adanna enters believing she has found safety, but we, as the audience, see the cracks from the very beginning. Genoveva Umeh understands her character’s complexity to the last detail. Her performance is filled with nuance—there’s something unnervingly innocent about her, something broken yet utterly convinced of its own rightness. The cinematography, the score, the uneasy pacing—it all works to make us feel the psychological weight of Adanna’s new reality. With so much story and substance packed into its runtime, *Baby Farm* never overstays its welcome. The pacing feels deliberate—each moment given the space it needs, making the series feel urgent without being rushed. ***Episode 2: No Way Out*** By Episode 2, the narrative pulls us in so effectively that critical thinking almost takes a backseat to raw immersion. Yet, on reflection, the show’s careful construction becomes evident. This episode subtly shifts the cinematographic approach. The once-expansive shots become more constrained—medium wides transition to tighter framing, drawing us into Adanna’s immediate surroundings. Our visual perspective is being controlled, just as hers is. The thematic score, already familiar from Episode 1’s title sequence, plays over a black screen instead of the usual visuals. The effect? A chilling realisation that *Baby Farm* has successfully embedded itself into our psyche. We no longer need the title card to recognise its presence; the music alone is enough to remind us of the dark reality we’re witnessing. ***Episode 3: Sisters Cry*** Here, Walter ‘Waltbanger’ Taylour and Kayode Kasum share directing duties, and their combined vision is seamless. The tension escalates naturally, aided by a score that mimics breathing, syncing with Adanna’s own anxious rhythm. The unease is visceral, dragging us further into her fear. Onyinye Odokoro’s performance stands out. She brings an authenticity to Adanna’s character that is both captivating and unnerving. Her choices driven by fear, self-preservation, and flickers of defiance, feel deeply human. She is not a flawless heroine, but a young woman making impossible choices. ***Episode 4: Get Out*** It’s from this episode that *Baby Farm* begins to show some cracks—not in its tension, but in its narrative construction. For one, the logistics of Adanna’s escape attempt feel murky. How did she know the surveillance cameras would be off? Had she been monitoring them? If so, we never saw this process. Why was Aishat (Osereme Inegbenebor), the bully, suddenly absent when she had been a constant threat? Was her disappearance merely for plot convenience? The ticking clock effect, hidden within the score, mirrors the growing tension as Adanna’s escape attempt unfolds. The stakes are high—failure means punishment or even death. But what we don’t fully grasp is the timing. Here, the missing details from the previous episode lessen its impact. Why was this the right moment to attempt escape? Had they been watching for a pattern? Was there a deadline they were racing against? They had only that night, but are they really racing against time? Without this information, the urgency—though still palpable—is slightly diluted. Then, there’s Barbara (Jenny Stead), a character whose motivations remain frustratingly underdeveloped. Her attachment to Ebun is intriguing, yet we never see the full psychological journey that led to their dynamic. Instead, we’re left to infer, which weakens the emotional weight of her character arc. We catch only glimpses of what’s going on between her and her husband. And it’s not enough to fully empathize with her. There’s also the missing link in Ebun’s transformation. We’re told she has become “broken and compliant,” but how? Seeing the gradual erosion of her spirit would have added to the horror of the Evans Foundation’s methods. Instead, these key details feel glossed over and mentioned in glimpses. ***Episode 5: Falling Apart*** And then there’s the strange case of Joy’s body being moved in broad daylight. Emem’s sister’s plan to expose the Evans Foundation using Joy’s body raises too many questions: why and how did the police accept the story without deeper investigation? What concrete evidence did they even have that would cause the Evans Foundation to collapse so quickly? The film begins to lose clarity here—stakes become muddled, and the weight of the final takedown feels unearned. Despite these, *Baby Farm* ends swiftly on a satisfying yet open-ended note. The cliffhanger leaves room for a continuation but also serves as a fitting conclusion. It’s a rare balance to strike and one that ensures the series lingers. ### A Cast that Delivers One of Baby Farm’s Strongest Assets is the Cast. Genoveva Umeh understands her character’s complexity to the last detail. Her performance is filled with nuance—there’s something unnervingly innocent about her, something broken yet utterly convinced of its own rightness. Onyinye Odokoro’s delivers a career defining performance with herportrayal of Adanna is both captivating and unnerving. She brings an authenticity to her role, making Adanna’s choices—driven by fear, self-preservation, and flickers of defiance—feel deeply human. Rita Dominic as Cherise had all the makings of a powerhouse performance. For Jenny Stead as Barbara, a character who should have been the emotional core of the story, it seems like there’s more to her that should be explored, but remains unscathed. ### Visual Storytelling and Atmosphere The cinematography reinforces this deception. The film presents glimpses of cinematographic brilliance—moments where the framing, shot choices, and movement add layers to the storytelling. The use of long and wide shots (in Episode 1) initially offers a sense of openness, allowing the audience to observe Adanna as just one of many in Lagos, free to navigate the city’s chaos. But as she enters the Evans Foundation, this visual freedom is stripped away. The camera shifts to surveillance-style shots, trapping Adanna—and us—within the institution’s confines. It’s a subtle yet effective technique that mirrors her loss of autonomy. But rather than feeling like a wholly deliberate visual language, these are more like pieces scattered throughout, open to interpretation. My own interpretation found meaning in these glimpses—a shift in perspective here, a change in framing there—that subtly reinforced the film’s themes of control, entrapment, and isolation. Whether intentional or not, these moments enhance the experience, offering the kind of visual depth that allows different viewers to take away different things. Then, there’s the score. Kaliné Njoku’s compositions ooze eeriness, underscoring the psychological torment simmering beneath the surface. When Ebun laughs after childbirth, the sound is unnerving—neither purely joyful nor entirely painful, but something in between. This duality is central to Umeh’s performance, which is masterfully layered. Her character’s unsettling mannerisms—such as her hand repeatedly hovering near her belly in an unnatural position—hint at deep psychological trauma. Ebun is both victim and enabler, a product of the very manipulation that defines the Evans Foundation. ### Final Thoughts: A Story Close to Its Potential There is no denying that *Baby Farm* is a story worth telling. The horror of baby factories in Nigeria, or anywhere else, is a brutal reality. And, the series takes on the challenge of exposing this dark underbelly. However, a story like this demands a certain intensity—one that does not simply rely on shocking subject matter but digs into the psychological and emotional weight of it including that of its characters. And that is where the cracks begin to show. Particularly in how some characters are handled. Rita Dominic as Cherise had all the makings of a powerhouse performance, but something was missing. Whether it was the writing or the direction, her character never truly came alive. We get glimpses of depth, of pain, but they remain just that—glimpses. The same can be said for Barbara, a character who should have been the emotional core of the story but instead feels like a sketch of something greater. There’s definitely more to these characters, hopefully, we get more details if there’s a follow-up season. The series’ greatest strength lies in its ability to make the audience feel the loss of control alongside its protagonist. The slow, almost imperceptible constriction of visual freedom mirrors Adanna’s descent into captivity, making for a uniquely unsettling viewing experience. For a series built on tension and secrecy, *Baby Farm* has moments that should grip the viewer, moments that demand intensity—but sometimes, they don’t hit hard enough. The unease is there, but it doesn’t always settle in. And just when we should be holding our breath, the series rushes to the finish line, wrapping things up too quickly to leave a lasting impact. Despite its few narrative stumbles, *Baby Farm* is undeniably well-written. It carries a serious, gritty tone that never undermines the weight of its subject matter, treating its characters and their struggles with the gravity they deserve. Though it stumbles in places, especially in missing details that could have added depth, the overall experience remains undeniably gripping. ### Verdict [*Baby Farm* ](https://www.imdb.com/title/tt31593845/ "Baby Farm ")is a meticulously crafted thriller that excels in atmosphere, performance, and visual storytelling that successfully pulls its audience into a world where trust is elusive, freedom is fleeting, and every smile hides a sinister truth. Definitely worth watching. **Rating**: 3.85/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/baby-farm-a-sanctuary-of-many-doors-and-few-exits/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/baby-farm-a-sanctuary-of-many-doors-and-few-exits/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/baby-farm-a-sanctuary-of-many-doors-and-few-exits/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/baby-farm-a-sanctuary-of-many-doors-and-few-exits/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/baby-farm-a-sanctuary-of-many-doors-and-few-exits/?share=linkedin) - **Categories:** Reviews **Tags:** African cinema reviews, African movie reviews, Baby Farm 2025, Baby Farm ending explained, Baby Farm explained, Baby Farm hidden details, Baby Farm movie analysis, Baby Farm Netflix, Baby Farm Netflix review, Baby Farm Nollywood, Baby Farm series review, Baby trafficking in movies, Best Nigerian thriller 2025, Best Nollywood movies 2025, Cinematic storytelling Nollywood, Critically acclaimed Nollywood, Darkest Nollywood movies, Ebony Life, Folu Storms Joy, Genoveva Umeh Ebun, Jenny Stead Barbara, Kaliné Njoku score, Kayode Kasum director, Langley Kirkwood Dr. Evans, Malcolm Maclean cinematography, Mo Abudu, Mo Abudu Baby Farm, Must-watch Nigerian series, Netflix Nollywood originals, Netflix original movies 2025, New Nollywood movies 2025, Nollywood drama series, Nollywood film critique, Nollywood movie review, Nollywood psychological thriller, Nora awolowo, Onyinye Odokoro Adanna, Rita Dominic Cherise, Samuel Olasehinde writer, Top drama series on Netflix, Walter Taylaur director --- ### [I Am Anis: A Powerful Story of Survival and Second Chances](https://nollycritic.com/i-am-anis-a-powerful-story-of-survival-and-second-chances/) **Published:** March 25, 2025 **Author:** Uju Okosieme **Excerpt:** Biodun Stephen’s latest female-centred drama, 'I Am Anis', is now streaming on Circuits. From the trailer alone, it’s clear that.. **Content:** Biodun Stephen’s latest female-centred drama, [‘I Am Anis’](https://nollycritic.com/i-am-anis-biodun-stephens-new-film-brings-a-true-story-to-the-screen/ "I am Anis: Biodun Stephen’s New Film Brings a True Story to the Screen"), is now streaming on [Circuits](https://www.circuits.tv/ "Circuits"). From the trailer alone, it’s clear that the film aims to challenge societal norms and provoke thought. Stephen has a strong track record of delivering compelling dramas, so we had to check it out. Does ‘I Am Anis’ live up to expectations? Read on to find out. ## *I am Anis* Directed by: Biodun Stephen Written by: Mannie Oiseomaye and Biodun Stephen Genre: Drama Released on: March 21, 2025 (Circuits) Language: English ### A Past That Refuses to Stay Hidden The official synopsis reads: *At her son’s introduction ceremony, wealthy oil magnate Anisola Williams is exposed as a former prostitute, shaking her carefully built life. A flashback reveals her journey from a rebellious, abandoned young woman to a powerful figure, thanks to a kind client’s belief in her.* The film’s strongest element is Anisola’s journey—her transformation from a troubled young woman to a respected figure is well thought out. Supporting plotlines, such as Williams guiding her toward a better future and her son David’s relationship with Iyobosa, add depth to the story. However, the turning point—when Anisola’s past is exposed at David’s introduction ceremony—feels somewhat contrived. Given that he was raised by a single mother, his reaction is oddly extreme. Instead of protecting her publicly and addressing the matter privately, he immediately adds to her humiliation. This lack of nuance weakens an otherwise impactful moment. ### A Story of Strength, But With Uneven Execution The film takes us through Anisola Williams’ life, showing her transformation from a rebellious teenager to a woman of power. While her arc is compelling, some aspects feel underdeveloped. From the beginning, Anis is at odds with her father, but the film doesn’t fully explore why. When she finally explains their fractured relationship to Williams, the reasoning doesn’t seem strong enough to justify her earlier hostility. The main conflict arises when David learns about his mother’s past. While his initial shock is understandable, his reaction is exaggerated, seemingly designed to intensify the audience’s emotions. The conflict is drawn out, yet its resolution is disappointingly swift—a few exchanged words and all is forgiven. This abrupt shift lessens the emotional weight of the climax. ### Commanding Performances That Elevate the Film The cast delivers strong performances that help bring the story to life. Lina Idoko shines as the younger Anis, capturing her rebellious and fiery nature. Shaffy Bello, in a role unlike anything we’ve seen from her before, delivers a standout performance. Her scene where she prays to God after being exposed is raw and deeply emotional, cementing her as the heart of the film. Charles Inojie provides much-needed comic relief as Uncle Ojeifo, effortlessly delivering a hilarious performance. Biodun Stephen, in her acting role as Oploplo, is compelling, while Tina Mba makes a lasting impression in the scene where she scolds David for disrespecting his mother and refuses to let him marry Iyobosa. Adebowale Adedayo, Debby Felix, and Martha Ehinome also bring solid performances, adding to the film’s emotional depth. ### A Visually Grounded Yet Safe Approach The film’s use of music is notable, frequently employed to heighten emotions throughout key moments. Attention to detail is evident, particularly in the flashback scenes where the currency used accurately reflects the time. These small touches add to the film’s authenticity. The casting of Lina Idoko and Shaffy Bello as the young and older versions of Anis is an inspired choice. Their performances complement each other well, making the transition between past and present feel seamless. While the cinematography isn’t particularly innovative, the film is well-shot and visually engaging. It doesn’t take creative risks, but it tells its story in a way that feels natural and effective. ### Final Thoughts While ‘I Am Anis’ effectively conveys the idea that one’s past doesn’t define them, some narrative choices hold it back. Anis’s initial hot-headedness feels unjustified, even after her relationship with her father is explained. The film excels in its portrayal of women supporting each other, particularly in the way Iyobosa and her mother refuse to judge Anis for her past. This aspect feels refreshing and reinforces the film’s core message of redemption. However, one moment stands out as particularly out of place. After Anis shares her life story with Iyobosa’s mother, she responds by saying, *“Na man you be,”* implying that resilience and survival are inherently masculine traits. For a film centred on female empowerment, this statement feels outdated and misplaced. One of the most gripping moments is the scene where Uncle Ojeifo exposes Anis. Even those without dialogue convey so much through facial expressions alone, making it one of the film’s strongest scenes. On the other hand, Rykardo Agbor’s character, with his forced American accent and unsettling relationship with Anis, is uncomfortable to watch, though perhaps that was the intent. Anis not recognizing her childhood friend when there is little or no changes in her appearance is quite strange. ### Verdict ‘I Am Anis’ is a touching story about resilience and second chances, brought to life by strong performances. However, the crucial conflict between mother and son is overstretched, preventing it from fully realizing its potential. Despite these shortcomings, it remains a compelling watch earning it a rating of 3.35 stars out of 5. **Rating**: 3.35/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/i-am-anis-a-powerful-story-of-survival-and-second-chances/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/i-am-anis-a-powerful-story-of-survival-and-second-chances/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/i-am-anis-a-powerful-story-of-survival-and-second-chances/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/i-am-anis-a-powerful-story-of-survival-and-second-chances/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/i-am-anis-a-powerful-story-of-survival-and-second-chances/?share=linkedin) - **Categories:** Reviews **Tags:** Biodun Stephen, Charles Inojie, Chimela Nwachukwu, circuits, Debo Adedayo (Mr Macaroni), i am anis, Lina Idoko, Martha Ehinome, nollycritic, nollywood, Reviews, Rykardo Agbor, Shaffy Bello, Tina Mba, Toyin Oshinaike --- ### [To Kill A Monkey: A Gritty Tale of Betrayal and Survival](https://nollycritic.com/to-kill-a-monkey-a-gritty-tale-of-betrayal-and-survival/) **Published:** July 22, 2025 **Author:** Uju Okosieme **Excerpt:** Kemi Adetiba returns to the screen with To Kill A Monkey, her first project outside the King of Boys universe since 2018... **Content:** Kemi Adetiba returns to the screen with *[To Kill A Monkey](https://nollycritic.com/to-kill-a-monkey-see-the-trailer-for-new-netflix-original-series/ "To Kill a Monkey: See the Trailer For the New Netflix Series")*, her first project outside the *King of Boys* universe since 2018. Long teased and [highly anticipated](https://nollycritic.com/why-to-kill-a-monkey-is-the-most-anticipated-nollywood-series-of-2025/ "highly anticipated"), this eight-part Netflix series is a tense, emotionally-charged thriller that explores how desperation, power, and grief intersect in modern Nigeria. ## *To Kill A Monkey* Directed by: Kemi Adetiba Written by: Kemi Adetiba Genre: Crime Thriller Released on: July 18, 2025 (Netflix) Language: English, Pidgin English ### A Web of Desperation and Conflict The plot follows Efe, a desperate family man whose financial struggles ultimately leads him to Oboz, an old acquaintance and cybercrime kingpin. As he gets drawn into this dark world, his values are repeatedly tested. Running parallel to his story is that of Inspector Mo, a grieving police officer who throws herself into an investigation that uncovers the inner workings of Oboz’s syndicate. The tension between these two arcs is the beating heart of the series. Kemi Adetiba crafts the narrative with intention, never wasting a moment. The storylines feed into each other organically, and even the minor plot threads—Mo’s trauma, Amanda’s seduction, Nosa’s growing mistrust—are purposeful, adding to the eventual emotional and narrative payoff. While the show occasionally leans on convenient plot twists, such as Mo’s conveniently timed discoveries, the pacing and interconnected character dynamics maintain a compelling flow. The dialogue is natural, rich, vulgar and heavy. Attention is also paid to several subtle details. For example, the play on how Efe calls Oboz “Boss” or “Bro” at his convenience. ### A Story of Slippery Morals and Convenient Fate There’s no denying the story’s ambition. It’s a cautionary tale about compromise and consequence, with strong themes on greed and betrayal, yet there are moments where the writing opts for the convenient rather than the complex. Mo’s investigation often unfolds through overly neat developments—finding one of Oboz’s cells just as new recruits arrive, Amanda’s betrayal arriving like clockwork, and the final nail of Efe’s downfall coming far too easily. Mo’s side story and world building is feel like a waste of time because the only way it’s relevant to the story is because she conveniently remembers Efe in a hospital on the worst day of her life. Her perseverance and efforts to stop Efe and Oboz warrants a stronger motivation. She risked so much to solve the case but we don’t understand why. Still, these conveniences don’t significantly undercut the overall tension. Mo’s frequent pushback from her boss adds some realism to balance out her apparent clairvoyance. And while Amanda’s final betrayal feels inevitable, the emotional fallout from Efe’s choices, particularly in his relationships with Nosa and Ivie, carries enough weight to keep the viewers invested. ### Performances That Command Attention The cast of *To Kill A Monkey* is one of its greatest strengths. William Benson is exceptional as Efe, portraying his transformation from a desperate, broken man to a morally compromised figure with subtle intensity. You feel every crack in his façade as his world collapses, especially in quieter moments like his shower breakdown after Oboz’s death. Bucci Franklin, as Oboz, brings a magnetic blend of charm and menace. His portrayal, especially when the character is high or unhinged, adds unpredictability to the screen. His final moments, when he realises Efe’s betrayal, are a highlight— emotional, gutting and impactful. Lilian Afegbai shines as Idia, Stella Damasus unsurprisingly brings depth to Nosa, particularly in her emotionally raw confrontation with Efe after seeing him with Amanda. Bimbo Akintola’s grief-stricken performance as Mo early in the series reminds us why she remains one of the industry’s most dependable hands, while Sunshine Rosman surprises as Amanda, offering one of her most nuanced performances yet. ### Visual Style and Technical Precision Adetiba’s directorial choices elevate the storytelling. The visual effects is appreciable, giving the series a cinematic edge. The score, composed by Oscar Herman-Akcah, seamlessly integrates tension and emotion. But it doesn’t always compliment the genre of the show and sounds a little too soapy for a crime thriller. Some scenes like the club/lounge/bar suffers from the absence of popular/licensed music. This could have added some sort of believability and authenticity. Cinematography is intentional throughout. From the opening crate scene where Efe’s frustrations simmer in a chaotic warehouse to the dynamic power-play shots between Efe and Oboz, visual cues reinforce the shifting balance of power. The use of perspective, particularly during confrontations—shooting Oboz from a low angle to establish dominance early on, then reversing it later to highlight Efe’s rise—adds a layer of visual storytelling that’s both thoughtful and effective. The emotional weight of scenes like Mo’s flashbacks or Efe’s internal struggle in the rain is underscored by the camera’s lingering, patient gaze. Even the fight sequences and moments of domestic tension are framed in ways that escalate the drama without relying too heavily on exposition. ### Final Thoughts Beyond its core plot, *To Kill A Monkey* offers commentary on power, exploitation, and survival. Efe’s initial encounter with his manipulative boss highlights an important, often under explored issue: men being sexually harassed for opportunities. These moments ground the story in uncomfortable truths, reflecting the many ways people are exploited in desperate circumstances. Unfortunately for a film on cyber crime, we barely see “cyber crime”. The characters spend more time talking about successful scams than actually showing us the process of scamming. Kemi Adetiba also continues her tradition of crafting compelling opposition. Much like in King of Boys, where Eniola Salami was complemented by Inspector Gobir*, To Kill A Monkey* balances Efe’s moral erosion with Mo’s ethical rigidity. Their intersecting lives—first in the hospital, later on opposite sides of the law—mirror the classic battle between justice and self-preservation. Not every reveal lands with equal weight. Amanda and Onome’s betrayals are predictable, and Mo’s dream-memory connection to Efe feels like a stretch. Yet, the emotional arcs are solid, and by the time the final betrayals unfold, the viewer is too entangled to turn away. At 8 episodes long, the show is very much bloated with exposition. The story would have been effectively told as a four part series or two part movie. ### Verdict Yet again, Kemi Adetiba manages to create a motion picture that influences pop culture. [*To Kill A Monkey* ](https://www.imdb.com/title/tt31158597/ "To Kill A Monkey ")is a strong, gripping offering, filled with well-executed performances, sharp direction, and emotionally resonant storytelling. While it occasionally relies on plot conveniences and soapy score. its visual flair and character-driven tension make it a thoroughly engaging watch. It earns itself a 3.95 rating from us and proves that Adetiba’s voice remains essential in Nollywood’s evolving landscape. **Rating**: 3.95/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/to-kill-a-monkey-a-gritty-tale-of-betrayal-and-survival/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/to-kill-a-monkey-a-gritty-tale-of-betrayal-and-survival/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/to-kill-a-monkey-a-gritty-tale-of-betrayal-and-survival/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/to-kill-a-monkey-a-gritty-tale-of-betrayal-and-survival/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/to-kill-a-monkey-a-gritty-tale-of-betrayal-and-survival/?share=linkedin) - **Categories:** Reviews **Tags:** Bucci Franklin, Kemi Adetiba, Netflix, Stella Damasus, To kill a monkey, William Benson --- ### [Adanne: Cast Reflections on New Melon House Movie](https://nollycritic.com/adanne-cast-reflections-on-new-melon-house-movie/) **Published:** January 8, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Adanne, written and produced by Gold Gerry under the banner of Melon House, officially wrapped production on 5 December... **Content:** *Adanne*, written and produced by **Gold Gerry** under the banner of **Melon House**, officially wrapped production on **5 December**. But completion, in this case, feels less like an ending and more like a moment of stillness. A pause long enough to look back, to listen carefully to what this story has revealed about family, inheritance, and the quiet negotiations that shape women’s lives across generations. While the film is yet to be released, what has emerged from set, from script, and from the cast’s reflections is a clear sense of intention. *Adanne* positions itself as a story deeply concerned with inheritance, not only of bloodlines, but of silence, expectation, and survival strategies passed quietly from one generation to the next. Set within a three-generation Igbo household, *Adanne* is a film preoccupied with what is passed down without ceremony. Silence. Expectation. Survival strategies that harden into tradition. Through the reflections of its cast, the film emerges not as a story of rebellion versus tradition, but of understanding how cycles are formed before asking how they might be broken. ### **The Family as a Structure, Not a Villain** Daniel, played by **[Kelvinmary Ndukwe](https://www.imdb.com/name/nm12643233/ "Kelvinmary Ndukwe")**, offers an entry point into the family’s internal logic. He occupies a crucial but often misunderstood space in the family. He is not framed as a tyrant or a hero, but as a man shaped by expectations he did not fully understand when he accepted them. “My first impression of Daniel was traditional,” Ndukwe explains. “A man that just simply wanted to raise a family but was not armed enough to as at the time he got married.” What Ndukwe points to is recognisability. Daniel’s limitations are familiar. So is his loyalty. Ndukwe is quick to point out that while the character makes questionable choices, his commitment to his home is unwavering. “Almost every Igbo family has seen a Daniel,” he says. “As much as they have their inadequacies, they are loyal to their home.” From this perspective, Daniel seems positioned less as an obstacle than as a conduit through which the pressures of masculinity, provision, and fear become visible. In the architecture of the story, Daniel functions as a lens. Through him, the audience sees how fear, shame, and the pressure to provide ripple outward, shaping the lives of Akachi, Ijeoma, and Adanne. As Ndukwe puts it, “His place in the story helps to chronicle the lives of both Adanne, Ijeoma and Akachi.” The tension between actor and character becomes part of the performance. While Daniel’s idea of being “man of the house” is rooted in tradition, Ndukwe’s own views are contemporary. That distance informed his choices. “I leaned into the Daniels I have seen and interacted with,” he says, “and also into the Daniel I could have been if I did not intentionally break out.” The result, by his account, is a character designed to hold the audience’s attention without offering comfort. “You hate to love him, and also love to hate him,” he says, hinting at a portrayal that invites reflection rather than resolution. In doing so, the film resists easy judgement and instead exposes the cost of inherited masculinity. ### **Ijeoma and the Labour of Holding Things Together** At the centre of the household sits Ijeoma, played by **[Onyinye Odokoro](https://nollycritic.com/?s=Onyinye+Odokoro "Onyinye Odokoro")**. Her connection to the character is rooted in lived familiarity. For her, Ijeoma did not require invention. She arrived fully formed, rooted in memory and lived experience. “Everything about Ijeoma is so real because she reminds me so much of my mother,” Odokoro says, recalling domestic scenes that felt deeply nostalgic. One scene in particular stood out. “The scene in the family home with the children and her husband felt way too real. I thought, ‘this is how it was in my house on Saturday mornings.’” What she understood immediately was Ijeoma’s internal drive. “Her desire to get it right,” she explains. “With her marriage, raising her kids, keeping her home.” From these reflections, Ijeoma emerges as a woman whose life is defined not by dramatic rupture, but by sustained effort. Ijeoma’s strength is quiet, almost invisible. She is a woman trying to hold things together even as they unravel. To access that emotional balance, Odokoro describes drawing from moments in her own life “when things were falling apart and I had to fight to keep it together.” That experience suggests a portrayal grounded in resilience rather than idealisation. The character’s strength appears quiet, and often invisible. What she hopes audiences take from Ijeoma is empathy, especially across generations. > “I hope that all the Adanne’s who have Ijeoma’s as mothers grow a new sense of understanding and empathy for their mothers,” she reflects. > “And I hope that women who see themselves in Ijeoma will receive grace.” One moment caught her off guard entirely. A scene where Akachi reassures Ijeoma before a significant day. “I found myself tearing up, completely unexpectedly,” she recalls. “It was bittersweet. It’s always been the two of them against the world, and now there’s a separation.” ### **Akachi and the Weight of Unspoken History** As the family matriarch, Akachi anchors the film’s generational arc. From the outset, the character appears shaped by constraint rather than cruelty, a woman whose life has been defined by adaptation. “Reading the script, I could relate to Akachi in most ways,”says **Jennifer Umenwa**, who connected immediately to the role. What stood out was not bitterness, but resolve. “Her zeal to live a better life, not letting the rejection from everyone affect her.” As a mother herself, Akachi’s motivations were clear. Rather than framing Akachi as the origin of harm, these reflections suggest a woman shaped by constraint and motivated by protection. “Akachi wanting her daughter to live a great life, a better life than she lived,” Umenwa explains. > “I am a mother and I definitely don’t want my daughter to go through what I’ve gone through,” she explains, grounding her choices in maternal instinct. Her relationship with Ijeoma is rooted in love, even where regret exists. “It was what every mother would want to have with her daughter,” she says, acknowledging Akachi’s sense that she did not do enough. Yet the connection remained. When Akachi looks at Adanne, what she feels is hope. “Adanne is a strong-willed girl,” Umenwa notes, “and her willingness and determination gives her the comfort that she would definitely be better and break the cycle of settling for less.” For her, Akachi never shifted during production. “The understanding was there from the beginning,” she says. Each scene simply reinforced it. A woman shaped by circumstance, not cruelty. ### **Adanne and the Question of Visibility** Played by **Mmesomachi Chilaka**, Adanne appears to hold the film’s point of tension. From the audition stage, the character felt personal. > “That altercation dialogue between Adanne and her mother… it was like my life, but in another way entirely.” Chilaka’s connection to Adanne was immediate and emotional. Accepting the role felt like recognition. “I was really excited,” she says, laughing at herself. “Really excited times five.” Adanne’s struggle speaks directly to a contemporary anxiety. “Everybody wants to be seen,” Chilaka says. “Everybody wants to be heard. Everybody wants to let their opinion air.” But within the family, that desire becomes more complicated. Within the family, that desire becomes complicated by duty and expectation. What Adanne wants, ultimately, is freedom from inherited limitation. “She wants to break out of the norms,” Chilaka says plainly. “Not because her mother went through that, she should go through that too.” Preparing for the role led to personal clarity. “It’s okay for me to want to be seen,” she reflects. “I do not have to be under anyone’s shadow. I can make myself the first choice.” That recognition mirrors what the film appears to be circling: the possibility of selfhood that does not require rejection of lineage. Through working closely with Odokoro, Chilaka also came to understand Ijeoma differently. “Maybe she didn’t want that life too,” she says. “But she had no option. She had to conform, and she’s expecting that from her daughter.” ### **What Remains After the Shoot Wraps** With production complete and post-production underway, *Adanne* presents itself as a work attentive to process rather than pronouncement. It remains a story shaped by listening. To mothers and daughters. To men struggling under inherited expectations. To the quiet spaces where love and fear coexist. Across the cast’s reflections, one idea repeats itself gently but insistently: cycles do not break through anger alone. They break through recognition, empathy, and the courage to choose differently. The film is interested in how cycles are formed, how silence becomes instruction, and how understanding might precede change. As *Adanne* moves forward from set to screen, it does so with a clear emotional foundation. Not a demand for answers, but an invitation to look closely at what we inherit, what we endure, and what we finally decide to change. ![adannne](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/01/IMG_5487.jpeg?resize=640%2C853&ssl=1)![adanne](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/01/IMG_4729.jpeg?resize=485%2C1024&ssl=1)Screenshot![adanne](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/01/IMG_4807.jpeg?resize=640%2C427&ssl=1)![adanne](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/01/IMG_4610-1.jpeg?resize=640%2C427&ssl=1) ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/adanne-cast-reflections-on-new-melon-house-movie/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/adanne-cast-reflections-on-new-melon-house-movie/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/adanne-cast-reflections-on-new-melon-house-movie/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/adanne-cast-reflections-on-new-melon-house-movie/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/adanne-cast-reflections-on-new-melon-house-movie/?share=linkedin) - **Categories:** Movies, Nollywood News **Tags:** Adanne cast interview, Adanne film, Adanne film production, Adanne Nigerian film, generational Nigerian film, Gold Gerry Adanne, Gold Gerry filmmaker, Igbo family film, Jennifer Umenwa Adanne, Kelvinmary Ndukwe Adanne, Melon House Adanne, Melon House Productions, Mmesomachi Chilaka Adanne, mother daughter Nigerian film, Nigerian family drama, Nigerian film in post production, Nigerian film production wrap, Nigerian indie film, Nigerian women stories, Nollywood independent film, Onyinye Odokoro Adanne --- ### [See The Best 20 Nollywood Movies of 2025](https://nollycritic.com/see-the-best-20-nollywood-movies-of-2025/) **Published:** January 6, 2026 **Author:** Michael Arowoselu **Excerpt:** Out of over 100 Nollywood films reviewed by NollyCritic in 2025, only a fraction truly stood out. These films didn’t rely on excess... **Content:** Out of over **100 Nollywood films reviewed by NollyCritic in 2025**, only a fraction truly stood out. These films didn’t rely on excess dialogue, emotional over-instruction, or rushed resolutions. Instead, they trusted character, tone, and silence. They understood that storytelling is not about saying everything — it’s about saying the *right* things. This is NollyCritic’s definitive list of the 20 **Best Nollywood Movies of 2025** — films that rose above the noise and pointed toward a more confident industry. ### 20. *Grandpa Must Obey* Directed by Chibuzor Afurobi, *[Grandpa Must Obey](https://nollycritic.com/grandpa-must-obey-see-the-teaser-for-the-new-family-comedy/)* is a warm, PG-rated family comedy that clocks in just under one hour and a few more minutes. Kanayo O. Kanayo stars as Akachi, a grieving, stubborn 70-year-old widower who has turned to the bottle since losing his wife Helen (Elvina Ibru). *[Grandpa Must Obey](https://nollywire.com/titles/grandpa-must-obey/)* understands that the best family films don’t need constant gags to keep you engaged. It trusts quiet moments, real emotions, and the natural warmth of good actors doing good work. By the time the credits roll, you feel lighter, a little teary, and genuinely hopeful, exactly the way a Christmas movie should leave you. This gentle gem stands out because it aims for the heart and actually hits it. ### 19. *[Landline](https://nollycritic.com/landline-a-time-loop-thriller-that-will-keep-you-hooked/ "Landline")* In *Landline*, a stranded military sergeant receives eerie calls from an old landline, each guiding him to save his pregnant wife from a relentless killer, only to watch her die again and again in a nightmarish loop. *Landline* tells a gripping story with a strong three-actor cast. While it stands out as one of the best loop films we’ve seen from [Nollywood](https://nollycritic.com/?s=nollywood) with strong performances, and polished visuals, it leaves us with several unanswered questions. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ### 18. *Shaping Us* Kambili Ofili’s directorial debut, *[Shaping Us](https://www.imdb.com/title/tt29924032/)*, may not have made a big splash when it was released earlier this year, but it’s certainly worth your attention. *Shaping Us* explores the complexities of motherhood—both the longing for it and the emotional toll it can take—while also shining a light on love, friendship, and forgiveness. It’s a patient, heartfelt film that trusts its characters and trusts the audience to sit with discomfort long enough to find the meaning behind it. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ### 17. *Red Circle* [*Red Circle* ](https://www.imdb.com/title/tt32634351/)enters with conviction. Directed by Akay Mason and penned by Abdul Tijani-Ahmed, the film positions itself as a socially aware crime thriller laced with commentary on privilege, class, ambition, and the fragility of justice. A visual feast with moments of intrigue, powered by solid performances and a strong directorial vision. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ### 16. *My Mother is a Witch* *[My Mother is a Witch](https://nollycritic.com/my-mother-is-a-witch-love-sacrifice-and-childhood-trauma/ "My Mother is a Witch")* is deeply moving. It’s a film about broken relationships, the limits of parental sacrifice, and the dangers of silence. It asks viewers to consider what love looks like when it’s expressed in flawed, misunderstood ways. A heartfelt meditation on misunderstood love, and generational pain. A tender and culturally grounded drama that reminds us the scariest legacies are the ones we inherit in silence. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ### 15. *Love Lockdown* Few films capture the unpredictable nature of love quite like *Love Lockdown*. Set against the backdrop of a global crisis, the film explores how external forces can reignite past emotions, complicating the certainty of present commitments. A thought-provoking drama with strong performances, *Love Lockdown* delivers an engaging exploration of love under unexpected circumstances even if it misses the opportunity to create a truly immersive emotional experience. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ### 14. *The Fire and the Moth* Taiwo Egunjobi’s fourth feature arrives with calm authority. If *[A Green Fever](https://nollycritic.com/a-green-fever-a-thriller-that-almost-had-it-all/ "A Green Fever")* folded its tension within four walls, *The Fire and The Moth* extends that pressure across a border town, open yet tightening. *The Fire and The Moth* delivers a deeply layered meditation on greed, history, and the calm ruin of those who refuse to turn away. The story asks for attention, not affection. What it gives in return is sharp, slow, and lasting. **Rating**: 3.75/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ### 13. *The Herd* Nigerian actor Daniel Etim-Effiong makes his big-screen directorial debut with *The Herd*. The feature premiered worldwide in 2025 at the Marché du Film segment of the [Cannes Film Festival](https://www.festival-cannes.com/en/press/press-releases/the-films-of-the-official-selection-2025/). And was released across cinemas nationwide on October 17, 2025. *[The Herd ](https://nollycritic.com/the-herd-turns-real-life-fears-into-a-heart-pounding-cinematic-experience/ "The Herd ")*feels like a call to action, but sadly, only time can tell if it will bear fruit of possible change in our system. Although it struggles under its wings to tell it all, it still delivers a great story for all. **Rating**: 3.75/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ### 12. *Hakeem – Seeking Justice* Abdulrasheed Bello returns to the big screen after his co-producer role on *She Must Be Obeyed* in 2023 and Director role in *Omo Ghetto* (2020). *[Hakeem – Seeking Justice](https://www.imdb.com/title/tt35614103/)*, gives hope for the re-emergence of Nollywood’s action genre. It hits a very timely and disturbing occurrence without drifting away from the conventions that tie up the targeted genre. *Hakeem – Seeking Justice* is a strong addition to Nollywood’s action library. It proves that the industry is capable of learning from its missteps and delivering engaging, high-stakes storytelling. While it nails the action, it stumbles slightly in its dramatic depth. **Rating**: 3.8/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ### 11. *Atiko* Biodun Stephen’s *[Atiko](https://nollycritic.com/atiko-an-heartfelt-drama-on-fate-sacrifice-and-destiny/ "Atiko")* is a poignant exploration of sacrifice, destiny, and the complexities of generational love, anchored by strong performances and a deeply emotional core. The film excels in immersing the audience in its themes of cultural spirituality and the cost of rewriting fate, with moments that linger long after the credits roll. It is a heartfelt, thought-provoking drama that resonates through its emotional sincerity. *Atiko* succeeds in delivering a compelling tale that will leave audiences reflecting on its messages of love, sacrifice, and the burden of destiny. **Rating**: 3.85/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ### 10. *Radio Voice* *[Radio Voice](https://www.imdb.com/title/tt36468193/)*, directed by Isioma Osaje opens with a promise: that silence, no matter how deep, can be broken. Set within the charged atmosphere of a struggling radio station, the film builds its drama not through sensationalism, but through humanity. With standout performances, a focused script, and direction that values restraint over spectacle, it tells a story that lingers. It is a film that knows exactly what it wants to say and says it with clarity **Rating**: 3.9/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ### 9. *The Serpent’s Gift* Kayode Kasum once again proves that good storytelling isn’t determined by tribal knowledge or personal knowledge alone. But rather a willingness to learn, evolve and of course an aligned team. Set against the backdrop of the Igbo culture, ancestral heritage, and the unspoken laws on death and family. Centered on the traditional rituals that occur when a man dies in what’s regarded as a mysterious way. The movie surrounds the theme of love, betrayal, family feud, deception, culture and inheritance. **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ### 8. *[Aso Ebi Diaries](https://nollycritic.com/aso-ebi-diaries-an-intriguing-drama-on-friendship-and-fabrics/ "Aso Ebi Diaries")* What initially looks like a flashy lace-and-Ankara fest becomes something far more grounded: a rich, carefully told story about female friendship, personal identity, heartbreak, healing, and the cultural weight of belonging. Directed by Biodun Stephen in what may be her most balanced and emotionally coherent work to date, the film strips back the noise and lets the characters, and their humanity, shine. **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ### 7. *Makemation* *[Makemation](https://nollycritic.com/see-the-teaser-for-makemation-nollywoods-first-ai-film/)* enters [Nollywood](https://nollycritic.com/?s=nollywood) with ambition, not just in scope but in meaning. Framed as Africa’s first AI-themed feature film, it could have easily settled for the novelty of that claim. But instead, it chooses to centre something much deeper: a 17-year-old girl, poverty-stricken and overlooked, refusing to be silenced by her circumstances. In a story shaped by gender discrimination, digital inequality, and quiet resilience, the film is not simply shouting about technology. It is asking what kind of future becomes possible when young girls, and not only them, are given the tools to imagine one **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ### 6. *Something About the Briggs* In *[Something About The Briggs](https://nollycritic.com/something-about-the-briggs-set-for-january-premier/)*, marriage isn’t just about love, it’s about survival, adaptation, and the burden of expectations. The film dives into the complexities of family, faith, and commitment, questioning whether love alone is enough to hold a relationship together. But does it truly capture the weight of these themes, or does it fall into familiar storytelling patterns? *omething About The Briggs* succeeds in delivering a thought-provoking yet entertaining experience. It offers a fresh take on familiar themes, engaging its audience with both its storytelling and its emotional resonance. Whether through its faith-driven undercurrents or its commentary on love and marriage, it leaves viewers with something to discuss long after the credits roll. **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ### 5. *The Masked King* *[The Masked King](https://m.imdb.com/title/tt36208544/?ref_=sr_i_10)* reflects a world shaped by inherited customs and enforced loyalty. It opens up a story of duty, resistance, and the weight of culture, showing a people pushed to choose between survival and truth. *The Masked King* positions itself at the intersection of history, belief, and consequence. It confronts the viewer with uncomfortable truths about how societies preserve power through tradition, and how those same traditions often mask violence. It goes beyond being a film just for a story. **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ### 4. *Freedom Way* Directed by Afolabi Olalekan in his feature debut, the film presents a tightly woven story about nine individuals caught in the chaos of Lagos and the consequences of unjust laws. At the center of the story are Tayo and Themba, two tech entrepreneurs who launch a ride-share app for motorcyclists. But in typical fashion, things in Nigeria shift quickly. A sudden motorcycle ban threatens to wipe out their company overnight — not due to bad decisions, but due to erratic government policies that benefit the wealthy and hurt everyday citizens. More than just a film, it’s an experience. One that leaves a lasting impression and reminds viewers of the power of storytelling in shaping identity and inspiring change. For anyone seeking a meaningful time at the cinema, *Freedom Way* is essential viewing. And beyond the screen, it serves as a quiet yet stirring call for us all to continue striving, in our own ways, toward the freedom and nation we deserve. **Rating**: 4.05/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ### 3. *Over The Bridge* [*Over The Bridge* ](https://www.imdb.com/title/tt29193979/)draws viewers into a Lagos banker’s unraveling life, blending psychological tension with corporate intrigue. Directed by Tolu Ajayi in his narrative feature debut, the film centres on Folarin (Ozzy Agu), a high-flying investment banker whose dream rail project unravels amid financial scandals and ethical compromises. As pressure mounts from his boss and a controversial $16 million shortfall, Folarin’s personal life crumbles, culminating in a disappearance that lands him in a remote fishing village, grappling with amnesia and redemption. *Over The Bridge* rewards patient viewers who savour introspective thrillers, its subtext and imagery delivering intellectual satisfaction. It suits film fans willing to unpack corporate jargon and slow burns for thematic depth. **Rating**: 4.05/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ### 2. *Blackout* Entering [Blackou*t*](https://www.imdb.com/title/tt35619372/) *with n*o prior knowledge, no logline, no setup, just the film itself was the best decision. And what a shock that was. The kind of shock that reminds you why cinema exists. The experience was raw, gripping, and, most importantly, unpredictable. *Blackout* owns its space. This is not just a film to watch. It is a film to experience. And it belongs on the big screen, best seen in a cinema where its power is undeniable. And then, perhaps, revisited again. Because some films deserve to be seen more than once. **Rating**: 4.2/5 ⭐⭐⭐⭐⭐ Rating: 4.5 out of 5. ### 1. *My Father’s Shadow* *[My Father’s Shadow](https://www.imdb.com/title/tt35695538/)* unfolds as a poignant Nigerian drama, glimpsing a father’s world through his sons’ innocent eyes amid 1993 Lagos turmoil. Directed by Akinola Davies Jr in his feature debut, the film follows brothers Remi (11) and Akin (8), played by Godwin Chiemerie Egbo and Chibuike Marvellous Egbo, on a rare day trip with their father Fola (Sope Dirisu), chasing unpaid wages during a petrol shortage. *My Father’s Shadow* rewards viewers who cherish introspective dramas, its subtext and atmosphere offering emotional depth. It suits film fans ready to unpack memory’s layers and political hints. It’s Cannes premiere deserves its acclaim, a haunting watch worth the immersion **Rating**: 4.4/5 ⭐⭐⭐⭐⭐ Rating: 4.5 out of 5. Which film captured your heart? Which one do you think deserved a higher spot? Let’s know in the comments section. You can download our 2025 full review list [here](https://nollycritic.com/wp-content/uploads/2026/01/NC-Movie-Ranking-spreadsheet-2025-1.pdf "here"). ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-best-20-nollywood-movies-of-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-best-20-nollywood-movies-of-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-best-20-nollywood-movies-of-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-best-20-nollywood-movies-of-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-best-20-nollywood-movies-of-2025/?share=linkedin) - **Categories:** Articles, Movies, Nollywood News **Tags:** Aso Ebi Diaries, atiko, Blackout, film, Freedom Way, grandpa must obey, Hakeem, Landline, Love Lockdown, Makemation, My Father's Shadow, My Mother is a Witch, nollycritic, nollywood, OVER THE BRIDGE, radio voice, Red circle, Shaping Us, something about the briggs, The Fire and the Moth, The Herd, The Masked King, The Serpent's Gift --- ### [Over The Bridge: A Bridge Between Ambition and Abyss](https://nollycritic.com/over-the-bridge-a-bridge-between-ambition-and-abyss/) **Published:** September 12, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Over The Bridge draws viewers into a Lagos banker's unraveling life, blending psychological tension with corporate intrigue. Directed by Tolu Ajay... **Content:** [*Over The Bridge* ](https://www.imdb.com/title/tt29193979/ "Over The Bridge ")draws viewers into a Lagos banker’s unraveling life, blending psychological tension with corporate intrigue. Directed by Tolu Ajayi in his narrative feature debut, the film centres on Folarin (Ozzy Agu), a high-flying investment banker whose dream rail project unravels amid financial scandals and ethical compromises. As pressure mounts from his boss and a controversial $16 million shortfall, Folarin’s personal life crumbles, culminating in a disappearance that lands him in a remote fishing village, grappling with amnesia and redemption. The narrative hums with a quiet intensity, its spiritual undercurrents and corporate machinations evoking a world where ambition erodes the soul, leaving audiences to ponder the cost of progress in Nigeria’s relentless urban grind. Ajayi’s restrained touch crafts a film that examines ambition’s human cost, its introspective pace inviting reflection on Nigeria’s ethical crossroads, though its slow build tests patience. **This review is as introspective as the film itself. Enjoy the ride, but be prepared for spoilers.** ## *Over The Bridge* Directed by: Tolu Ajayi Written by: Tosin Otudeko Genre: Psychological Thriller Released on: September 5, 2025 (Cinemas) Language: English ### A Mind Unraveling Folarin’s inner world anchors *[Over The Bridge](https://nollycritic.com/?s=over+the+bridge "Over The Bridge")*, a portrait of a man teetering on collapse, his panic attacks and alcohol haze revealing a psyche fractured by ambition’s weight. The emotional arc traces his descent from a poised professional to lost wanderer, each layer of guilt and doubt peeling back to expose the toll of ethical erosion. Jumoke (Segilola Ogidan), his glamorous wife, mirrors his turmoil, her unraveling marriage a counterpoint to his professional fall, underscoring the personal ripples of systemic corruption. Kevin (Chimezie Imo), the young protégé whose death haunts Folarin, serves as a tragic echo, his fate a catalyst for Folarin’s crisis of conscience. The story probes Nigeria’s cultural obsession with upward mobility, where dreams of modernization twist into moral quagmires, its subtext whispering of spiritual reckoning—the Jonah-like village exile a metaphor for divine judgment. This introspective progression builds a meditative tension, inviting viewers to feel the quiet despair of a man who, in chasing bridges to the future, risks falling into the abyss. ### A Narrative That Layers and Lingers The plot builds methodically, opening with Folarin’s polished life shattered by the rail project’s $16 million shortfall, his boss Michael (Paul Adams) pressing for underhanded fixes to secure international tenders. As scandals surface, Folarin’s intermittent blackouts and hip-flask sips escalate, his birthday vanishing into a car plunge over a bridge, presumed fatal. Rescued by villagers, amnesia erases his past, intercut with Jumoke’s frantic search and flashbacks to Kevin’s death, the story’s rhythm a slow burn that cues subtext through recurring motifs—the painting of an island village, the church Jonah tale. Pacing holds steady, its calm monotony heightening anticipation, though the one-hour mark tests patience with corporate jargon that demands a second viewing to unpack. Foreshadowing weaves seamlessly, dialogue clashing with uneasy sounds against happy claps, hinting at the rot beneath “fancy words and impressive slides.” The structure, non-linear and ambitious, layers every scene with consequence, its momentum suffering only in transitional cuts that occasionally stall, yet rewarding with a spiritual depth that lingers. ### Faces That Ground the Fractures Ozzy Agu’s Folarin commands the screen, a measured performance that conveys quiet pain through subtle tics and zoned-out stares, anchoring the film’s psychological weight without overreaching. His command of corporate lingo feels authentic, each line laced with the banker’s fraying resolve, peaking in the amnesia sequences where vulnerability cracks his facade. Segilola Ogidan’s Jumoke delivers resonant restraint, her unraveling marriage a subtle emotional peak, her frantic search conveying desperation without histrionics. Chimezie Imo’s Kevin, though brief, carries tragic promise, his death a misfire that lingers in Agu’s haunted gaze. Paul Adams as Michael exudes oily authority, his pressure tactics a flat but believable foil. The ensemble shines in restraint, Agu’s lead elevating the monotonous tone to introspective heights, though the corporate jargon occasionally mutes supporting roles, their delivery solid yet undemanding. ### A Craft That Whispers Subtext Tolu Ajayi’s direction fuses precision with poetry, the editing a masterful tool that intercuts timelines and overlays scenes, layering foreshadowing like the Jonah sermon against Folarin’s fall. Cinematography shifts textures brilliantly, anamorphic lenses rendering Lagos’s urban sprawl as “carcasses of broken promises,” the light rail’s skeletal frames evoking stalled progress, while spherical wide-angle in the village sequences breathes spiritual isolation, the island painting a recurring motif that deepens psychological fracture. Sound design excels in dissonance, uneasy tones clashing with claps during presentations, cueing subtext of rot beneath gloss, the score a sparse whisper that amplifies Folarin’s panic attacks. Production design grounds the dual worlds, Jumoke’s glamorous home contrasting the village’s raw simplicity, costumes underscoring class divides. Lighting plays with shadows in Folarin’s blackouts, framing his unraveling with subtle menace, though some transitional cuts feel abrupt, their rhythm occasionally disjointed. These choices immerse, the village’s wide shots evoking a meditative escape, the urban close-ups trapping viewers in Folarin’s descent. ### Final Thoughts *Over The Bridge* confronts the Nigerian dream’s dark underbelly, where ambition’s bridge to prosperity spans an abyss of ethical decay and mental fracture. The film’s spiritual motifs—the Jonah tale, the island painting—pose a haunting query: can a man cross the divide between self and society without losing his soul or purpose? Its introspective gaze on corruption’s human cost, from Folarin’s panic to Kevin’s fate, triggers reflections on progress’s price, the rail project a symbol of modernization’s hollow promise. Yet, the monotonous calm, while building tension, risks numbing the viewer, its corporate jargon a barrier that demands patience. Nollywood’s melodrama often amplifies moral tales, but here Ajayi’s restraint crafts a contemplative space, inviting audiences to linger in the quiet despair of a nation chasing bridges to nowhere. ### Verdict *Over The Bridge* rewards patient viewers who savour introspective thrillers, its subtext and imagery delivering intellectual satisfaction. It suits film fans willing to unpack corporate jargon and slow burns for thematic depth. This debut earns its 12 AMVCA nominations, a thoughtful bridge worth crossing. **Rating**: 4.05/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/over-the-bridge-a-bridge-between-ambition-and-abyss/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/over-the-bridge-a-bridge-between-ambition-and-abyss/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/over-the-bridge-a-bridge-between-ambition-and-abyss/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/over-the-bridge-a-bridge-between-ambition-and-abyss/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/over-the-bridge-a-bridge-between-ambition-and-abyss/?share=linkedin) - **Categories:** Nollywood, Reviews **Tags:** ambition, Bose Oshin, Chimezie Imo, corporate drama, corruption, critique, infrastructure, Lagos, mental health, nollywood, Ozzy Agu, Paul Adams, psychological thriller, Review, Segilola Ogidan, spiritual redemption, Tolu Ajayi, Tosin Otudeko --- ### [The Fire and The Moth Review: A Slow-Burn Thriller](https://nollycritic.com/the-fire-and-the-moth-a-slow-burn-psychological-thriller/) **Published:** June 3, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The Fire and The Moth begins with this. And from the very first moment, the ground is set. This is a story that will end where it must. **Content:** > “They sow the wind and reap the whirlwind. The standing grain has no heads; it shall yield no flour; if it were to yield, strangers would devour it.” —Hosea 8:7 *[The Fire and The Moth](https://www.imdb.com/title/tt33043602/ "The Fire and The Moth")* begins with this. And from the very first moment, the ground is set. This is a story that will end where it must. Taiwo Egunjobi’s fourth feature arrives with calm authority. If *[A Green Fever](https://nollycritic.com/a-green-fever-a-thriller-that-almost-had-it-all/ "A Green Fever")* folded its tension within four walls, *The Fire and The Moth* extends that pressure across a border town, open yet tightening. Nature holds its breath. The forest stands, both beautiful and unreadable. The soil feels dry. The air is already scorched. Everything sits with a kind of resignation. ## *The Fire and The Moth* Directed by: Taiwo Egunjobi Written by: Isaac Ayodeji Genre: Drama/Thriller Released on: June 3, 2025 (Prime Video) Language: English --- *We had the privilege of seeing **The Fire and The Moth** through early access before its official release.* Here are our thoughts. --- ##### A World Drawn to the Flame At the centre stands Saba (Tayo Faniran), a smuggler moving through danger with something rare in his possession: a stolen Ife bronze head. But this is not a story about the object. It is about what the object awakens. Around him, people gather with interest and motive. Abike (Ini Dima-Okojie) sees opportunity. Opa (Olarotimi Fakunle) moves with impulse rather than plan. The presence of Contractor (Jimmy Jean-Louis) makes sure that the prophesy comes true. The plot structure is clear and cold. There’s a stillness to how events play out. Dialogue is limited. Cuts are spare. But not all the technical choices land. A few editing decisions, quick cutaways, abrupt returns, disrupt the flow of shots that should have lingered a bit more. Still, the arc remains deliberate. ##### A Story Written in Ash, Not Ink The film positions its title as prophecy. Each character engages with danger, fully aware of the weight, yet drawn anyway; willingly walking in. And that is where the title reveals its purpose. You might assume that the moth dances around the flames because of its ignorance of the dangers. No. It moves toward the flame with intent, guided by something primal. In this story, that attraction becomes the structure. But Egunjobi chooses not to explore these choices through emotional depth. He settles on behaviour, not reflection. We do not watch the characters unravel internally. We only watch their steps. That approach sharpens the film’s fatalism, but one might argue that it flattens engagement. Viewers are asked to observe, not to feel alongside them. That is intentional, but the cost becomes evident. This becomes clearest in Abike. Her actions signal complexity, but the film offers no interiority to support it. She does not hesitate when Saba barges into her home. She tends to him. She calculates her next move. Her younger sister reacts with fear. Abike remains calm, too calm. This decision from the filmmakers to keep her stoic enhances the character’s quiet greed, but also distances us from understanding her inner fracture. Her moral decay is seen but never entered. That works as allegory. As character drama, it risks disengagement. ##### Still Faces, Heavy Eyes Tayo Faniran plays Saba with a hollow weight. His silence feels earned. His presence carries exhaustion rather than reaction. In a film this still, restraint matters. But restraint becomes repetition when not punctuated. Faniran holds the same emotional temperature throughout, which supports the story’s arc of doomed collapse, yet leaves little variation for the audience to follow emotionally. Ini Dima-Okojie mirrors this choice. Her portrayal of Abike is tight and considered. But both performances, shaped by the film’s desire for minimalism, lean toward a kind of flatness that, without variation, can register as monotony. The risk here is that the performances become too controlled to invite connection. That’s a tonal decision from the director, and while it serves the story’s cold clarity, it can also keep the audience watching from outside the fire rather than feeling the heat. Jimmy Jean-Louis’s Contractor offers something different. Still silent, but filled with intention. He represents consequence made flesh. When he appears, time slows. When he speaks, he speaks for fate. His performance anchors the film’s prophecy with presence. His calm is not emptiness. It is purpose. ##### A Town That Knows More Than Its People The cinematography captures the physical terrain with intelligence. Wide frames show the characters as small, swallowed by space. But in a few instances, the editing does not trust the image to hold. Moments that should linger cut too soon. There are abrupt transitions that break rhythm, especially in sequences where the tension had been building naturally. A shot returns when it had not finished speaking, or leaves when it should have paused. These decisions chip at immersion. Still, the visual grammar mostly works. The forest and environment act as an audience. The trees do not move, but they mark every betrayal. The walls do not speak, but they listen. The camera remains patient, and in that patience, dread gathers. When it needs to move due to tension, it does, and it’s effective. ##### Final Thoughts: A Story Without Rescue *The Fire and The Moth* holds its silence with purpose. Each action matters. Every line leads somewhere. The film sits with consequence. It holds a mirror to decisions made without pause, to greed that ignores warning, and to people who walk willingly into fire, hoping for survival. The bronze head at the centre is a symbol of memory, power, and the lingering trauma of cultural theft. The audience may come expecting a chase. They leave sitting with a question: What is the cost of taking something sacred and turning it into currency? Or even deeper, what is the cost of manipulating the system wrongly for our selfish gain? The verse from Hosea remains the backbone. They plant disorder and call it survival. They reap the whirlwind and call it misfortune. The harvest offers nothing. The ground produces only dust. The choices feel personal, but their weight is communal. No redemption arrives. No clarity wraps the ending. Only fire. Only what remains after the moth gives itself away. Still, there is space to ask whether that distance, the cold clarity, the emotional restraint, keeps too many viewers at the edge. The film delivers its message with force. But in its control, it sometimes surrenders the possibility of being felt more deeply. That balance between symbolism and sensation is where the film hovers. ##### Verdict *The Fire and The Moth* delivers a deeply layered meditation on greed, history, and the calm ruin of those who refuse to turn away. The story asks for attention, not affection. What it gives in return is sharp, slow, and lasting. **Rating**: 3.75/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-fire-and-the-moth-a-slow-burn-psychological-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-fire-and-the-moth-a-slow-burn-psychological-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-fire-and-the-moth-a-slow-burn-psychological-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-fire-and-the-moth-a-slow-burn-psychological-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-fire-and-the-moth-a-slow-burn-psychological-thriller/?share=linkedin) - **Categories:** Reviews **Tags:** African Storytelling, border town drama, cautionary tale, consequence, Film Critique, greed, heritage, Ife bronze, Ini Dima-Okojie, Isaac Ayodeji, Jimmy Jean-Louis, Movie Review, neo-western, nigerian cinema, Nollywood thrillers, psychological thriller, self-destruction, Taiwo Egunjobi, Tayo Faniran, The Fire and the Moth --- ### [New Nollywood Movies and Series to See in December 2025](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-december-2025/) **Published:** December 1, 2025 **Author:** Michael Arowoselu **Excerpt:** This December, exciting Nollywood movies are heading to the big and small screens. From comedies or dramatic thrillers, there’s something for everyone to enjoy **Content:** And just like that, it’s Christmas! This December, exciting [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") titles are heading to the big and small screens. From comedies to action and thrillers, there’s something for everyone to enjoy. Here’s a detailed look at the most anticipated movies and series coming this month. ### *Colour Me True* (2025) — December 4 Known to the world as Sylvia Philips, a celebrated reality star, sees her life crumble after her true identity is exposed. Retreating to her childhood orphanage, she rediscovers her past and the true meaning of love, family, and self. Colour Me True explores the cost of deceit and what remains when truth catches up. Starring: Shalewa Ashafa as Ivie, Buchi Franklin as Adolphus, Eseosa Bernard as Ruth, Nnamdi Agbo as Miles, Gerard Adebija as Temisan, Chimdiya Nwigwe as Boma, Amara Uwechi as Aunty Mary, Alison Adeeyinwo as Giggles, Ebuka Stanley as Bilu, and Patience Ujah as Show Host. Streaming 4 December 2025, exclusively on Prime Video. ### *A Weekend Fiasco* (2025) — December 4 Samuel Olatunji’s *A Weekend Fiasco* is next on our list. A wife seeking an escape from her troubled marriage, embarks on a weekend getaway with a potential lover only for her plans to unravel in a whirlwind of chaos involving familiar faces and unexpected twists. The film stars; Ini Edo, Alex Ekubo, Yvonne Jegede, Odunlade Adekola, Liquorose, Chimezie Imo and many others Streaming on Kava from December 4. ### *This is Not a Nollywood Movie* (2025) — December 5 In Wale Ojo’s directorial debut; A failed Igbo director, Okechukwu Adilu, played by Wale Ojo, as he navigates Lagos attempting to make a huge film but repeatedly fails. Starring: Wale Ojo, Boma AKpore, Bimbo Akintola, Blossom Chukwujekwu, Hanks Anuku, Broda Shaggi, Olumide Oworu and many others Premieres in cinemas on December 5. ### *Reel Love* (2025) — December 11 *Reel Love* is a heartfelt exploration of love, culture, and life’s unexpected turns. Starring Timini Egbuson and T.J. Omusuku, this film dives into the complexities of relationships and the transformative power of love. With its relatable characters and engaging storyline, it’s a must-watch for anyone who enjoys a good love triangle. Streaming on Kava from December 11. ### *The Covenant* (2025) — December 12 Directed by Dimeji Ajibola, the show features a star-studded cast list which includes: Gideon Okeke, Sola Sobowale, Temitope Olowoniyan, Uzee Usman, Segun Arinze, Zybby Micheal, Bimbo Manuel, Ivie Okujaye, Chioma Okafor, Walter Anga, Joseph Momodu and Chinoso Arubayi. *The Covenant* is will stream on [Netflix](https://www.netflix.com/) (Africa) and [Kava TV](https://nollycritic.com/?s=kava) (International) from December 12, 2025. ### *Behind The Scenes* (2025) — December 12 *Behind the Scenes*, a is a comedy drama that follows a creative team navigating pressure, ego clashes and on-set chaos. The story captures how filmmakers manage disagreements, deadlines and unexpected challenges while working on a project. Produced by Funke Akindele Network with distribution by FilmOne, Akindele stars and co-directs with Tunde Olaoye The film stars Iyabo Ojo, Tobi Bakre, Ibrahim Chatta, Victoria Adeleye, Scarlet Gomez, Uzor Arukwe, Wanni Danbaki, Hanni Danbaki, Destiny Etiko, Dele Odule, Abeni Balogun Fausat, Uche Montana, Hafeez Oyetoro, Akinyoola Ayoola, Folakemi Babatunde, Ini Dima-Okojie, Fiyinfoluwa Asenuga, and Adebowale Adedayo. In cinemas from December 12. ### *[A Very Dirty Christmas](https://www.imdb.com/title/tt38907680/ "A Very Dirty Christmas")* (2025) — December 16 Jade disappeared on Christmas Eve. Now her sisters are back and they remember everything. What is everything? Directed by Akay Mason and produced by Ini Edo, the film stars: Ini Edo, IK Ogbonna, Lateef Adedimeji, Nancy Isime, Wunmi Toriola and many others. Premieres in cinemas on December 16. ### *Oversabi Aunty* (2025) — December 19 Toun, a self-righteous church usher obsessed with “fixing” others, turns family life into a moral battlefield. Her holy overzealousness peaks at a disastrous wedding introduction, forcing her to confront the chaos she’s created. A witty dramedy about faith, family, and the fine line between devotion and delusion. Premieres in cinemas on December 19, 2025. ### *Colours of Fire* (2025) — December 24 When a warrior is sent out to hunt a beast believed to be unleashed by his clan’s rivals, he uncovers a darker truth and an unexpected connection. Now he must decide: protect his clan’s honour or risk everything for a forbidden love that could unite or doom their worlds. Starring; Osas Ighodaro, Uzor Arukwe, Mercy Aigbe, Femi Branch, Gabriel Afolayan and many others. Coming to cinemas on December 24, 2025 ### *Wizkid: Long Live Lagos* (2025) — December 26 *Wizkid: Long Live Lagos* follows the journey of Nigerian superstar Wizkid, from his early days in Surulere, Lagos, to his rise as a global Afrobeats icon. The documentary features behind-the-scenes footage, live performances, and interviews with close collaborators and industry figures, highlighting his influence on music worldwide. The film will be available on Showmax and HBO. As the year comes to a close, these Nollywood movies offer something special for everyone. Which of these Nollywood movies are you most excited to watch? Be sure to stay updated as we’ll add more Nollywood movies to this list! ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-december-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-december-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-december-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-december-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-december-2025/?share=linkedin) - **Categories:** Movies **Tags:** a very dirty christmas, Behind the Scenes, Colour me true, colours of fire, Oversabi Aunty, the convenant, this is not a nollywood movie --- ### [The Middleground: Nananikeji Debuts as Producer in New Faith-based Thriller](https://nollycritic.com/the-middleground-nananikeji-debuts-as-producer-in-new-faith-based-thriller/) **Published:** April 15, 2025 **Author:** Fisayo Adekoya **Excerpt:** Hauwa Issa known by her stage name Nananikeji, steps into a powerful new role behind the camera as she makes her producing debut; "The Middleground,” **Content:** Rising star Hauwa Issa known by her stage name Nananikeji, steps into a powerful new role behind the camera as she makes her producing debut with “The Middleground,” a supernatural faith-based thriller exploring the depths of divine love and the human struggle with unanswered prayers. Written and directed by award-winning writer Olumide Kuti, *The Middleground* tells the story of Joromi, a young woman caught between life and death. Devastated by loss and years of unanswered prayers, she finds herself in a surreal in-between space. However, instead of moving on, she confronts the Angel of Death and demands answers from God. Her refusal to transition sparks a journey filled with divine revelations and spiritual depth. In this faith-based supernatural drama, Joromi finds herself trapped in a void between life and death, but she refuses to transition. With years of unanswered prayers and relentless suffering, she demands an audience with the one being who has remained silent through it all—God. The [film](https://nollycritic.com/?s=film "film") features Chinnie Ibeh as the Angel of Death and Treasure Enagbare as The Convener. Both roles are positioned to bring emotional weight to the story’s spiritual undertone. Their characters play key roles in unfolding Joromi’s encounter with divine truth and the reality of God’s love, even in silence. According to Nananikeji, producing *The Middleground* was a personal process rooted in faith and purpose. The story is positioned to reach those who have questioned God during painful seasons. While stepping into production for the first time, she also collaborated closely with Olumide Kuti to bring this vision to life, with a shared commitment to telling faith-driven stories that resonate deeply. This project also marks [Olumide Kuti](https://www.imdb.com/name/nm11983927/ "Olumide Kuti")’s directorial debut. Known for his storytelling, he brings both emotional and visual intention to this new role. Inspired by the scripture, *“For my thoughts are not your thoughts, neither are your ways my ways,”* the film carries a message that encourages reflection on divine timing, suffering, and love. The film’s setting—a space between life and death—is used to reflect the main character’s inner turmoil. The visual tone is shaped to feel both intense and empty, aligning with Joromi’s emotional state. There is an emphasis on honesty over resolution, allowing the themes of courage, faith, love, and redemption to emerge naturally. *The Middleground* aims to offer more than a dramatic narrative. Through its supernatural elements and faith-based message, it explores complex emotions in moments when God seems silent. The creative direction leans into spiritual tension, while the production choices support a story meant to inspire thought and connection. With this debut, Nananikeji adds a new dimension to her career and introduces a project grounded in vision, vulnerability, and belief. *The Middleground* represents the beginning of what promises to be a compelling line-up of stories from her and Olumide Kuti. *The Middleground* will premiere on the 18th of April, 2025 via YouTube (Capital Dreams Pictures). ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-middleground-nananikeji-debuts-as-producer-in-new-faith-based-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-middleground-nananikeji-debuts-as-producer-in-new-faith-based-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-middleground-nananikeji-debuts-as-producer-in-new-faith-based-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-middleground-nananikeji-debuts-as-producer-in-new-faith-based-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-middleground-nananikeji-debuts-as-producer-in-new-faith-based-thriller/?share=linkedin) - **Categories:** Nollywood **Tags:** Chinnie Ibeh, Faith based nollywood movies, film, Hauwa Issa, Nananikeji, nollycritic, nollywood, nollywood 2025 releases, Olumide Kuti, the Middleground, Treasure Enagbare --- ### [How Nollywood Turned Christmas to a Nigerian Story](https://nollycritic.com/how-nollywood-turned-christmas-to-a-nigerian-story/) **Published:** January 3, 2026 **Author:** Shalom O. Obisesan **Excerpt:** Christmas in Nollywood has never been about snow, Santa Claus, or the magical enchantment that often defines Western holiday films. It has always... **Content:** [Christmas](https://nollycritic.com/?s=christmas "Christmas") in [Nollywood](https://en.wikipedia.org/wiki/Nollywood "Nollywood") has never been about snow, Santa Claus, or the magical enchantment that often defines Western holiday films. It has always been something warmer, more complicated – a season that brings families together under one roof, stirs up old tensions, celebrates abundance (or the struggle for it), and mixes joy with the everyday realities of Nigerian life. Nollywood’s embrace of Christmas-themed films marks a fascinating evolution in Nigerian cinema, blending global holiday tropes with distinctly local flavors. While not a longstanding tradition, unlike Hollywood’s decades-long churn of festive classics, Nollywood’s pivot began gaining momentum around 2021, fueled by streaming platforms’ demand for seasonal content and a desire to capture the “Detty December” spirit. Prior to this, Nigerian films often released in December for commercial reasons but rarely centered on Christmas itself, with early outliers like *Silent Night* (1996) directed by Chico Ejiro or *A Christmas Passion* (2004) by Charles Novia, being exceptions rather than the rule. Viewers in Nigeria often turned to Hollywood imports like *Home Alone*, *Elf*, or *Love Actually* for their festive fix, which featured snow-covered streets, Santa-driven miracles, and overt celebrations of the season’s religious or whimsical magic, elements that felt distant from the tropical realities and cultural rhythms of Nigerian life. The 2021 Netflix release *A Naija Christmas* served as a watershed moment, proving that holiday stories could resonate globally while staying rooted in Nigerian realities. ### Why the Rise? Streaming platforms played a significant part. Netflix, having seen success with South Africa’s *How to Ruin Christmas* series starting in 2020, sought more African seasonal content to engage viewers during the global holiday period. Prime Video followed suit. December offered a natural window: cinemas are busy, diaspora audiences are online, and people want something light-hearted amid the pressures of the end of the year. Producers recognised the opportunity and began to respond. The true turning point arrived in 2021 with Kunle Afolayan’s *A Naija Christmas*, Netflix’s inaugural Nigerian Christmas original. This film marked a deliberate shift, proving that holiday-themed stories could succeed commercially and resonate deeply when adapted to local contexts. Its success, blending romance, family pressure, and humour in a Lagos setting, sparked a wave of similar productions, accelerating through the influence of streaming platforms like Netflix and Prime Video. These services, seeking seasonal content to boost viewership, drew inspiration from Hollywood’s profitable holiday formula while encouraging Nollywood filmmakers to localise it. By 2024 and 2025, titles such as Christmas in Lagos, A Danfo Christmas, and A Very Dirty Christmas had firmly established Christmas as a viable genre, capitalising on the high-energy December period known as Detty December. This season, characterised by vibrant parties, family reunions, shopping sprees, traffic chaos, and the return of Nigerians from abroad, provides an ideal backdrop for releases, as cinemas fill with festive crowds seeking escapism amid economic pressures. What makes a [Nollywood](https://en.wikipedia.org/wiki/Nollywood "Nollywood") Christmas distinctive is its refusal to rely on Western hallmarks. There is no snow-covered village, no Santa-driven resolution, no heavy emphasis on the religious miracle of the season (though church scenes or quiet moments of faith do appear). Instead, the holiday is portrayed as an intensified version of ordinary Nigerian life. Family reunions dominate: siblings clash, parents impose expectations, secrets long buried rise to the surface. Meals become the setting for both celebration and confrontation. Travel home – whether by danfo bus or flight – brings revelations and reconciliation. The bustle of Lagos during the festive period, with its parties, nightlife, returnee energy, and cultural traditions, forms the backdrop. The season carries weight: the pressure to succeed, to marry, to show progress, to be together even when it is difficult. This portrayal reflects a broader cultural understanding of Christmas in Nigeria. The holiday is not primarily a quiet, sacred pause; it is a time of gathering, abundance, and communal energy, often mixed with the stresses of expectation and economic reality. Films capture that duality without idealising it. They show joy alongside strain, laughter alongside argument, forgiveness earned through confrontation rather than granted by magic. ### **Family Reunions and the Chaos of Togetherness** In many of these films, Christmas is the occasion when families are forced to confront one another. *A*[ *Very Dirty Christmas* (2025)](https://nollycritic.com/a-very-dirty-christmas-a-festive-tale-that-delivers-comfort/ " Very Dirty Christmas (2025)"), produced by Ini Edo and directed by Akay Mason, places the holiday at the centre of a family gathering where a disappearance triggers scandals, past traumas, and emotional confrontations. The title generated considerable controversy, with groups such as the Christian Association of Nigeria expressing concern that it undermined the sanctity of the season. Yet the story itself uses Christmas to examine family complexities and eventual reconciliation. It interprets the holiday as a pressure point where unresolved matters demand attention – a common experience in Nigerian gatherings during this time. *A Naija Christmas* (2021) places the season at the very centre of its conflict. The mother’s demand for marriage by Christmas Eve creates the deadline that propels the entire plot. The holiday is not mere atmosphere; it is the mechanism that exposes societal pressures around legacy, class, and gender. The film interprets Christmas as a moment of heightened expectation, where family wishes collide with individual realities. ### The Journey Home and the Weight of Return Travel home is a recurring motif, reflecting the cultural importance of returning to the village or family base. *A Danfo Christmas* (2024) structures its narrative around a family’s bus journey to Idanre, encountering mechanical failures, financial difficulties, and emotional disclosures. The holiday symbolises the pull to return and reconnect, even when the road is difficult. It interprets the season as a test of endurance and family unity. The same with *[Christmas in Lagos ](https://nollycritic.com/christmas-in-lagos-a-vibrant-tale-of-love-and-family/ "Christmas in Lagos ")*(2024), with its characters arriving back home from the diaspora to enjoy the “detty december.” ### Urban Energy and Personal Discovery Films set in Lagos often portray the season as vibrant chaos. *Christmas in Lagos* (2024) captures the city’s pulse, with multiple love stories unfolding amid parties, weddings, and the energy of returnees. The holiday is interpreted as lively chaos that accelerates relationships, tests bonds, and pushes characters toward self-understanding. **Quieter Reflections and Generational Bonds** Even in more subdued stories, the holiday provides the conditions for growth. In *Grandpa Must Obey* (2025), the festive break sets the scene for a grandfather reluctantly hosting his grandchildren, leading to pranks, clashes, and gradual understanding. The season creates the opportunity for generational reconciliation. **A Mirror for Real Life** Across these stories – and others like *Christmas in Miami* (2021), *A Merry Christmas Miracle* (2024), *Christmas Between Worlds* (2025), and *Christmas at the George’s* (2025) – Christmas functions as a mirror. It reflects the pressures, the warmth, the conflicts, and the resolutions that define family life in Nigeria during the festive period. The films do not preach or rely on supernatural fixes; they observe, interpret, and resolve through human effort and connection. This is what a Nollywood Christmas ultimately offers: a celebration that feels authentic because it does not shy away from the fullness of the season. It embraces the gatherings, the expectations, the laughter, the arguments, and the quiet moments that follow. As the festive period of 2025 draws to a close, these films stand as a reminder that the holiday in Nigerian cinema is not borrowed – it is claimed, reshaped, and made to speak in a voice that is unmistakably local. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/how-nollywood-turned-christmas-to-a-nigerian-story/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/how-nollywood-turned-christmas-to-a-nigerian-story/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/how-nollywood-turned-christmas-to-a-nigerian-story/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/how-nollywood-turned-christmas-to-a-nigerian-story/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/how-nollywood-turned-christmas-to-a-nigerian-story/?share=linkedin) - **Categories:** Articles **Tags:** A Danfo Christmas, a naija christmas, christmas, Christmas Eve, christmas in maimi, christmas movies, nollywood --- ### [Oversabi Aunty: The Comedy That Quietly Breaks Your Heart](https://nollycritic.com/oversabi-aunty-the-comedy-that-quietly-breaks-your-heart/) **Published:** December 29, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Oversabi Aunty is Toyin Abraham’s bold first step behind the camera, a family comedy-drama that arrives in the festive season wrapped in humour... **Content:** [*Oversabi Aunty* ](https://www.imdb.com/title/tt38999905/ "Oversabi Aunty ")is Toyin Abraham’s bold first step behind the camera, a family comedy-drama that arrives in the festive season wrapped in humour, cultural familiarity, and emotional honesty. Abraham stars as Toun, a deeply religious Yoruba woman married to Chidi (Mike Ezuruonye), an Igbo man, raising four children in what looks like the perfect Nigerian Christian home. Beneath the surface, Toun’s loud, public faith and moral policing masks emotional absence at home. The story builds toward a wedding introduction that brings both extended families together, turning celebration into collapse. The film runs long, balancing broad comedy with serious undertones, but struggles with discipline and restraint. ## *Oversabi Aunty* Directed by: Toyin Abraham Produced by: Toyin Abraham Genre: Comedy, Drama Released on: December 19, 2025 (Cinemas) Language: English ### The Dangerous Line Between Discipline and Control The heart of *Oversabi Aunty* is the thin, dangerous line between faith and performance, discipline and control, raising children and policing them. Toun believes she is raising exemplary children. She occupies church spaces with authority, corrects other parents, polices young women’s clothing, and inserts herself into moral disputes with confidence. She reminds everyone frequently that her family is the model. The film makes it clear early that her authority is performative. Her energy is directed outward, not inward. While Toun invests time in church politics and unsolicited moral interventions, her household operates without emotional supervision. Conversations with her children are attempted but never completed. Listening is replaced with instruction. Presence is replaced with certainty. The most unsettling truth is that crossing this line rarely announces itself. One does not wake up knowing they have crossed it. They still believe they are right. Still believe they are doing God’s work. Still believe everyone else is the problem. ### Parenting as Emotional Presence, Not Moral Display Toun loves her children but equates control with care, discipline with connection. Her absence is emotional, not physical. She is always present in the home but rarely available. When her children attempt conversation, she interrupts. When they seek understanding, she offers correction. When they express discomfort, she responds with authority. Chuka’s anger issues are the most explicit consequence of this neglect. His volatility is not rebellion for rebellion’s sake. It is emotional fallout. He is unheard, unseen, internally overwhelmed. Equally telling is how the eldest daughter unconsciously mirrors Toun’s aggression. She shouts the way her mother does, despite resenting that behaviour. This behavioural inheritance is one of the film’s sharpest observations. Parenting damage is rarely intentional. It is repeated. ### **Cultural Comedy That Grounds the Drama** A significant portion of the humour comes from the Yoruba-Igbo marriage dynamic. Language barriers, naming confusion, and cultural expectations are mined effectively. The children being called different names by each parent becomes a recurring source of tension and comedy, reflecting the stress of cultural duality. The wedding introduction brings both extended families together, and chaos follows predictably. These moments work because they are rooted in lived experience. The exaggeration feels earned. ### **Performances That Carry the Weight** [Toyin Abraham ](https://nollycritic.com/?s=toyin+abraham "Toyin Abraham ")commits fully to Toun. She understands the character’s exaggeration and leans into it. At her best, she allows Toun’s blindness to expose itself naturally. At her weakest, the performance becomes excessive, underlining emotions that would have landed more powerfully with restraint. Mike Ezuruonye delivers a controlled, effective performance as Chidi. His frustration is conveyed through pauses and expression rather than theatrics. His comic timing, especially when navigating Yoruba dialogue with an Igbo accent, adds levity without undermining credibility. Enioluwa Adeoluwa’s performance as Chuka is more uneven. While the character carries significant emotional weight, the delivery sometimes feels flat, weakening moments that should have landed harder. Among the children, performances are mixed but mostly effective. Kidbaby stands out for her naturalism and emotional believability. The eldest daughter delivers strong moments of restraint, particularly during confrontations. The children feel distinct, each reflecting a different emotional response to neglect. Supporting performances, including Apa’s comedic presence, help maintain accessibility, particularly for family audiences. ### **Technical Execution: Ambitious but Indulgent** *Oversabi Aunty* is one of Toyin Abraham’s stronger outings. The cinematography is intentional. Camera movements are thoughtful, and settings feel lived-in and appropriate. The wedding scenes are expansive and detailed, with costumes, music, and rituals from both cultures given generous screen time. The Igbo family’s yellow wrappers, white bubas, and red geles stand out clearly. Considerable resources were invested in these sequences. Sound design is less consistent. Audio clarity varies between actors, and the background score often fails to support emotional moments adequately. Key scenes, such as when Toun takes the fall for her child or when her daughter confronts her, required stronger musical emphasis to deepen their impact. Without it, emotional weight dissipates too quickly. Editing follows a predictable rhythm of humour, tension, and release. This keeps the film watchable but compresses emotional beats. Several scenes feel unnecessary: the extended wedding sequence, the car stop scene featuring Odunlade Adekola, and the August meeting add colour but little narrative value. Removing them would not weaken the story. It would sharpen it. The climax arrives too quickly after prolonged buildup, compressing emotional resolution into a narrow window. The imbalance between indulgence and urgency blunts what could have been a more devastating payoff. ### **Final Thoughts** *Oversabi Aunty* is messy, indulgent, and occasionally frustrating. It is also perceptive, culturally fluent, and emotionally honest. It understands Nigerian family dynamics, church culture, maternal rivalry, and the dangers of moral performance with striking clarity. Its critique of performative faith and emotional neglect is sincere, even when its storytelling lacks discipline. This is not Toyin Abraham’s most controlled work. It is, however, her most revealing. A resonant mirror that invites laughter first and self-examination later. ### **Verdict** *Oversabi Aunty* suits viewers who enjoy character-driven comedy with emotional depth and cultural texture. It frustrates those wanting tight pacing or restrained performances. Messy yet meaningful, it marks a bold debut that hints at Toyin Abraham’s potential as a director. **Rating**: 2.9/5 ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/oversabi-aunty-the-comedy-that-quietly-breaks-your-heart/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/oversabi-aunty-the-comedy-that-quietly-breaks-your-heart/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/oversabi-aunty-the-comedy-that-quietly-breaks-your-heart/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/oversabi-aunty-the-comedy-that-quietly-breaks-your-heart/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/oversabi-aunty-the-comedy-that-quietly-breaks-your-heart/?share=linkedin) - **Categories:** Reviews **Tags:** critique, directorial debut, emotional neglect, Enioluwa Adeoluwa, family drama, Mike Ezuruonye, nollywood, Oversabi Aunty, performative faith, Toyin Abraham, Yoruba-Igbo marriage --- ### [Grind Season 2 Finale Sets The Stage For Revenge](https://nollycritic.com/grind-season-2-finale-sets-the-stage-for-revenge/) **Published:** April 29, 2025 **Author:** Uju Okosieme **Excerpt:** Season 2 of Roberta Orioma’s Grind has officially wrapped with its tenth episode, and it's safe to say we’re sad to see it go **Content:** Season 2 of Roberta Orioma’s *[Grind](https://nollycritic.com/grind-season-2-episodes-6-8-review-struggles-sacrifices-survival/ "Grind Season 2 Episodes 6–8 Review: Struggles, Sacrifices & Survival")* has officially wrapped with its tenth episode, and it’s safe to say we’re sad to see it go. Throughout the season, we’ve followed the highs, lows, and survival battles of Tarela, Tiwa, and Edesiri — and in these final two episodes, their stories collide in an emotional, devastating way. Read on to see how the storylines closed and what might lie ahead. ## *Grind* Directed by: Orire Nwani and Joshua Tso-Tso Created by: Roberta Orioma Genre: Drama Released on: March 7, 2025 (Prime Video) Language: English ### Episode 9: Loss, Secrets, and Heartbreak The ninth episode delivers a heavy emotional blow. Tarela and her family are shattered after discovering that Kome has died. In the wake of her death, Kome’s father runs away, abandoning the family once again — a cruel echo of his past behaviour. Meanwhile, Kobe meets Tiwa’s father to inform him about Tiwa’s pregnancy and express his intention to support her. Tiwa catches Kobe just as he’s leaving the church, learning about his conversation with her father. Tiwa attempts to reconcile with her father, but he rejects her apology, leading to a heart attack that ultimately ends with him disowning her. A poignant flashback sheds light on Tarela’s mother’s backstory, revealing how she was expelled from her father’s home after getting pregnant with Tarela. In the same flashback, we see her early relationship with Kome’s father, who also abandoned her. In the present, she finds out Kome’s father has deserted the family yet again. Overwhelmed by grief and resentment, Tarela blames her mother for Kome’s death. Elsewhere, Edesiri learns about Kome’s passing through a call from her aunt, and Tiwa steps in to comfort the heartbroken Tarela. ### Episode 10: Grief, Choices, and New Beginnings The season finale opens with Kome’s funeral, setting a mournful tone. Edesiri makes an appearance to pay her respects, highlighting how grief has momentarily erased the divisions between the girls, but Tarela is not welcoming. The tension escalates when the loan shark visits Tarela’s mother, demanding repayment and revealing that Kome’s father not only failed to return the loan but also took even more money before disappearing. Struggling with sorrow, Edesiri leans on Somto, who warns her against getting further entangled with Andre. Meanwhile, Kobe reaches out to Tiwa, but she ends things with him, uncertain about her future and her pregnancy. Feso tries to contact Tarela but gets no response, and Tiwa wrestles with whether she should keep her baby. In a major shift, Edesiri finally tells Andre she no longer wants any part in his schemes against Tarela. Tarela returns to work, numbing her pain with drugs, and both Feso and Wole try to reach out to her, but she pushes them away. In a desperate move, Tarela’s mother seeks help from her church community to settle her debt, but she finds no support. Feeling completely abandoned, Tarela finally decides to leave home, cutting ties with her mother. Meanwhile, Tiwa finds the strength to confront her father and say goodbye, marking a significant step toward her independence. ### Grief Brings Our Leads Together These final episodes bring Tarela, Tiwa, and Edesiri together through their shared grief over Kome’s death. The longstanding enmity between Tarela and Edesiri feels almost trivial in the face of such a loss. All the tension and conflict that have driven the season converge into a singular theme: stepping out from under the control of toxic parental figures. Both Tarela and Tiwa make the painful but necessary choice to prioritise themselves, marking a turning point in their character arcs. ### A Cycle of Pain and Survival The story deepens with a crucial flashback that helps us understand Tarela’s mother in a more complex light. Like her daughter, she once tried to carve out a better future but was pushed into survival mode after her pregnancy. *Grind* continues its strength of showcasing how cycles of trauma and hardship are often repeated across generations. Though Kome’s death is shocking and shifts the course of the story, the narrative never loses its emotional grounding. ### Raw and Heartfelt Performances The emotional weight of these episodes is carried beautifully by the cast. Tarela’s mother, played by Harriet Akinola, delivers a standout performance, particularly in the scene where she breaks down crying in church after losing Kome. It’s a heart-wrenching moment that allows the audience to feel the depth of her grief. Roberta Orioma as Tarela is equally compelling, especially in the scene where she leaves her mother behind. Orioma fully embodies Tarela’s emotional numbness, refusing to be manipulated any longer. Their confrontation is one of the strongest acting moments of the season, packed with raw, layered emotion. ### Capturing Grief Up Close The final two episodes of*[ Grind Season 2](https://www.imdb.com/title/tt25966838/ " Grind Season 2")* make excellent use of close-up shots to capture the characters’ grief and emotional disconnection. These choices amplify the tension and sadness without relying heavily on dialogue. ### A Sorrowful, Unexpected Turn Kome’s death was a shocking narrative decision that changed the trajectory of the season. Characters like Tiwa’s father and Tarela’s mother, who both allowed rigid religious beliefs to cloud their judgment, remain frustratingly stagnant even in the face of tragedy. Tarela’s emotional regression after losing her sister is understandable, though it’s a heartbreaking shift after all the progress she had made. Instead of heading toward triumph, the season closes on a darker, vengeful note — and it’s all the more powerful for it. Tarela’s vow at Kome’s grave signals that her journey is far from over, and Season 3 promises a Tarela who is less naïve, more hardened, and ready to fight back. ### Verdict These last two episodes of *Grind* are soaked in grief, regret, and hard-earned decisions. They serve as a fitting and emotional conclusion to a turbulent season, while also planting the seeds for a darker, more explosive future. These episodes felt like a logical conclusion to the season and have earned a solid 3.5 out of 5 stars. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/grind-season-2-finale-sets-the-stage-for-revenge/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/grind-season-2-finale-sets-the-stage-for-revenge/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/grind-season-2-finale-sets-the-stage-for-revenge/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/grind-season-2-finale-sets-the-stage-for-revenge/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/grind-season-2-finale-sets-the-stage-for-revenge/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Grind Season 2, nollycritic, Prime Video, Roberta Orioma --- ### [Grind Season 2 Episodes 6–8 Review: Struggles, Sacrifices & Survival](https://nollycritic.com/grind-season-2-episodes-6-8-review-struggles-sacrifices-survival/) **Published:** April 14, 2025 **Author:** Uju Okosieme **Excerpt:** As Grind inches toward its finale, Episodes 6 to 8 heighten the stakes and emotional weight for Tiwa, Tarela, and Edesiri. **Content:** As *[Grind](https://nollycritic.com/grind-season-2-episode-4-and-5-review-two-new-episodes-more-drama/ "Grind Season 2 Episode 4 and 5 Review: Two New Episodes, More Drama")* inches toward its finale, Episodes 6 to 8 heighten the stakes and emotional weight for Tiwa, Tarela, and Edesiri. What begins as a glimmer of hope for a better future quickly spirals into heartbreak and hard choices, as we watch each woman pushed further by circumstance, betrayal, and desperation. ### Episode 6: Exposed Truths and Breaking Points Tarela is robbed at the beginning of *Grind* S2 episode 6, but Tiwa and Kobe rush to her rescue after the perpetrators let her go. Shockingly, Edesiri later calls Tarela to reveal she was behind the attack. While Tarela tries to recover, Wole shows up at Kobe’s house and reminds her of his feelings, though he still isn’t ready to leave his fiancée. Tiwa’s relationship with Kobe remains strained, and her attempt to break into the music industry hits a snag when a producer tries to take advantage of her. Elsewhere, Kome’s father wins some money and squanders it at the bar. He later pressures Tarela’s mum to hand over her savings by promising marriage. Meanwhile, tensions boil over at Edesiri’s boutique opening when her mother and aunt crash the event, and later that night, a drunken Edesiri confronts Tarela and Somto, revealing that Somto was the one who framed Tarela at her previous club. Tiwa also tells Chief that Tarela no longer works at the club when he asks after her. ### Episode 7: Hard Realities and New Beginnings Kome is hungry and struggling to get through the school day. At home, there’s no food or money. Tarela’s life briefly brightens when she learns she passed her post-UTME exams and gained admission. She also goes on a second date with Feso, who tells his sister how deeply he cares about her. But even in this moment of hope, she faces rejection while searching for housing because she doesn’t have a male guarantor. Edesiri’s troubles catch up with her when she tries to frame Ruby for stealing Alex’s wristwatch. Ruby cunningly turns the tables, and the watch (plus some drugs) is found in Edesiri’s bag. She’s promptly kicked out. Meanwhile, Tarela tells her boss about her admission and asks to work in shifts. Tiwa’s health deteriorates, and she’s advised to take a pregnancy test. At the end of the episode, Tarela returns home to a sickly Kome and a mother relying more on prayer than medical help. ##### Episode 8: A Price Too High Kome is rushed to the hospital, and Tarela tries to get in touch with Tiwa, who’s been unresponsive. She goes to the Chief to explain her situation, hoping for financial support, but he asks for sex in exchange. Her mother also pleads with Kome’s father, who has no money. As Tarela becomes increasingly desperate, she confronts Andre, who’s been using her for his gain, and he too refuses to help unless she sleeps with him. In a gut-wrenching turn, Tarela gives in and sleeps with the Chief to secure the funds needed for Kome’s surgery. Meanwhile, her mother takes out a loan, unaware that Tarela has already gotten the money. After Kome is treated, Tarela’s mother asks Kome’s father to return the loan money, but he returns to the loan shark for even more cash. Tiwa finally tells Kobe she’s pregnant and expresses a desire to terminate, while he urges her to keep it. Somto starts making new moves at the club, and Edesiri reconnects with Andre. ### Female Struggles and Repeated Cycles The plot deepens its focus on the day-to-day realities of women trying to build something better in the face of betrayal, poverty, and manipulation. Tarela, Tiwa, and Edesiri each face consequences tied to the systems and people around them. But while these episodes are emotionally heavy and sometimes compelling, the motivation behind some actions, like Edesiri’s obsessive targeting of Tarela, still isn’t clear. ### Strength in Survival, But Little Growth There’s power in watching these women try to move forward, but it becomes frustrating when some characters, like Tarela’s mum, continue to make the same mistakes. Whether it’s giving money to a man who’s proven unreliable or expecting miracles from prayer alone, her character remains static. The show portrays hardship well, but character evolution is lacking, which reduces the long-term emotional payoff. ### Quiet Power and Explosive Emotion Roseanne Chikwendu (Edesiri) is commanding during her drunken confrontation with Tarela and Somto in Episode 6. Rose Phillips as Kome is the quiet star of Episode 7—her hunger and helplessness come through with heartbreaking authenticity. Roberta Orioma (Tarela) also has standout moments, particularly in the scene where she walks into her new school. Without saying a word, she captures the weight of her struggle and hope. ### Simplicity With Impact *[Grind](https://www.imdb.com/title/tt25966838/ "Grind")* maintains its bold, saturated look, especially in club scenes. But it mostly plays things safe visually. One exception is a standout shot in Episode 7 when Tarela walks into the university for the first time since her admission. The framing and lighting give the moment emotional depth and a cinematic quality, perfectly underscoring what the moment means for her. ### Building Toward the Breaking Point The flashbacks we got earlier in the show now feel forgotten, making their inclusion seem random rather than meaningful. It’s especially disappointing as we hoped they’d give us more insight into Edesiri and Tarela’s history. The decision to have Tarela go to men like Chief and Andre when she’s in desperate need, instead of people like Feso or Wole, is frustrating—even if it speaks to how much power imbalance still rules her world. At this point, if Tarela’s mother doesn’t learn, she may never. Still, the show deserves credit for spotlighting new talent, particularly women. It continues to showcase promising performances even when the storylines falter. ### Verdict These three episodes of *[Grind](https://nollycritic.com/grind-season-2-episode-4-and-5-review-two-new-episodes-more-drama/ "Grind")* S2 push the story forward and pack an emotional punch. There’s more depth, more conflict, and slightly better pacing than earlier episodes, though we’re still contending with stagnant character arcs and questionable motivations. Overall, a marked improvement, earning them a rating of 3.5 out of 5. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/grind-season-2-episodes-6-8-review-struggles-sacrifices-survival/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/grind-season-2-episodes-6-8-review-struggles-sacrifices-survival/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/grind-season-2-episodes-6-8-review-struggles-sacrifices-survival/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/grind-season-2-episodes-6-8-review-struggles-sacrifices-survival/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/grind-season-2-episodes-6-8-review-struggles-sacrifices-survival/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews, TV **Tags:** Grind Season 2, nollycritic, nollywood, Prime Video, Roberta Orioma, Rose Phillips, Roseanne Chikwendu --- ### [The Plan: A Promising Thriller That Fizzles Out](https://nollycritic.com/the-plan-a-promising-thriller-that-fizzles-out/) **Published:** February 12, 2025 **Author:** Uju Okosieme **Excerpt:** The Plan', created by Dimbo and Karachi Atiya, recently popped up on our Netflix explore page, and we couldn’t help but wonder.... **Content:** ‘[The Plan](https://www.imdb.com/title/tt26628819/ "The Plan")‘, created by Dimbo and Karachi Atiya, recently popped up on our Netflix explore page, and we couldn’t help but wonder—why haven’t we heard about this before? Naturally, we had to check it out and share our thoughts. ## *The Plan* Created by: Dimbo Atiya, Karachi Atiya Written by: Abiodun Cassandra Kuforiji Genre: Drama Released date: February 2, 2023 (Netflix) Language: English ### Plot The show follows Karama, Atika, and Mairo, three close friends caught in a web of secrets, betrayal, and survival after Karama’s husband, Alhaji, is accused of embezzlement. When Alhaji dies suddenly, his hidden stash of stolen gold becomes a dangerous asset that everyone is after. Karama entrusts the gold to her two best friends, but things quickly spiral out of control. Atika, struggling with her own demons, and Mairo, hiding a fake pregnancy, make choices that complicate their already precarious situation. Meanwhile, Ak, a determined outsider with a grudge against Karama’s family, finds himself entangled in their affairs. As the episodes progress, alliances shift, secrets unravel, and shocking revelations come to light—including the ultimate twist: Alhaji faked his death, but Karama was always one step ahead. ### Story At its core, ‘The Plan’ follows a familiar Northern Nollywood formula—corruption, betrayal, and power struggles. While the premise had potential, the execution left much to be desired. The pacing is inconsistent; major events happen abruptly without proper buildup, making time jumps feel confusing. For example, Atika suddenly waking up tied up next to a dead man should have been a gripping moment, but the lack of context made it fall flat even though it was eventually explained. Similarly, Tanko’s secret second family and Nelson’s past interest in Mairo come out of nowhere, lacking the proper setup to make them feel impactful. The storytelling relies heavily on last-minute twists rather than carefully crafted suspense, which weakens the overall narrative. While the final reveal—that Karama was the mastermind all along—was satisfying, it wasn’t enough to redeem the disjointed journey that led there. ### Performances The performances in ‘The Plan’ are solid but not particularly memorable.[ Rahama Sadau](https://nollycritic.com/?s=rahama+sadau " Rahama Sadau") delivers a palpable performance as Karama, consistent with what we’ve seen from her in the past. Mofe Duncan (Nelson) and Paul Sambo (Tanko) also maintain their usual acting standards. Rosaline Meurer, Onyinye Ezekiel, and Adam Garba round out the main cast as Atika, Mairo, and Ak, respectively, but none of them leave a lasting impression. There is no standout performance that elevates the material beyond what’s on the page. ### Technical Aspects The cinematography is functional but uninspired—there’s nothing visually striking about how the story is presented. Sound design helps set the mood, but the choices feel generic rather than uniquely enhancing the storytelling. One notable moment is Atika’s possession scene, which comes across as more awkward than eerie due to questionable execution. ### Final Thoughts Northern Nollywood productions tend to feature the same faces and similar storylines, and ‘The Plan’ is no exception. While the supernatural element of Atika’s possession was an interesting touch, it wasn’t fully explored in a way that made it feel integral to the story. The show’s biggest flaw is that it doesn’t fully engage the audience until the final few minutes of the last episode—by then, it’s too little, too late. The biggest reveal, that Karama had been orchestrating events behind the scenes with her uncle Baba Jodda, her brother Nasir, and Nelson, was a strong twist. However, the lack of depth in earlier episodes made it feel less impactful than it should have. The ending leaves room for a potential second season, but with Nollywood’s track record when it comes to series, who knows if that will happen? ### Verdict ‘The Plan’ struggles to hold attention due to its uneven pacing and lack of emotional investment in its characters. While the final twist adds some intrigue, it doesn’t make up for the frustrating storytelling choices. At just five episodes, it’s a quick watch—but you’re not missing much if you skip it. The show has earned itself a rating of 2.75 stars. **Rating**: 2.75/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-plan-a-promising-thriller-that-fizzles-out/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-plan-a-promising-thriller-that-fizzles-out/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-plan-a-promising-thriller-that-fizzles-out/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-plan-a-promising-thriller-that-fizzles-out/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-plan-a-promising-thriller-that-fizzles-out/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews, TV **Tags:** Ali Nuhu, Mofe Duncan, Netflix, nollycritic, nollywood, Paul Sambo, Rahama Sadau, Reviews, The Plan --- ### [The Party: Secrets Come To Light in This Murder Mystery](https://nollycritic.com/the-party-secrets-come-to-light-in-this-murder-mystery/) **Published:** June 2, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The Party settled into the realm of comfortable intrigue rather than thrilling suspense. This limited mini-series, lasting just over two hours in total, **Content:** The trailer promised tension. The opening delivered it. But somewhere between the second wine glass and the final frame,[ *The Party* ](https://www.imdb.com/title/tt30441845/ " The Party ")settled into the realm of comfortable intrigue rather than thrilling suspense. This limited mini-series, lasting just over two hours in total, introduces a whodunit premise that’s well-contained, well-produced, and moderately engaging. Directed with visual coordination and backed by a sharp ensemble cast, the show doesn’t entirely commit to edge-of-your-seat pacing. Still, it holds enough curiosity to keep you watching. ## *The Party* Directed by: Yemi Morafa Written by: Stephen Okonkwo/Ajayi Ope Genre: Murder-Mystery Released on: May 30, 2025 (Cinemas) Language: English, Yoruba ### Truths, Toasts, and Twists: The Mechanics of the Murder Mystery *[The Party](https://nollycritic.com/the-party-shocking-secrets-unfold-in-new-nollywood-thriller/ "The Party")* kicks off with a birthday toast. Moments later, the celebrant, Akinbobola (Kunle Remi), known to many as Bobo, is found lifeless in a swimming pool. A socialite dies at his own party, and everyone in the room becomes a suspect. The format follows a traditional whodunit structure, relying on flashbacks and shifting narratives to gradually peel away the lies, jealousy, and personal motives circling the victim. This structure is cleanly executed, even if it occasionally slips into melodrama. By grounding each episode in perspective-driven storytelling, the series leans on the Rashomon effect, a narrative device where events are relayed through different, and sometimes contradictory, accounts. This was done sparingly. While this technique enriches some characters, such as the unpredictable neighbour Alhaji (Femi Branch), whose moral ambiguity deepens depending on who’s watching him, it flattens others, especially when the plot insists on turning obvious setups into late-game reveals. One such example is the two wine glasses—a dead giveaway that made the final twist easy to anticipate. ### Framing Guilt, Deflecting Blame Much of the second episode builds around a character assassination orchestrated by Bobo’s parents, played by Shaffy Bello and Bimbo Manuel. Kehinde Bankole’s Motunrayo, the grieving wife, becomes the prime suspect by suggestion rather than fact. The emotional realism in Bello’s performance, highlighted by subtle choices like smudged eye makeup under raw, tear-reddened eyes, feels compelling. In contrast, Bimbo Manuel’s performance is rigid and redundant, with awkward self-translation of Yoruba dialogue that disrupts flow. His character’s loud and suspicious behaviour remains unchecked in the script, which undermines the intelligence of other investigators. One of the show’s more frustrating flaws lies in its treatment of logic and sound. A “private” conversation between the grieving parents and the lead detective Moshood (Yomi Fash-Lanso) is staged in a room that—based on an edit—appears to be separate. But the next cut reveals they were never alone. Yet, somehow, no one hears the loud scheming happening within earshot. It’s these gaps in mise en scène continuity and auditory realism that dull the story’s believability. ### Performances, Power Plays, and Perspective Casting was solid. Femi Branch’s Alhaji is a standout; complex, unbothered, humorous, and at times, dangerous. He owns every scene he enters. Kunle Remi plays Bobo with enough mystery that his unreadable disposition suits the role. Whether this was a performance choice or a gap in direction is unclear, especially when his nonchalance after his infidelity is revealed feels slightly unearned. Bankole, on the other hand, balances vulnerability and defiance, creating one of the more layered portrayals. Etim, a secondary investigator played by a younger actor, is a mixed bag. His gum-chewing persona makes him instantly unlikeable, and though he redeems himself with his loyalty to a partner with a troubled past, his presence adds more tonal confusion than substance. Still, the way the partner’s trauma is introduced through non-verbal sound cues and fragmented memory, a rare use of auditory storytelling, is one of the film’s more intelligent techniques. ### Composition Over Shock: When Vision Outpaces Drama From a technical standpoint, *The Party* is impressive. Camera angles, compositions, and transitions are used smartly to reinforce tone. The cinematography enhances genre without trying too hard. The interrogation sequences are especially well-framed, heightening tension even when the dialogue falls flat. This isn’t a case of style over substance, the style actually adds to the experience. But the substance doesn’t always rise to meet it. The look and feel also matches the genre. Despite these strengths, the ending falters. While the filmmakers seemed to know exactly how they wanted it to look, they didn’t know how to close it. Questions linger—not because they’re supposed to, but because they were never properly addressed. What was the killer’s true motive? Why was a key clue overlooked by every detective except the audience? This lack of resolution turns what could have been a tight, elegant finish into a shrug for a cliffhanger teasing for a potential season. ### Final Thoughts: Drama, Bias, and a Hint of the Familiar What *The Party* offers is a drama comedy dressed as a thriller, one that hints at deeper commentary about power, class, and credibility within Nigerian society. It never quite weaponises these themes in a way that truly stings, but it gestures toward them, and that matters. The film taps into the idea that wealth can cloud judgment, and that grief can be performative when self-interest is at stake. However, there’s also an underlying irony that makes the whole thing feel more performative than penetrating. The film’s biggest twist is not who committed the crime, but how casually everyone else tries to deflect from it. It is a quiet reminder that justice in a world like this often serves convenience over truth. The show gives us a murder mystery, yes, but also a glimpse into the theatre of mourning and the politics of blame. Just don’t expect it to linger too long after the final frame. ### Verdict *The Party* massive upgrade on all Nollywood’s murder-mystery since Kunle Afolayan’s *October 1.* A stylish whodunit with better direction than deduction. Watchable and enjoyable, but it leaves you with more sighs than shocks. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-party-secrets-come-to-light-in-this-murder-mystery/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-party-secrets-come-to-light-in-this-murder-mystery/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-party-secrets-come-to-light-in-this-murder-mystery/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-party-secrets-come-to-light-in-this-murder-mystery/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-party-secrets-come-to-light-in-this-murder-mystery/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Popular reviews, Reviews, TV **Tags:** Bimbo Manuel, Comedy, crime drama, Femi Branch, Kehinde Bankole, kunle remi, murder mystery, Netflix, Nigerian mini-series, nollycritic, nollywood, Nollywood 2025, Shaffy Bello, suspense, whodunit, Yomi Fash-Lanso --- ### [Reverse: A Poignant Message Drenched in Madness and Delay](https://nollycritic.com/reverse-a-poignant-message-drenched-in-madness-and-delay/) **Published:** May 24, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Reverse opens with the kind of upbeat chaos that would almost convince you you’re watching comedy. First, from the drama... **Content:** From the mind of co-producers Linda Ikeji and Dami Dawson, and director Bryan Dike, *[Reverse](https://m.lindaikejisblog.com/index.php/2025/5/linda-ikejis-reverse-is-the-twist-nollywood-has-been-waiting-for.html "Reverse")* opens with the kind of upbeat chaos that would almost convince you you’re watching comedy. First, from the drama: a happy family, then there’s Instagram Live, sisterly banter, a late errand, and then everything moves like it’s playing for laughs. But this film is smarter than that. What seems like poor time management spirals into a full-blown moral collapse. It’s about selfishness, negligence, and karma—one that doesn’t knock. It slaps. And even though the journey is frustrating, *Reverse* manages to leave its mark. If only it stopped talking when it had said enough. ## *Reverse* Directed by: Bryan Dike Written by: Linda Ikeji Genre: Drama Released on: May 16, 2025 (Cinemas) Language: English ### When Comedy Walks Into Chaos Ifeoma Hart (Hilda Dokubo), a working mother, preparing to head out. She asks her first daughter Edna (Ruby Precious Okezie), a social media influencer, to run an errand. Edna agrees. But after Ifeoma leaves, her boyfriend shows up. She’d rather be alone with him, so she lies—telling her younger sister Rita (Susan Pwajok) that their mum wants her to go instead. Rita, unknowingly, walks into a disaster. This first half plays as a fun comedy with the visuals equally supporting it. The story is pile up with delays, and it’s for a good reason. And while some of it is genuinely funny, it goes on far too long. What happens after Rita gets into trouble feels like a familiar dream. You have an 8 am exam, but for some reason your dad can’t find his socks by 10 am! The film plays on this tension, making the viewer feel trapped in a slow-burning farce. This can either frustrate you even while it’s interestingly comedic. ### When the Joke Isn’t a Joke Anymore Then comes the shift. A major event. The film rewinds—literally. It walks us back through the chain of events, showing how Rita’s misfortune is a product of selfishness and carelessness. Suddenly, what felt like senseless delays and errors begin to carry moral weight. And *Reverse* makes its point very clear: when you treat others with disregard, your own cries will fall on deaf ears. The most damning revelation comes from Ifeoma herself. The same woman who asked her daughter to run an errand turns out to be a hospital administrator who refuses to treat patients without deposits. Even in emergencies. The irony hits hard. She ignored others’ pain, and now, when she needs help, no one moves. As one character puts it, “people will not attend to you.” It lands. The film mirrors the very wickedness it warns against. ### Faces We Know, Roles That Matter Hilda Dokubo handles her role with calculated restraint. She convinces us twice—first as a warm mother, then as a stone-hearted bureaucrat. It’s this duality that gives the film its weight. Susan Pwajok’s Rita is the emotional spine. You feel her frustration and panic. Ruby Precious Okezie leans fully into Edna’s selfishness, and it works. The supporting cast—Kalu Ikeagwu (Uncle Jerome), Antar Laniyan, Yvonne Jegede, Chikamna RC—all play functional roles in the spiral. They’re present, but the weight lies with the three women. ### Technical Choices That Stretch the Nerve Well, of course. The [film](https://nollycritic.com/?s=film "film") is called *Reverse*. So, what do we expect? This film has too many reversals. At least twice, full scenes are rewatched just to restate a point. And the editing doesn’t trust us. Everything is over-explained. Convenient delays like Ifeoma leaving her phone behind at night in a dangerous area, which exist only to stall help and stretch tension. The moment Uncle Jerome calls, no one’s around to pick the phone. A minute saved would’ve made the difference, but the film wants us to sit in that disaster for much longer than we should. Some scenes are designed to draw empathy through repetition and delay, but they start to feel manipulative. And when the film should wrap, it introduces even more characters, more drama, more moral shouting. The message was already clear immediately after after one instance where Ifeoma’s duality is exposed. ### Final Thoughts *Reverse* is built on a strong idea. The descent from comedy to consequence is one of its most powerful moves. It’s not tone-deaf. It knows exactly when to shift gears. But it doesn’t know when to stop. The film exhausts the audience with repeated warnings, extra scenes, and forced emotion. The premise is smart. The execution, unfortunately, doesn’t trust its own strength. ### Verdict A brilliant message buried under too much tension and delays. The experience can feel a bit stressful in both a good and bad way. If *Reverse* ended when it should have, it would’ve hit harder. **Rating**: 3.1/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/reverse-a-poignant-message-drenched-in-madness-and-delay/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/reverse-a-poignant-message-drenched-in-madness-and-delay/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/reverse-a-poignant-message-drenched-in-madness-and-delay/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/reverse-a-poignant-message-drenched-in-madness-and-delay/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/reverse-a-poignant-message-drenched-in-madness-and-delay/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Bryan Dike, Dami Dawson, family, Hilda Dokubo, Kalu Ikeagwu, karma, Linda Ikeji, Nigerian Film Review, Reverse, Ruby Precious Okezie, Susan Pwajok --- ### [Her Excellency: Sola Sobowale Gives Dominance a New Look](https://nollycritic.com/her-excellency-sola-sobowale-gives-dominance-a-new-look/) **Published:** July 14, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Her Excellency proves Sola Sobowale is the queen of powerful monologues, turning them into unforgettable moments on screen. **Content:** After an eight-year hiatus, Sola Sobowale’s return to Nollywood has been marked by powerful performances, including Eniola Salami in *[King of Boys](https://nollycritic.com/kemi-adetiba-begins-production-for-king-of-boys-3/)* and Awarun in *[Aníkúlápó](https://en.wikipedia.org/wiki/An%C3%ADk%C3%BAl%C3%A1p%C3%B3)*. In [*Her Excellency*,](https://www.imdb.com/title/tt37455228/ "Her Excellency,") she steps into the role of Moyeni, once again asserting her screen dominance. Directed by Adebayo Tijani and Tope Adebayo Salami—renowned for their collaborations in the indigenous film space—the film premiered in cinemas nationwide on July 4, 2025. *Her Excellency* also serves as a tribute to Oga Bello (Adebayo Salami), celebrating his 60-year milestone in Nollywood. ## *Her Excellency* Directed by: Tope Adebayo and Adebayo Tijani Produced by: Adebayo Salami Genre: Drama Released on: July 4, 2025 (Cinemas) Language: English ### **A First Lady’s Downfall in a State of Chaos** Set against the backdrop of Nigeria’s sociopolitical climate, *Her Excellency* tells the story of Moyeni (played by Sobowale), a deeply distrusting First Lady whose obsessive quest for control, both at home and in governance, triggers a chain reaction of chaos. The film explores powerful themes including jealousy, distrust, anger, corruption, and greed. As a drama, it delivers well within its 1-hour and 55-minute runtime. ### **A Marriage Strained by Paranoia** Moyeni has been married to the Governor of Salim State (played by Yemi Solade) for over two decades, yet she remains suspicious of his loyalty. Through the use of flashbacks, a violent confrontation occurs where she accuses him of infidelity and physically assaults him, leaving a visible scar. Despite years of spying and finding no proof, Moyeni remains convinced he is romantically involved with a commissioner he refuses to dismiss. Her paranoia drives the plot and raises questions about whether jealousy is always rooted in betrayal, or if it sometimes stems from unresolved trauma or personal insecurity. Ironically, the Governor eventually commits the very act he was long accused of. He justifies his affair as a result of emotional pressure from his wife, though he had never expressed any desire for separation or divorce. Instead, he escalates the situation by inviting a new woman into their already troubled marriage. ### **Sobowale Shines, Surrounded by a Strong Ensemble** Sobowale delivers a masterclass in performance, embodying Moyeni with just the right balance of rage, vulnerability, and cunning. Yes, we it might seem like yet again she is playing something familiar which is dominance. But this Two standout scenes are her monologues. In both, she speaks to herself as if another presence is in the room. It’s in these moments that she truly reveals fear, anxiety, and vulnerability—an added depth compared to her usual dominant roles. These monologues create an unspoken connection with anyone who’s felt cheated, played, or betrayed. They serve as a subtle plea for understanding, framing her actions as a response to the cruelty she’s endured from men. Sobowale and Solade delivered a convincing performance as a distressed couple. They understood each other’s silence and complemented one another, even in conflict. Their arguments weren’t just loud or chaotic—they revealed pain, disbelief, and a pull between peace and turmoil. Both actors maintained distinct tones in their interactions, and the emotional intensity never waned. The ensemble cast also shines. Notable performances come from Adebayo Salami, Bimbo Ademoye, Faithia Balogun, Muyiwa Authentic, Kiekie, and Aisha Lawal. Though a few minor characters like the children and the thugs fall short. However, the direction and editing ensures that their weaker moments don’t distract from the film’s overall strength. But its worth noting that extra characters often receive less attention in execution, which can lead to noticeable gaps or flaws. ### **Language, Visuals, and the Final Blow** One potential barrier for non-Yoruba speakers is the film’s heavy use of the Yoruba language—something that’s made clear from the trailer. But a detailed subtitle would make it suitable for even non-Yoruba speakers. The film boasts impressive cinematography, with thoughtful scene composition and atmospheric lighting. A standout moment comes in the final scene: as Moyeni faces arrest, the use of smoke and lighting captures the emotional weight of her downfall with haunting beauty. Every scene at the governor’s office was very beautiful to watch because of the colour and setting it had. Another noteworthy aspect is how potential loose ends were neatly tied up—the scar on the governor’s head, the bracelet left at the scene, and the story the First Lady watched. These elements reflect the story’s attention to detail and the strong synergy between continuity and editing. However, like in many Nigerian films, the crime scenes in this film suffer from weak direction and unconvincing special effects. The staging lacks depth, with poor blocking and limited camera movement that fail to build suspense visually. Instead of relying on atmospheric tension or visual storytelling, these scenes depend heavily on loud sound design—often using exaggerated noises rather than realistic audio cues to convey danger or urgency. The absence of practical effects, detailed set design, and nuanced editing further strips these moments of believability, making them feel rushed and disconnected from the film’s overall tone. ### **Verdict** *Her Excellency* stands out as a strong entry in the indigenous Nollywood drama space. It delivers on its promise of political intrigue and emotional conflict. More importantly, it leaves viewers reflecting on the destructive force of unchecked power and suspicion within both public office and private relationships. **Rating**: 3.4/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/her-excellency-sola-sobowale-gives-dominance-a-new-look/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/her-excellency-sola-sobowale-gives-dominance-a-new-look/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/her-excellency-sola-sobowale-gives-dominance-a-new-look/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/her-excellency-sola-sobowale-gives-dominance-a-new-look/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/her-excellency-sola-sobowale-gives-dominance-a-new-look/?share=linkedin) - **Categories:** Articles, Movies, Nollywood, Reviews **Tags:** Bimbo Ademoye, Femi Adebayo, film, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Reviews --- ### [Freedom Way: An Emotionally Haunting Tale on Lagos Life](https://nollycritic.com/freedom-way-a-haunting-tale-on-lagos-life/) **Published:** July 24, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Produced and written by Blessing Uzzi, Freedom Way has officially set sail in Nigerian cinemas after an impressive festival run. **Content:** *[Freedom Way](https://en.wikipedia.org/wiki/Freedom_Way "Freedom Way")* has officially set sail in Nigerian cinemas after an impressive festival journey. It does live up to the expectations and the suspense it has left the audience feeling. Produced and written by renowned filmmaker Blessing Uzzi — known for *9:07*, *No Man’s Land*, *I Hate It Here*, *A Quiet Monday*, and *[Zikoko Life](https://nollycritic.com/zikokos-new-short-whats-left-of-us-is-a-quiet-rebellion/ "Zikoko Life")*. It premiered at the Toronto International Film Festival (TIFF) in September 2024, screened at the African International Film Festival (AFRIFF) in November (where it won the Special Jury Award), and closed the year at the Red Sea International Film Festival in Saudi Arabia. In May 2025, *Freedom Way* swept the AMVCAs, winning Best Writing and Best Movie. ## *Freedom Way* Directed by: Afolabi Olalekan Written by: Blessing Uzzi Genre: Drama Released on: July 18, 2025 (Cinemas) Language: English, Yoruba **A Story Rooted in Nine Stories that Mirror People We Are or We Know** Directed by Afolabi Olalekan in his feature debut, the film presents a tightly woven story about nine individuals caught in the chaos of Lagos and the consequences of unjust laws. At the center of the story are Tayo and Themba, two tech entrepreneurs who launch a ride-share app for motorcyclists. But in typical fashion, things in Nigeria shift quickly. A sudden motorcycle ban threatens to wipe out their company overnight — not due to bad decisions, but due to erratic government policies that benefit the wealthy and hurt everyday citizens. Among those affected is Abiola (played by Mr Macaroni), a struggling motorcycle rider who loses his only source of income. With a family to care for, he spirals into desperation. After a tense encounter, he accidentally fires a gun, striking a young woman out jogging to meet her boyfriend. Panicked, he flees with his family. Tayo and Themba soon stumble upon the injured woman. After much debate — haunted by their own recent police harassment — they rush her to a hospital. But the hospital refuses to treat her without a police report, and she dies. The pair go from Good Samaritans to murder suspects. Meanwhile, Abiola’s attempt to disappear fails, and the corrupt officer involved is eventually apprehended. *Freedom Way* masterfully explores themes of police brutality, unjust laws, economic inequality, and the everyday frustrations of Nigerian youth. Despite tackling multiple storylines, the film ties them together with remarkable clarity. Abiola, for example, unknowingly becomes a victim of Tayo and Themba’s persecutor. The business rival who hijacked their startup turns out to be the father of the woman Abiola shot. Her boyfriend? The very doctor whose hands were tied due to restrictive hospital policies. The film captures the chaotic period of the motorcycle ban and the ongoing police harassment faced by Nigerian youth. The tension is deeply familiar — a painful reminder of how Nigeria can happen to anyone. What sets *Freedom Way* apart is how truthfully and boldly it tells its story. While many Nollywood films shy away from depicting police oppression in full, this one does not.However, the prevalent struggle is the narrative overload. So, in the bid to juggle several plot threads, it leads to a narrative that sometimes feels overstuffed. Almost like the weight of all the individual stories it tries to highlight drags it down at some point. This grows into a staggering pace at some point, where it feels like some scenes are dragged out more than they need to be. For example, scenes when Abiola debates the struggle of not getting any “booksing”, drop the momentum that the plot already holds. As well as the scene to which Tayo and Themba discuss with their investor, yes, crucial but could have been done in a quick pacing, where the plights too which they face don’t get watered down. **Adebowale Adebayo Sets Aside Mr Macaroni Persona to Deliver Cinematic Brilliance** This story thrived due to the spot-on casting decisions that were made, from the trio of friends (Themba, Bayo and Eddie) down to the politician (Akin Lewis). At the top of the list is Adebowale Adebayo, who is popularly known as Mr Macaroni. His character as a struggling father is very much seen as opposed to his online skit character that we may be used to. His confidence masks the fact that this project was his first time riding a motorcycle. We follow through from his joyful nature at home, his hustle spirit at work, the pain of suffering and the innocence of being caught. A standout scene would, in fact, be a silent one, when he returns home after being bailed from prison. Although he said nothing, his expressions and gestures properly communicated everything that needed to be said. As if word for word, one could tell exactly what played in his mind. Femi Jacob’s role as the cruel police officer also leaves one wondering how he could depict such cruelty so effortlessly. That’s exactly what a good performance should do. His under-breath yet authoritative tone resonates very deeply with the realities of his character. Jacob has in the past had a catalogue of amazing deliveries, but this one stretches his versatility even further. Meg Otanwa, too, might seem like a quiet character because she plays a supporting role. However, most actors who are used to being leads have often struggled with overshadowing the leads. But that’s not Otanwa’s case, her role yet silent but truly seen in the real sense. Mike Afolarin’s character failed to deliver all that it required and this stems from a lack of depth to his own individual story. This goes back to the fact that his story was one of the ones that was visibly neglected. And then a very clear detachment from the role and his person. However, if well executed his character would have helped speak so much volume on the “Japa” crisis and the situations fueling it., It’s truly a well-packed performance from every single one, and hard to pick any favourites. **Technical** **Excellence that allows its Story to linger in one’s mind** Some of the most beautiful takes in this feature would be the Night scenes. For one, they had a way of capturing Lagos as it truly is in those specific areas. Preserving the yellow streetlights, the empty, hallowed way the streets and corners look at the peak of the night does give it that extra feel of truth. Oftentimes, one of the struggles of night scenes has always been the way the dark skin tones come out looking awkward. But this time, Kabelo and Muhammed Attah did justice to the lighting used and the cast as well. Basically, turning a visual detail that Nollywood often struggles with into a piece of cake. *Freedom Way* also shines through its rich and distinctive musical score. A thoughtfully curated soundscape that deepens the emotional weight of the story. The music doesn’t just accompany the narrative; it elevates it, amplifying the performances and pushing the audience closer to the film’s raw core. At certain moments, the blend of acting, storytelling, and music becomes so powerful, it could easily bring you to tears. So yes, keep some tissues close. **Final Thoughts** It’s still a huge debate on whether or not *Freedom Way* was , the best movie for the year 2024. And this isn’t a question of its quality but the fact that only a few members of the Nigerian audience had seen it. Also, Adebayo (Mr Macaroni) is proof that, truly, one’s online character as a skit doesn’t have to be the only identity as an actor. And truthfully, proper training and intentionality do go a long way into quality. Timi Dakolo’s strong vocals in the final scenes echo like a lament for the nation. Voicing the exhaustion, emptiness, and silent frustration that so many Nigerians carry daily. It’s a subtle yet piercing question: Why is this country really like this? And yet, it resonates so deeply, it stirs something within. A quiet urge to act, to care, to hope. **Verdict** A powerful testament to the fact that Nigerian stories can be told with both emotional authenticity and technical brilliance. It boldly affirms that our lived realities, histories, and cultural nuances are not only worthy of being seen but also of being celebrated on a global platform. More than just a film, it’s an experience. One that leaves a lasting impression and reminds viewers of the power of storytelling in shaping identity and inspiring change. For anyone seeking a meaningful time at the cinema, *Freedom Way* is essential viewing. And beyond the screen, it serves as a quiet yet stirring call for us all to continue striving, in our own ways, toward the freedom and nation we deserve. **Rating**: 4.05/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/freedom-way-a-haunting-tale-on-lagos-life/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/freedom-way-a-haunting-tale-on-lagos-life/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/freedom-way-a-haunting-tale-on-lagos-life/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/freedom-way-a-haunting-tale-on-lagos-life/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/freedom-way-a-haunting-tale-on-lagos-life/?share=linkedin) - **Categories:** Articles, Popular reviews, Reviews **Tags:** AFRIF, Akin Lewis, AMVCA, Bimbo Akintola, Blessing Uzi, Femi Jacobs, film, Jesse Suntele, Meg Otanwa, Mike Afolarin, Mr Macaroni, nollycritic, nollywood, Teniola Aladese, TIFF2024 --- ### [The Herd Turns Real-Life Fears Into a Heart-Pounding Cinematic Experience](https://nollycritic.com/the-herd-turns-real-life-fears-into-a-heart-pounding-cinematic-experience/) **Published:** October 20, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nigerian actor Daniel Etim-Effiong makes his big-screen directorial debut with The Herd. The feature premiered worldwide earlier this year at the... **Content:** Nigerian actor Daniel Etim-Effiong makes his big-screen directorial debut with *The Herd*. The feature premiered worldwide earlier this year at the Marché du Film segment of the [Cannes Film Festival](https://www.festival-cannes.com/en/press/press-releases/the-films-of-the-official-selection-2025/). And was released across cinemas nationwide on October 17, 2025. The title is also one of [FilmOne Entertainment’s](https://nollycritic.com/heres-a-recap-of-the-annual-filmone-exhibitors-showcase/) final releases for the year 2025. The film sends a powerful message to the industry, showcasing Etim-Effiong’s impressive skill behind the camera. Beyond that, it delivers a thought-provoking commentary on the nation’s growing insecurity. *The Herd* isn’t just another crime thriller—it’s a cinematic call to action. ## ***The Herd*** Directed by: Daniel Etim-Effiong Written by: Lani Aisida Genre: Crime Thriller Released on: October 17, 2025 (Cinema) Language: English **A Thrilling Tale Anchored In Chaos and Survival** The crime thriller is set in the southwestern part of Nigeria. However, it makes an effort to tie together various cultures across the country. It tells the story of a newlywed couple and the groom’s best man, who are ambushed by a group of kidnappers. And face death if their families fail to pay the demanded ransom. Drawing from the ongoing menace of insecurity in Nigeria. The film sheds light on themes of kidnapping, love, family, and survival. It succeeds in delivering the essential elements of a crime thriller, maintaining a fast pace that keeps viewers on the edge of their seats. The story unfolds in a linear style, which helps to make the chaos less confusing and easier to follow. However, in its attempt to tell a rich and layered story, the film takes on several heavy subplots. That would have been developed into a much larger narrative. This, at times, disrupts the momentum it builds. For instance, the revelation that Gosi steals money from his company emerges amid the chaos. But eventually leads nowhere, making it feel unnecessary and unresolved. The detective’s family and financial issues could have made for some intensity for his character during the course of the drama. There is also a scripting error that nudges Gosi’s wife to head to Kogi to drop off the ransom. But ended up still being somewhere in Ekiti. That little error could have thrown the realism off a little. **An Unsatisfying End for the Villain Who Started the Chaos** The 90-minute crime thriller brings to life one of Nigerians’ greatest fears, a day of joy turning into tragedy within minutes. Fola (Kunle Remi) and Derin (Genoveva Umeh), newlyweds eager to escape their demanding relatives, leave their wedding with the help of their best man, Gosi (Daniel Etim-Effiong). But their happiness is short-lived when they, along with other motorists, are ambushed by kidnappers. Gosi narrowly escapes but returns to join the other captives taken into the forest. Fola’s attempt to flee ends in his death, leaving Derin in shock. One of the kidnappers, Yakubu (Ibrahim Abubakar), cruelly orders her to butcher her husband’s body, a gruesome task Gosi is forced to complete when she cannot. News of the abduction reaches their families, and we are introduced to the detective (Adam Garba) in charge of the case in Ekiti. The kidnappers demand ₦50 million and cigarettes as ransom. Meanwhile, Gosi’s wife battles a recurring illness, two children, and family disapproval as she struggles to raise the money. Tension grows among the kidnappers as Yakubu clashes with Halil (Abba Ali Zaky), their leader, and his wife Habiba (Amal Umar). A lead from Fola’s Apple Watch directs the police to a pastor (Lateef Adedimeji) who had bought victims’ bodies from the gang. But it soon proves a dead end when the pastor leads them astray. As Derin becomes the target of Yakubu’s twisted desire, chaos erupts within the camp. Halil is killed by his own captives, spearheaded by his wife, who is also a former captive seeking freedom. In the ensuing confusion and police intervention, which almost risks the lives of the remaining captives, Gosi and Derin are finally rescued. The ending feels somewhat underwhelming for the trail of pain and chaos the kidnappers had left. Their death felt very much less chaotic and bloody than that of their victims. Also, Derin fails to get some revenge for the death of her husband at the hands of the same Yakubu who tried to make her his. **Great Performance Hinged on New Faces on the Big Screen** When it comes to performances, one of The Herd’ss strongest achievements is its excellent casting choices. It boasts a star-studded ensemble that enhances rather than overwhelms the story, resulting in a cohesive and compelling delivery. Another commendable aspect is that some of the standout performances come from relatively new faces on the big screen, who nonetheless leave a lasting impression—even in antagonist roles. Yakubu’s character, in particular, commands a powerful presence. His hatred, anger, and motivations are vividly conveyed through his tone and actions. His unwavering loyalty to chaos and thirst for blood never falters, even in the face of imminent death. Halil, on the other hand, complements Yakubu by being dangerously soft-spoken yet calculating—a villain with a soul. The chemistry between him and his wife, played by Amal Umar, lingers long after his death. However, theirs is not a bond built on romance or genuine love, but rather on fear and a shared craving for freedom and power. Etim-Effiong also delivers a noteworthy performance, especially as he plays the dual role of directing. And then Linda Ejiofor, who plays his wife. Even miles apart, their love echoes loudly, which makes their scenes somewhat teary to watch. And then we have Derin by Genoveva Umeh, which isn’t a transformative character as we are used to seeing her deliver. But rather a silent yet very loud performance. For most of the ordeal, she is quiet and in shock, but through her expressions and mannerisms, we can feel the weight and pain which she carries. **Production Details Further Tighten The Story** When it came to elements necessary on the part of the technicalities as a crime thriller, *The Herd* also succeeds. From the special effects used during the gunshot scenes, to the gory yet almost real bloody scenes. It shows that some attention to detail was kept in the edits as well as synergizing the actors’ words and actions to some of the outcomes, like the corpses, the blood and the gunshots. There is also a good blend of theme and the score and music choices throughout. This aids the story to have some sentimental feel to it and not just another sad story. We also see some precision and careful detailing with the settings and the props, from the location choices fitting the South West, the color schemes and of course the almost too real body parts. **Final Thoughts** If there is something, *The Herd* will stir up in your heart is an anger and reflection towards the nation we call home. It raises the question of: What if Nigeria happens to me or my loved ones? The common phrase used to say what if I find myself in a situation caused by the failings of the system I find myself in. Also, why couldn’t Derin rip her wedding gown to make the possibility of escape somewhat easier, as it proved to be a major blockage several times? **Verdict** *The Herd* feels like a call to action, but sadly, only time can tell if it will bear fruit of possible change in our system. Although it struggles under its wings to tell it all, it still delivers a great story for all. Rating: 3.75/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-herd-turns-real-life-fears-into-a-heart-pounding-cinematic-experience/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-herd-turns-real-life-fears-into-a-heart-pounding-cinematic-experience/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-herd-turns-real-life-fears-into-a-heart-pounding-cinematic-experience/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-herd-turns-real-life-fears-into-a-heart-pounding-cinematic-experience/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-herd-turns-real-life-fears-into-a-heart-pounding-cinematic-experience/?share=linkedin) - **Categories:** Articles, Movies, Reviews **Tags:** Abba Ali Zaky, Amal Umar, Blessing Nze, Daniel Effiong-Etim, Deyemi Okanlawon, film, Filmone Studios, Genoveva Umeh, Ibrahim Abubakar, kunle remi, Laateef Adedimeji, Linda Ejiofor, Mercy Aigbe, nigerian cinema, Nobert Young, nollycritic, nollywood, Nollywood 2025, Patrick Doyle, Tina Mba, TotiToriFilms --- ### [Thicker Than Water: An Eerie Thriller on Sisters and Secrets](https://nollycritic.com/thicker-than-water-an-eerie-thriller-on-sisters-and-secrets/) **Published:** October 15, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Thicker Than Water grips with a sister's desperate search, blending drama and supernatural horror into a psychological drama in a Nigerian setting... **Content:** *[Thicker Than Water](https://nollycritic.com/thicker-than-water-see-the-trailer-for-new-nemsia-movie/ "Thicker Than Water")* grips with a sister’s desperate search, blending drama and supernatural horror into a psychological drama in a Nigerian setting. The tagline, “Sometimes, the people we’re searching for are the ones who leave behind the most haunting secrets. How far would you go to find the ones you love?” sets a tone of familial dread and escalating peril, the story a tense exploration of bonds tested by dark revelations. Directed by Yomi E. Adejumo, executive produced by BB Sasore, produced by Joshua Enakarhire, with cinematography by Daanong Dwain, the film follows Ese (Adaobi Dibor), a photojournalist uncovering her estranged sister Onome’s (Bimbo Ademoye) disappearance through a journal exposing ritual killings and eerie forces. ## *Thicker Than Water* Directed by: Yomi E. Adejumo Produced by: BB Sasore, Joshua Enakarhire Genre: Thriller Released on: October 10, 2025 (Prime Video) Language: English ### Shadows of Unspoken Bonds The emotional core of *Thicker Than Water* lies in Ese’s descent into her sister’s hidden world, her investigation a psychological spiral from curiosity to terror. Onome’s journal entries reveal a life of unspoken pain, her marriage to Ola, and a facade of normalcy masking deeper horrors. Ese’s professional resolve cracks under the journal’s revelations, her own past with Onome—flashed in smooth transitions from childhood drawings to stormy present—stirring guilt and determination. The story probes Nigeria’s cultural undercurrents, ritual killings a metaphor for societal shadows that devour the vulnerable, its subtext layered through deliberate framing that hints at unsaid fears. This introspective arc builds unease, the protagonist’s subtle reactions inviting viewers to read between lines, resonating for those who value psychological depth yet frustrating when the horror’s grip loosens. ### A Search That Twists and Terrorises Two sisters who were once so close seem to have lost their love. The plot opens with Ese arriving at Onome’s sparse apartment in Ile Agbadami, her sister missing for months, the only clue a journal chronicling Onome’s life. Entries reveal connections to supernatural occurrences. As Ese digs deeper, flashbacks blend seamlessly—childhood drawings of Ese by Onome fading into rainy reality—unveiling Onome’s marriage to Ola and the community’s hidden threats. Kazeem (Taye Arimoro) as the trusty-good-guy, present to assist, and Tiny (Tope Benjamin) emerge as shadowy figures, the investigation escalating to confrontations with ritual forces. ### Leads That Ground the Dread Adaobi Dibor’s Ese delivers a natural subtlety, her restrained reactions—glances at the camera after steamy journal entries—drawing viewers into her unease, a performance that resonates with psychological authenticity. Bimbo Ademoye’s Onome, seen in flashbacks, conveys quiet torment, her drawings of younger Ese (Diana Egwuatu) a poignant touch that evokes familial warmth amid horror. Taye Arimoro’s Kazeem brings menace, his shadowy presence heightening suspicion, while Tope Benjamin’s Tiny offers fleeting intensity. The ensemble’s simple delivery suits the thriller’s tone, but unnatural moments, like slight camera glances, jar, disrupting immersion. These performances engage, Dibor’s subtlety a standout that rewards viewers seeking depth. ### Frames That Whispers Unease Yomi E. Adejumo’s direction employs deliberate camera techniques and framings that convey more than meets the eye. Cinematography shifts smoothly between past and present, childhood memories blending with rainy reality, the transitions immersive and evocative. Sound design heightens tension, chaotic nature noises underscoring unpleasant undertones. Editing uses cutaways to maintain engagement during long dialogues. The film excels at placing viewers in Ese’s mind, especially during journal readings. As Ese sits in Onome’s apartment, editing crafts vivid reenactments, showing Onome and Ola in the same room, blending imagination with reality. In one striking moment, Ese breaks the fourth wall, glancing at the camera after a steamy journal entry, pulling us into her shock. Other reenactments occur without this break, maintaining immersion in her psyche. AI-generated visuals in the wise woman’s Yoruba tale of a goddess, a stone, and body-switching feel inauthentic, jarring against real footage. These choices craft a psychological atmosphere, the framing’s subtlety a strength that engages, though AI’s noticeability risks pulling audiences out. ### Final Thoughts There is a particular part that seems funny: why is a character still speaking after he has been shot execution-style with what appears to be a shot gun? That aside, *Thicker Than Water* delves into Nigeria’s hidden horrors, where familial bonds confront ritual shadows and supernatural whispers. The film’s layered cues pose a chilling query: can one uncover loved ones’ secrets without losing one’s own grip? Its take on unspoken traumas, from Onome’s journal to Ese’s suspicions, stirs thoughts on societal silence, the ritual ring a symbol of lurking dangers. The deliberate framing invites subtext, rewarding attentive viewers with unease, though the horror’s build risks alienating the hasty. Nollywood often fuses thriller with supernatural flair, but Adejumo’s subtlety creates space for psychological depth, urging audiences to read between lines. This film stands as a bold probe of sibling ties, its strengths resonating for horror fans, yet its flaws reveal the cost of uneven tension. ### Verdict *Thicker Than Water* grips those who relish psychological thrillers, its subtext and unease offering tense rewards. There’s certainly a lot to talk about. It suits viewers ready to unpack layers and embrace supernatural hints. This debut is not without flaws but certainly deserves attention, a chilling dive worth the edge-of-seat strain. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/thicker-than-water-an-eerie-thriller-on-sisters-and-secrets/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/thicker-than-water-an-eerie-thriller-on-sisters-and-secrets/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/thicker-than-water-an-eerie-thriller-on-sisters-and-secrets/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/thicker-than-water-an-eerie-thriller-on-sisters-and-secrets/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/thicker-than-water-an-eerie-thriller-on-sisters-and-secrets/?share=linkedin) - **Categories:** Movies, Reviews **Tags:** Adaobi Dibor, bb sasore, Bimbo Ademoye, Daanong Dwain, Damilola Ogunsi, Diana Egwuatu, Horror, Joshua Enakarhire, Pamilerin Ayodeji, psychological thriller, Taye Arimoro, Tope Benjamin, Yomi E. Adejumo --- ### [Men's Code Barely Delivers a Different Lagos Love Story](https://nollycritic.com/mens-code-barely-delivers-a-different-lagos-love-story/) **Published:** October 14, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Who knew dating could be this complicated? Men’s Code reminds us that love can indeed be tricky — especially if you’ve skipped Young Mama’s crash courses on understanding relationships. However, its storytelling delivery fails to solidify the momentum it could have built. **Content:** Who knew dating could be this complicated? [*Men’s Code* ](https://www.imdb.com/title/tt38224263/ "Men’s Code ")reminds us that love can indeed be tricky — especially if you’ve skipped Young Mama’s crash courses on understanding relationships. However, its storytelling delivery fails to solidify the momentum it could have built. ## *Men’s Code* Directed by: Chigozie Onoh Written by: Chigozie Onoh Genre: Drama Released on: October 3, 2025 (Cinemas) Language: English **Three Ladies’ Journey to Finding Answers to Troubles of the Heart** At its core, *Men’s Code* tells the tale of three women—Yvonne, Osas, and Rita—who set out to reshape their love lives. Each of them faces unique challenges: Rita is stuck in a stagnant relationship with Frank, who shows no intention of marrying her; Osas’s marriage to Anderson is falling apart following the loss of a baby and her decision to quit her job; and Yvonne, who brings the group together, has suffered repeated failures in love. Seeking answers, the women cross a river to meet Young Mama, an aged woman who promises to teach them how to keep men and turn their romantic misfortunes around. As the lessons unfold, the women experience varying outcomes. Osas, emboldened, tries withholding sex and focusing on herself, but this creates more tension at home. Rita, frustrated by her situation, begins to see her relationship deteriorate further. Yvonne, meanwhile, suddenly finds herself caught between two men—Smith and Frank—unaware that Frank is Rita’s ex. The friendships begin to fracture as secrets come to light, and the men eventually discover that the women have been manipulating them. The narrative deepens when Young Mama is revealed to be driven by her own bitterness, rooted in losing her husband to another woman. This revelation casts doubt on the validity of her teachings. Ultimately, Rita accepts Frank will not return, Osas’s marriage finds some healing, and Smith comes to realise his genuine love for Yvonne. The story intertwines themes of love, sisterhood, betrayal, secrets, gender dynamics, and faith, with a strong emphasis on the complexities of relationships and the risks of manipulation. ## How Conflict Drives the Plot Forward The plot of *Men’s Code* unfolds in a fairly structured manner. It does have a familiar premise, but the extra angle of the ladies having love lessons, would have given it a bit more flair. The film begins with an exposition that introduces the three women and their troubled relationships, establishing the motivation for their journey to Young Mama. The inciting incident occurs when the women meet the elderly guide, who begins teaching them lessons about handling men. From there, the rising action develops through the women’s attempts to apply these lessons: Rita struggles with her stagnant relationship, Osas’s strategy of withholding intimacy backfires, and Yvonne becomes entangled in a messy love triangle with Smith and Frank. These conflicts steadily escalate until they reach the climax—when the men discover they are being manipulated, leading to confrontations, broken trust, and Anderson leaving his home. The falling action follows as the women return to Young Mama, only to realize that her teachings are rooted in her personal pain rather than wisdom. At this point is where the wobble beginning because all of a sudden Young Mama’s character is portrayed as a villain. Which disconnects the fairy god-mother persona she started off with. Making things a lot more confusing and unrealistic. The narrative then moves into resolution: Rita finds closure with Frank, Osas’s marriage is restored with Young Mama’s reluctant guidance, and Smith chooses to pursue Yvonne with sincerity. The sisterhood is tested but remains intact, and the film concludes on a note of bittersweet reconciliation. The end also shines its light on a religious angle on how and why Yvonne and Mama both hate conversations about God. However, this was never mentioned or shown throughout the course of the movie. In fact, Mama’s story was well explained but Yvonne’s felt like a scene was either missing or not included at all. Making it feel like a sub-plot that was forced into existence by all means. With all that the movie juggled it would have been best if that angle had been left out completely. **Ebelle Okaro Delivers a Stellar Performance That Echoes The Story Even More** Leading the pack is veteran actress Ebele Okaro, who plays *Young Mama*. Introduced at the very start of the drama, her character immediately stands out through a striking physical transformation. Okaro takes on a completely different appearance from her previous roles, maintaining a hunched posture for most of the film and adopting a deeper, aged tone to reinforce her character’s maturity. Beyond the physical demands, her scenes with the younger women unfold like intimate storytelling sessions. A style that subtly evokes the warmth and wisdom of a Disney-style fairy godmother. Nse Ikpe-Etim continues her streak of thought-provoking performances, delivering yet another layered portrayal. With Enyinna Nwgwe as her husband, there is evidence of being opposite, especially with the subtle feud at the beginning. However, even when love seemed to experience a new flame, they didn’t seem to share a deep connection. And this is even obvious in the unimaginable fact that they were not aware of their individual friends. **Deliberate Sound and Setting Shapes The Story** The film’s sound choices were another standout element, beautifully enhancing its atmosphere. The music subtly infused the right mix of mystery, suspense, and romance at key moments, effectively reinforcing the narrative. Much of this was evident in Young Mama’s interactions with the women, where the score elevated their conversations, making them feel more like intimate storytelling sessions than ordinary dialogue exchanges. On the other hand, the cinematography was kept plain and straightforward — nothing overly notable. Young Mama’s home setting was particularly captivating: the use of the waterway, the eerie house-in-the-middle-of-nowhere concept, and the thoughtful choice of props and colour palette all combined to create a visually intriguing space. **Final Thought** It’s very obvious that *Men’s Club* wasn’t shot recently, with the visuals and film look. Although its story was delivered interestingly, certain things didn’t just add up. How come the ladies had never met the guys, together, especially Rita and Osas? This singular oversight questioned the true nature of the guys’ brotherhood and the realism of the entire story. It would have been lovely to see Rita also find love again after Frank’s mess. But maybe loving herself more intentionally was also what she needed after all. As always, extras here and there in various scenes almost ruin the momentum being built. From the car towing scene, to the club scene and then the final scene. Further, echoing Nollywood’s need to pay more attention to skillful directing for extras, especially those who have speaking roles. **Verdict** *Men’s Code* does not leave a completely satisfying feel, with its very familiar storyline. However, it reaffirms that all the lessons and learning on how to treat a man or woman may not equate to the results we desire. As matters of the heart are far more complicated than a few lessons and additions. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/mens-code-barely-delivers-a-different-lagos-love-story/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/mens-code-barely-delivers-a-different-lagos-love-story/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/mens-code-barely-delivers-a-different-lagos-love-story/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/mens-code-barely-delivers-a-different-lagos-love-story/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/mens-code-barely-delivers-a-different-lagos-love-story/?share=linkedin) - **Categories:** Articles, Reviews **Tags:** Ebelle Okaro, Enyinna Nwgwe, film, Grace-Charis Bassey, Mens Code, nigerian cinema, nile entertainment, nollycritic, nollywood, Nse Ikpe-Etim, Ramsey Nouah, Yvonne Okoro --- ### [Gammy and the Living Things: A Bold Statement](https://nollycritic.com/gammy-and-the-living-things-reinforces-nollywoods-animation-genre/) **Published:** October 10, 2025 **Author:** Faith Oloruntoyin **Excerpt:** With Gammy and the Living Things, Nigerian cinema enters uncharted territory, its very first fully animated feature for the big screen... **Content:** With *[Gammy and the Living Things](https://nollycritic.com/new-nollywood-movies-and-series-to-see-this-september/)*, Nigerian cinema enters uncharted territory. Directed by Ikem Isiekwena, the film attempts not just to entertain but to prove that Nollywood can compete in under explored Nollywood animation terrain. The result is a colourful, imaginative, and at times uneven, yet groundbreaking cinematic milestone. ## *Gammy and the Living Things* Directed by: Ikem Isiekwena Written by: Ikem Isiekwena Genre: Animation Released on: September 05, 2025 (Cinema) Language: English #### **Plot & Storytelling** An agama lizard finds the perfect excuse to exchange the boring and slow-paced life of the Hinterland for the fast-paced and success-paved streets of Lagos. With his band of music-loving friends, they set out on an arduous but event-filled adventure to make it big and conquer Lagos. This animated movie stars Jude Abaga as Gammy, John Dumelo as Fante, Segun Arinze as Dr Koko, Bovi Ugboma as Onyana, Bimbo Akintola as Endy, Pete Edochie as Wu, Joke Silva as NG and many others. The film follows Gammy, a curious and big-hearted young character whose life takes a dramatic turn when he goes after a lifelong dream of being a superstar. He and his friends embark on a journey that blends comedy, mystery, and adventure, while tackling themes of courage, friendship, and the balance between humans and animals. The story is accessible and enjoyable, especially for children, though some narrative beats feel predictable for older audiences. #### **Animation & Visuals** Visually, *[Gammy and the Living Things](https://www.gammythemovie.com/ "Gammy and the Living Things")* is a bold statement of intent. The animation style leans more towards a simple, vibrant aesthetic rather than hyper-realism, which works in its favour. Colour schemes are bright and engaging, with Lagos cityscapes and cultural motifs shining through in inventive ways. While a few movements and transitions lack the polish of global studios like Pixar or DreamWorks, the film succeeds in establishing a unique Nigerian identity in animation, a feat in itself. #### **Voice Acting & Sound** Voice acting is another highlight. The cast infuses their characters with humour and warmth, making them relatable to audiences of all ages. The music and sound design also elevate the atmosphere, with traditional rhythms blending seamlessly with contemporary scoring. It’s an audio experience that roots the film firmly in Nigerian culture while keeping it universally appealing. The musical performances by Gammy and his friends were another major highlight. Each scene left viewers eager for the next, thanks to the lively entertainment infused with rich Nigerian rhythms and expressions. When it came to the voice acting, there were some issues, certain voices were overly bass-heavy or edited in a way that made the dialogue difficult to catch at times. For a few characters, it was hard to identify the actors behind the voices until the cast roll at the end, as they sounded quite different from what we usually know them for. #### **Final thoughts** The film’s greatest strength lies in its originality and cultural resonance. It is refreshing to see African stories brought to life through animation, showcasing environments, folklore, and humour that feel authentic. Children, especially, will be drawn to its colourful energy and relatable hero. However, the film is not without its shortcomings. The pacing drags in places, with certain scenes lingering longer than necessary. Some of the dialogue is overly simplistic, occasionally undercutting the emotional depth of the story. A bit more narrative complexity would have made the film resonate even more strongly with adult viewers. #### **Verdict** *Gammy and the Living Things* reflects a deliberate step by Nigerian filmmakers to embrace the medium not just as an experiment, but as a serious avenue for ambitious, entertaining, and culturally resonant storytelling. While it may not yet rival global studios in technical finesse, it sets the foundation for what could become a flourishing industry of African animated cinema. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/gammy-and-the-living-things-reinforces-nollywoods-animation-genre/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/gammy-and-the-living-things-reinforces-nollywoods-animation-genre/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/gammy-and-the-living-things-reinforces-nollywoods-animation-genre/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/gammy-and-the-living-things-reinforces-nollywoods-animation-genre/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/gammy-and-the-living-things-reinforces-nollywoods-animation-genre/?share=linkedin) - **Categories:** Articles, Reviews **Tags:** animation, Bovi Ugboma, film, Gammy and The Living Things, Mi Abaga, nollycritic, nollywood, Nollywood 2025, Pete Edochie, Reviews --- ### [Hakeem - Seeking Justice: An Authentic Nollywood Action](https://nollycritic.com/hakeem-seeking-justice-an-authentic-nollywood-action/) **Published:** August 12, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Hakeem - Seeking Justice revives Nollywood's action genre, with an highly impressive delivery, from the story to stunning performances from Deyemi Okanlawon. **Content:** Abdulrasheed Bello returns to the big screen after his co-producer role on *She Must Be Obeyed* in 2023 and Director role in *Omo Ghetto* (2020). The feature grossed ₦636.1 million and became one of the [top-grossing Nigerian films of all time](https://en.wikipedia.org/wiki/List_of_highest-grossing_Nigerian_films "top-grossing Nigerian films of all time"). And now his latest project, *[Hakeem – Seeking Justice](https://www.imdb.com/title/tt35614103/ "Hakeem - Seeking Justice")*, gives hope for the re-emergence of Nollywood’s action genre. It hits a very timely and disturbing occurrence without drifting away from the conventions that tie up the targeted genre. ## *Hakeem – Seeking Justice* Directed by: Abdulrasheed Bello Written by: Abdulrasheed Bello, Leo Oji Genre: Action Released on: August 1, 2025 (Cinemas) Language: English ### **A Story Fueled by Pain and Anguish, Deeply Relatable** Ex-military officer Hakeem returns home to find his entire family brutally murdered. Grief and rage drive him on a relentless quest for revenge. As the trail of blood deepens, he uncovers a far-reaching conspiracy—one more powerful than he imagined and terrifyingly close to home. What begins as a supposed victory over a health crisis in his family—and a puzzling reunion with an old acquaintance—quickly spirals into a rabbit hole from his past. [Deyemi Okanlawon ](https://nollycritic.com/?s=deyemi "Deyemi Okanlawon ")plays Hakeem with conviction, and his character’s loss unearths the harsh reality of Abuja’s growing insecurity. What starts as a personal vendetta soon evolves into a crusade to dismantle criminal gangs and organ trafficking syndicates. Meanwhile, Detective Chioma (Chioma Akpotha) and Detective Leo (Funky Mallam) are left puzzled by a case that consistently challenges their theories. Though they edge closer to the truth behind the rising massacres and ritual-like killings, they remain largely unaware. Still, in their sincere pursuit of justice, they form an unlikely alliance with a fame-hungry reporter who helps them piece together the case. At first, Hakeem believes his family’s death is a consequence of his past mistakes. But he later discovers they were targeted by the same doctor they once trusted with their lives. `His decision to act, though deeply personal, ultimately disrupts the cycle of innocent bloodshed. In the end, he seeks justice—even if it means risking his life. ### **True to Its Action Conventions, But Uneven as a Drama** *Hakeem – Seeking Justice* confidently embraces the hallmarks of the action genre. With a clear narrative arc, a driven protagonist, and fast-paced storytelling, it avoids drawn-out dialogue and leans into a moody, dark visual tone. The film delivers just the right amount of action, supported by well-choreographed fight sequences that enhance the narrative. It’s an enjoyable action film, with fight scenes that not only entertain but also carry emotional weight—from the family’s desperation to the miraculous twist, and ultimately, the pursuit of vengeance leading to surrender. A standout strength is how the film handles multiple antagonists. Hakeem faces several foes—some united against him—yet the plot maintains clarity on who’s who and their respective roles. This is a notable accomplishment in a genre that often becomes confusing with too many moving parts. Still, while the action works, the dramatic elements occasionally fall flat. A story rooted in organ trafficking needs deeper, more unsettling portrayals. For example, Dr. Osita (Gabriel Afolayan), a central figure in the trafficking ring, is never shown harvesting organs. One such scene could have added a chilling layer and intensified the horror that action thrillers often aim for. Similarly, Senator Yahaya (Ali Nuhu), the apparent mastermind, is never seen leading the syndicate. His villainy is built only on the testimony of others and a few suspicious scenes. A more explicit portrayal would have added depth, menace, and emotional weight to his character. There’s also an unresolved plot point around Hakeem’s health condition. Earlier in the film, he’s shown struggling with mobility due to pain, yet this is never addressed again. One would expect a reveal that Dr. Osita fabricated the diagnosis. But with all the intense fighting and no visible signs of him using medication, it begs the question: was vengeance alone enough to drive him? ### ****Excellent Performances But a Shaky Support That Is Integral**** *Hakeem – Seeking Justice* features an array of well acclaimed actors in the industry like; Femi Branch, Gabriel Afolayan, Zubby Michael, Ali Nuhu Eso Dike and Bolanle Ninalowo. And then growing faces like Regina Daniels, Liquorose, Skales, Boma Apkore, White Money, Modola Oshifuwa and Kemi Ikuseedun (Mummy Wa). A standout performance would be Okanlawon’s portrayal of Hakeem. With his well executed solo fight scenes, he also had a visible connection with the characters plight and the driving force for his anger. His relation with other supporting cast members also helped save weak deliveries As a villain, Eso Dike fails to fully submerge into the role. This further drips into Whitemoney’s unnecessary comic inclusion at the point of death. And then an highly unnecessary cameo of Abdulrasheed Bello JJC being a guest on a radio station, giving a disconnect that the audience might not recover from. Liquorose also delivered a commendable performance playing the selfish journalist that gave the story the added twist it needed; however, her truly portraying the stone-cold and fame induced personality became really remarkable to watch. This signals her readiness for more demanding and stronger roles. Other acts like Branch, Afolayan, Akpotha and Nuhu also deliver an impressive performance that still allows the growing faces to shine. ### ******Visually Impressive With a Few Technical Stumbles****** With Ola Cardoso behind the camera, the film benefits from strong cinematography that enhances the storytelling. One of the most compelling sequences is the car chase between Okolawan’s character and Eso Dike toward the climax. The drifting stunts and camera angles build real tension. Another visually engaging scene features Skales navigating a slum in a gripping chase. The camera captures his movements, facial expressions, and even his pursuer’s point of view with great technique. The sound and music also contribute effectively to the film’s tone, enhancing anticipation and fear where necessary. However, the final music score—an original by Deyemi Okanlawon—undercuts the emotional momentum. It raises questions: was this a bid to showcase musical range or a misplaced attempt at personal branding? Regardless, it weakens the film’s ending. Nollywood must begin to treat final scenes with as much care as the opening. While the *Hakeem – Seeking Justice* makes excellent use of its locations, some special effects during explosive scenes fall short. For example, when Hakkem blows up a police car, the flames dissipate too quickly, even before the characters approach. Likewise, the blast from the bomb planted on Dr. Osita seems unrealistic, leaving the building intact despite its intensity. These inconsistencies slightly diminish the overall impact. ### ********Final Thoughts******** The quiet exchange at the press briefing between Liquorose’s character and others subtly echoes the real-life case of a Nigerian senator involved in organ trafficking. It also reflects the growing insecurity plaguing Abuja. But the film leaves us wondering: will this scene spark meaningful dialogue, or remain just another dramatic device? Liquorose portrays a self-centered journalist—a portrayal that mirrors a rising trend in Nollywood. Though seemingly minor, it prompts a serious question: why is this image of the journalist becoming so common? Considering selflessness is a core trait of good journalism, the depiction feels misinformed and troubling. It was also interesting to see content creators like Modola Oshifuwa and Kemi Ikuseedun (Mummy Wa) actually act as opposed to just replicating their online characters. ### **********Verdict********** *Hakeem – Seeking Justice* is a strong addition to Nollywood’s action library. It proves that the industry is capable of learning from its missteps and delivering engaging, high-stakes storytelling. While it nails the action, it stumbles slightly in its dramatic depth. **Rating**: 3.8/5 ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/hakeem-seeking-justice-an-authentic-nollywood-action/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/hakeem-seeking-justice-an-authentic-nollywood-action/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/hakeem-seeking-justice-an-authentic-nollywood-action/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/hakeem-seeking-justice-an-authentic-nollywood-action/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/hakeem-seeking-justice-an-authentic-nollywood-action/?share=linkedin) - **Categories:** Reviews **Tags:** BBNaija, Chioma Akpotha, Deyemi Okanlawon, film, Liquorose, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Reviews, Skales, WhiteMoney --- ### [The Serpent's Gift: Another Cultural Score For Kayode Kasum](https://nollycritic.com/the-serpents-gift-another-cultural-score-for-kayode-kasum/) **Published:** September 4, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nigerian filmmaker Kayode Kasum returns with yet another Igbo-indigenous feature titled The Serpent's Gift. It hinges on a simple yet delicate and important story. **Content:** Kayode Kasum once again proves that good storytelling isn’t determined by tribal knowledge or personal knowledge alone. But rather a willingness to learn, evolve and of course an aligned team. He achieves all these with his latest cinematic release titled *[The Serpent’s Gift.](https://nollycritic.com/the-serpents-gift-first-look-at-kayode-kasums-new-drama/)* Released in cinemas nationwide on August 29, 2025, the feature adds to Kasum’s expanding catalogue of Igbo-centered stories. In 2023, the Nigerian filmmaker unveiled *Afamefuna*, which explored the Nwa-Boi tradition in Igbo culture. It went on to be one of the top-rated and [highest-grossing Nollywood movies that yea](https://en.wikipedia.org/wiki/List_of_highest-grossing_Nigerian_films)r. ## *The Serpent’s Gift* Directed by: Kayode Kasum Written by: Stephen Okonkwo and Ufoma Metitiri Genre: Drama Released on: August 29, 2025 (Cinema) Language: Igbo/English **A Story Anchored on The Dark Realities of Culture** [*The Serpent’s Gift* ](https://www.imdb.com/title/tt37542203/ "The Serpent's Gift ")continues Kasum’s going trail, as its plot anchors on a distinct norm in the Eastern part of Nigeria. It follows Ijeoma Sylvanus (Ihuoma Linda Ejiofor), whose life unravels after the sudden death of her wealthy husband, Nduka Sylvanus (Chico Aligwekwe). Set against the backdrop of the Igbo culture, ancestral heritage, and the unspoken laws on death and family. Centered on the traditional rituals that occur when a man dies in what’s regarded as a mysterious way. The wife of the late man must go on a scrying journey to prove her innocence in the death of her husband. The movie surrounds the theme of love, betrayal, family feud, deception, culture and inheritance. A glimpse into Ijeoma and Nduka’s love story reveals two individuals from different social and age backgrounds. Despite disapproval from both families, they remained steadfast in their choice to be together. Their meeting felt divinely orchestrated, happening just as Nduka began to sense his days on earth were numbered. Pastor Okereke’s (Nonso Odogwu) vision of Nduka confronted by a serpent — a dream rooted in biblical symbolism of safety and healing — aligned with Nduka’s own dream and Ijeoma’s cherished pendant of a serpent on the cross. **A Simple Story Told In a Deliberate Way** Upon the slow but sudden announcement of Nduka’s death, the family rally together to go up against his widow. Driven by a common hate and desire to acquire their late brother’s wealth, they invoke a cruel tradition. Based off their displeasure with the man’s will, which clearly rules them out of everything. For Ijeoma, she sets aside grief and quickly puts the business affairs of her late husband in order before going to battle with the family. Her enemies are Nduka’s sister Margaret Okereke (Tina Mba), Nonso, Nonso’s wife and Ebube. In a shocking turn of events, he has full custody of his children from his previous marriage to Ijeoma, 100 million naira to Margaret’s husband, Pastor Okereke and 250 million naira to Ebube. According to the Igbo tradition, Ijeoma must drink the water used to clean her late husband’s corpse. And swear before an oracle to not have a hand in his death. She was taken through this traumatic experience and dodged being killed by poisoning. The real masterminds who had evil intentions were also utterly revealed. Margaret, despite her husband’s warning to exercise patience, was arrested for attempting to poison Ijeoma by lacing the corpse water. Nonso also lost the branch of the family business after several instances of company theft. His plan to marry Ijeoma in order to acquire his late brother’s wealth was also thwarted. However, Ebube couldn’t bear the wicked scheme, haunted by childhood memories of her own mother suffering the same fate and dying from it. *The Serpent’s Gift* is a very slow burn and could easily feel overly dragged at the very beginning. However, its simplicity is sufficient to highlight a crucial and untold cultural story. The feature doesn’t juggle way too many things or directions. But follows the clear part on death and tradition. Although the story offers intriguing hints, it leaves certain gaps as it concludes. For example, Nduka’s younger brother, Sylvester (Ric Hassani), repeatedly displays an interest in Ijeoma, yet this thread is never developed. He disappears entirely after the death announcement — a puzzling absence that remains unaddressed. During the will reading, nothing was said about what Nduka left behind for Ijeoma, aside from the children. Which sends the signals either a mistrust from him or an oversight in scripting. Because this was important to serve as a form of vindication for Ijeoma before his family. **Excellent Performances That Further Solidify The Story** Great performance delivery from the cast all around, which shows the deliberate work put into casting from the onset. Ijeoma and Nduka shared a chemistry that wasn’t distorted by the wide age difference or the status. It didn’t give the typical Odogwu and damsel in distress outlook, but genuine love and sincerity. Ejiofor gives a very noteworthy performance, which shows some level of dedication that we have seen from her in recent times. Although the story suffers some pacing lapses, Ejiofor’s character doesn’t bend into being dragged or slow but maintains the right amount of grace, poise, anger, rage and sadness needed. Margaret (Tina Mba) and Nonso (Stan Nze) also delivered their vilain roles excellently. Not for once were their objective and mission unclear, nor their stance on the out comes. From their disposition to their choice of words, their joint evil agenda and then separate counters. villain. It was also very clear that Margaret’s strife was fueled by an entitlement to send Nduka to school and then Nonso’s utter greed and laziness. Pastor Okereke’s performance is one that is subtle and quiet but yet loud and integral. He maintains the same posture towards his wife’s actions from the start to her eventual arrest. All together, the performances take it from just another sad tale of culture but a stirringdespicable will to really lend a voice to the despicable act. **Technical Aspect** *The Serpent’s Gift* boasts crisp, clear cinematography and seamless edits — a hallmark of Kasum’s previous projects. The colour palette stands out, shifting from bright, vivid tones in daylight to darker, more subdued hues in emotionally intense scenes. The location choices also deserve praise, particularly the oracle swearing scene. Every detail — from costumes and set design to props and character positioning — reflected a shared understanding of the moment’s weight between cast and crew alike. Another standout was the dream sequences of Pastor Okereke and Nduka. The special effects avoided the usual pitfalls of over-dramatisation, instead delivering a strikingly realistic impression. **Final Thoughts** Simple stories like this should be embraced more in Nollywood. But the audience has sadly been trained to only value overly packed movies. Its amazing that silent characters like Etim Effiong and family lawyer still leave a lasting impression. Echoing strongly, that words and actions alone don’t make a performance great. Ijeoma seemed to have a possible love interest in Slyvester and Tolu (Effiong) Sylvester, who knows, maybe she may find love again. Now, the crucial question that remains is how women are often their own first problem. Because one would imagine that in a time as this, women who had probably gone through this would be the ones to wage war against this barbaric culture. And then again is the fact that manipulative steps that have led to death have clearly taken precedence in real-life experience. **Verdict** Simple and neatly put together with such a powerful story, *The Serpent’s Gift* earns itself a 4 point from us. **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-serpents-gift-another-cultural-score-for-kayode-kasum/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-serpents-gift-another-cultural-score-for-kayode-kasum/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-serpents-gift-another-cultural-score-for-kayode-kasum/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-serpents-gift-another-cultural-score-for-kayode-kasum/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-serpents-gift-another-cultural-score-for-kayode-kasum/?share=linkedin) - **Categories:** Reviews **Tags:** afamefuna, Beverly Osu, Chico Aligwekwe, Etim Effiong, film, Ihuoma Linda Ejiofor, Kayode Kasum, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Nonso Odogwu, Reviews, Ric Hassani, Stan Nze, The Serpent's Gift, Tina Mba, Winifred Ajakpovi --- ### [Turning Point: Power, Politics, and a Story That Struggles](https://nollycritic.com/turning-point-power-politics-and-a-story-that-struggles/) **Published:** October 1, 2025 **Author:** Uju Okosieme **Excerpt:** Turning Point, directed by Adeoluwa Owu and written by Oyiza Kokori, was released quietly on Circuits and has flown under the radar for some time... **Content:** *Turning Point*, directed by Adeoluwa Owu and written by Oyiza Kokori, was released quietly on [Circuits](https://www.circuits.tv/ "Circuits") and has flown under the radar for some time. Now that we’ve tuned in, here’s what we think of this ambitious but uneven project. ## *Turning Point* Directed by: Adeoluwa Owu Written by: Oyiza Kokori Genre: Political Drama Released on: September 19, 2025 (Circuits) Language: English ### A Plot Built on High Stakes but Shaky Ground Akintunde Barnabas, a successful businessman turned governor of Fountain State, has failed to deliver on his promises. His son, Iremide Barnabas, a rising tech entrepreneur returning from the U.S., is dismayed by the corruption in his father’s administration. When the opposition party recruits Iremide to run against his father, what begins as a battle of ideals spirals into a dangerous game of power, secrets, and betrayal. The story introduces heavy stakes — from political godfather Alhaji Suara’s ruthless demands to the revelation of a childhood tragedy that reshapes Iremide’s life. With his sister’s support and his late mother’s memory guiding him, Iremide charges forward despite the odds. But as the streets grow tense and a rally turns violent on election eve, the future of both family and state teeters on a knife’s edge. ### Storytelling That Lacks Cohesion The film opens with Governor Akintunde’s election and the people’s swift disappointment, but the narrative doesn’t always flow smoothly. Dialogue often feels stilted, raising questions about its authenticity. The central premise is promising, yet the execution falters, with the story jumping around rather than unfolding organically. The romance subplot between Iremide (Efa Iwara) and Zainab (Damilare Kuku) is rushed and unconvincing, moving from interview scenes to romance without any meaningful buildup. Similarly, Dora’s (Linda Osifo) scheme to manipulate Akintunde into disgracing his son feels unnecessary. The character of Akintunde, as written, is perfectly capable of making destructive choices without Dora’s influence. The attempt to soften him into a man “led astray” clashes with how he’s presented, leaving no real sense of a moral struggle. ### Performances That Do Just Enough Efa Iwara and Juliana Olayode may not visually pass as siblings, but their natural rhythm makes their relationship believable. Akin Lewis once again plays a role that feels familiar, one he has embodied in various forms before. The ensemble — Efa Iwara, Juliana Olayode, Linda Osifo, Tina Mba, and Gabriel Afolayan — delivers performances that are solid but rarely remarkable. Nothing here lingers once the credits roll. ### Technical Choices That Fall Flat Visually, the film lacks distinction. The color grading feels dull, giving the film a muted look that doesn’t elevate its themes. While the cinematography tells the story adequately, it doesn’t strive for innovation. Even the use of music, which could have sharpened the emotional beats, is mostly forgettable. ### Final Thoughts Turning Point often feels like things are happening without the necessary buildup, leaving viewers puzzled about how characters land in certain situations. The early kidnapping subplot is handled clumsily, with little clarity on how the family knew about it in the first place. There are glimpses of more compelling drama — like Iremide urging his father not to run again, a rare angle in Nigerian cinema where political families push back against their own. But other moments, like Iremide falling into an obvious trap during the smear campaign or the flat announcement of his electoral victory, fail to carry emotional weight. Even the scenes meant to show public excitement lack the energy they desperately needed. ### Verdict Honestly, given Nigeria’s political climate, Iremide’s victory feels more fantasy than reality. Yet the film’s attempt to ground his win by showing the godfather’s hidden influence was a smart choice, adding a layer of authenticity. Unfortunately, even with rich themes and political resonance, *Turning Point* ends up being dull rather than thought-provoking, earning a rating of 2 stars out of 5. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/turning-point-power-politics-and-a-story-that-struggles/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/turning-point-power-politics-and-a-story-that-struggles/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/turning-point-power-politics-and-a-story-that-struggles/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/turning-point-power-politics-and-a-story-that-struggles/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/turning-point-power-politics-and-a-story-that-struggles/?share=linkedin) - **Categories:** Articles, Movies, Reviews **Tags:** Adeoluwa Owu, Akin Lewis, circuits, efa Iwara, nollywood, Reviews, Tina Mba, Turning Point --- ### [A Weekend Fiasco: Love, Lies and a Resort Key](https://nollycritic.com/a-weekend-fiasco-love-lies-and-a-resort-key/) **Published:** September 23, 2025 **Author:** Shalom O. Obisesan **Excerpt:** A Weekend Fiasco spins a tale of marital secrets and resort mishaps, blending rom-com hijinks with domestic drama. Directed by Samuel Olatunji, the film... **Content:** [*A Weekend Fiasco* ](https://www.imdb.com/title/tt37963753/ "A Weekend Fiasco ")spins a tale of marital secrets and resort mishaps, blending rom-com hijinks with domestic drama. Directed by Samuel Olatunji, the film follows Tobe (Alexx Ekubo), a husband cheating on his wife Nicole with Reikiya (Liquorose), whose forgotten anniversary sparks her flirtation with co-worker Emmanuel (Chimezie Imo). When Reikiya invites Tobe to a resort getaway, Emmanuel counters with Nicole, drawing in side flings like Maureen, leading to a weekend of overlapping deceptions. Olatunji’s light touch aims for laughs amid the tangle, but the sombre tone and stretched scenes leave the comedy flat, evoking the familiar ache of Nollywood’s tangled hearts, where secrets unravel in predictable knots. ## *A Weekend Fiasco* Directed by: Samuel Olatunji Written by: Rita Onwurah Genre: Romantic Comedy/Drama Released on: September 5, 2025 (Cinema) Language: English ### A Tangle That Snags The story opens on Tobe and Nicole’s fifth anniversary morning, Nicole planning a special day while Tobe, unremorseful, heads out to cheat with Reikiya, his two-year affair a pattern of neglect that leaves their marriage frayed. Feeling lonely, Nicole attracts Emmanuel, a co-worker with a past fling with Maureen (Lizzy Jay). Reikiya invites Tobe to a resort getaway with friends, planning to leave the country soon, while Emmanuel invites Nicole, pulling everyone—plus Maureen and Aisha—into the same resort. The middle erupts in overlapping lies, love spats, and meddling, peaking in confrontations that expose secrets. The timeline, stretched over 1 hour 40 minutes, feels sluggish, dragging the pace, tiring viewers. Forced conveniences, like the resort overlap, strain belief, while sombre drama overshadows the comedy, turning laughs into tacky squabbles. A phone call scene with a locked iPhone screen jars, a sloppy oversight for a cinema release. The structure ties up neatly with the resort climax, but a cliffhanger for a potential sequel feels unneeded, leaving audiences unsatisfied, the slow build and heavy tone sapping the rom-com spark. ### Hearts Caught in a Lie The emotional core of *A Weekend Fiasco* traces the slow fracture of trust, each character’s hidden wants clashing in betrayal. Tobe’s affair with Reikiya paints a husband who sees bare-minimum effort as enough, his anniversary neglect leaving Nicole lonely and open to Emmanuel’s attention, her flirtation a quiet rebellion rooted in love for Tobe. Reikiya’s getaway plans hide her own doubts, while Emmanuel’s past with Maureen adds a layer of regret, his charm masking guilt. Aisha’s meddling stirs the pot, amplifying the chaos. The story probes Nigeria’s cultural view of marriage, the resort’s tight spaces a symbol of trapped lies, moving from domestic hurt to chaotic showdowns, stirring a familiar ache of flawed hearts, its melodramatic fights over love resonating for those who enjoy tacky drama but irking others with its heavy tone. ### Performances That Falter Alexx Ekubo’s Tobe holds the screen with roguish charm, his unremorseful cheating and bare-minimum husband act fitting the self-satisfied character, the ironic soundtrack chords (e.g., after anniversary neglect) amusing chaos fans but annoying those seeking depth. Ini Edo as Nicole shines in her shift from hurt wife to cautious flirt, her anniversary confrontation soft with stilted lines. Chimezie Imo’s Emmanuel brings sly energy, his past with Maureen a weak link that adds clutter, his delivery hampered by repetitive dialogue that frustrates coherence. Liquorose’s Reikiya radiates confidence, her getaway plans driving chaos, but melodramatic outbursts, like tearful pleas, feel overdone, jarring viewers. Lizzy Jay’s Maureen, with her signature accent breaking through, aims for comedy but loses steam, ineffective for some but delivering for audiences who relish chaos. ### A Production That Stumbles Samuel Olatunji’s direction chases rom-com chaos, the editing cutting resort scenes to mirror the tangle of lies, keeping a brisk pulse in confrontations. Cinematography frames the resort with basic visuals, the cabins a snug trap for secrets, but low-budget locations fail to match the characters’ status, jarring viewers and exposing production limits. Sound design lifts the comedy with playful chords, like the birthday song sting, adding fizz that entertains, the upbeat score matching the toned-down humor. Production design uses resort props well, costumes hinting at social facades, but the low-budget feel undercuts the glamour. Lighting offers minimal contrast, with soft home scenes and harsher resort tones, but abrupt cuts disrupt the flow. The soundtrack stands out as the main technical strength, its subtle touches boosting laughs, while other elements, like basic camerawork, feel undercooked. ### Final Thoughts *A Weekend Fiasco* exposes the frayed edges of modern marriage, where neglect and secrets turn anniversaries into battlegrounds. The resort chaos poses a question: can love endure when lies collide in such absurd closeness? Its take on fidelity’s strain, from Tobe’s smug cheating to Nicole’s quiet rebellion, sparks thoughts on Nigeria’s romantic traps, the getaway a stage for confined truths. The sombre tone dulls the impatient, its unnatural dialogue a hurdle for those outside the melodramatic draw. [Nollywood](https://nollycritic.com/?s=nolllywood "Nollywood") often spices romantic tangles with flair, but Olatunji’s light touch offers laughs amid the ache, urging viewers to chuckle at flawed hearts. What does it mean to chase love when the chase feels forced? This film reflects Nollywood’s romantic pull, its strengths landing for chaos fans, yet its flaws: stretched scenes and stiff lines, show the cost of uneven execution. ### Verdict *A Weekend Fiasco* entertains viewers who enjoy its melodramatic chaos and light laughs, but its heavy tone and inauthentic dialogue dampen the fun. It suits those who embrace drama-heavy rom-coms and chuckle at tangled lies. Flawed yet not without charm, it delivers for those who meet its messy heart halfway. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-weekend-fiasco-love-lies-and-a-resort-key/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-weekend-fiasco-love-lies-and-a-resort-key/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-weekend-fiasco-love-lies-and-a-resort-key/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-weekend-fiasco-love-lies-and-a-resort-key/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-weekend-fiasco-love-lies-and-a-resort-key/?share=linkedin) - **Categories:** Articles, Reviews **Tags:** Alexx Ekubo, Chimezie Imo, Comedy, critique, Drama, infidelity, Ini Edo, Liquorose, Lizzy Jay, marriage, nollywood, Review, rom-com, Tosin Otudeko, Yvone Jegede --- ### [Abanisete (The Ancestor): An Epic that Stumbles Through Yoruba Heritage](https://nollycritic.com/abanisete-the-ancestor-an-epic-that-stumbles-through-yoruba-heritage/) **Published:** September 19, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Abanisete: The Ancestor plunges viewers into a vibrant Yoruba village where spirits and traditions clash with external greed, blending folklore, action... **Content:** [*Abanisete: The Ancestor* ](https://www.imdb.com/title/tt37625342/)plunges viewers into a vibrant Yoruba village where spirits and traditions clash with external greed, blending folklore, action, and cultural pride. Directed by and starring Ibrahim Yekini (Itele D Icon), the film follows Ologbojo, a chosen guardian tasked with protecting a sacred masquerade, Abanisete, against foreign plunderers. As the village faces betrayal and violence, Ologbojo’s journey intertwines with Ibiwunmi (Omowunmi Dada), a mystically gifted devotee, in a fight to reclaim their heritage. Bolstered by the buzz from Itele’s prior hit Koleoso and a ₦102 million box office haul in three weeks, the [film](https://nollycritic.com/?s=film "film") aims for epic grandeur but trips on cluttered storytelling and uneven execution, its heart rooted in Yoruba legacy yet strained by spectacle’s weight. ## *Abanisete: The Ancestor* Directed by: Tope Adebayo, Adebayo Tijani, Ibrahim Yekini Written by: Femi Adebayo, Ibrahim Yekini Genre: Epic Released on: August 15, 2025 (Cinemas) Language: Yoruba ### Spirits That Bind and Break The emotional pulse of Abanisete beats through its reverence for Yoruba ancestry, weaving a tale of duty, loss, and resilience. Ologbojo’s burden as Abanisete’s guardian carries the weight of generational legacy, his grief after a raid a raw anchor that mirrors the village’s fractured spirit. Ibiwunmi’s quiet mysticism offers tender counterpoint, her Osun devotion a beacon of hope amid chaos. The patriarch, played by Yinka Quadri, grounds the story in authority, his warnings against foreign temptation a cultural cry against commodification. The narrative probes Nigeria’s post-colonial scars, the masquerade a symbol of heritage at risk of plunder, its rituals (e.g., ceremonial dances) evoking communal strength but faltering when spectacle overshadows sincerity, resonating with audiences who cherish cultural pride but frustrating those seeking emotional depth over melodrama. ### A Tale That Sprawls and Stumbles The story opens in a Yoruba village, where Abanisete, a sacred masquerade, protects and heals, choosing a child each generation—here, Ologbojo, marked by four head stumps. During a ritual dance, white visitors, including a preacher-like figure, witness its power, their fascination turning to greed to possess the idol. Elders, swayed by promises of wealth, nearly betray Abanisete, but the patriarch’s speech halts them. A violent raid steals the masquerade, leaving Ologbojo’s family dead and him as the sole survivor. He wanders, seeking allies, meeting Ibiwunmi, whose Osun gifts aid his quest to reclaim Abanisete. The climax, a CGI-heavy battle, rushes to resolution, leaving subplots dangling. The 86-minute runtime feels overcrowded, with characters like the comic-relief Kamo and Erekekere appearing abruptly, their jester-like antics (e.g., exaggerated market banter) feeling forced and unresolved. The romance between Ologbojo and Ibiwunmi lacks build-up, their tender glances unearned, while subplots, like the translator’s opportunism, fade without impact. Pacing falters toward the rushed end, the battle’s spectacle jarring against earlier intimacy, tiring viewers who crave coherence. The structure, rich with Yoruba rituals, holds potential but loses focus, its cultural weight diluted by chaotic additions. ### Performances That Shine and Slip Itele Yekini’s Ologbojo anchors the film with layered intensity, his shift from grief-stricken survivor to resolute hero compelling, especially in quiet moments (e.g., mourning by the village shrine). Omowunmi Dada’s Ibiwunmi radiates grace, her mystical aura shining in ritual scenes, though her romance with Ologbojo feels underdeveloped, muting emotional impact. Yinka Quadri’s patriarch exudes gravitas, his speech against foreign greed a standout, grounding the story’s stakes. Femi Adebayo’s translator adds levity with broken English, but his caricature-like delivery (e.g., fumbling translations) risks overplaying, disconnecting viewers seeking nuance. Lateef Adedimeji and Broda Shaggi’s late arrivals as exaggerated heroes jar, their larger-than-life antics (e.g., theatrical fight poses) clashing with the story’s heart. The white actors, including a preacher-like figure, falter with stiff performances, their awkward line readings (e.g., during the ritual) drawing unintended laughs, undermining tension. The ensemble’s mix of sincerity and stereotype entertains chaos fans but frustrates those seeking depth. ### A Craft That Flickers and Falls Cinematography shines in village shots, framing the masquerade’s dance with lush vibrancy, but low-budget constraints show in awkward costumes (e.g., ill-fitting elder robes) that jar viewers. Sound design falters, with uneven cinema audio muddying dialogue (e.g., during the patriarch’s speech), frustrating immersion. The soundtrack’s lively drums boost ritual scenes, adding cultural fizz, but can’t salvage the climax’s CGI-heavy battle, its AI-generated visuals (e.g., glowing idol effects) feeling out of place and artificial. Production design excels in Abanisete’s intricate costume, a symbol of heritage. ### Final Thoughts *Abanisete: The Ancestor* celebrates Yoruba heritage with a fierce heart, its masquerade a potent symbol of cultural resilience against external greed. The film asks: can a community preserve its soul when outsiders covet its treasures? Its take on legacy, from Ologbojo’s duty to the patriarch’s warnings, stirs thoughts on Nigeria’s post-colonial fight to reclaim identity, the rituals a vibrant call to roots. Yet, the cluttered cast and rushed climax dull its impact, the uneven tone a hurdle for those outside the spectacle’s draw. Nollywood often weaves folklore with flair, but Olatunji’s ambition outpaces discipline, urging viewers to embrace the cultural fire amid narrative chaos. What does it mean to guard heritage when the fight feels rushed? This film stands as a bold ode to Yoruba pride, its strengths shining for tradition lovers, yet its flaws reveal the cost of overreaching. ### Verdict *Abanisete: The Ancestor* captivates viewers who relish cultural epics and chaotic spectacle, its Yoruba roots and box office success (₦102 million in three weeks) a draw. It suits those who embrace folklore-heavy tales and forgive uneven pacing. Flawed yet vibrant, it delivers for fans of Itele’s vision who meet its messy heart halfway. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/abanisete-the-ancestor-an-epic-that-stumbles-through-yoruba-heritage/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/abanisete-the-ancestor-an-epic-that-stumbles-through-yoruba-heritage/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/abanisete-the-ancestor-an-epic-that-stumbles-through-yoruba-heritage/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/abanisete-the-ancestor-an-epic-that-stumbles-through-yoruba-heritage/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/abanisete-the-ancestor-an-epic-that-stumbles-through-yoruba-heritage/?share=linkedin) - **Categories:** Articles, Movies, Reviews **Tags:** Box Office, Broda Shaggi, community, critique, cultural pride, epic, Erekekere, Femi Adebayo, heritage, Ibrahim Yekini, Kamo, Lateef Adedimeji, masquerade, nollywood, Omowunmi Dada, Review, Samuel Olatunji, Yinka Quadri, Yoruba folklore --- ### [Dara - A Port Harcourt Love Story Fails to Resurrect Nollywood's Campus Genre](https://nollycritic.com/dara-a-port-harcourt-love-story-fails-to-resurrect-nollywoods-campus-genre/) **Published:** September 19, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Dara: A Port-Harcourt love story, revives Nollywood's slowly dying campus genre. It gives us something to hang onto, but fails to deliver... **Content:** Recently released Nigerian feature *[Dara](https://nollycritic.com/love-finds-a-new-voice-in-dara-tomi-ojo-stars-in-port-harcourt-romance/)* aims at a story around love in a new city. But this love is hosted in a Nigerian campus and faces the typical struggles there. But this attempt at reviving the Nigerian [campus genre fails](https://nollycritic.com/is-nollywood-too-grown-for-campus-stories-now/) to live up to expectations. ## *Dara*: *A Port-Harcourt Story* Directed by: Bobby Rak Written by: Miracle Abia Genre: Campus Drama Released on: September 5, 2025 (Cinema) Language: English/Pidgin **A plot Thickened on Chaos than Love** *[Dara: A Port-Harcourt Story’s ](https://www.imdb.com/title/tt37805816/)*premise revolves around Idara, a young man in a new city. He finds himself entangled in cultism and romance. Directed by Bobby Rak it aimed at themes of romance and second chances in a setting rarely portrayed in Nigerian cinema. Its setting was very different from the typical choices of Nigerian filmmakers. The feature opens up with Idara (Emmanuel Edi) arriving Port-Hacourt after gaining admission into the university. Luckily, his old-time friend Chucks agreed to house him. But soon after he gets entangled with pressures from Agama (Raymond Umenze), a notorious cult leader and then Sophie (Tomi Ojo), a classmate he likes. With Sophie, Idara struggles with accepting just friendship at first because of his growing feelings and the different guys he confuses as her boyfriend. But as soon as she makes things clear, their relationship sparks. With Agama, things get even complicated when Chucks joins a rival cult group and they battle over Idara. But Agama had troubles of his own and soon lost interest in getting Idara initiated. Back home, his mother (Tina Mba) faces possible death as a result of a brain bleed from an abusive husband. And now Agama must raise a sum of five million naira to save her. This then gets messy when Idara’s rich uncle from the States comes into town. Although a former member of Agama’s confraternity, that doesn’t stop him from being a target for a home invasion. As a result of the robbery incident, the police patrol the area and find Idara, Sophie, Chucks and a member of his cult group. With the fear of being harassed by the police, they all run. However, Idara drops a gun that Chucks had given him earlier that night. The police then open fire with the assumption that he was about to be shot, and this leads to his immediate death. For a final blow, his uncle and Chucks team up to kill Agama, to avenge Idara’s death. **The Story barely survives the length of time** The story fails to really shine on the love story it promises. Yes, Idara and Sophie end up together after a little back and forth with the other guy she was with. But no actual depth to sell their chemistry or make their love even believable. The movie leaned heavily on the chaos and not even anything remotely close to romance. It also has a very slow pacing at the beginning, which eventually makes it an uneasy watch. Because one is on the edge for when exactly the real drama starts. And when it eventually does, it is more bloodshed than sweet love. There is also the obvious gap in the dialogues, which feel very watery, especially for the main characters on whom the story should be anchored on. Agama’s character seemed to be the only character that carried some depth, as we got a feel of his journey into becoming the notorious cult leader that he is. We could even understand the pressures that led to his final reckless moves. But he wasn’t supposed to be the main focus of the entire story. It was meant to deliver an unseen love story. In all, the shift in focus basically makes it harder to settle in and makes it come off as yet another Nigerian movie that loses its course along the way. **Performances Struggle To Land A Pass Mark** The movie doesn’t do so poorly with its performances, with stand-out delivery from Tomi Ojo, Raymond Umenze and Tina Mba. These three are able to add some depth and intensity to what seemed like a simple story. Mba’s presence was very short, but we could easily catch on to her pain so far in the hands of her abusive husband. And the love she still had for her wayward son, with just two scenes. Umenze also gave some stellar moves in his fighting scenes, but easily showed a disconnect with his bad boy persona. However, that was easily covered with fewer dialogues and more scenes that required action. Another character that joins Umenze in excelling with action scenes would be Mfon Essiet. His face-off during the home invasion kept his story of once being a cult boy alive. And was also delivered with some level of dexterity. Emmanuel Edi, who plays the main character Idara, delivers a fair performance. And this falls short on the role he plays and the weight needed from the role he played in tying up everything in the story. There was a great absence of romantic chemistry between him and Ojo, which made the real love story plot fall flat. **Technical Aspects** **That Outshine The Story** *Dara* may have suffered in synergizing its story and plot, but with certain key technical aspects, it did excel. For a seemingly average budget it delivered clear-cut pictures and distinct shots. Especially its choice of angles during narrations and fight scenes. That helped us get a better feel of the actor’s tone, mannerisms and state of mind. And it achieved this by including even little things like the heart pulse and hand flickering into the shots. One could tell that there was a deliberate intent to make the cinematography take some accolades when it came out. Although it would have been much better if the story had been put together better. There was also a unique score choice. From regular Nigerian hip-hop to very hymnal vocals at treacherous points. Again, this helped add some feel and texture to the story as it ran its course. Some might find the sort of hymnal vocals strange especially towards the end. But when one accepts it as an added piece to make those scenes even more solemn, then it wouldn’t be much of a problem. For a campus story, it puts to play certain elements that make the genre unique. The university setting, the students and the activities are synonymous with campus students. Which gives the story some realism that it requires. **Final Thoughts** It felt like the chaos and fight scenes got all the attention from writing to execution as opposed to the real Port-Harcourt, Love story. It would have been nice if the story in some way highlighted the unseen beauties of the city of Port-Harcourt. And this could have been achieved simply with the romantic couple exploring the city together. Maybe all that time being dragged at the beginning would have been a good chance for the story to readjust its cause and delivery. Or maybe Agama should just have been the focus of the story. **Verdict** Although *Dara* revives a storyline that isn’t so common in the industry, it still struggles to land a strong impression. It earns itself a 2 rating from us. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/dara-a-port-harcourt-love-story-fails-to-resurrect-nollywoods-campus-genre/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/dara-a-port-harcourt-love-story-fails-to-resurrect-nollywoods-campus-genre/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/dara-a-port-harcourt-love-story-fails-to-resurrect-nollywoods-campus-genre/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/dara-a-port-harcourt-love-story-fails-to-resurrect-nollywoods-campus-genre/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/dara-a-port-harcourt-love-story-fails-to-resurrect-nollywoods-campus-genre/?share=linkedin) - **Categories:** Articles, Blog, Reviews **Tags:** Bobby Rak, Emmanuel Edi, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Raymond Umenze, Reviews, Riyo David, Tina Mba, Tomi Ojo --- ### [Say Who Die: A New Approach that Gets Buried in its Ambitions](https://nollycritic.com/say-who-die-a-new-dark-comedy-that-gets-buried-in-its-ambitions/) **Published:** September 4, 2025 **Author:** Uju Okosieme **Excerpt:** African Stories Untold, in partnership with Nemsia Studios, has released Say Who Die on Prime Video. Directed by Paul Utomi... **Content:** African Stories Untold, in partnership with [Nemsia Studios](https://nollycritic.com/?s=nemsia "Nemsia Studios"), has released *[Say Who Die](https://www.imdb.com/title/tt37998108/ "Say Who Die")* on Prime Video. Directed by Paul Utomi and starring twins Meyi and Oiza Abu in their feature debut, the film arrives with an intriguing premise. But does it deliver? Let’s get into it. ## *Say Who Die?* Directed by: Paul Utomi Written by: Lani Asida Genre: Dark Comedy Released on: August 29, 2025 (Prime Video) Language: English ### A Premise That Promises More Than It Delivers The synopsis reads: “Odion, the chaotic twin and family misfit, stumbles into the drug underworld while juggling debt, secrets, and sabotage. With her sister leaving for the UK and danger closing in, she must risk everything to survive—and maybe prove she’s more than just the black sheep.” While that setup hints at a gripping tale, the actual film struggles to flesh out its plot fully. Choices feel abrupt, resolutions too convenient, and certain developments are left dangling. Still, there’s something undeniably fresh about its originality and ambition, making it stand apart from standard Nollywood storytelling. ### A Chaotic Story That Can’t Quite Hold Together Set over the course of just three days—most of which unfold in a single day—the narrative is bold but unsteady. Too many threads compete for attention, leaving the film feeling overcrowded. Odion’s quick resolution with Abdul, after selling the drugs, borders on implausible and undercuts the tension that had been building. Dialogue is another stumbling block, with repetitive lines dragging certain exchanges into redundancy. Yet, the consistency of the characters is a saving grace: every major player acts in line with their established traits, keeping the story at least grounded in its world even when the plot falters. ### Performances That Balance the Experiment For a feature film debut, Meyi and Oiza Abu handle the weight of dual leads impressively. Oiza delivers a solid performance as Odion, capturing her flawed determination, while Meyi’s comic leanings as Omon feel mismatched in tone but still show promise. For newcomers, their presence is striking and memorable. The supporting cast fares reasonably well, though Baaj Adebule’s Jaja is a noticeable weak spot. His choices feel offbeat in ways that distract from, rather than enhance, the narrative—though perhaps this reflects the film’s overall experimental spirit. ### Technical Flair That Elevates the Film’s Feel Visually, *Say Who Die* shines. The film embraces a bright colour grade that, while seemingly at odds with its darker themes, it complements its Genre. Music plays an inspired role, though it occasionally overstays its welcome—particularly in extended moments like those following Omon’s death. Where the film really stands out is in its transitions and shot choices, which are smooth, inventive, and help compensate for writing weaknesses. The film employs stylistic and purposeful technical elements like jump cuts and whip pans that elevate the story ### A Flawed but Fresh Attempt Certain narrative choices strain credibility. In one of the earlier scenes, Odion’s ability to outrun Jaja feels unrealistic, while the poisoning subplot involving Rolake collapses under scrutiny. The mother’s decision to poison a full bottle at a party—then leave it lying around—feels like a forced twist meant only to add chaos. It’s one of several examples where intrigue is manufactured rather than earned. ### Verdict *Say Who Die* is innovative, and daring in its approach, even if it stumbles in its execution. Its originality, unprecedented humour, and willingness to experiment are commendable, but the story’s rough edges, uneven acting, and implausible twists hold it back. Still, it’s a breath of fresh air that introduces us to promising new talents and a world filled with lively characters. **Rating**: 2.75/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/say-who-die-a-new-dark-comedy-that-gets-buried-in-its-ambitions/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/say-who-die-a-new-dark-comedy-that-gets-buried-in-its-ambitions/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/say-who-die-a-new-dark-comedy-that-gets-buried-in-its-ambitions/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/say-who-die-a-new-dark-comedy-that-gets-buried-in-its-ambitions/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/say-who-die-a-new-dark-comedy-that-gets-buried-in-its-ambitions/?share=linkedin) - **Categories:** Articles, Nollywood, Reviews **Tags:** Nemsia Studios, nollycritic, Oiza Abu, Paul Utomi, Prime Video, Say Who Die --- ### [The Benefactor: Fails To Give The Victim True Justice](https://nollycritic.com/the-benefactor-fails-to-give-the-victim-true-justice/) **Published:** September 1, 2025 **Author:** Faith Oloruntoyin **Excerpt:** The Benefactor sets out to tell a moving and emotionally charged story. Yet, along the way, the film occasionally drifts from its intended... **Content:** Produced by Folakemi Bello and Adeoluwa Owu (Captain Degzy), [*The Benefactor* ](https://nollywire.com/titles/the-benefactor/)sets out to tell a moving and emotionally charged story. Yet, along the way, the film occasionally drifts from its intended focus. The feature began its nationwide screening on [August](https://nollycritic.com/new-nollywood-movies-to-see-this-august-2025/ "August") 8, 2025, and has earned a nomination at the 9th Toronto International Nollywood Film Festival (TINFF). ## *The Benefactor* Directed by: Adeoluwa Owu Written by: Temiloluwa Fosudo Genre: Drama Released on: August 08, 2025 (Cinema) Language: English **The Past Comes Knocking In A Treacherous Way** The narrative follows the life of a rising music artist whose guardian angel gradually reveals himself to be a predator. Tuntunlade, played by Bimbo Ademoye, is beginning to settle into the good life she has worked hard to create. However, this progress is abruptly cut short when her benefactor, portrayed by Akin Lewis, demands sexual favours in exchange for his support. After she firmly refuses, Oloye Olowokere forces himself on her. This traumatic incident reopens the scars of a similar experience from fifteen years earlier, which had first driven Tuntunlade into Oloye’s household for refuge. As the story unfolds, Oloye’s true nature comes to light, along with the many other cruel acts he has committed. It is clear that deliberate effort was made to preserve details connecting the past and present. It doesn’t do this with the regular choice of an actor having a flashback but rather intertwines the shots in and out of the past and present. In a way that it feels like a continual story, that sits side by side. The story also unfolds at a brisk pace, avoiding unnecessarily prolonged dialogues. **Leaves With A Staggering Ending** The feature does give us a great premise to look forward to. Tuntunlade,, who is an orphan finds joy as she excels greatly with care from her late mother’s sister and husband. The couple also have a son, and they all live like a happy family. However, a normal afternoon alone with the son turns into sexual assault. Soon, the couple who had just financial issues to worry about had to decide on how to handle such a horrible situation. The husband, who goes by Pastor Wole, tried his best to make things better, but it wasn’t enough for the young girl’s sanity. Soon she runs off to the home of a seemingly kind and generous Oloye. Soon, she is able to continue are education and even pursue a music career. 15 years after the initial ordeal had happened and when it seemed like love had found her, Oloye insisted she must sleep with him as a form of thank you. Little did she know that her benefactor was in fact a drug and sex trafficker who was on the run abroad. Although her fiancé (Kunle Remi) had picked up a weird energy from the man, just as her uncle had many years ago. It was, however, too late, as he kidnapped, drugged, molested and tortured her. But he didn’t stop there as he intended to continue to treat her like the others. With the help of her fiancé, manager and lawyer, Tuntunlade presses charges against Oloye. Before the trial could really pick up its pace, Oloye was shot in the head by another dead victim’s sister. In the end, this ordeal leads Tuntunlade back to her uncle and aunt for reconciliation. The story slowly takes a nose-dive towards the tail end. As if it started a journey but couldn’t decide on the right destination to stop at. Yes, Tuntunlade starts the process of attaining justice, but it’s cut short even before it takes flight. With another victim’s sister of Oloye shooting him in the head. The ending feels ruined because Tuntunlade endures such a gruesome fate, with her past exposed publicly, only to be denied justice in the same space where she was shamed. Death never puts Oloye in the spot of true reparation and questions the entire point of the pain she went through. **Distinct Shift in Performance Quality Over Time** Some of the most compelling moments in the film come from the past setting. The flashback scenes reveal a strong synergy among the actors, particularly between Pastor Wole (Manuel Bimbo) and Young Tuntunlade (Toluwani George). Together, they convincingly portrayed a father–daughter bond that felt authentic, even after it was later revealed that he was, in fact, her uncle. Their excellent performances, marked by precise line delivery, expressive body language, and consistent emotional connection, made the relationship believable. A striking example is the scene where Pastor Wole returns home to confirm his suspicions. Tuntunlade’s silent yet powerful body language in that moment speaks volumes, making the exchange deeply impactful. King David (Tobi Makinde) and Aunty (Joke Muyiwa) also gave excellent performances that also aided Young Tutunlade and Pastor Wole’s performance. But when we take a dive into the present time, there seems to be a good start from Ademoye and Kunle Remi, but as the story progresses there is a visible drop. Tutunlade’s kidnap scene falls flat due to Ademoye’s lack of emotional depth. For a character facing abuse and betrayal by someone she trusted, her reaction felt bland and detached, almost as if she was indifferent. A stronger display of fear, shock, and rage, first through her actions and then in her words, would have made the moment far more compelling. This significant down slope towards the tail end of the movie takes away the impact the resolution was meant to deliver. **Unique Settings That Give More Life to The Story** One of the standout moments for the technical aspect would be the location and prop choices. Pastor Wole’s house moments had every little detail needed to sell it as a home from the 90s. The chairs, the wall painting, the dinner set, amongst others. The church also leaves a lasting memory as it cements religious experiences that lot may share. However, a drawback is that Pastor Wole, in particular, showed little to no physical transformation despite the 15-year time gap. Which meant that little to no detail was placed on his costume and appearance as the story progressed. At the very beginning of the movie, Tuntunlade delivers a terrific performance. One reason it stands out is the precise and excellent lip-syncing. And this juggles between good edits, sound and then the actress. This coalition makes it more than just another music performance in a Nollywood movie, but an enjoyable one to watch. Cinematography also shines in *The Benefactor.* Especially with the angled shot the kidnapping scene enjoyed, the light placement that gave off the shadowing effect and then Oloye’s majestic entry. Then there are the beautiful edits of both timelines that don’t seem too contrasting to the eyes. **Final Thoughts** It’s very arguable whether or not Tuntunlade actually just justice, with the way it ended. It would have been best to allow Tuntunlade to win in court and then leave Oloye to bear a brutal ending. However, maybe this is just a reflection of our society and how justice never really prevails. Back on the scene Oloye was shot dead. Why did she agree to testify to the scene before, with so much trembling and pain? And then go to this mute, fierce persona. No triggers, no explanation on both their ends, just a shot to the head. No one ever wants justice without doing a long and detailed explanation of why they are about to kill them. Toluwani George, who plays Young Tuntulade, is definitely a face to look out for in the Nigerian film industry. With her poise and distinct tone of delivery. The music scores were honestly great. Original songs that actually were lovely and interesting to listen to. Usually, original songs in Nollywood always come off cringeworthy and unsettling. **Verdict** *The Benefactor* does give us a much-needed story, but fails in the most important ways to sustain its life. It earns itself a rating of 2.75. ⭐⭐⭐ Rating: 2.5 out of 5. **Rating**: 2.75/5 ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-benefactor-fails-to-give-the-victim-true-justice/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-benefactor-fails-to-give-the-victim-true-justice/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-benefactor-fails-to-give-the-victim-true-justice/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-benefactor-fails-to-give-the-victim-true-justice/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-benefactor-fails-to-give-the-victim-true-justice/?share=linkedin) - **Categories:** Articles, Movies, Reviews **Tags:** Akin Lewis, Bimbo Ademoye, Captain Degzy, film, kunle remi, Manuel Bimbo, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Temi Fosudo, Toluwani George --- ### [Sin: Blackout - An Expensive Waste of Time and Talent](https://nollycritic.com/sin-blackout-an-expensive-waste-of-time-and-talent/) **Published:** August 27, 2025 **Author:** Uju Okosieme **Excerpt:** Sin: Blackout, the sequel to Sin: First Blood, is now streaming on Prime Video. But was it worth the wait? Let’s get into it **Content:** As promised, Jim Iyke’s 6th Sense Productions returns with the second part of Tosin Shina’s story. *Sin: Blackout*, the sequel to *[Sin: First Blood](https://nollycritic.com/sin-first-blood-a-crime-thriller-that-goes-nowhere/)*, is now streaming on Prime Video. But was it worth the wait? Let’s get into it. ## *Sin: Blackout* Directed by: Dimeji Ajibola, Yemi Morafa Written by: Echobu Michael Garuba, Brenda Ogbuka-Garuba, Emil Garuba, Jim Iyke Genre: Crime Thriller Released on: August 22, 2025 (Prime Video) Language: English ### An Overpromising Synopsis *Tosin Shina’s glamorous life unravels when her husband is arrested for drug trafficking. Forced to run his operation through her nightclub or risk her children’s lives, she’s caught between a deadly cartel and a relentless DLA agent urging her to turn informant. As danger closes in, a forbidden bond with the cartel’s enforcer adds to the stakes.* This description says a lot without truly saying anything—much like the film itself. The timeline is particularly confusing. It seems as though months are passing, yet the story gives us no clear sense of time. This becomes most glaring in the sudden relationship between Tosin and Leo, which feels rushed and unearned. ##### A Story That Falls Apart *Sin: Blackout* picks up after Jide’s death, with Tosin confronting a competitor who initially looks like a major threat but is quickly dealt with in a way that makes the subplot feel pointless. The central storyline then pivots to a forced romance between Tosin and Leo. What begins with her fear of him as a cartel enforcer suddenly transforms into kisses and declarations of loyalty strong enough for him to turn against his boss. The transition is so abrupt that it leaves viewers questioning when, exactly, this bond developed. Instead of being tightly woven, the story is full of moving parts that never quite fit together. Even the late twist—that the chief detective is secretly working for Black—lacks impact. It’s neither shocking nor cleverly set up, making it feel more like an afterthought than a payoff. ### Performances Without Depth Given Toni Tones’ powerful performance as the young Eniola Salami in *King of Boys*, one would expect her to thrive in a role like this. Unfortunately, her acting here is surprisingly weak, leaving Tosin’s character feeling hollow. Gideon Okeke’s Leo and Jim Iyke’s Black also bring little new to the table, playing versions of characters we’ve seen them embody before. For the most part, the acting across the board is lacklustre and unrealistic, with no standout performances to redeem the film. Talents like Chidi Mokeme as Lil Baz are wasted with little screen time, while the detectives’ scenes are particularly robotic and underwhelming. The clashes between Nigerian detectives (Kelechi Udegbe and Hermes Iyele) and the international agents (Ronya Man and Lieba Love) fall flat, marred by questionable acting choices that undermine the tension these scenes are intended to convey. ### Final Reflections on Missed Potential Much like its predecessor, the film unnecessarily uses multiple voiceover narrations from different characters, which only disrupts the flow. Tosin’s sudden outburst at Titi when her closeness to Leo is brought up feels exaggerated. At the same time, Lil Baz is introduced as a looming threat only to be disposed of too quickly, rendering his presence meaningless. With Amazon’s big budget behind it, the film had all the resources to succeed, but squandered them on casting big names rather than building a solid script. Too many notable actors appear only briefly, with little to do, which diminishes their impact. While the film racks up a body count, it never allows viewers to connect meaningfully with the characters, so their deaths feel empty. The runtime drags on unnecessarily, making the lack of narrative payoff even harder to forgive. ### Verdict There’s not much to say because not much has been done. *[Sin: Blackout](https://www.primevideo.com/detail/SIN-Blackout/0PV0ULPTCOOI8Q6HBK4H3C1Z8S)* attempts to tie up the first instalment but delivers a sequel just as underwhelming as its predecessor. The timeline is unclear, character developments appear out of nowhere, and the plot is weighed down by too many moving pieces that don’t align. Despite glimpses of what it could have been, the film fails to reach its potential and lands at a disappointing 1.5 out of 5 stars. **Rating**: 1.5/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/sin-blackout-an-expensive-waste-of-time-and-talent/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/sin-blackout-an-expensive-waste-of-time-and-talent/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/sin-blackout-an-expensive-waste-of-time-and-talent/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/sin-blackout-an-expensive-waste-of-time-and-talent/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/sin-blackout-an-expensive-waste-of-time-and-talent/?share=linkedin) - **Categories:** Articles, Blog, Reviews **Tags:** Gideon Okeke, Jim Iyke, nollycritic, nollywood, Prime Video, Reviews, Toni Tones, Yemi Morafa --- ### [Revelations: A Story of the Harsh Realities Behind Japa](https://nollycritic.com/revelations-a-story-of-the-harsh-realities-behind-japa/) **Published:** August 26, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Revelations opened at the Nigerian cinemas on August 15, 2026. Following its world premiere at the Utah International Film Festival... **Content:** Co-written and produced by Nigerian filmmaker Richard Mofe Damijo, *[Revelations](https://nollycritic.com/new-nollywood-movies-to-see-this-august-2025/)* opened at the Nigerian cinemas on August 15, 2026. Following its world premiere at the Utah International Film Festival. It won Best International Film, Best Actor and Best Supporting Actor. Although it delivers a refreshing plot and excellent performances, it stumbles with the many branches it tries to execute. ## *Revelations* Directed by: Martins Samuel Written by: Rocky Jedick, Richard Mofe Damijo, Tanya Price Genre: Drama Released on: August 15, 2025 (Cinemas) Language: English **A Story Built Around the Nigerian Japa Experience** *[Revelations](https://www.imdb.com/title/tt32333054/?ref_=mv_close "Revelations")* follows the story of a Nigerian immigrant and his American wife as they struggle with infertility and past secrets that pose a threat to their marriage. It explores the themes of love, secrets, betrayal and sabotage. Voke, played by RMD, finds himself in a difficult situation when his wife, Mellisa, begins raising questions about his past life in Nigeria before he moved to America. She grows increasingly concerned, especially as he maintains a calm, almost detached attitude toward their ten-year struggle with childbearing. Voke, however, insists that his past has no bearing on their present life and dismisses it as holding no memories worth revisiting. Their lives take a sharp turn when Mellisa’s past resurfaces. Her ex-fiancé and childhood sweetheart files a lawsuit against a hospital for misdiagnosing a patient, and Mellisa, by association, is drawn into the case. What begins as a legal battle gradually reveals his ulterior motive—to win Mellisa back. The situation worsens with the sudden return of Voke’s ex-wife, Carmen, who threatens him with blackmail. She claims that Voke had only married her years ago to secure his U.S. papers and now demands more money to keep silent. Aligning herself with the misdiagnosed patients, Carmen fuels even greater turmoil in Voke and Mellisa’s marriage. To complicate matters further, the shocking truth of Mellisa’s teenage pregnancy with her ex-fiancé comes to light. Yet, the most devastating revelation arrives when Ese, Voke’s former fiancée whom he abandoned before leaving Nigeria 25 years earlier, reappears. She brings with her not only a child, Veejay, but also the heartbreaking news of her terminal illness. Before they can fully reconcile, Ese passes away, leaving Voke to shoulder the responsibility of building a new bond with Veejay. In the end, Voke and Mellisa find a bittersweet sense of peace—coming together as parents, not through the children they longed for in their marriage, but through the children from their past lives. **Way Too Many Subplots Almost Ruin The Entire Story** Although the storyline is fresh and very different from the typical Nollywood story, it stumbles greatly with its subplots. For one, this almost ruins the momentum built and leaves the audience confused. It takes a lot to stay on course which isn’t a great experience, with it being a cinematic screening, which has no pause or playbacks. And then it shows the lapses in the script written and directed. First subplot is the issue with a black doctor feeling unseen and pushed aside at Voke’s hospital. The scene leans on the notion of the doctor eventually becoming an enemy. Or even conniving with the existing threats. But that never happens and that situation never gets addressed again or resolved. Melissa’s estranged relationship with her mother is also an angle that just gets tossed around every now and then in the story. With no clear direction on the why’s that surround the mother’s attitude and her willingness to tire her relationships apart. Then the other unsettling part is Melissa’s teenage pregnancy. At first the story echoes that an abortion was done and then it shifts to her actually giving birth to the child but giving it up. And then her and Voke going to become parents to the child, with no clarity on how Mellisa finds the child and what the childs story had been all along. Veejay’s story is one that is vaguely explored. Especially with the growing similarities he shared with a father he never knew about. Maybe a flash back into his early child hood and him acknowledging his father’s absence. **Excellent Performances If One Looks Past The Cringe** Key performances from RMD, Akpotha, Oghenetega, and Tanya Price stand out, each bringing depth to their roles. Oghenetega, in his first on-screen appearance, delivers an impressive performance that feels far from a debut, complemented by his remarkable synergy with Akpotha in their mother-son subplot. Akpotha, as always, gives a commendable performance, with her final scene powerfully anchoring her character’s pain and grief. RMD’s charismatic yet subtle style lends a commanding presence, making his dialogue with non-Nollywood characters feel both natural and seamless. Alex Boye also delivers a very impressive performance, especially with the scenes he had to sing. However, the likes of Albert Simpson and Tara Berrett, who take on the villain role at some point, fail to settle into their characters, thereby giving performances that are visibly empty. **Thriving Technicalities That Aid The Story** One of *Revelation’s* standout elements is its cinematography, which skillfully supports the actors’ emotions and actions while also capturing external shots with impressive attention to detail. The film seamlessly blends US and Nigerian landscapes at key moments, enhancing its visual depth. More technical scenes, such as those set in the operating room, were also well executed, with meticulous attention paid to blood, surgical procedures, and other authentic details. Rather than glossing over these elements, the film presents them with striking realism and precision. And then there is the fine blend of sound and music during the course of the movie. A highlight on music would be Kyle’s rendition for the cancer patients as the doctors simultaneously try to save a patient’s life. This gave that particular scene an emotional touch to the entire story. **Final Thoughts** One might struggle to enjoy the performances of the international acts. And that’s because both the accent and the actions give a less dramatic display than we are used to in Nollywood. Also, *Revelation*s is definitely a movie fit for streaming platforms as opposed to the Nigerian cinemas. It’s great that scenes that ideally point towards a Nigerian location weren’t poorly executed, because it may have damped the realism every story aims at. And this is because it lacks the elements like a large star-studded cast that would usually attract the Nigerian audience. But who knows, maybe it could pull off high numbers at the Nigerian box office. **Verdict** With its fresh storyline and technical exploits, *Revelations* earns itself a 3 point rating. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/revelations-a-story-of-the-harsh-realities-behind-japa/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/revelations-a-story-of-the-harsh-realities-behind-japa/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/revelations-a-story-of-the-harsh-realities-behind-japa/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/revelations-a-story-of-the-harsh-realities-behind-japa/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/revelations-a-story-of-the-harsh-realities-behind-japa/?share=linkedin) - **Categories:** Articles, Blog, Reviews **Tags:** Chioma Akpotha, film, Hollywood, Martins Samuel, nollycritic, nollywood, Nollywood 2025, Richard Mofe-Damijo, RMD, Tanya Price, Tega Mofe-Damijo --- ### [Devil Is A Liar: A Promising Tale That Lies To Us in the End](https://nollycritic.com/devil-is-a-liar-a-promising-attempt-that-lies-to-us-in-the-end/) **Published:** August 19, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Devil is a Liar tells a familiar tale of love and betrayal, with outcomes that felt predictable as the story unfolded... **Content:** One thing [Moses Inwang](https://en.wikipedia.org/wiki/Moses_Inwang) has never failed to do is deliver projects that stir unending conversations. Known for his directorial work in *The Merry Men* franchise, *Unroyal, [Blood Vessel](https://nollycritic.com/the-best-nollywood-netflix-originals-you-shouldnt-miss/), Dead Serious* and now *[Devil Is a Liar](https://www.imdb.com/title/tt34811173/ "Devil Is a Liar").* The feature stumbles with the goal it sets out to achieve. Spoilers Ahead! ## *Devil is a Liar* Directed by: Moses Inwang Written by: Tunde Babalola Genre: Drama Released on: August 15, 2025 (Netflix) Language: English **A Well-Intended Story Fuelled By the Woes of Love** *Devil is a Liar* was released on Netflix on Friday, August 15, 2025. It tells the story of a realtor, who finds love in a younger man but gets dealt the hands of the devil in return. The feature follows Adaora (Nse Ikpe-Etim), a wealthy woman whose marriage to Jaiye (James Gardiner) unravels under betrayal and abuse. Though content at first, her life turns desperate when Jaiye demands the termination of their second pregnancy. A stance rooted in his refusal to raise children on her wealth. Their union, which began naturally after meeting at her sister’s introduction, produces a daughter, also named Adaora. But Jaiye soon grows cruel, emotionally abusive, and hostile, eventually forcing Adaora into another abortion. Tragedy strikes when they lose their only child in a car crash. Jaiye quickly resumes his reckless lifestyle, while Adora discovers he conspired with her doctor to secretly perform a hysterectomy. Consumed by rage, she runs him over after an anonymous tip, leading to his presumed death and her imprisonment. On her release, she learns Jaiye is alive, married to his supposed cousin Anna (Erica Nlewedim). And together they have stripped her of all her wealth while she was behind bars. She learns of the double jeopardy clause and takes matters into her hands as she kills Jaiye and reclaims her asset. **Familiar Scenarios Kills the Momentum It Tries to Build** *Devil is a Liar* tells a familiar tale of love and betrayal, with outcomes that felt predictable as the story unfolded. It left several loose ends that could have provided the unique arc the film needed. For instance, there was no backstory explaining why or how Jaiye and Anna targeted Adaora. For a scheme that elaborate, their actions seemed too spontaneous, and a deeper exploration would have added much-needed depth to their villainy. Jaiye recording his intimate moment with Adaora, and its vague reference later by the pool, also felt incomplete, raising questions about whether it was ever meant as a blackmail tool. Adaora’s desperation also fell flat, as her character began the film with confidence and composure, showing little trace of the breakdown she later embodied. The film further struggled with weak dialogue from the supporting cast, especially towards the final act. The climax, which leaned on the double jeopardy clause Adaora discovered, failed to land with the necessary weight. Instead of letting the audience witness her triumph, the story denied her victory the proper resolution it deserved. **A Two-hour Showtime Anchored On Two People’s Compelling Performance** Nse delivers yet another impeccable performance with the character Adaora. Over time we have seen her play sophisticated and also rugged. But this time we had both in the same character, as her journey in prison brings a totally different woman. She was able to deliver the expressions, tone and mannerisms to follow Adaora’s chaotic journey. Alongside is Gardiner’s convincing antagonistic character, Jaiye. From the very beginning to his eventual death, one could see the evil in his stares and tone towards her. Unfortunately, their romance is unconvincing as it lacked chemistry, which made his eventual betrayal very predictable. Erica Nlewedim’s character played a crucial role in the grand scheme to destroy Adaora, yet her performance fell short of the weight the role demanded. Anna, despite being central to every plot twist—from the asset theft to Jaiye’s staged death—came across as flat, lacking the depth and nuanced mannerisms needed to fully sell her presence. This made it difficult to reconcile how a character with such significant influence on the story and lead cast could feel so underwhelming on screen. A standout mention is Mercy Aigbe’s prison character. Though her appearances were brief and her lines few, she leaves a lasting impact, creating a sense of sisterhood with Adaora that offered moments of relief amidst the tension. However, other supporting roles (Sharoon Ooja, Akin Lewis, Tina Mba) fall flat in their deliveries, making it easy to miss their appearance in the story. **Constant Sound Errors That Ruin the Compelling Scenes** One major flaw a *Devil is a Liar* suffered from is non-alignment with the sounds and actions shown. There were scenes were the sound was either going faster or slower than the actions or mannerisms made by the actors. Especially during the fight scene between Jaiye and Adaora at the tale end. That scene was crucial in tying up Jaiye’s motive for targeting her and apart from the weak dialogue it suffered there, the mashup sounds made it even more difficult. But here’s the twist, the right music and sound were employed. Which helped aid the story line. The movie also anchors greatly on excellent cinematography. Very deliberate shots and angles were taken all across the entire project. Some distinct shots would be Jaiye’s car drift, the accident and the final fight scene in the prison. The dark colour scheme also helped with the mood and tone of the film. **Final Thoughts** Might be a triggering watch for anyone who can resonate with the story, so grab your tissues. But it does stir a different conversation, on love for women in their 30s, and the constant portrayal as being doom-bound is the only reality out there. If our stories are truly drawn from the society around us then there are definitely more scenarios, love and women in their 30s, that have not been explored. Anna and Jaiye didn’t suffer as much as they deserved. **Verdict** *Devil is a Liar* struggled to stand firm based on its here and there cracks from the story to the final edits. The fact that it anchors on a familiar story of love and betrayal required that it gave something different. But it doesn’t or rather, the deliveries are consistently predictable and far from settling. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/devil-is-a-liar-a-promising-attempt-that-lies-to-us-in-the-end/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/devil-is-a-liar-a-promising-attempt-that-lies-to-us-in-the-end/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/devil-is-a-liar-a-promising-attempt-that-lies-to-us-in-the-end/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/devil-is-a-liar-a-promising-attempt-that-lies-to-us-in-the-end/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/devil-is-a-liar-a-promising-attempt-that-lies-to-us-in-the-end/?share=linkedin) - **Categories:** Articles, Popular reviews, Reviews **Tags:** Akin Lewis, Erica Nlewedim, film, James Gardiner, Mercy Aigbe, Moses Inwang, Netflix, NetflixNaija, nollycritic, nollywood, Nollywood 2025, Nse Ikpe-Etim, Reviews, Sharon Ooja, Tina Mba --- ### [Finding Nina: A Scenic Journey That Leads Nowhere](https://nollycritic.com/finding-nina-a-scenic-journey-undermined-by-forced-romance/) **Published:** August 12, 2025 **Author:** Uju Okosieme **Excerpt:** Nemsia Studios returns to Prime Video with Finding Nina, directed by Famous Odion Iraoya. One thing about Nemsia Studios is their... **Content:** Nemsia Studios returns to Prime Video with[ *Finding Nina*](https://www.themoviedb.org/movie/1526942-finding-nina " Finding Nina"), directed by Famous Odion Iraoya. One thing about [Nemsia Studios](https://nemsiastudios.com/ "Nemsia Studios") is their consistency in delivering new stories, but does this latest release live up to expectations? Let’s find out. ## *Finding Nina* Directed by: Famous Odion Iraoya Produced by: Hirse Peace Dalaham Genre: Drama Released on: August 8, 2025 (Prime Video) Language: English, Hausa ### A Promising Synopsis with a Rushed Spark The film’s synopsis reads: Renowned photographer JB returns to Northern Nigeria to reconnect with his roots. A photo of his childhood love, Nina, sparks a surreal journey of memory, love, and self-discovery, forcing him to confront the past and rediscover who he truly is. While this premise holds plenty of intrigue, the moment that supposedly ignites JB’s search for Nina feels rushed and lacks emotional weight. There’s no compelling buildup to explain why he suddenly begins dreaming of someone who, until that instant, seemed absent from his thoughts. Instead of allowing the narrative to breathe, the film introduces a random love triangle. After finally finding Nina, JB inexplicably shifts his affections to Raiyah, a woman he has shown little to no interest in prior. Even his relationship with Nina feels hurried, making her deep hurt after only a week together seem disproportionate and underdeveloped ### Cultural Beauty Overshadowed by Weak Writing Though the synopsis promises a personal journey of self-discovery, the film also uses JB’s experiences to highlight the beauty of Northern Nigeria and offer glimpses into its rich culture. This cultural backdrop is one of the film’s strongest points. However, the writing and pacing fail to match the potential of the setting. The so-called love triangle never feels fully fleshed out, and conflicts—particularly between Raiyah and JB—come across as forced rather than organic. We see Raiyah’s jealousy, but her quarrels with JB lack any real narrative payoff. ### Performances That Hover Around Average The cast boasts talented names such as Tomi Ojo, Jammal Ibrahim, Paul Sambo, and Ijapari Ben-Hirki, all delivering decent, if not remarkable, performances. The standout is young Ahmad Isa as Abdul, who displays a natural ease on screen and is certainly one to watch. Unfortunately, the dialogue undermines the actors’ efforts. ### A Visual Feast That Outshines the Story If there’s one area where *Finding Nina* excels, it’s in its technical execution. The visuals are striking, with a bold, confident colour grade. The cinematography shines particularly at the art gallery, capturing people engaging with the photographs beautifully. Photography itself becomes almost a character within the film, intertwined with the story’s emotional beats. The location choices are equally commendable, offering stunning shots that elevate the film’s aesthetic appeal. ### The Road Back to Raiyah It’s always refreshing to see [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") step away from Lagos and spotlight another region’s beauty and culture. That said, JB’s convenient discovery of Nina might feel too easy at first glance. However, when the story circles back to Raiyah as the person he needed all along, that convenience starts to make more sense. It reframes the journey not as a search for Nina, but as an emotional arc leading JB to confront his true feelings and priorities. The conclusion, while imperfect in execution, closes the loop in a way that brings the film’s emotional throughline into sharper focus. Still, it’s hard to ignore how muddled the emotional beats feel. JB’s annoyance with Raiyah is baffling, especially since nothing in his earlier actions showed any romantic interest in her. And once Nina enters the picture, his sudden pivot to Raiyah undermines the believability of both relationships. ##### Verdict *Finding Nina* struggles with its identity. Marketed as a straightforward love story, it unexpectedly shifts into a love triangle involving two women who look like each other so closely they could be twins, a twist that feels like it appears out of thin air. While the film offers cultural richness, gorgeous visuals, and a strong sense of place, its inconsistencies, underdeveloped emotional arcs, and lack of narrative depth prevent it from reaching its full potential. An easy watch that could have been something more, *Finding Nina* ultimately earns 2.25 out of 5 stars. **Rating**: 2.25/5 ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/finding-nina-a-scenic-journey-undermined-by-forced-romance/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/finding-nina-a-scenic-journey-undermined-by-forced-romance/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/finding-nina-a-scenic-journey-undermined-by-forced-romance/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/finding-nina-a-scenic-journey-undermined-by-forced-romance/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/finding-nina-a-scenic-journey-undermined-by-forced-romance/?share=linkedin) - **Categories:** Nollywood, Reviews **Tags:** Famous Odion Iraoya, Ijapari Ben-Hirki, Jammal Ibrahim, Paul Sambo, Prime Video, Tomi Ojo --- ### [Dead Tide: An Intriguing Action Thriller That Disappoints it's Genre](https://nollycritic.com/dead-tide-an-intriguing-action-thriller-that-disappoints-its-genre/) **Published:** August 11, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Dead Tide bursts onto the screen as an Action Thriller, but its action is eclipsed by a talky melodrama that drowns its promise: with drama. **Content:** [*Dead Tide* ](https://www.imdb.com/title/tt36414060/ "Dead Tide ")bursts onto the screen as an Action Thriller, but its action is eclipsed by drama. Directed by Soji Ogunnaike, the film follows Itoro, played by Ikechukwu Onunaku, an ex-militant seeking peace after his sister’s death, until Sade (portrayed by Eniola Ajao), a social media influencer, seeks refuge in his bar after filming a murder by Dare, the president’s son (played by Ibrahim Suleiman). Their struggle against deadly pursuers aims to grip, yet stilted dialogue and a plodding pace make it a forgettable slog, lifted only by unintended and intended chuckles at its absurdities. ## *Dead Tide* Directed by: Soji Ogunnaike Written by: Chiji Ononiwu, Babajide Ayinde, Soji Ogunnaike Genre: Action Released on: August 1, 2025 (Cinemas) Language: English ### A Plot That Crawls Sade (played by Eniola Ajao), and her friend Chioma (played by Adebimpe Oyebade), film Dare (Ibrahim Suleiman), murdering Abdul at a beach resort, sparking a chase by Dare’s millitant security led by Gambo (William Benson). They seek refuge at Itoro’s wooden bar. This one-day narrative stretches to an hour and 40 minutes screen time, feeling endless due to sluggish pacing, and self-aware conveniences, like Abdul’s bizarre choice to walk Dare far for their fatal talk, or the video’s inexplicable shift from distant to close-up, disrupt coherence, perplexing viewers. Yet, the sparse fistfights, though overshadowed by chatter, deliver brief thrills, satisfying fans of Nollywood’s dramatic style. While side plots, like Gambo’s forced menacing nature and Itoro’s over-emphasized militant past, bloat the story. ### A Story That Fades The emotional arc of *Dead Tide* aims to tie grief, survival, and justice, but its themes lack resonance. Itoro’s torment, shown through his dream and scar, suggests deep loss. However, his flawless heroism, repeatedly highlighted, feels sacrificial and unlikeable, leaving viewers emotionally detached from his journey. For an action, the film is largely driven by dialogue. The dialogue is generally poor and rendered without conviction. Dare’s playful villainy points to elite corruption, but his absurdity undercuts menace, amusing some but diluting stakes. Inauthentic dialogue, like the jarring “Itoro John” or “Senayon” calls from the opening scene onward, feels theatrical, disrupting immersion for realism-seekers but delighting fans of Nollywood’s dramatic flair. This melodramatic approach entertains some, yet strands the emotional core for others, diminishing impact. ### Performances That Flounder One of the film’s biggest flaw is its performances. Ikechukwu Onunaku’s Itoro, crafted as a righteous saviour who seeks justice and saves lives, delivers a one-dimensional performance, stripping away feeling. His unconvincing love for Senayon frustrates viewers, mirroring her doubts. However, his unnatural dialogue exchanges, feels off-putting, clashing with action film expectations and alienating audiences seeking authenticity. Ibrahim Suleiman’s Dare steals focus with outrageous antics, a favourite villain drawing laughs, yet his playful cruelty lacks threat. William Benson’s Gambo, meant to be menacing and serious and a stark contrast to Dare, appears theatrical and emotionless. The poor dialogue rendition is a consistent theme among the actors in the film. ### A Barely Serviceable Production The cinematography captures the seashore’s raw charm and Itoro’s wooden bar vividly. Early action relies on exaggerated visual effects, with bullet impacts and skeletal fractures that feel jarring (a choice that felt rather unnecessary). The throat-slitting scene, employed practical effects with a smart cutaway to sell it, delivers sharp impact, standing out as a rare highlight. The sound design and music is serviceable and some of the stunts are impressive. Sade and Chioma, filming Dare’s murder from atop a building, capture distant footage, yet the revealed video inexplicably shows a close-range, low-angle shot, a jarring inconsistency that breaks immersion and frustrates viewers by undermining the narrative’s logic. ### Final Thoughts *Dead Tide* probes the shadows of power and justice, questioning how corruption thrives and survival falters, yet the film’s inauthentic tone and talky excess mute its voice. It reflects a desire to confront elite arrogance and societal rot, but its shallow, emotionless characters and unnecessary subplots flaws the film. *Dead Tide* reflects [Nollywood’s](https://nollycritic.com/?s=nollywood "Nollywood’s") consistent genre problem, where drama, not fast-paced action, fuels action films, a truth that shapes its essence. ### Verdict *Dead Tide* may entertain those who enjoy what if offers for what it is, but its lack of urgency and inauthentic dialogue challenge engagement. It suits viewers who embrace a drama-heavy ride with action elements and laugh at theatrical characters. By any measure, it’s flawed, but not without merit for those ready for what it offers: a mix of chuckles and dramatic flair that satisfies when expectations align. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/dead-tide-an-intriguing-action-thriller-that-disappoints-its-genre/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/dead-tide-an-intriguing-action-thriller-that-disappoints-its-genre/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/dead-tide-an-intriguing-action-thriller-that-disappoints-its-genre/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/dead-tide-an-intriguing-action-thriller-that-disappoints-its-genre/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/dead-tide-an-intriguing-action-thriller-that-disappoints-its-genre/?share=linkedin) - **Categories:** Articles, Movies, Reviews **Tags:** action, Adebimpe Oyebade, corruption, critique, Drama, Eniola ajao, Ibrahim Suleiman, Ikechukwu Onunaku, Lateef Adedimeji, nollywood, Review, social media, Soji Ogunnaike, survival, Tope Olowoniyan, Uche Nwoko, William Benson --- ### [Ireke - Rise of the Maroons: A Nollywood Saga That Strives for Epic Heights](https://nollycritic.com/ireke-rise-of-the-maroons-a-nollywood-saga-that-strives-for-epic-heights/) **Published:** August 1, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Ireke: Rise of the Maroons plunges us into a stark portrait of 17th-century slavery, yet its simplistic brushstrokes fail to capture... **Content:** [*Ireke: Rise of the Maroons* ](https://www.imdb.com/title/tt36936730/ "Ireke: Rise of the Maroons ")plunges us into a stark portrait of 17th-century slavery, yet its simplistic brushstrokes fail to capture the depth of African defiance. Directed by Emmy-nominated journalist Gbolahan Peter MacJob, with producers Toyin Moore, Emmanuel Anyiam-Osigwe, and Clare Anyiam-Osigwe, this English and Yoruba-language Nollywood drama follows Prince Atanda (Tobi Bakre), betrayed by his uncle (Kolawole Ajeyemi) and enslaved on a Jamaican plantation. His fleeting connection with Adunni (Atlanta Bridget Johnson), a mixed-heritage slave, and a last-minute alliance with the Maroons, a separate rebel community, frame a tale of resistance. Despite its ambition to reclaim an African narrative, the film’s simplistic tropes and technical flaws dim its fire, leaving its audience more distanced than inspired. ## *Ireke: Rise of the Maroons* Directed by: Gbolahan Peter MacJob Produced by: Toyin Moore, Emmanuel Anyiam-Osigwe, Clare Anyiam-Osigwe Genre: Drama Released on: July 25, 2025 (Cinemas) Language: English ### A Soul That Yearns but Falls Short *Ireke* aims to pulse with the resilience of its characters, but its emotional heart beats faintly. Atanda’s arc, from betrayed prince to a man shattered by loss, carries the promise of ancestral reckoning, yet his inner world feels thinly drawn, his motivations more told than felt. Adunni’s defiance, rooted in her rejection of her light skin, a trait that draws both the plantation master’s favour and his wife’s ire, offers a glimpse of complexity, but her romance with Atanda feels forced for dramatic weight, a bond that begs for nuance but settles for cliché. The Maroon Priestess (Faithia Williams Balogun) carries a whisper of spiritual depth, but her fleeting role barely registers. The film’s attempt to evoke emotion, like the searing ‘Merry Xmas’ image carved on enslaved men’s chests, recalls the painful past but falls flat, its lack of subtext mirroring the broader storytelling’s forced emotional pulls. The film’s African voice falters, its emotional connections strained by caricatured tropes, leaving viewers untouched by its intended weight. ### A Rebellion That Fades Too Soon The narrative ties two threads, Atanda’s plantation ordeal and the Maroons’ distant fight, but ties them too late and too loosely. Historically, the film nods to the slave trade’s brutality and the Maroons’ 18th-century rebellions, yet its depiction feels elementary, reducing systemic horrors to staged whippings and burnings that lack the depth of works like Roots or Amistad. Atanda’s betrayal by his uncle, who slays his father (Antar Laniyan) with British aid, lands him under Master Gerard’s (Demetri Turin) cruel rule, where he loves Adunni against the backdrop of Johnson’s (Westy Baba) predatory advances. A separate incident, a young slave’s false rape accusation sparks a chase, ended by a Maroon’s rescue, but this fleeting link feels incidental. Only after Adunni’s death, as Atanda faces execution, do the Maroons sweep in, spurring his final stand against his oppressors. The plot’s simplicity, with predictable violence and a rushed climax, lacks the flavour to honour its historical stakes, leaving the Maroons’ rebellion a shadow rather than a blaze. ##### Performances: Sparks Tobi Bakre’s Atanda carries quiet sympathy, his grief after Adunni’s loss touching, but he lacks the revolutionary spark to anchor the climax, leaving his role flat. Atlanta Bridget Johnson’s Adunni shines with defiance, her light skin, deliberately cast to reflect Master Gerard’s preference and Lady Catherine’s (Alex Franklyn) jealousy, adding tension, her self-loathing layered in this aspect. Kolawole Ajeyemi’s uncle chills with ruthless ambition, a stark foil to Atanda’s pain. Westy Baba’s Johnson, meant to be unlikeable, grates with a forced accent and lines like “I hate the colour of my skin,” which feel unnatural and caricatured, stripping the role of believability. The slaves’ modern-sounding dialogue jars against the 17th-century setting, dulling the ensemble’s impact. ##### A Craft Undone by Its Flaws Gbolahan Peter MacJob’s vision, blending Yoruba and English to reclaim a diaspora narrative, shows ambition. The cinematography, capturing scarred backs and sweat-soaked faces, evokes the plantation’s grim reality, but murky visuals and missing subtitles, at least in some screenings, obscure the story. The sound design falters, with dialogue drowned by an overbearing soundtrack, its Sinners-like rhythms overshadowing voices and muddling key moments. The mise-en-scène, with authentic costumes, tattered rags and Yoruba-inspired Maroon garb, roots the era, but rushed editing and poor audio undermine the effort. The violence, hangings, burnings, and Johnson’s near-rape of Adunni, aims for rawness but feels staged, its impact lost in technical stumbles. The craft has heart, but its lack of polish dims its light. ### Final Thoughts *Ireke: Rise of the Maroons* strives to honour the Maroons’ defiance and African resilience, but its basic storytelling betrays its promise. Historically, it aims to spotlight the Maroons’ 18th-century Jamaican rebellions, such as the First Maroon War (1728–1740), a crucial saga of diaspora resistance against colonial oppression, yet its shallow portrayal reduces this legacy to a backdrop. The ‘Merry Xmas’ scene, evoking the painful past of slavery’s dehumanization, carries historical weight but lacks the nuance to resonate deeply, mirroring the film’s broader struggle to find subtext. Technical flaws, poor sound and absent subtitles, further distance viewers, even those eager to embrace its story. As [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") reaches for global tales, Ireke reveals both its ambition and its limits, leaving us to ponder how such a vital history might shine with greater care and craft. ### Verdict *Ireke: Rise of the Maroons* beckons those drawn to African diaspora stories, but its over simplistic storytelling and technical missteps dim its spark. Its heart beats for ancestral pride, yet it fails to move, offering a glimpse of defiance that fades too soon. Watch it for its intent, but brace for a tale that doesn’t soar. **Rating**: 2.25/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ireke-rise-of-the-maroons-a-nollywood-saga-that-strives-for-epic-heights/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ireke-rise-of-the-maroons-a-nollywood-saga-that-strives-for-epic-heights/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ireke-rise-of-the-maroons-a-nollywood-saga-that-strives-for-epic-heights/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ireke-rise-of-the-maroons-a-nollywood-saga-that-strives-for-epic-heights/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ireke-rise-of-the-maroons-a-nollywood-saga-that-strives-for-epic-heights/?share=linkedin) - **Categories:** Articles, Movies, Reviews **Tags:** action, African diaspora, Alex Franklyn, Antar Laniyan, Atlanta Bridget Johnson, Clare Anyiam-Osigwe, colonialism, critique, Demetri Turin, Drama, Emmanuel Anyiam-Osigwe, Faithia Williams Balogun, Gbolahan Peter MacJob, historical drama, Kolawole Ajeyemi, Maroons, nollywood, political satire, Rebellion, Review, Romance, slavery, Toyin Moore, Westy Baba, Yoruba cinema --- ### [Sin: First Blood – A Crime Thriller That Goes Nowhere](https://nollycritic.com/sin-first-blood-a-crime-thriller-that-goes-nowhere/) **Published:** July 28, 2025 **Author:** Uju Okosieme **Excerpt:** Jim Iyke returns under his 6th Sense Movies banner with Sin: First Blood. The first part of the highly anticipated... **Content:** Jim Iyke returns under his 6th Sense Movies banner with *Sin: First Blood*. The first part of the highly anticipated[ $2.5 million project](https://nollywire.com/jim-iykes-film-sin-plot-cast-production-details/ " $2.5 million project") is now streaming on Amazon Prime. Directed by Yemi Morafa and Oladimeji Ajibola, and featuring a cast that includes Toni Tones, Gideon Okeke, and Chimezie Imo, this film promises a gripping descent into the Lagos underworld. But does it deliver? ## *Sin: First Blood* Directed by: Dimeji Ajibola, Yemi Morafa Written by: Echobu Michael Garuba, Brenda Ogbuka-Garuba, Emil Garuba, Jim Iyke Genre: Crime Thriller Released on: July 24, 2025 (Prime Video) Language: English ### A Promising Premise Weighed Down by Execution The film opens with Tosin Shina—Lagos socialite and nightclub owner—watching her life unravel when her husband, Jide, is arrested for drug trafficking. With her world collapsing and her children to protect, she’s forced into the same drug empire that destroyed her life, becoming a reluctant player in a deadly game. While the central plot holds promise, much of the narrative meanders. We get glimpses into the DEA investigation and various side stories, but they’re so underdeveloped that they barely register. Most of the film feels like a build-up, but with minimal payoff. For a crime thriller, there just isn’t enough urgency. ### An Interesting Setup That Struggles to Hold Attention There’s no denying that the premise—an elite woman forced to enter the drug world—is compelling. Unfortunately, the storytelling doesn’t match the stakes. From Jide’s arrest to Tosin’s eventual entanglement with the cartel, the pace drags. We’re almost at the end before anything of note actually happens, and even then, the moments feel fleeting. Perhaps the real drama is being saved for the second part of the story, but the first instalment should still be strong enough to keep viewers engaged. Instead, it often feels like a slow burn with no real fire. ### Stellar Cast, Subpar Performances Despite a lineup of strong actors, the performances fall flat. Toni Tones (Tosin), usually reliable, struggles with key moments, especially in the scene where she tries to reject the cartel, only to find that they have already left. Jim Iyke once again plays the familiar tough guy, bringing nothing new to his role as Black. Even actors like Gideon Okeke and Chimezie Imo—who’ve impressed in past roles—feel underutilised. The most baffling moment comes from Bimbo Manuel’s Director Mordi, whose outburst at two international agents is so over-the-top, it becomes laughable. ### A Visually Polished Film with Jarring Sound Choices Visually, the film delivers the standard Nollywood gloss—clean cinematography and decent production if you can excuse the occasional over exposed unrealistic theatrical lighting. But beyond that, it struggles. The soundtrack is distracting at best and completely mismatched at worst. The film leans far too heavily on slow-motion scenes that add little value and stretch the runtime unnecessarily. From Spider’s ridiculous tattoo to the DEA’s generic badge/logo, the film suffers greatly from not being well detailed. There’s a clear intention to stylise, but it ends up feeling like style over substance. ### Final Thoughts Right from the start, there’s confusion around the film’s identity. The title card reads *Sin: First Kill*, but Amazon Prime lists it as *Sin: First Blood*. Basic details like this should be consistent. Timeline logic is also fuzzy—cartel members showing up in a fleet of flashy cars to Tosin’s house makes no sense for a mission that should have been covert. The use of voice-overs from various characters adds another layer of tonal inconsistency. And when Tosin is pushed to kill for the first time, it feels like a forced nod to the title rather than an earned character moment. ### Verdict *Sin: First Blood* is packed with potential but ultimately underwhelms. It has all the ingredients—a good cast, a big budget, and two talented directors—but something definitely went wrong somewhere. The plot barely moves, the performances are subpar, and the inconsistencies pile up. At nearly 2 hours long with so many characters doing so little, the film is very much bloated without substance. Still, with the way this chapter ends, the only option is a very shaky hope that the second part delivers what this one couldn’t. **Rating**: 1.25/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/sin-first-blood-a-crime-thriller-that-goes-nowhere/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/sin-first-blood-a-crime-thriller-that-goes-nowhere/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/sin-first-blood-a-crime-thriller-that-goes-nowhere/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/sin-first-blood-a-crime-thriller-that-goes-nowhere/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/sin-first-blood-a-crime-thriller-that-goes-nowhere/?share=linkedin) - **Categories:** Articles, Movies, Nollywood, Reviews **Tags:** Jim Iyke, nollywood, Prime Video, Reviews, Sin: First Blood, Sin: first kill, Toni Tones --- ### [Ewo: A Shallow Love Story Masked as a Cultural Reckoning](https://nollycritic.com/ewo-a-shallow-love-story-masked-as-a-cultural-reckoning/) **Published:** July 24, 2025 **Author:** Shalom O. Obisesan **Excerpt:** When Ewo begins, it carries the weight of something substantial; a film that might balance cultural gravity with modern tensions, myth with love... **Content:** When *[Ewo](https://www.instagram.com/reel/DLhenQ-Iqy4/ "Ewo")* begins, it carries the weight of something substantial; a [film](https://nollycritic.com/?s=film "film") that might balance cultural gravity with modern tensions, myth with love, and music with meaning. Anchored in a narrative brimming with cultural and spiritual tension: life, death, duty, and the cost of belief, it seems ripe for something resonant. Directed with a clear eye for Yoruba heritage and contemporary aesthetics, *Ewo* wants to bridge past and present, the spiritual and the rational. Unfortunately, what unfolds is a scattered, unsure tale that loses track of its centre. What it delivers instead is a collection of underwhelming performances, clunky dialogue, misfired suspense, and characters who feel more like chess pieces than living people. **Spoilers ahead**. ## *Ewo* Directed by: Ekene Mekwunye Produced by: Saidi Balogun, Fulfilment ‘Fuchi’ Nwaturuocha Genre: Drama Released on: July 18, 2025 (Cinemas) Language: Yoruba, English ### Structure Lost in Meandering Adunni (Bimbo Ademoye) and Kunle (Demola Adedoyin) appear caught in a romance whose foundation is secrecy. Kunle bears a hidden identity that of an Abobaku, a man destined to follow his king in death and the film intends for this revelation to act as narrative spine. However, this “secret” is neither concealed with finesse nor revealed with impact. From the earliest scenes, the tension is defused by the audience’s awareness. Kunle’s veiled references to the king, his absent sincerity, and Adunni’s baffling failure to notice all combine to dull what should have been psychological terrain. The film drags through its middle section, bloated with meandering council-of-chiefs meetings, unnecessary comic relief, and repetitive emotional beats. Queen Eniafe (Moyo Lawal), the king’s Christian wife, is at the center of the cultural tension, opposing the traditional death rituals by praying, speaking in tongues, and smearing anointing oil on her husband’s forehead. But instead of a nuanced conflict between faith and tradition, we get a caricatured woman painted with broad strokes of ignorance. Meanwhile, Adunni is portrayed as so oblivious that it stretches believability. Kunle’s cryptic remarks about the king’s health never seem to raise her suspicion, not once. Her passive reactions don’t feel like innocence, they feel like deliberate naivety scripted in to force the plot forward. When the king dies, the queen steals his corpse to stop the rituals. The Abobaku trembles. Adunni is pregnant. Her mother, played by Jaiye Kuti in a typical overcast of Yoruba maternal suspicion, confronts her with the line “Hope it’s not what I’m thinking?” It is. And by then, most of us have stopped thinking anything at all. ### A Hollow Tension Disguised as Plot From the moment Kunle and Adunni meet, there’s a forecast of emotional investment, possibly heartbreak, maybe even spiritual conflict. But what follows is a plot that talks too much and says too little. Kunle, who is secretly the “*abobaku*” (the king’s horseman meant to be buried with the king), behaves in suspicious and cryptic ways, but Adunni never really responds. Her naivety is less a character trait and more a tool for the script to delay revelation. The pacing is erratic; moments stretch longer than they should, scenes stall around dialogue that never truly escalates, and a countdown to sunset is meant to create urgency, but the film fills that window with conversations that go nowhere. There are moments meant to be weighty: Kunle’s inner conflict, Adunni’s unknowing pregnancy, the cultural crisis triggered by the queen’s religious beliefs. But they’re treated with the same tone and energy as the lighter scenes making everything feel flat. Suspense is nonexistent because the film overcommunicates what it should conceal and underreacts to what should shock. There’s no twist, no shift, no dramatic escalation. Just a gradual slide into predictability. ### A Love Story With No Heartbeat There is no true emotional arc in *Ewo*. Characters don’t change, they just react or fail to. Adunni (Bimbo Ademoye) is introduced as the heart of the story, but her heart feels sealed off from both reality and consequence. Her relationship with Kunle (Demola Adedoyin) should be intimate, messy, and layered. Instead, it plays out like a series of arranged scenes with predetermined smiles and lines memorised without feeling. The emotional thread of *Ewo* hinges on the romance between Adunni and Kunle, but it never truly pulses. Despite the actors’ efforts, their dynamic feels rehearsed, not lived. Bimbo Ademoye’s natural charm, expressive, animated, big-smiled, is present, but here it overshadows sincerity. There’s a performative edge to her delivery that keeps us from believing Adunni’s love, doubt, or fear. Demola Adedoyin’s Kunle mirrors the same issue: he smiles, he pauses, he looks into her eyes, but the emotion behind those moments is thin. Their scenes often feel like line readings, not emotional exchanges. The chemistry doesn’t land, and so the tragedy at the core of the story fails to register. Moyo Lawal’s Queen Eniafe is perhaps the film’s most problematic creation. Intended as a devout Christian, her character is framed with such caricatured naivety that it borders on satire. Her pastor, her prayers, even her theological utterances, feel unresearched and hollow. What might have been a powerful commentary on postcolonial religious displacement instead becomes a crude spectacle of confused beliefs. The film attempts no sincerity here, it mocks rather than interrogates. Jaiye Kuti as Adunni’s mother is typecast yet again as the intuitively suspicious mother, a trope that Yoruba cinema clings to without reinvention. She delivers what’s expected, nothing more. Even beyond the leads, the performances across the board are marred by melodrama and stage-like delivery. From the queen’s exaggerated religiosity to the chiefs’ overly theatrical bickering, there’s a sense that everyone is acting for the camera instead of living within the frame. Dialogue sounds memorised, not felt. There’s no rhythm to the interactions, just alternating deliveries that feel disconnected from any emotional undercurrent. ### Style Without Vision Set in a contemporary Yoruba world, *Ewo* blends modern aesthetics with traditional storytelling. The music choices, though authentic in spirit, often feel mismatched with the mood of scenes. These choices straddle Yoruba folk and contemporary flair, language alternates between English and Yoruba, appropriate for a film navigating the old and new and so, the soundtrack follows suit. It’s not the kind of score that lingers, but it serves its purpose. Scenes that should carry emotional weight are undercut by flat audio and forgettable scoring. Lighting choices are serviceable, though not particularly inspired. The editing falters most in pacing too many lingering scenes, delayed cuts, and unnecessary moments that extend already-thin conflicts. The costume design, at least, is coherent and appropriate to character function and setting ### Final Thoughts *Ewo* begins with a glimmer of potential. A tragic romance rooted in cultural conflict but dilutes that promise with flat execution, tonal confusion, and a story that refuses to evolve beyond the predictable. It undercuts its emotional stakes by mismanaging its performances, and it blunts its thematic weight with one-dimensional characters. There are moments here and there where you glimpse what it could have been: a haunting tale of love, loss, and the spiritual burdens we inherit. Instead, it ends up feeling like a missed opportunity padded with tropes. ### Verdict *Ewo* wants to be taken seriously, but it never earns that weight. Predictable, emotionally hollow, and often unintentionally comical, it ends up trudging through its own cultural terrain without ever truly digging in. A passable watch, but far from poignant. **Rating**: 1.75/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ewo-a-shallow-love-story-masked-as-a-cultural-reckoning/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ewo-a-shallow-love-story-masked-as-a-cultural-reckoning/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ewo-a-shallow-love-story-masked-as-a-cultural-reckoning/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ewo-a-shallow-love-story-masked-as-a-cultural-reckoning/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ewo-a-shallow-love-story-masked-as-a-cultural-reckoning/?share=linkedin) - **Categories:** Articles, Reviews **Tags:** abobaku tradition, Bimbo Ademoye, christianity vs tradition, demola adedoyin, Ekene Mekwunye, Ewo, Film review, Jaiye Kuti, moyo lawal, Yoruba cinema --- ### [The Lost Days: A Promising Premise Derailed by Kidnapping](https://nollycritic.com/the-lost-days-a-promising-premise-derailed-by-kidnapping/) **Published:** July 16, 2025 **Author:** Uju Okosieme **Excerpt:** Native Filmworks and Michelangelo Productions return with The Lost Days, the latest entry in the First Features project. Directed by Wingonia Ikpi... **Content:** Native Filmworks and Michelangelo Productions return with *[The Lost Days](https://nollycritic.com/the-lost-days-new-first-features-slate-explores-themes-of-family-and-forgiveness/ "The Lost Days: New First Features Slate Explores Themes Of Family And Forgiveness")*, the latest entry in the First Features project. Directed by Wingonia Ikpi and starring Ifeoma Fafunwa and Bimbo Manuel, this film starts off as an wholesome emotional journey of reconnection — but quickly spirals into something else. Let’s delve into it. ## *The Lost Days* Directed by: Wingonia Ikpi Written by: Paul S. Rowlston, Abdul Tijani-Ahmed Genre: Drama Released on: July 11, 2025 (Prime Video) Language: English, Yoruba ### A Love Rekindled, Then Derailed The official synopsis reads: *“After being declared cancer-free, Chisom embarks on a journey to reunite with the man she once loved and the child she left behind. But as buried secrets surface, she discovers that the past is far more complicated — and dangerous — than she ever imagined.”* The central storyline follows Chisom as she attempts to reconnect with her former lover, Kolawole, and the son she left behind. But while the synopsis and the film’s opening promise a heartfelt exploration of love, regret and redemption, things take an uncanny left turn towards the end of the second act. A kidnapping subplot hijacks the narrative and abruptly shifts the tone, making it feel like two completely different films spliced together. It’s jarring, and disappointing, for a film that sets itself up as a tender, introspective drama. ### A Meandering Story That Loses Its Heart While the premise has potential, the storytelling falters in its execution. The dialogue is thoughtfully written and occasionally moving, but the emotional weight the film is aiming for never quite lands. Scenes that should hit hard feel either too drawn out or too rushed, and the sudden introduction of the kidnapping plot creates a tonal imbalance that’s difficult to reconcile. The plot twist of Moses being the “bad son” is very much obvious. Rather than delving into the rich emotional history between Chisom and Kolawole, the film focuses its energy on suspense, to its own detriment. This choice robs the central relationship of depth and undermines what could have been a touching narrative about second chances. ### Performances That Don’t Quite Connect Most of the performances are serviceable, though rarely remarkable. Bimbo Manuel (Kolawole) and Ifeoma Fafunwa (Chisom) work well together, but their chemistry is lukewarm at best. Their shared scenes lack the emotional spark needed to convince us of a great love reignited. Whilst Bimbo Manuel emotes his role effortlessly, Ifeoma Fafunwa Character appears, The script does not do justice to Moses (Baaj Adebule)’s Character, As we struggle to connect with him or understand his motivations. The chemistry between mother and daughter in the first scene is aesthetically pleasing. Cynthia Clarke as Nkem is serviceable, while Durotimi Okutagidi, who plays Kola, is occasionally decent,. ### Gorgeous Visuals Can’t Mask Sloppy Continuity Visually, *The Lost Days* is a treat. The river scenes where Chisom and Kolawole reconnect are beautifully composed, and the colour grading is rich and fitting for the film’s reflective tone. The vibrant festival sequence is a standout, bursting with life and colour. The use of symbolism in the film is also notable. That said, continuity issues are hard to ignore. Before Chisom is kidnapped, we see her at the festival with Kolawole and Moses. After her kidnap, the men say they were just on their way to pick her up, as a previous scene had shown them telling her they would be back to take her to the festival. It’s a confusing error that breaks immersion. There is a strong use of symbolism in this film. There are also thoughtful visual details sprinkled throughout, like Chisom tearing her dress during a chase, which Moses later uses to track her — but these touches aren’t enough to counteract the more glaring missteps. ### An Emotional Payoff That Never Comes For a film that markets itself as a story of love, loss, and healing, *The Lost Days* abandons its core premise far too early. Chisom’s reappearance in Kolawole’s life is never truly explored, and their relationship lacks the history and tenderness that would justify her journey. The kidnapping subplot steals so much time and attention that by the end, we’re expected to believe Chisom is ready to forgive both Kola and Moses for orchestrating her kidnapping and trying to kill her. It’s wildly unrealistic and emotionally unearned. We’re left with more confusion than closure. The real shame is that *The Lost Days* had the bones of a beautiful story about two older people finding love again. That, not the forced suspense arc, would have been the more meaningful, memorable path. ### Verdict One thing Nollywood never fails to do is chase a happy ending — even when it doesn’t fit. *[The Lost Days](https://www.imdb.com/title/tt37468700/ "The Lost Days")* starts with a compelling premise and strong visuals but gets lost in its own ambition. What should’ve been a slow burn, heartfelt love story, turns into headless dysfunctional drama, leaving us with tonal whiplash and emotional disconnection. Still, it’s a decent production with thoughtful direction, and its scenic beauty is hard to ignore. **Rating**: 2.75/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-lost-days-a-promising-premise-derailed-by-kidnapping/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-lost-days-a-promising-premise-derailed-by-kidnapping/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-lost-days-a-promising-premise-derailed-by-kidnapping/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-lost-days-a-promising-premise-derailed-by-kidnapping/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-lost-days-a-promising-premise-derailed-by-kidnapping/?share=linkedin) - **Categories:** Reviews **Tags:** Bimbo Manuel, First features project, Ifeoma Fafunwa, native filmworks, Prime Video, Wingonia Ikpi --- ### [Out in the Darkness: A Meditation on Postpartum Pain](https://nollycritic.com/out-in-the-darkness-a-meditation-on-postpartum-pain-that-struggles-to-hold-us/) **Published:** July 15, 2025 **Author:** Shalom O. Obisesan **Excerpt:** In Out in the Darkness, debut director Sarah Kwaji sets out to illuminate a dark and often unspoken reality: the mental... **Content:** In *[Out in the Darkness](https://www.imdb.com/title/tt36982205/ "Out in the Darkness")*, debut director Sarah Kwaji sets out to illuminate a dark and often unspoken reality: the mental and emotional collapse that can follow childbirth. With Kehinde Bankole at its centre, the film dives into postpartum depression and psychosis with sincerity, but struggles to maintain emotional tension across its slow and often repetitive runtime. It’s a film that carries the right heart and the right message, but lacks the narrative grip to make that message land with power. ## *Out in the Darkness* Directed by: Sarah Kwaji Written by: Sarah Kwaji Genre: Psychological Drama Released on: July 4, 2025 (Cinemas) Language: English ### The Stillness of Suffering Bolu (Kehinde Bankole) has just given birth to her second child, but the joy everyone expects of her never comes. She’s exhausted. Her baby’s constant cries wear her down. She doesn’t want to hold the child, can’t bring herself to soothe it. And as her body rests, her mind doesn’t. Her husband Nasiha (Deyemi Okanlawon) remains supportive, present, and patient, but even his tenderness can’t bridge the gap that Bolu’s condition creates. From its very first moments — the cries of a newborn from brith, the late-night fatigue, the refusal to get up — the film communicates Bolu’s emotional detachment with honesty and sharpness. But it’s the silences and framing that create unease. The way she hovers over the balcony. The way she stares at her child, or loosely wraps a cloth around the baby’s head. These aren’t plot points; they’re visual cues that hint at how close she might be to snapping. There’s no horror music, no dramatic signal, just still, quiet tension that lingers. ### Purposeful Pacing or Narrative Drift? The film knows exactly what it wants to talk about, and it takes its time doing so. This is both a strength and a weakness. The script insists on walking us through every beat of Bolu’s decline: the awkward doctor visits, the loneliness, the growing disconnect between her and everyone around her. There’s value in that detail. But at some point, the film begins to feel like it’s circling itself. It’s slow, not because the story demands it, but because it doesn’t know when to shift. After the first 45 minutes, we already know where Bolu is emotionally. The problem is, the film doesn’t push beyond that. We wait. We watch. And eventually, the emotional intensity begins to fade. The story feels padded, not deepened. The screenplay mistakes repetition for insight. It doesn’t ask us to read between the lines; it keeps repeating the lines. ### Performances That Anchor, and Almost Save, the Film Kehinde Bankole plays Bolu with quiet precision. She doesn’t overact. Her performance is simple, calm, yet clearly frayed. You can see her exhaustion without her needing to say it. It’s the way she breathes. The way she holds the baby without affection. The way she responds slowly, if at all, to the people around her. Deyemi Okanlawon as Nasiha is tender and grounded, showing what it means to support someone you don’t understand. Tina Mba and Cassandra Odita as Bolu’s mother and mother-in-law embody two cultural viewpoints: both defaulting to spirituality, with one dragging Bolu to a white garment church, and the other insinuating Bolu is a bad mother. The film captures the reality of Nigerian families reacting to mental illness — confusion. Their well-meaning interventions end up being isolating. This is one of the film’s strongest points: the way it reflects societal misunderstanding without turning any character into a villain. ### Final Thoughts [*Out in the Darkness* ](https://nollycritic.com/out-in-the-darkness-hits-cinemas-this-july/ "Out in the Darkness ")is an important film. It’s sensitive, topical, and rooted in reality. It has its heart in the right place and never veers into exploitation. Sarah Kwaji’s ambition is clear. She wants to confront the silence surrounding postpartum depression in Nigeria. She wants us to feel how helpless and invisible women like Bolu can become. But her execution often stalls. It begins to feel more like a drawn-out awareness campaign than a narrative. There’s a documentary feel to the second half, not in style, but in repetition and structure. The film tries to keep things subtle, but in doing so, it also feels static. It makes you observe, not participate. The pacing doesn’t draw you in; it leaves you on the outside looking in. It’s emotionally important, but dramatically underwhelming. For a film about a psychological crisis, it doesn’t grip the mind as much as it should. ### Verdict A necessary film that opens an important conversation, but its slow, unfocused storytelling keeps it from hitting the emotional highs it deserves. **Rating**:3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/out-in-the-darkness-a-meditation-on-postpartum-pain-that-struggles-to-hold-us/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/out-in-the-darkness-a-meditation-on-postpartum-pain-that-struggles-to-hold-us/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/out-in-the-darkness-a-meditation-on-postpartum-pain-that-struggles-to-hold-us/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/out-in-the-darkness-a-meditation-on-postpartum-pain-that-struggles-to-hold-us/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/out-in-the-darkness-a-meditation-on-postpartum-pain-that-struggles-to-hold-us/?share=linkedin) - **Categories:** Articles, Movies, Reviews **Tags:** Cassandra Odita, Deyemi Okanlawon, Kehinde Bankole, Out in the Darkness, Sarah Kwaji, Tina Mba --- ### [Midnight in Shangisha: A Promising Set-up That Spirals Into Forced Farce](https://nollycritic.com/midnight-in-shangisha-a-promising-set-up-that-spirals-into-forced-farce/) **Published:** July 12, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Midnight in Shangisha, directed by Ben Chiadika and Sola Osofisan, wants to be a slick, suspense-filled action comedy. But while it delivers laughs ... **Content:** *[Midnight in Shangisha](https://nollycritic.com/midnight-in-shangisha-see-the-trailer-for-new-action-comedy/ "Midnight in Shangisha")*, directed by Ben Chiadika and Sola Osofisan, wants to be a slick, suspense-filled action comedy. But while it delivers laughs here and there, it can’t quite keep a steady grip on its tone or stakes. It opens with the kind of premise that invites tension and unpredictability: a jobless man with too much pressure and too little direction ends up tangled in a murder-for-hire plot because he picked up the wrong phone. It’s the type of story that could have delivered a sharp, culturally grounded action comedy. Instead, it chases humour at the expense of suspense, veering into tonal confusion and theatrical performances that undercut its own stakes. ## *Midnight in Shangisha* Directed by: Ben Chiadika and Sola Osofisan Written by: Sola Osofisan Genre: Action, Comedy Released on: July 4, 2025 (Cinemas) Language: English ### Comic Stakes and Shaky Ground Yori (Baaj Adebule) is broke, jobless, and cornered by life. His only constant is Trinity (Martha Ehinome), his supportive girlfriend, and a shady friend Spider (Adediwura Lanre) who hands him a burner phone. A message hits: “You’ve been recommended for a job.” Desperate, Yori follows through, unaware he’s stepping into a hitman’s shoes. Soon, a bag of cash and a target photo appear. ### Plot Without Grip That first act carries the rhythm of a street-level thriller. The film plays with realism: characters move with everyday awkwardness, “waka pass” actors engaging with the main characters, and the camera sometimes lingers just long enough to create a mood. There’s one scene where the camera stays behind after Yori exits, and it communicates unease better than any line of dialogue could. But just as this tension begins to build, the film undercuts itself. There’s a moment when Yori’s girlfriend is literally held hostage, and instead of urgency, we watch the characters prance around, cook meals, and argue about how killers “don’t kill women.” The writing flirts with chaos but never lets it spiral with conviction. Scenes like these reduce what could have been a taut narrative into fragmented sketches of misfired humour. ### Where Tension Should Be, There’s Talk The deeper Yori goes into the mistaken-identity plot, the more the film leans on drawn-out conversations and misplaced jokes. There’s little urgency even when Trinity is being held hostage. Instead of strategising or reacting, characters meander. Trinity cooks for her captor. Yori and Spider argue about whether killers actually harm women. When they go to report to the police, (featuring Funky Malam as Inspector Samuel) the killer’s voice is faked with a falsetto, and the police believe it. Then they go clubbing (well, not really). Moments that should deepen the suspense either get drowned in melodrama or stretched so thin they lose their shape. The killer, Stone (Bryan Okoye), is especially inconsistent. One minute he’s meant to be threatening, the next he’s cracking weak jokes. Instead of adding unpredictability, this shift makes him cartoonish, more punchline than predator. There is a well-placed clue involving Madam Soyoyo (Tina Mba). As a seasoned viewer might notice, the camera briefly lingers on her during Yori’s explanation to Spider about the woman who handed him the job. She doesn’t engage directly, but the framing suggests she’s behind the stolen money. It’s one of the few subtle filmmaking choices that rewards attention. Unfortunately, it’s surrounded by chaos. ### Characters or Caricatures? Baaj Adebule gives Yori a relatable vulnerability in the beginning, but as the scenes grow more absurd, his character loses emotional footing. The frustration feels real early on, but by the time he’s delivering monologues in a nightclub while his girlfriend is being held captive, it’s difficult to take him seriously. Martha Ehinome tries to anchor the story as Trinity, but she’s given too little to work with. Her passivity while in danger — especially scenes where she’s teased by her captor and she feigns frustration — strips the film of tension. Bryan Okoye as Stone begins with menace, but the character quickly becomes an exaggerated version of a Nollywood villain. His lines, reactions, and expressions feel forced, and his switch between killer and clown makes it hard to believe any scene he’s in. Adediwura Lanre as Spider injects energy, but most of it goes into shouting matches and jokes that feel out of place. ### Style That Starts Strong Then Slips Here, *Midnight in Shangisha* has interesting choices: lingering shots, minimalist camera movement, and deliberate framing that sometimes hold tension or suggest unease. One clever moment involves the camera holding on a blank wall after Yori leaves, subtly hinting at surveillance or presence. Those early decisions to follow Yori through quiet chaos hint at a film with perspective. But as the story loses focus, so does the style. The sound design is generally poor, and the lighting especially for the night scenes is too theatrical. The engagement with minor background characters adds realism initially, but the repeated use eventually becomes distracting. This touch of realism, initially charming, becomes overused. The sound design is inconsistent, with flat audio that undermines emotional weight. The soundtrack is present but never amplifies or sharpens scenes. Editing could have leaned into rhythm or urgency, but it feels mechanical. ### Final Thoughts *[Midnight in Shangisha](https://www.imdb.com/title/tt37446983/?ref_=nm_flmg_job_2_unrel_t_1 "Midnight in Shangisha")* had all the raw material to be a clever, streetwise action comedy. The set-up was strong, and the cultural specificity gave it a clear voice. But it loses itself trying to balance crime, satire, and farce without enough control over its tone. Characters make choices that don’t track. Tension never lasts. And the humour, though present, rarely lands. In trying to be serious and unserious at once, the film ends up saying very little at all. ### Verdict A story that could have been urgent, sharp, and darkly funny ends up feeling overacted, underwritten, and ultimately unsure of what it wants to be. You might chuckle, you might roll your eyes, but you’re unlikely to feel much else. Watchable, but far from memorable. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/midnight-in-shangisha-a-promising-set-up-that-spirals-into-forced-farce/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/midnight-in-shangisha-a-promising-set-up-that-spirals-into-forced-farce/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/midnight-in-shangisha-a-promising-set-up-that-spirals-into-forced-farce/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/midnight-in-shangisha-a-promising-set-up-that-spirals-into-forced-farce/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/midnight-in-shangisha-a-promising-set-up-that-spirals-into-forced-farce/?share=linkedin) - **Categories:** Nollywood, Reviews **Tags:** Adediwura Lanre, Antar Laniyan, Baaj Adebule, Ben Chiadika, Bryan Okoye, Funky Malam, Ireti Doyle, Martha Ehinome, Midnight in Shangisha, Muyiwa Adegoke, Sola Osofisan, Sola Sobowale, Tina Mba --- ### [Mending: A Drama That Cuts Deeper Than It Cries](https://nollycritic.com/mending-a-drama-that-cuts-deeper-than-it-cries/) **Published:** July 5, 2025 **Author:** Shalom O. Obisesan **Excerpt:** In Mending, director Robert O. Peters trades spectacle for sincerity, crafting a deeply introspective film that sits with pain rather than trying to fix it **Content:** In *[Mending](https://www.instagram.com/reel/DKJcEIXAdv-/ "Mending")*, director Robert O. Peters trades spectacle for sincerity, crafting a deeply introspective [film](https://nollycritic.com/?s=film "film") that sits with pain rather than trying to fix it. What begins as a simple domestic story slowly reveals itself as a layered psychological journey about the long-lasting effects of trauma. Anchored by a nuanced performance from Nancy Isime and supported by a visually delicate production, *Mending* delivers an emotionally grounded and thoughtfully executed drama. ## *Mending* Directed by: Robert O. Peters Produced by: Rogers Ofime Genre: Psychological Drama Released on: June 27, 2025 (Cinemas) Language: English ### Where The Scars Begin Mending is a story about fear. The fear of being left behind and the fear of facing the past. Sumi (Nancy Isime) is a woman shaped by loss: her mother is dead, her father abandoned her, and she’s learned to survive by building emotional walls. Her marriage to Damini (Ademola Adedoyin) and her bond with her best friend Funbi (Omowunmi Dada) are her anchors. But when Fela, a figure from her past, unexpectedly reappears, her carefully maintained balance begins to unravel. The betrayal she discovers from Funbi only deepens the emotional fracture, forcing Sumi to confront the wounds she’s long buried. The film explores themes like abandonment, emotional repression, and the fragile nature of trust. Its strength lies in how it presents these ideas not through dramatic speeches, but through silence, restrained dialogue, and small emotional shifts. The story unfolds with emotional authenticity, letting the audience feel the weight of Sumi’s experiences leaving it to our interpretation. ### When the Past Isn’t Past *Mending* is structured to mirror how unresolved emotions rise to the surface quietly and in pieces. There’s a slow rhythm to how the narrative unfolds, allowing each emotional beat to breathe. The plot leans into psychological realism rather than dramatic escalation. Key moments, like Sumi’s internal hesitation around her husband (distance, and space. One would initially think it was more of zero chemistry between her and her co-actor) or her discomfort when Fela returns, don’t rely on overt drama but speak volumes through body language and pacing. The use of visual transitions helps tie the emotional timeline together, enhancing the film’s psychological undercurrent. The editing avoids flashy tricks and instead supports the narrative arc with subtlety. While this slowburn approach may test the patience of some viewers, it pays off with emotional resonance, especially in the film’s later scenes. It’s a quiet build but one with emotional bite. ### Faces That Speak in Silence Nancy Isime is the centre of *Mending*’s emotional gravity. Her portrayal of Sumi captures a woman constantly in battle with herself, trying to remain composed while the past creeps in. Her performance uses restraint effectively, making moments of vulnerability feel earned. Isime’s expression work and emotional timing speak to a character who is quietly unravelling. Ademola Adedoyin plays Damini with grounded realism, offering support without overpowering the narrative. His presence becomes a subtle indicator of Sumi’s state of mind. Omowunmi Dada as Funbi is warm and believable until the betrayal hits, giving her character dimension beyond the typical best friend archetype. Shaffy Bello brings gravitas to her role, delivering both comfort and caution in equal measure. Enyinna Nwigwe delivers a composed and emotionally aware performance as Dami, serving as a steadying contrast to Sumi’s instability. ### Intimate Frames and Emotional Landscapes The film’s technical language is soft but purposeful. Cinematographer choices, including tight framing, soft lighting, and muted colours, reflect Sumi’s internal state. The production design favours minimalism, keeping attention on the characters’ emotional journeys. Transitions between scenes aren’t just practical; they support the emotional flow, mimicking memory shifts and mental strain. Editing decisions are subtle yet thoughtful, ensuring that the story maintains its slow pace without losing coherence. The sound design stays low and steady, never intruding but always present. Costume choices remain grounded and believable, reinforcing the story’s realism and psychological focus. ### Final Thoughts *Mending* doesn’t aim to dazzle, it aims to resonate. It’s a film about confronting hurt that hasn’t healed, and learning to live with emotional scars. The film doesn’t provide closure wrapped in a cute bow, but it does offer understanding. It recognises that some healing is slow, quiet, and painfully honest. And in doing so, it offers something rare: emotional truth. ### Verdict *Mending* is a slow, emotionally intelligent drama that rewards patience. It’s for viewers who want to feel, reflect, and sit with the silence between the lines. **Rating**: 3.25/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/mending-a-drama-that-cuts-deeper-than-it-cries/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/mending-a-drama-that-cuts-deeper-than-it-cries/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/mending-a-drama-that-cuts-deeper-than-it-cries/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/mending-a-drama-that-cuts-deeper-than-it-cries/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/mending-a-drama-that-cuts-deeper-than-it-cries/?share=linkedin) - **Categories:** Articles, Movies, Reviews **Tags:** Ademola Adedoyin, Emotional Repression, Enyinna Nwigwe, Healing, mending, Nancy Isime, nollywood, Omowunmi Dada, Psychological Drama, Robert O. Peters, Shaffy Bello, Tumi Oluyole --- ### [Ms. Kanyin: A Familiar Haunting in a New Uniform](https://nollycritic.com/ms-kanyin-a-familiar-haunting-in-a-new-uniform/) **Published:** June 30, 2025 **Author:** Uju Okosieme **Excerpt:** When the trailer for Ms. Kanyin dropped, we were intrigued. Visually, it looked great. But our next thought was immediate... **Content:** When the trailer for [*Ms. Kanyin* ](https://www.rottentomatoes.com/m/ms_kanyin "Ms. Kanyin ")dropped, we were intrigued. Visually, it looked great. After Netflix’s *The Origin: Madam Koi Koi* debuted in 2023, it was surprising to see Jerry Ossai’s *[Ms Kanyin](https://nollycritic.com/ms-kanyin-see-the-trailer-for-the-new-supernatural-thriller/ "Ms Kanyin: See the Trailer For the New Supernatural Thriller")* appear just two years later, now streaming on Prime Video. Still, we gave it a fair shot. Spoiler Alert!! Here’s how it went. ## *Ms. Kanyin* Directed by: Jerry Ossai Produced by: Tobe Otuogbodor, Yemi Adeyemi Genre: Horror Released on: June 27, 2025 (Prime Video) Language: English ### Well-Paced with a Few Stumbles The official synopsis reads: *“Amara’s mistake awakens Madame Koi-Koi. Now she and Mr. Mustapha must stop the vengeful spirit before it’s too late.”* While the synopsis is clear and sets expectations well, it’s also misleading — a common misstep. In truth, it’s Chisom, not Amara, who initially partners with Mr. Mustapha to stop the spirit, only bringing Amara in much later. Despite that, the first and second act is ejoyable. It gradually builds momentum but Nollywood’s undying third act curse strikes again and the film reaches an unsatisfying crescendo. The story’s structure works — even if some of the finer plot details don’t. ### When High Stakes Meet a Low-Impact Solution The film’s central story follows Amara, an ambitious student set on attending Harvard. After receiving a C in her French mock exam, she becomes desperate to succeed, fearing her entire academic future is at risk. Her anxiety drives her to steal WAEC exam papers, a choice that ultimately triggers Ms Kanyin’s death and awakens the legendary Madame Koi-Koi. While her goal is quite clear, same can not be applied to her friends who take great risk to partake in the heist for little or no reward. The premise is solid, and the dialogue — especially among the students — is natural and engaging if you could can pretend not to hear modern day lingo from a film set in the 90s. The film does its genre great disservice by not being scary, eerie or creepy enough in the first act and when we finally get what we signed up for, we were still hungry for more. The resolution leaves much to be desired. After all the buildup, the “final solution” turns out to be… cutting down this tree of death, that the people of the community failed to destroy just because “the land was sold”. ### Good Performances with a Few Standouts Michelle Dede’s Ms. Kanyin and Demola Adedoyin’s Mr. Mustapha are strong additions to the cast, with an eye-pleasing chemistry and each delivering good performances. Kalu Ikeagu as the principal unsurprisingly puts on a good interpretation of his character. Temi Otedola gives a decent performance, but it’s quite clear she’s not from the world she tries to portray as she does not fully immerse herself into the role. The supporting cast — Kanaga Jr., Aduke Shitta-Bey, Natse Jemide, Toluwani George, and Damilola Bolarinde — all hold their own in their respective roles. No one stuns, but no one crashes either. And of course, there is Petra; Nollywood’s new favourite dog. ### Stylish Visuals, But the Devil’s in the (Badly Rendered) Details There’s no doubt this film is beautifully shot. The visuals are crisp and the film’s look suits the genre. The location — a boarding school — adds just the right amount of familiarity. We especially liked the visually striking scene where Amara runs in the opposite direction from the other students. Still, the visual effects leave a lot to be desired, constantly bouncing between really good and terribly poor. The decapitation in the opening scene is laughably unconvincing. The special effects remain a weak point, and that undermines the fear factor. For a horror, the sound design is sub par, while the music helped to immerse the viewers into the 90s, the film also painfully lacks a score that set the mood and tension. To their credit, the filmmakers use smaller, sensory cues — like the deliberate sound of Ms. Kanyin’s heels clacking — to foreshadow and build tension. But when modern elements like a 2024 planner or vehicle sticker appear in what’s supposed to be a 90s setting, and students like Amara walk around in school wearing make up, it shatters immersion. It’s disappointing that Nollywood still struggles with these kinds of avoidable anachronisms. ### There’s Heart Here — But Also Sloppiness There’s a strong sense of intention behind many elements of *Ms Kanyin*. The film includes layered foreshadowing, like multiple characters hinting at Ms. Kanyin’s fate and her fear of dogs — a detail that ends up being her undoing. The fact that she kills all the dogs around the area immediately she becomes a vengeful spirit is thoughtful storytelling. But the frequent oversights; from encroaching boom mics to conflicting timelines; in misplaced modern props like the Amara’s 2024 planner and Mr. Mustapha’s 2022/24 van stickers distract from what could have been a cleaner, more impactful film. Horror relies on immersion. When that immersion is repeatedly broken, the stakes just don’t stick. ### Verdict *Ms Kanyin* sets out to deliver a polished horror story rooted in Nigerian folklore — but it barely succeeds. It’s visually appealing, and thematically focused on accountability and consequence. For a horror film, it quite simply doesn’t scare. Ambitious and enjoyable but disappointing. It earns a 2.75-star rating out of 5. **Rating**: 2.75/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ms-kanyin-a-familiar-haunting-in-a-new-uniform/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ms-kanyin-a-familiar-haunting-in-a-new-uniform/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ms-kanyin-a-familiar-haunting-in-a-new-uniform/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ms-kanyin-a-familiar-haunting-in-a-new-uniform/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ms-kanyin-a-familiar-haunting-in-a-new-uniform/?share=linkedin) - **Categories:** Articles, Movies, Nollywood, Popular reviews, Reviews **Tags:** jerry ossai, Ms Kanyin, Nemsia Studios, nollycritic, nollywood, Prime Video, Temi Otedola --- ### [The Shadow of Greed: A Cross-Cultural Exploration of Corruption](https://nollycritic.com/the-shadow-of-greed-a-cross-cultural-exploration-of-corruption/) **Published:** June 29, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The Shadow of Greed is a story that attempts to hold a mirror to how corruption, spiritual belief, and systemic betrayal intertwine in Nigerian... **Content:** [*The Shadow of Greed* ](https://www.imdb.com/title/tt37196266/ "The Shadow of Greed ")is a story that attempts to hold a mirror to how corruption, spiritual belief, and systemic betrayal intertwine in [Nigerian](https://nollycritic.com/?s=nigeria "Nigerian") communities. But while it has ambition, a strong thematic foundation, and even a touch of international flavour, it ends up faltering in the execution. With its 2-hour, 8-minute runtime, it overreaches on several fronts. ## *The Shadow of Greed* Directed by: Akay Mason Produced by: Tim McManus Genre: Drama Released on: June 20, 2025 (Cinemas) Language: English ### Greed in Ragged Clothing Set in the town of Ajaka, the story introduces us to Oba Adebukola Adele (Toke Makinwa), a ruler who pretends to live in struggle. In public, she wraps herself in poverty to elicit sympathy; in private, she hoards wealth, siphoning funds from a Chinese construction project meant to uplift her people. It’s performative leadership at its most corrupt, and the film doesn’t hold back in presenting this duplicity. Opposite her is Jerry Chen (Kent S. Leung), a Chinese expatriate brought in to oversee the project. Chen is positioned as the moral centre of the film—principled, disciplined, and increasingly disturbed by the injustice around him. His presence threatens the Oba’s dominance, leading her to deploy every tool in her arsenal: seduction, slander, violence, and spiritual warfare. The plot, while clear in its intent, suffers from sluggish pacing and a structure that overstays its welcome. Several scenes feel dragged out, and too much time is spent in melodrama and overdrawn dialogue/action. ### Spiritual War & Sociopolitical Themes The most fascinating segment of *The Shadow of Greed* lies in how it blends cultural spirituality. There’s a supernatural war happening beneath the political one, where Nigerian and Chinese spiritual traditions are brought into visual conflict. While this occasionally comes off as melodramatic, it adds texture. The CGI of the Chinese dragon, for instance, was ambitious and mostly effective, even if the shootout scenes felt flat in comparison. Someone even muttered in the cinema, “Naija meets China juju.” That reaction sums up how novel but chaotic these moments felt. On a sociological level, the film tackles the ripple effect of corruption, particularly when leadership fails the very people it claims to protect. Oba Adebukola is more than a caricature of greed; she embodies how easily power can be weaponised, especially when shielded by tradition and deception. There’s a clear critique of how international collaborations are often hijacked by local power brokers, leaving communities behind. Yet, the film makes a critical factual misstep: it falsely portrays the repealed Nigerian policy that hospitals require a police report before treating gunshot victims as still active. This isn’t just a technical error; it perpetuates misinformation in a country where healthcare delays cost lives. ### Technical & Performance Observations *The Shadow of Greed* shows promise but suffers from inconsistency. The handheld cinematography effectively communicates tension and unease, but the sound design is unconvincing and disconcerting. The visual rhythm is disjointed, especially in scenes that needed urgency but were slowed down by overdrawn actions on screen. As Oba Adebukola, Toke Makinwa commits to her role, but the character she plays is underwritten—a Disney villain in agbada. Her dialogue leans on the cartoonish, and the performance, while confident, lacks nuance. Kent Leung’s Jerry Chen is steady, but it is Gabriel Afolayan as Castro who truly injects raw intensity into the film. Olumide Oworu also holds his ground, adding quiet strength to a tragic arc. ### Final Thoughts *The Shadow of Greed* has the bones of an important film. Its themes are bold, and its cross-cultural lens is refreshing. But it stretches itself too thin, squandering momentum and delivering a payoff that feels undeserved. Its attempt at grandeur falters not from lack of ambition, but from an inability to streamline its message. ### Verdict A commendable effort held back by melodrama and pacing issues, *The Shadow of Greed* succeeds more in its premise than execution. It is timely, thoughtful in flashes, and visually interesting, but its flaws are hard to ignore. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-shadow-of-greed-a-cross-cultural-exploration-of-corruption/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-shadow-of-greed-a-cross-cultural-exploration-of-corruption/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-shadow-of-greed-a-cross-cultural-exploration-of-corruption/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-shadow-of-greed-a-cross-cultural-exploration-of-corruption/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-shadow-of-greed-a-cross-cultural-exploration-of-corruption/?share=linkedin) - **Categories:** Nollywood, Reviews **Tags:** Akin Lewis, Antar Laniyan, Gabriel Afolayan, Jude Chukwuka, Kent S. Leung, Olumide Oworu, the shadow of greed, toke makinwa, Tomiwa Tegbe --- ### [Unclaimed: A Man, A Knife, and A Need To Belong](https://nollycritic.com/unclaimed-a-man-a-knife-and-a-need-to-belong/) **Published:** June 28, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Unclaimed, directed by Biodun Stephen, introduces itself as a psychological drama and maintains that identity without trying to pander to thrills... **Content:** *[Unclaimed](https://afrocritik.com/unclaimed-nollywood-psychological-drama-debut-nigerian-cinemas/ "Unclaimed")*, directed by Biodun Stephen, introduces itself as a psychological drama and maintains that identity without trying to pander to thrills or overreaching suspense. But by being committed to a more grounded psychological tone, it also risks being emotionally distant, dragging itself through an unnerving concept that ultimately lands softly. While it attempts to navigate themes of emotional abuse, fractured familial bonds, and repressed trauma, it sometimes loses focus on the very things that could have made its message more potent. ## *Unclaimed* Directed by: Biodun Stephen Produced by: Kayode Kasum Genre: Psychological Drama Released on: June 20, 2025 (Cinemas) Language: English ### A Story of Delusion, Not Mystery The plot’s setup is gripping enough: a psychological drama about a man whose unravelling mind clings to a false family narrative. Dieko, who lost his parents young, was taken in (but never adopted) by the Adeoyes—close family friends. Over time, he became more than a ward, but less than a son. And as the line blurred, it led to something quietly sinister. He would later marry their biological daughter, Mary. Here’s where the film shows early signs of what could have been its strength: Dieko’s disturbed obsession with belonging. In one unforgettable moment, Mary finds that Dieko has cut out her face from a family photograph and replaced it with his. It’s haunting and would’ve been an incredible psychological pivot if the film allowed the tension to truly grow. Instead, it wraps it up too neatly, too fast. Mary immediately calls him out for this, and says he is trying to erase her from her family. This puts the central conflict right in our faces, but that immediate dialogue removes the mystery. Silence would have done more until a defined pattern was identified. We’re told again and again what to feel, what to know. The storytelling feels overly committed to exposition rather than evocation. There’s a constant need to explain rather than trust the audience to feel their way through. One could argue the film deliberately chooses drama over thriller, but even as a drama, the stakes never rise beyond a simmer. The tension should escalate but the film softens its own potential by spoonfeeding exposition and flattening the emotional weight. That makes for an easy watch, but not a gripping one. ### Narrative Distractions and Wasted Lenses There’s also a choice to tell parts of the story through the eyes of Detective Rose (Teniola Aladese), a hard-nosed investigator with a bias that clouds objectivity. This narrative lens feels like a red herring. Rose brings added conflict, yes, but she distracts from the real one—Dieko and Mary’s psychological descent. While her bias may symbolise society’s tendency to doubt women in domestic violence cases, the choice undermines what could’ve been a tighter psychological arc. Meanwhile, her male investigative counterpart is almost invisible—a wasted counterweight. The family dynamics themselves are troubling and at times, clumsily handled. Mary’s mother (Jaiye Kuti) harbours clear favouritism for Dieko, her “adopted” son, which the film later justifies with a late-stage medical revelation: she could no longer bear children after Mary’s birth, and Dieko filled a void. This information, although potentially compelling, feels inserted for narrative convenience rather than rooted in emotional progression. Mary’s father (Norbert Young), mostly silent, only raises his voice when things explode. He remains a background figure, symbolic of yet another missed opportunity for nuance. ### Power Dynamics and Performances The dynamic between Mary and her parents (Norbert Young and Jaiye Kuti) is emotionally frustrating, as it should be. Mary’s mother clearly prefers Dieko over her own daughter, and the late introduction of her reason—blaming Mary for the loss of her womb—feels more like a narrative patch than an organic thread. This late revelation is not unconvincing, but its sudden appearance doesn’t help character depth. The performances here are uneven. Kunle Remi leans into his role well enough, but the character’s descent into delusion never feels as horrifying or disturbing as it could have. Elma Mbadiwe holds her own but is given less material to expand emotionally. Detective Rose, however, feels like a constructed obstacle rather than a person. Her actions serve the plot more than they make sense as human behaviour. ### What Works, What Falters What *Unclaimed* does well is to stay committed to being a psychological drama. The tone and pace reflect that, even if the execution sometimes falters. Dieko’s desire to be loved, to be claimed by a family he believes should have been his, manifests in disturbing ways. He wants his foster parents not to just love him, but to replace their real daughter with him. He doesn’t want a wife; he wants their family. This is the central pathology of the film. But rather than letting us uncover it, we are told too much too soon. A stronger use of dramatic irony or unreliable narration could have given the film more psychological depth. The visual storytelling rarely takes a risk. It feels like a safer version of other Western psychological thrillers, but *Unclaimed* avoids pretension. What you see (and hear—through dialogue) is what you get. *[Unclaimed](https://nollycritic.com/unclaimed-see-the-trailer-for-biodun-stephens-new-thriller/ "Unclaimed")* is not technically poor. The cinematography and editing are modest but not distracting. The sound design doesn’t attempt much and therefore never overreaches. For the average viewer, this is a digestible, moderately compelling film. But for viewers more attuned to cinematic storytelling or psychological nuance, it plays too safely. What feels missing is a strong subtext. The film says everything it wants you to think. It doesn’t leave room for ambiguity, for internal questioning, or for interpretive depth. And that is a shame, because its themes, like belonging, trauma, fractured identity, are rich ground for emotional and cinematic excavation. ### Final Thoughts *Unclaimed* is a story about the desperation to belong, the toxicity of unresolved trauma, and the way emotional abuse can hide behind the facade of gratitude. It is not profound, but it is consistent. It avoids sensationalism and sticks to its lane as a psychological drama, which makes it easy to accept even when it doesn’t hit particularly hard. ### Verdict A modest psychological drama that delivers on premise but not on power. It has clear intentions, but its storytelling rarely demands emotional or intellectual investment. The film plays out like a soft echo of darker, more daring psychological thrillers, choosing to spoon-feed rather than challenge. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/unclaimed-a-man-a-knife-and-a-need-to-belong/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/unclaimed-a-man-a-knife-and-a-need-to-belong/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/unclaimed-a-man-a-knife-and-a-need-to-belong/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/unclaimed-a-man-a-knife-and-a-need-to-belong/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/unclaimed-a-man-a-knife-and-a-need-to-belong/?share=linkedin) - **Categories:** Reviews **Tags:** Biodun Stephen, Elma Mbadiwe, Jaiye Kuti, kunle remi, nollywood, Norbert Young, Omowunmi Dada, Teniola Aladese, Timini Egbuson, Unclaimed --- ### [Iyalode: A Warrior Legacy Weighed Down by Technical Chaos](https://nollycritic.com/iyalode-a-warrior-legacy-weighed-down-by-technical-chaos/) **Published:** June 13, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Iyalode had everything going for it on paper: a star-studded Yoruba epic, a culturally rich premise, and the promise of something fresh from Toyin Abraham **Content:** *[Iyalode](https://www.bellanaija.com/2025/06/iyalode-toyin-abraham-trailer/ "Iyalode")* had everything going for it on paper: a star-studded Yoruba epic, a culturally rich premise, and the promise of something fresh from Toyin Abraham. It’s a bold tale rooted in ancestry, power, and sacrifice. The film attempts to explore the burdens of legacy and the cost of leadership through the eyes of Ashabi Adikaka, a fearless warrior who returns to claim a title bound by physical perfection. Unfortunately, much of this promise is lost beneath baffling storytelling choices and glaring technical missteps. ## *Iyalode* Directed by: Adebayo Tijani Produced by: Toyin Abraham, Kolawole Ajeyemi Genre: Epic Released on: June 6, 2025 (Cinemas) Language: Yoruba ### Inherited Burdens, Scattered Focus The film opens with confusion masquerading as suspense. Its early scenes are jumbled with rushed editing and inconsistent shots, making it difficult to grasp the world or stakes. We’re thrown into a convoluted subplot about the previous Iyalode, and a relationship dynamic between Ashabi and a young man whom she saved, which eats up screen time but adds little to the main arc. The core story finally reveals itself around the halfway mark: Ashabi, from a powerful matriarchal line, returns to claim the title of Iyalode. But tradition forbids anyone with a physical deformity from assuming the role. Her mother, disqualified due to a swollen foot, calls her back through an earth deity. ### Themes: Legacy, Power, and the Price of Leadership *Iyalode* is ambitious. It interrogates the cultural weight of titles, the expectations placed on people in power, and the contradictions within traditional systems. It attempts a critique of purity politics: the idea that power must be tied to physical perfection. In Ashabi’s arc, we see a layered examination of resilience, destiny, and the unfair limits tradition can impose. Thematically, *Iyalode* deals with legacy, sacrifice, power, and womanhood, but these motifs get lost in the muddled storytelling and bloated screen time. The central conflict—who deserves to lead, and what qualifies them—is buried beneath meandering detours and underwhelming conflict resolutions. Ashabi’s loss of her arm renders her ineligible for the Iyalode title, echoing the condition that disqualified her mother. Yet, the narrative tension this could have built fizzles out, replaced with a scattered structure that never fully pays off its own stakes. The story’s rhythm drags. Scenes linger too long, dialogue meanders, and transitions often feel unmotivated. There’s a rich plot buried in here, but it’s bloated with detours. The storytelling leans too heavily on overexplaining irrelevant details while leaving critical elements vague (like the Ile deity), dragging scenes past their welcome and introducing confusing subplots early on that never fully find footing. ### Performances: Weight Carried by Few Toyin Abraham brings fierce presence to Ashabi. Her portrayal of a warrior torn between fate and agency is both compelling and grounded. She embodies the grit, pain, and spirit of the role. Ashabi herself is a layered character—fierce, strategic, flawed—but the film fails to fully capitalize on her complexities. Arogba and Korojobo’s hostility toward Ashabi is poorly justified, undermining what could have been a compelling adversarial dynamic. Peju Ogunmola also stands out, anchoring her maternal role with the kind of emotional truth Nollywood mothers are known for. Her quiet moments resonate far deeper than the louder conflicts around her. ### Technicals That Undermine the Intention Sound design is among the film’s most jarring flaws. Dialogue is consistently drowned by overpowering background music and loud interludes, making it hard to follow key conversations. The subtitles, meant to aid understanding, are riddled with errors and inconsistencies. Editing is rushed and unfocused, especially in the early scenes. Multiple shots stack over each other without breathing room. It feels like the film is trying to say everything at once, achieving little in return. The CGI, while essential for visualizing supernatural elements is functional at best but distractingly artificial when it matters most. Costuming and set design should root us in a period world, but here, the fabrics feel too new, too clean, too modern. There’s no sense that this world has been lived in. The fake hand used after Ashabi’s injury is painfully unconvincing, further detracting from the emotional impact. ### Final Thoughts There’s a meaningful story buried within *Iyalode*—a meditation on womanhood, sacrifice, and legacy in a world ruled by restrictive customs. But that story is trapped in a film marred by poor sound, rushed editing, weak effects, and clunky pacing. Toyin Abraham delivers a powerful performance, and Peju Ogunmola reminds us of the strength in quiet roles. But these high points are swallowed by a film that needed tighter direction and stronger post-production. ### Verdict Despite its ambition and cultural uniqueness, *[Iyalode](https://nollycritic.com/iyalode-toyin-abrahams-new-epic-set-for-cinemas/ "Iyalode")* struggles under the weight of its own potential. Strong performances from Abraham, Ogunmola, and a few standout stunts hold it together, but the flawed execution—technical glitches, narrative gaps, and overlong runtime—diminish its impact. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/iyalode-a-warrior-legacy-weighed-down-by-technical-chaos/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/iyalode-a-warrior-legacy-weighed-down-by-technical-chaos/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/iyalode-a-warrior-legacy-weighed-down-by-technical-chaos/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/iyalode-a-warrior-legacy-weighed-down-by-technical-chaos/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/iyalode-a-warrior-legacy-weighed-down-by-technical-chaos/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Adebayo Tijani, Aisha Lawal, Gabriel Afolayan, Ibrahim Chatta, Iyalode, Kehinde Bankole, Kolawole Ajeyemi, Muyiwa Ademola, nollycritic, nollywood, Peju Ogunmola, Toyin Abraham, Wale Ojo --- ### [Red Circle: An Intriguing Crime Drama Weaved in Red](https://nollycritic.com/red-circle-an-intriguing-crime-drama-weaved-in-red/) **Published:** June 12, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Red Circle enters with conviction. Directed by Akay Mason and penned by Abdul Tijani-Ahmed, the film positions itself as a socially aware.. **Content:** [*Red Circle* ](https://www.imdb.com/title/tt32634351/ "Red Circle ")enters with conviction. Directed by Akay Mason and penned by Abdul Tijani-Ahmed, the film positions itself as a socially aware crime thriller laced with commentary on privilege, class, ambition, and the fragility of justice. On the surface, it has all the ingredients: a rich protagonist who defies family expectations, a best friend from the opposite side of Lagos, a suspicious death, and a sprawling criminal syndicate. ## *Red Circle* Directed by: Akay Mason Written by: Abdul Tijani-Ahmed Genre: Crime Drama, Thriller Released on: May 23, 2025 (Cinemas) Language: English ### Privilege, Ambition, and Hollow Justice The story centers on Fikayo Holloway (Folu Storms), a wealthy Lagos journalist who dreams of breaking stories with bite rather than covering fluff. Her refusal to take her place in the family business causes friction with her parents (Femi Branch and Bukky Wright), and her job isn’t any better, with her boss (Patrick Diabuah) continuously sidelining her for male colleague, Mustapha (Timini Egbuson), who benefits from her ideas. The world around her undermines her at every turn. But when her best friend, Venita (Omowunmi Dada), is murdered after witnessing a crime linked to a feared figure named Mr. A (Debo ‘Mr. Macaroni’ Adedayo), Fikayo dives headfirst into danger, determined to expose the truth. The plot becomes an investigation. There are connections between class, privilege, friendship, and moral responsibility. But while the setup is strong, the emotional stakes feel too light for the gravity of what unfolds. Fikayo’s reaction to her best friend’s death is immediate and cold: a few tears, then straight to strategy. The film doesn’t linger in loss or grief long enough. It moves quickly, sometimes too quickly, sacrificing depth for speed. ### A Visual Language Painted in Red Mason commits fully to a visual palette dominated by the color red. In almost every frame, there’s a touch of crimson—in lighting, clothing, set design, or blocking. This motif, while initially arresting, begins to oversaturate. The use of red might have functioned as a strong piece of mise-en-scène, a symbolic tether to violence, passion, and danger. Instead, it hovers somewhere between inspired and excessive. The cinematography is competent, and moments like the party scene—staged around a circular table dripping in red—feel both metaphorical and grounded. But these flashes are undermined by inconsistencies. The titular “Red Circle,” presumably a high-powered criminal cabal, is not sufficiently fleshed out. For a film so concerned with systems of control and shadowy power, it doesn’t show enough of how that power operates or impacts the world beyond our main characters. For the soundtrack it works in a way that it effectively helps the story without distracting or bringing attention to it. It doesn’t standout, particularly, but it’s effectively moderate and purposeful. ### Characters on a Tightrope of Conviction Lateef Adedimeji brings grit as Oshisco, a street enforcer with surprising moments of vulnerability. His performance is one of the more memorable ones. His performance rides the line between caricature and believability which makes his character lovable. Fikayo, our lead, is layered but not fully realized. Her fight for justice feels authentic, yet her motivations blur at times. Her hypocrisy—wielding her privilege while pretending to reject it—is an interesting dimension. Still, Folu Storms delivers a committed performance, even if the chemistry with Tobi Bakre (as Kalu, the inspector), never quite ignites. Tobi Bakre, as the detective Kalu, shares screen time with Storms, and though a romantic subplot brews between them, there’s no spark. The eventual sex scene feels awkward, like a narrative obligation more than something earned. Venita, played with raw earnestness by Omowunmi Dada, brings a grounded realism that heightens the tragedy of her death. Patrick Diabuah, Timini Egbuson, and others fill out the supporting cast with varying degrees of impact, but no one overshadows or deeply elevates the story. ### Final Thoughts: A Circle That Misses Its Center *Red Circle* is a moderately ambitious film with a compelling premise and scattered moments of brilliance. It offers a lot: commentary on class divide, a textured (if imperfect) protagonist, striking production design, and flashes of narrative creativity. But these elements do not coalesce into a cohesive whole. It wants to be a crime thriller with heart, a visual metaphor wrapped in a genre piece—yet it falls short in digging deep where it matters most. The red thread that binds the film is aesthetic more than symbolic. With tighter plotting, richer character arcs, and more rigorous thematic payoff, *Red Circle* could have landed with more force. As it stands, it’s a commendable effort that glows but doesn’t ignite. Red Circle clearly wants to say something about social injustice, media bias, familial expectation, and what it means to truly stand for truth. But rather than weaving these themes into the action, the film spells out its intent in ways that dull their impact. The storytelling avoids clunky exposition in places, using parallel editing and visual cues smartly. The film’s question — “How far would you go for love?” — is buried under the louder question of “How far would you go for drama?” *Red Circle* delivers on its energy, but in terms of thematic depth and lasting impact, it draws a strong outline without filling it in. ### Verdict [*Red Circle* ](https://nollycritic.com/red-circle-see-the-trailer-for-nora-awolowos-new-thriller/ "Red Circle ")is a visual feast with moments of intrigue, powered by solid performances and a strong directorial vision. But it wavers in narrative depth and symbolic clarity. A decent addition to Nollywood’s crime drama catalog, but not a genre-defining one. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/red-circle-an-intriguing-crime-drama-weaved-in-red/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/red-circle-an-intriguing-crime-drama-weaved-in-red/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/red-circle-an-intriguing-crime-drama-weaved-in-red/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/red-circle-an-intriguing-crime-drama-weaved-in-red/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/red-circle-an-intriguing-crime-drama-weaved-in-red/?share=linkedin) - **Categories:** Nollywood, Reviews **Tags:** Adeyela ‘Lizzy Jay’ Adebola, Akay Mason, bukky wright, crime thriller, Debo ‘Macaroni’ Adedayo, Detola Jones, Femi Branch, Film review, Folu Storms, Ibrahim Suleiman, Lateef Adedimeji, Mike Afolarin, nigerian cinema, nollycritic, nollywood, Omowunmi Dada, Red circle, Rixel Studios, Shamz Garuba, Taye Arimoro, Timini Egbuson, Tobi Bakre --- ### [Lara Unlimited: Did We Need a Lara Spin-Off?](https://nollycritic.com/lara-unlimited-did-we-need-a-lara-spin-off/) **Published:** June 7, 2025 **Author:** Uju Okosieme **Excerpt:** ne thing Lara Unlimited doesn’t forget is the core mission of the Smart Money Woman universe: teaching women to be financially independent **Content:** Toni Tones’ Lara Thompson has long been one of the standout characters from *[The Smart Money Woman](https://nollycritic.com/the-smart-money-woman-season-2-episodes-9-10-review/ "The Smart Money Woman Season 2: Episodes 9 & 10 Review")*. Sharp-tongued, effortlessly stylish, and emotionally layered, Lara brought a needed complexity to the friend group, so when word spread that she’d be getting her spin-off, expectations soared. A character this compelling deserved her spotlight. But now that *[Lara Unlimited](https://nollycritic.com/lara-unlimited-arese-ugwu-announces-a-spin-off-of-the-smart-money-woman/ "Lara Unlimited")* is here, the real question is: was it worth it? ## *Lara Unlimited* Directed by: Arese Ugwu Produced by: Arese Ugwu Genre: Drama Released on: May 29, 2025 (YouTube) Language: English ### Climbing the Ladder, But the Rungs Are Missing Lara is poised for a major promotion at her oil firm — until it’s handed to a less competent male colleague. Her professional frustration serves as the springboard for a story that blends workplace politics with romance, betrayal, and a peculiar subplot involving unrest in a rural drilling community. The premise certainly has potential: a successful woman forced to navigate a rigged system while questioning whether to play the game or burn it all down. But the execution? Uneven at best. The film’s tone is inconsistent, and while the community conflict subplot is meant to add depth, it sticks out awkwardly, disrupting the sleek, corporate energy established in the rest of the film. ### Love, Interrupted (By Confusion) One of the most jarring aspects of the movie is Lara’s relationship with Osaretin, a character who is positioned as both a romantic lead and a source of emotional tension. The problem is that we have no idea when any of this happened. Did their entire relationship unfold during the last season of *The Smart Money Woman*? If so, how — and when — did Lara have the emotional bandwidth for it while going through such a major personal loss? We’re left to guess, and that’s frustrating. Demi, too, shows up in an inexplicable new role as Lara’s assistant, with no clear explanation for her transformation from social media influencer to corporate right-hand. The absence of timeline clarity weakens what could have been a much stronger emotional and narrative payoff. ### When the Acting Can’t Save the Scene Toni Tones knows Lara, and she plays her well. That’s never in question. But here, she feels like she’s just running through the motions. There’s nothing wrong with her performance, but there’s nothing new either. Meanwhile, Natse Jemide, who plays Osaretin, simply doesn’t match her intensity, and together, their dynamic feels flat, unconvincing, and lacking chemistry. Across the board, the acting feels serviceable, but not inspired. It’s hard to know whether to blame the script or the direction, but very few performances leave a lasting impression. For a spin-off driven by a fan-favourite character, that’s a big miss. ### Shot on a Samsung — and You Won’t Forget It There’s no denying that shooting *Lara Unlimited* on a Samsung S25 Ultra is a technical flex. Visually, the film is clean and composed. But this achievement is undercut by how obviously the product placement is inserted. The film doesn’t just use the phone; it *shows* you it’s using the phone, and not in a subtle way. Beyond that, the colour grading feels too muted for the *Smart Money* Woman world. While the serious corporate tone is consistent with Lara’s storyline, it drains the film of the vibrant energy that made the original series so visually memorable. ### Smart Lessons, Weak Execution One thing *Lara Unlimited* doesn’t forget is the core mission of the *Smart Money* Woman universe: teaching women to be financially independent and career-savvy. There are still relevant lessons woven in, like knowing your worth in the workplace and supporting other women. But these messages are sometimes undermined by clumsy writing. For instance, Lara’s devastation at losing her promotion is dismissed as emotional fragility, and worse, her male colleague is justified as being the “better choice” because he has a family to feed. It’s a tone-deaf moment in a film that’s supposed to champion women. ### Verdict In the end, *[Lara Unlimited](https://www.bellanaija.com/2025/05/lara-unlimited-toni-tones-spin-off-trailer/ "Lara Unlimited")* feels like it was made because someone thought, “Well, people like Lara — let’s give her a movie.” But liking a character isn’t enough to justify a full-length spin-off. There’s value in the messaging, and the effort to empower women remains admirable, but the storytelling lacks clarity, cohesion, and heart. It’s a decent corporate drama with moments of insight, but if you’re expecting the charm, wit, and emotional resonance of *The Smart Money Woman*, you’ll be disappointed. This feels more like a well-styled, overlong Samsung commercial than a story fans were truly waiting for. *Lara Unlimited* earns itself a rating of 1.75 stars. You can catch it streaming on YouTube. **Rating**: 1.75/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/lara-unlimited-did-we-need-a-lara-spin-off/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/lara-unlimited-did-we-need-a-lara-spin-off/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/lara-unlimited-did-we-need-a-lara-spin-off/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/lara-unlimited-did-we-need-a-lara-spin-off/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/lara-unlimited-did-we-need-a-lara-spin-off/?share=linkedin) - **Categories:** Movies, Reviews **Tags:** Arese Ugwu, lara unlimited, Natse Jemide, nollycritic, nollywood, The smart money woman, Toni Tones, Youtube --- ### [Imported Wives: A Cautionary Tale That Misses Its Own Message](https://nollycritic.com/imported-wives-a-cautionary-tale-that-misses-its-own-message/) **Published:** June 5, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The premise of Imported Wives is as bold as its title: a Nigerian man living and working in Canada, returns to his homeland in search of a wife **Content:** The premise of[ *Imported Wives* ](https://nollycritic.com/pascal-atumas-imported-wives-explores-love-and-marriage/ " Imported Wives ")is as bold as its title: a Nigerian man living and working in Canada, returns to his homeland in search of a wife — specifically, a nurse. Directed by Pascal Atuma, the film enters territory that few Nollywood films dare to tread: the consequences of migration-driven marriages. Unfortunately, for all its potential, the film collapses under weak storytelling, questionable messaging, and a worrying disregard for narrative accountability. ## *Imported Wives* Directed by: Pascal Atuma Written by: Pascal Atuma Genre: Drama Released on: May 30, 2025 (Cinemas) Language: English ### An Empty Fixation, A Forced Story *[Imported Wives](https://www.imdb.com/title/tt26414202/ "Imported Wives")* opens with one goal on Jordan’s mind: marry a Nigerian nurse. That’s it. For the first 25 minutes, this singular obsession is repeated. Everyone around him knows it. We know it. Nurse, nurse, nurse. The film never stops saying it. It’s not just repetitive, it’s elementary. The scripting here (and the overall scripting/storytelling) is remarkably spoon-fed, dragging out a plot point that could’ve been communicated in a single conversation. But this isn’t just about storytelling—it’s about how the film paints a disturbingly skewed picture of marriage, migration, and power. Even after he meets Ifeoma (Nancy Isime), a doctor, he chooses for a transactional marriage, the story crawls through a painfully slow exposition even though their relationship is the total opposite. No courting, no emotional stakes — just arrangement and migration. What follows is a depiction of manipulation disguised as marriage. Jordan, now in Canada with Ifeoma, begins to exploit her. He wants her to work, earn, and carry the household because he “brought her abroad.” She must “obey.” Her autonomy is erased under the weight of his so-called generosity. This is not just a plot device; it’s the core of the film’s thematic engine. The problem is, the film doesn’t seem to realize its own critique and it shows in its very narrative. This story, as shown, exposes a common practice in some diasporic communities—men returning home to “import” wives under the guise of cultural preservation. But what the film actually ends up exploring is much darker. It follows the complete emotional, mental, and physical erosion of Ifeoma, who is overworked, ignored, and she dare not attempt to reclaim even a sliver of her autonomy. And here’s where the tension begins. Because while the film shows Jordan as manipulative and emotionally exploitative, the coverage surrounding the film suggests a completely different agenda. From the director’s own words in interviews, *Imported Wives* is meant to highlight the failure of Nigerian marriages abroad due to women supposedly “changing” when they encounter western freedoms. But this is not the story we’re shown. Ifeoma doesn’t change. She stays dutiful. She never challenges the premise of their transactional marriage. She tries, with quiet desperation, to survive. Her “rebellion,” if we can even call it that (with the help of Nkechi played by Omoni Oboli), is simply fighting to breathe under a husband who treats her like a tool. ### The Plot That Reveals Too Little, Too Late The film follows three men: Jordan, Bill, and James. Jordan is the main character, the poster boy for covert entitlement. Bill is a foil of sorts, already married to a nurse, warning Jordan that things are not what they seem. James, meanwhile, is married and cheating. But for a film that wants to make a statement about marital dynamics in the diaspora, the narrative takes too long to say anything of substance. Plot progression is sluggish, characters are thinly sketched, and the big themes—love, betrayal, culture shock—are all treated with the same elementary storytelling. The structure lacks tension. We meander through scenes where continuity is ignored, characters repeat themselves, and nothing is built with urgency or depth. We get surface-level portrayals: the women are either calm, overly saintly, or caricatured, while the men (Jordan) are rarely held to any meaningful accountability. Where *Imported Wives* fails most egregiously is in its handling of narrative accountability. Following the coverages on the film before its release, the film was supposed to reinforce stereotypes about women abroad being “corrupted” by Western ideology. And persona of “corruption” is supposed to be performed by a character called Nkechi (Omoni Oboli), who represents the so-called cartel of Nigerian-Canadian women. This isn’t what plays out directly on screen. But what about Jordan? He’s the one who coerces, manipulates, and gaslights. The film shows this, yet stops short of condemning him. In fact, by the end, it leaves the audience with an unclear message. Are we supposed to empathize with Jordan’s betrayal and downfall? Or see Ifeoma’s death as a warning? If so, to whom? The woman who did almost nothing wrong? Instead of dismantling and addressing this issue from the extreme differences between its two characters, it speaks in the language of cautionary tale but silences the person we should be listening to: the woman. Nancy Isime’s Ifeoma is the only woman who seems to bear the full weight of the film’s message, and sadly, that weight ends in tragedy. Ifeoma, despite agreeing to the transactional marriage, does everything right. She sacrifices, she submits, she survives. But the moment she starts reclaiming her space, she pays a great price. The ending sends a chilling and questionable message: endure your abuse, or face consequences? ### Acting and Creative Gaps Nancy Isime, despite her screen presence, delivers a performance that feels one-dimensional and flat. There’s little emotional modulation, which could be intentional to reflect Ifeoma’s repressed state, but it makes it harder for the audience to connect with her struggle. The same goes for most of the cast, lacking emotional weight. Blame the script. Dialogue is painfully expository. Scenes are extended to spell out what should be felt or understood. The lead character, Jordan (played by director Pascal Atuma) is so cartoonishly bad and spoon-fed to us that it undercuts any sense of realism. His villainy is telegraphed without subtlety, leaving no room for complexity. If the film was trying to offer a nuanced take on cultural clashes and marital power dynamics, it misses the mark. We see Jordan’s manipulation, but instead of trusting other elements of storytelling, the film insists on telling us, repeatedly, who he is, and what he wants. The performances are less about embodiment and more about function. Nobody evolves. Nobody grows. They just react to the plot beats they are handed. ### Tone, Pacing, and Direction Technical choices suffer too. The pacing drags. The narrative structure, although linear, lacks rhythm. And continuity errors undermine immersion. From location inconsistencies to rushed emotional transitions, the film feels sloppily assembled. Dialogue feels unnatural, and the cinematography, while clean, fails to enhance any emotional depth. ### The Irony of Misalignment: Intentions vs Impact One of the most ironic things about *Imported Wives* is that its public commentary contradicts the actual narrative. In interviews, director Pascal Atuma insists the story reflects a rising crisis of divorce and marital instability among Africans in the diaspora. But instead of providing insight into this phenomenon, the film becomes a caricature of the very issue it attempts to critique. The film could have been an honest critique of transactional relationships and cultural displacement. Instead, it becomes a biased parable. This suggests one of two things: either the filmmakers are unaware of the message they’re sending, or they’ve intentionally created a cautionary tale disguised as empathy but rooted in victim-blaming. Either way, it’s deeply flawed. The final message? That a woman who dares to fight for her agency after being exploited is the one who needs warning. This is not a cautionary tale to men who exploit women under the guise of culture or marriage. It is a warning to only women: be careful who you marry. Don’t marry for transactional reasons. Even if he seems successful. Even if he brings you abroad. A one-sided attempt to address the issue. ### Final Thoughts There is a deeply important story buried within *Imported Wives*, one about power, control, and migration. But that story is suffocated by a filmmaker who seems more interested in pushing moral panic than examining truth. In the end, the film undermines its female protagonist, lets its male abuser off the hook narratively, and leaves its audience with confusion instead of catharsis. This is not just a film with a flawed story. It is a film that actively participates in the same injustice it pretends to critique. ### Verdict *Imported Wives* fails as both a drama and a social commentary. It tries to mirror a real issue, but the mirror is warped. Instead of offering insight, *Imported Wives* ends up reinforcing the very problems it should be critiquing. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/imported-wives-a-cautionary-tale-that-misses-its-own-message/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/imported-wives-a-cautionary-tale-that-misses-its-own-message/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/imported-wives-a-cautionary-tale-that-misses-its-own-message/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/imported-wives-a-cautionary-tale-that-misses-its-own-message/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/imported-wives-a-cautionary-tale-that-misses-its-own-message/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Canadian Nigerian Cinema, Cinema, Film Critique, Funky Mallam, Imported Wives, Japa Syndrome, Joseph Benjamin, Linda Osifo, Migration Marriage, Movie Review, Nancy Isime, Ngozi Nwosu, nigerian cinema, Nigerian Film, nollycritic, nollywood, Omoni Oboli, Pascal Atuma, Patience Ozokwor, Transactional Marriage --- ### [Bro Code: Okay, What Exactly is Going on Here?](https://nollycritic.com/bro-code-a-cinematic-endorsement-of-misogyny-disguised-as-romance/) **Published:** June 3, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Directed by Austin Nnaemeka, Bro Code comes wrapped in the slick packaging of a modern rom-com-bromance hybrid. With a line-up including... **Content:** Directed by Austin Nnaemeka, *[Bro Code](https://silverbirdcinemas.com/movie/bro-code/ "Bro Code")* comes wrapped in the slick packaging of a modern rom-com-bromance hybrid. With a line-up including Mike Ezuruonye as Chris, Daniel Etim Effiong as KC, and Majid Michel as Arinze, the film teases a comedy about reckless bachelors and the chaos of romance. The synopsis even hints at a self-aware unraveling of a so-called “Bro Code.” But that unraveling never really happens. Instead, what unfolds is a dangerously misguided story that uses tired tropes, weak character arcs, and overtly damaging themes to tell a tale that contributes more to the problem than any kind of cinematic or social progress. ## *Bro Code* Directed by: Austin Nnaemeka Written by: Valerie Izuegbuna Genre: Drama/Romanctic Comedy? Released on: May 30, 2025 (Cinemas) Language: English ### When the Code Is Not the Core Despite what the title and synopsis claim, *Bro Code* isn’t about a brotherhood built on misguided principles that eventually gets tested or reformed. The so-called “bro code” barely appears until the end, making the title feel like bait. The film spins three interconnected stories of emotionally stunted men and the women who are used as props for their pseudo-redemption. But even that word, redemption, feels too generous for what actually happens. The narrative leans on formulaic devices: bad boy meets good girl, good girl loves bad boy irrespective, bad boy treats her bad anyway, good girl teaches bad boy how to love, bad boy “changes”, and somehow we’re meant to believe growth has occurred. But growth never arrives. The writing attempts to pass off women’s pain and tolerance as the catalyst for change, reinforcing a regressive idea that women are tools for fixing broken or dangerous men. It is textbook misogynistic storytelling dressed up in romantic and comedic clothing. It’s largely ironic that this was written by a woman. ### A Plot That Undermines Itself The structure of the film is painfully elementary. Take KC (played by Daniel Etim-Efiong)’s arc—a man who suddenly “attempts” to treat a woman better only because she decides to teach him how. She stays over at his house, says they won’t have sex, and the film frames this as discipline. There’s no actual confrontation with his past behaviour, no internal reckoning. He simply coasts into goodness because a woman stupidly put her life at risk. The message? Men don’t need to take accountability. Women will do the emotional labour. Irrespective, there’s a woman for every bad man. The message of the film: “the bravest people are those who aren’t afraid to love.” Chris, played by Mike Ezuruonye, is equally as bad. He leads Lara ([Nancy Isime](https://nollycritic.com/?s=nancy+isime "Nancy Isime")) on while planning a marriage with another woman he never loved, just to get her into bed. The resolution of Lara’s subplot is a masterclass in narrative cowardice. She finds out the truth, visits him, delivers a weak confrontation, and disappears. There’s no justice, no release, no weight. Just a sigh and another failed opportunity for the film to make a statement. Another *equally* disturbing thread lies with Arinze (Majid Michel), whose relationship with Emem includes rape and emotional abuse—yet the film somehow finds a way to place her back in his orbit. But this isn’t empowerment. It’s exploitation. There is no catharsis, no consequences, only the reinforcement of cycles of harm. The film never once acknowledges these dynamics as problematic. Instead, it trivialises them into lessons and laughs. Not once does the story force them to reckon with their actions in a way that matters. Instead, the burden is placed on the women to reform them. The story claims to reveal the flaws of these men, yet the very structure protects them. There’s no genuine arc. No real reckoning. Just a carousel of sexual escapades, paper-thin apologies, and a message that feels less like redemption and more like indulgence. Take KC’s storyline: he begins as a selfish manipulator and ends the same, only this time with a woman smiling beside him, as though she’s the prize he earned for enduring her trials. This is a film that confuses toxicity for entertainment, trauma for drama, and sex for story. The characters are not only written as caricatures of immoral men, but they are protected by a narrative that refuses to hold them accountable. It’s an example in how misogyny isn’t just in what characters do, but in what the story endorses. ### Performances and Direction: Flat and Forced There is little to celebrate in terms of performances. Most of the cast sleepwalks through underwritten characters and forced dialogue. The only consistent performance is the film’s relentless effort to undermine its female characters. And don’t get started on the narration. A voice tells us how men are the real victims of their own hearts. The irony? It takes a woman’s voice to sell a man’s lie. The sound design is poor. Dialogue is often drowned or hollow. What little structure exists here is buried under a mountain of sex scenes, many of which blur the line between consent and coercion. Cinematography sexualises the female body under the guise of stylised storytelling, framing abuse and non-consensual encounters in flattering light, shots linger on women’s bodies, their trauma sexualized for aesthetic, not insight. This is not storytelling. It’s titillation pretending to be meaningful. The film creates moments that should be painful and reflective but dresses them in music and lighting that eroticizes the abuse. It’s the male gaze in action. ### Final Thoughts: A Story That Should Never Have Been Told This Way There’s no lesson here. *Bro Code* uses the language of transformation to excuse inexcusable behaviour. It cloaks emotional manipulation, sexual misconduct, and deeply harmful gender dynamics in the language of love and comedy. This film arrives at a time when Nigeria is already grappling with public debates about abuse, accountability, and how women are constantly expected to fix men. The Blessing CEO controversy—where she publicly defended a suspected abuser to the point of getting engaged to him—shows how easily people will romanticize toxic masculinity if it’s packaged with enough polish. *Bro Code* is just that: packaging. It actively contributes to the rot. To recommend this film without heavy warnings is to risk endorsing its ideas. And to say that it mirrors reality is not enough. The job of cinema is not just to reflect, but to interrogate, to push us beyond the cycles we normalise. It tells us the happiest people are those who aren’t afraid to love. But it’s not love. It’s grooming, manipulation, and coercion, repackaged as redemption. And for impressionable viewers, especially younger audiences, the messaging is not just problematic—it’s dangerous. If anything, *Bro Code* mirrors the reality many are trying to escape. If you’re going to create a redemption arc, the characters must suffer, change, and grow. Here, the “change” is a costume the men wear once the women have suffered enough. There’s no catharsis, just a quiet whisper that “boys will be boys.” It’s not about bias. It’s about responsibility. This film refuses to accept that responsibility. ### Verdict If *Bro Code* was trying to be satire, it failed. If it was trying to teach lessons, it taught the wrong ones. This film is an emotional hazard dressed as entertainment. A romantic comedy? No. A cautionary tale? Absolutely not. This is a brothel of broken values, stitched together with lazy writing, uninspired direction, and a moral compass that’s been flushed down the toilet. Rating: 1/5 ⭐ Rating: 1 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/bro-code-a-cinematic-endorsement-of-misogyny-disguised-as-romance/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/bro-code-a-cinematic-endorsement-of-misogyny-disguised-as-romance/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/bro-code-a-cinematic-endorsement-of-misogyny-disguised-as-romance/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/bro-code-a-cinematic-endorsement-of-misogyny-disguised-as-romance/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/bro-code-a-cinematic-endorsement-of-misogyny-disguised-as-romance/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Bro Code Review, Daniel Etim Effiong, film, Majid Michel, Mike Ezuruonye, Nancy Isime, Nigerian Film Analysis, nollycritic, Nollywood Critique, Nollywood Romance --- ### [My Mother is a Witch: Love, Sacrifice and Childhood Trauma](https://nollycritic.com/my-mother-is-a-witch-love-sacrifice-and-childhood-trauma/) **Published:** May 30, 2025 **Author:** Shalom O. Obisesan **Excerpt:** My Mother is a Witch, directed by Niyi Akinmolayan and produced by Anthill Studios and FrameFlixHQ, leans hard into this tension... **Content:** There’s something quietly devastating about the way African parents show love. It doesn’t always come dressed in affection or validation. Sometimes, it’s a pestle raised in warning, a goat chased down in protective madness, or a daughter who believes her mother is wicked until the truth rewires everything. *[My Mother is a Witch](https://www.imdb.com/title/tt36874837/ "My Mother is a Witch")*, directed by Niyi Akinmolayan and produced by Anthill Studios and FrameFlixHQ, leans hard into this tension. It’s a film soaked in emotion, memory, and the kind of trauma we joke about but still carry. With Efe Irele not only leading as the protagonist but also serving as executive producer, this film is a blend of personal investment, cultural honesty, and emotional complexity. It’s layered and lived-in, driven by a story that reflects on pain, sacrifice, and forgiveness. ## *My Mother is a Witch* Directed by: Niyi Akinmolayan Produced by: Niyi Akinmolayan Genre: Drama Released on: May 23, 2025 (Cinemas) Language: English, Edo, Pidgin English ### Unfolding Truths in a Familiar Storm *[My Mother is a Witch](https://www.imdb.com/title/tt36874837/ "My Mother is a Witch")* follows Imuetiyan (Efe Irele), a fashion editor who returns to Benin from London, tricked into coming home under the lie that her mother is dead. She’s been estranged from the woman she calls wicked for most of her life. But the return drags open the past. Through flashbacks and fraught conversations, the story slowly untangles what really happened between Imuetiyan and her mother (Mercy Aigbe), especially what causes her to call her mother a witch. The plot is emotional and sharply layered, but the storytelling device used for the big reveal, where Imuetiyan explains everything to a doctor (played by Timini Egbuson), feels cliché. It’s an example of expository framing, where the character tells another person (and the audience) what happened. And while it helps move the story forward, and gets the job done, it feels like a shortcut. The emotional weight is there, but the device is overly neat. Instead of letting the past unravel through more layered, visual storytelling, the film chooses a tidy monologue. It’s not ineffective, but it’s safe. ### When Parenting Fails Softness What makes the *[My Mother is a Witch](https://www.imdb.com/title/tt36874837/ "My Mother is a Witch")* land is the emotional honesty at its centre. Mercy Aigbe plays the mother with a raw, unpredictable edge. She is hilarious one moment (especially in the scene where she chases a group of boys—and a goat—with a pestle and she wields it with a stance of a kung fu warrior), and heartbreaking the next. You laugh, then you want to hug her. She’s both the overbearing African mother and a woman silently bearing pain and masking it with overprotection and toxicity. It’s this duality that drives the film’s emotional undercurrent. And the film makes no excuses for her mistakes. There are layers of bitterness and misunderstanding. Imuetiyan’s resentment is real. From her point of view, her mother is cold, even cruel. But as the film peels back those assumptions, it exposes something more honest: a parent who acted out of flawed love, one who never felt safe enough to explain her decisions. And when that silence hardens into trauma, the damage cuts both ways. Imuetiyan sees a mother who hurt her deeply. But the mother sees a child who cannot grasp the sacrifices made in her name. And that tension carries real emotional weight. The use of the Edo language i the film is a standout. Nollywood is often heavy on Yoruba, Igbo, or Hausa. But here, Edo carries the dialogue with authenticity. It grounds the film in a cultural specificity that strengthens the emotional pull. It’s refreshing to hear it fully embraced in a Nollywood drama, not just for flavour but as part of the story’s soul. It anchors the film in place and culture, letting the audience step into Benin without translation filters. ### Performances that Carry Pain and Wit Mercy Aigbe pours into this role. She doesn’t just play a character—she embodies a truth many Nigerian children know: the parent who believes their pain justifies their behaviors. Efe Irele’s performance is restrained and layered. She holds back just enough to let the pain leak through naturally. Timini Egbuson, in a quieter supporting role, acts mostly as a narrative springboard. His role as the doctor could have easily slipped into romantic subplot territory, and the film flirts with that idea. But wisely, it never crosses the line. That restraint is one of the film’s smartest decisions that strengthens the story. This isn’t a story about romantic love. It’s about parental wounds, and the hard journey toward healing. The film respects that. ### Technical Flourishes That Speak With Care The score is one of the [film’s](https://nollycritic.com/?s=film "film’s") strongest elements. It doesn’t manipulate the audience, it aligns with their emotional rhythm. It lets the sadness breathe, and heightens the moments that need it. It knows when to swell and when to disappear. The cinematography is mostly appreciable, with some standout creative choices—like the use of mirrors to reflect character tension. It gets a little indulgent, but the idea works more often than not. ### Final Thoughts *My Mother is a Witch* is deeply moving. It’s a film about broken relationships, the limits of parental sacrifice, and the dangers of silence. It asks viewers to consider what love looks like when it’s expressed in flawed, misunderstood ways. It demands we rethink parenting, confront silence, and extend grace to the people who raised us even when they failed to do it gently. Healing doesn’t always look tidy. But this film reminds us it’s worth chasing. ### Verdict A heartfelt meditation on misunderstood love, and generational pain. A tender and culturally grounded drama that reminds us the scariest legacies are the ones we inherit in silence. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/my-mother-is-a-witch-love-sacrifice-and-childhood-trauma/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/my-mother-is-a-witch-love-sacrifice-and-childhood-trauma/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/my-mother-is-a-witch-love-sacrifice-and-childhood-trauma/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/my-mother-is-a-witch-love-sacrifice-and-childhood-trauma/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/my-mother-is-a-witch-love-sacrifice-and-childhood-trauma/?share=linkedin) - **Categories:** Articles, Movies, Nollywood, Popular reviews, Reviews **Tags:** Anthill Studios, Edo language, Efe Irele, FrameFlixHQ, Mercy Aigbe, mother-daughter conflict, My Mother is a Witch, Nigerian family drama, Niyi Akinmolayan, nollywood, parenting, Timini Egbuson --- ### [Raji and the Beast: Exciting Genre, Unpolished Chaos](https://nollycritic.com/raji-and-the-beast-exciting-genre-unpolished-chaos/) **Published:** May 22, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Raji and The Beast kicks off with a chaotic fight scene, leading into a treasure hunt that quickly spirals out of control. **Content:** *[Raji and The Beast](https://www.imdb.com/title/tt36970122/ "Raji and The Beast")* kicks off with a chaotic fight scene, leading into a treasure hunt that quickly spirals out of control. Raji (Lateef Adedimeji) and his friend Akpors (Uzor Arukwe) stumble upon a hidden stone by the sea, and from there, everything goes downhill. What should be a gripping chase turns into a long, tedious drag that fails to maintain any real tension. ## *Raji and the Beast* Directed by: Darasen Richards Produced by: Seun Olaiya Genre: Adventure Released on: May 16, 2025 (Cinemas) Language: English ### A Story That Stretches Itself Thin There’s a basic premise here: two friends find a glowing stone, and trouble follows. But instead of tightening around this discovery, increasing the tension, developing a strong plot, the film fills itself with too much dialogue and too many unnecessary actions. The result is a story that feels padded, like it should have been trimmed or told with more urgency. ### The Plot: A Mess of Unnecessary Dialogue and Incoherent Choices The problem with *Raji and the Beast* is its inability to keep the plot tight. There’s too much dialogue and not enough action. The dialogue feels redundant, dragging scenes unnecessarily. The film’s pacing falters, and instead of building momentum, it loses steam fast. The film’s ending is a letdown. Instead of a satisfying resolution, we’re handed a lazy plot twist that’s explained out loud. There’s no subtlety, no surprise. It’s as though the filmmakers think the audience is too dumb to pick up on what’s happening, so they spoon-feed the conclusion. And just when you think it’s over, the film tacks on a pointless scene about cultural preservation, trying to shoehorn in a theme that wasn’t built up properly throughout the rest of the movie. It feels forced, and it’s the kind of thing that doesn’t belong here. ### Character Choices: Lazy Writing One moment that stands out is Ruth’s (Omowunmi Dada) decision to stop running after a minor injury. Her choice to be left behind makes no sense, especially when Raji and Akpors agree to leave her behind in an unfamiliar land. It becomes obvious that this was a setup to get her captured. The convenience is too neat, too lazy. It undermines whatever tension the story tries to build. It’s a lazy plot device, and you can see it coming from a mile away. The whole thing feels contrived, especially when Ruth is used as bait later on. It’s a poor attempt to move the plot forward. ### Performances: Professional But Misguided Despite the material, the actors try. You can tell they’re doing their best, but it’s clear the script isn’t helping them. It feels like they’re stuck in a bad film, forced to make something work that just doesn’t. While some might argue that they do their job, the poor writing and mismatched casting make it hard for them to shine. It sometimes feels like the actors themselves are aware of how ridiculous the story is. Background actors perform like they’re on stage, with some shots lingering on them unnecessarily. Lateef Adedimeji and Uzor Arukwe give what looks like professional performances. But the roles demand more physicality than they can deliver. ### Technicals That Disrupt Instead of Support The sound design stands out for the wrong reasons. Effects sound mechanical and artificial. Camera work is inconsistent. Some scenes linger for no reason. The pacing suffers. Instead of building toward any visual or narrative payoff, the film leans on dialogue —lot of it. This choice slows the film even more. It makes action scenes feel dull and the story feel stuck. ### Final Thoughts: What Are We Even Watching? *Raji and the Beast* is what happens when a film has a concept but no structure. It gestures at action, at myth, at cultural relevance but never commits to any of them. The result is a scattered, over-talked, under-plotted mess that wastes its cast and its premise. Forced plot twists and dialogue-heavy resolutions is on full display here. Characters speak in monologues that explain the film, even though we can clearly see them. Then, right before the credits, the film tries to pivot into a message about cultural preservation. It’s sudden, misplaced, and unearned. It feels like a last-minute attempt to seem important after wasting its entire runtime. Why try to redeem messy plots by attaching big themes at the end, without doing the groundwork? This is not how storytelling works. ### Verdict *Raji and the Beast* is a missed opportunity. The film is full of incoherent character decisions, poorly executed action, and a weak narrative. The actors do their best, but the script doesn’t give them anything solid to work with. From start to finish, the film is a frustrating watch that overstays its welcome, bogged down by unnecessary dialogue and a resolution that feels more like a cop-out than a payoff. **Rating**: 1.25/5 ⭐⭐ Rating: 1.5 out of 5. https://www.youtube.com/watch?v=wtg4FQFE6es ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/raji-and-the-beast-exciting-genre-unpolished-chaos/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/raji-and-the-beast-exciting-genre-unpolished-chaos/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/raji-and-the-beast-exciting-genre-unpolished-chaos/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/raji-and-the-beast-exciting-genre-unpolished-chaos/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/raji-and-the-beast-exciting-genre-unpolished-chaos/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Akin Lewis, cultural preservation, Darasen Richards, Femi Branch, Film review, Lateef Adedimeji, Movie Review, nigerian cinema, nollywood, Nollywood Action, Odunlade Adekola, Omowunmi Dada, Raji and the Beast, treasure hunt film, Uzor Arukwe, Yakubu Mohammed --- ### [Silas Wan Japa: A Comedy of Errors with No Destination](https://nollycritic.com/silas-wan-japa-a-comedy-of-errors-with-no-destination/) **Published:** May 19, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Silas Wan Japa is a riotous comedy led by skit sensation Sabinus, who brings his signature antics to the big screen in a story about desperation **Content:** *[Silas Wan Japa](https://www.imdb.com/title/tt36969121/ "Silas Wan Japa")* is a riotous comedy led by skit sensation Sabinus, who brings his signature antics to the big screen in a story about desperation, disaster, and delusion. As the title suggests, Silas wants to leave Nigeria by any means necessary, even if it involves falling for a suspicious travel scheme. What unfolds is a chaotic and exaggerated sprint for cash, with Silas causing more damage than progress at every turn. With slapstick, stereotypes, and a loose storyline, the film banks heavily on Sabinus’ style of comedy, aiming to draw laughter from the familiar caricatures and absurd situations that dominate his digital sketches. ## *Silas Wan Japa* Directed by: Darasen Richards Written by: Darasen Richards Genre: Comedy Released on: May 9, 2025 (Cinemas) Language: English ### Drenched in Madness Silas wants to leave Nigeria. He falls in love with Baby Sempe (Mercy Johnson) and is desperate to raise money for an illegal travel deal. From there, it turns into a sprint of disasters, misunderstandings, broken promises, and exaggerated performances. The idea could work. But the storytelling gets distracted. Very distracted. The first few minutes are chaotic, funny, and absurd; exactly what you expect from a Sabinus-led comedy. But it also starts with a violent crime scene that feels entirely out of place, only later tying back into the larger plot. Not bad for a misdirect, but jarring enough to throw off early expectations. Then enters Silas: clueless, dramatic, and terminally unserious. Sabinus is playing himself, again, and if you know his brand of humour, you already know whether you’re in or out. Instead of this being a comedy with stakes, it quickly dissolves into sketch comedy. The threat of “bad guys” chasing Silas for stolen money starts with a 48-hour ultimatum, then disappears entirely until we’re told, many scenes and “days” later, that a week has passed. That plotline doesn’t hold tension. It doesn’t even hold memory. ### When Plot Gets Lost in the Punchlines The plot progression suffers because the [film](https://nollycritic.com/?s=film "film") prioritises joke delivery over narrative structure. Silas moves from one situation to the next in search of money, causing destruction wherever he goes; spoiling soup, ruining a shop, pretending to know what he doesn’t. But the film isn’t concerned with consequences, which is not totally bad in itself. It just wants to get to the next gag. And sometimes, the gags land. A few of them genuinely work. But most are cheap, formulaic, and reliant on tired caricatures: the flamboyant gay man used as comic threat, over-the-top reactions, exaggerated foolishness. It’s all built on Sabinus’s typical style: a man full of empty confidence, foolish schemes, and chaotic energy. The real issue isn’t that the jokes exist. It’s that there’s no real attempt to tie them together. The plot is forgotten, the characters reduced to setups, and by the end, you’re not sure what the story was meant to be. The ending itself feels more like a rushed skit outro than a resolution. ### Performances Sabinus dominates the screen, but only in the way a loud friend takes over a room. His performance is entirely in line with his online comedy persona: loud, confused, confident for no reason. If you’re not already a fan of this style, the film won’t convert you. Mercy Johnson as Baby Sempe brings some presence. Deyemi Okanlawon as Empire enters with promise, then fades into the chaos. When the film shifts away from Silas, the tone suddenly changes. Scenes with Chief, or other characters without Silas, are shot and played like straight drama: serious angles, slower pacing, moodier lighting. It creates tonal confusion, making it feel like you’re switching channels inside one film. ### Final Thoughts: A Film That Chooses Noise Over Direction Technically, *Silas Wan Japa* does the bare minimum. The camera sometimes plays into the comedy, with some interesting angles, especially in the earlier scenes. The second scene settles more into drama and we see this on and on and on. The inconsistency in visual storytelling mirrors the inconsistency in tone. Is it a sketch film? A comedy with a real arc? A vendetta full of gags? The production quality is generally subpar. In the end, it doesn’t really matter. Because the film isn’t aiming for coherence. It’s aiming to give Sabinus fans what they expect: madness, mischief, and a lot of loud nonsense. ### Verdict *Silas Wan Japa* is exactly what it wants to be: a messy, noisy, character-driven comedy packed with running jokes and absurdity. It offers little in terms of structure or development, but if Sabinus makes you laugh, you’ll find enough here to enjoy. If not, you’ll spend the runtime waiting for a story that never arrives. **Rating**: 1.5/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/silas-wan-japa-a-comedy-of-errors-with-no-destination/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/silas-wan-japa-a-comedy-of-errors-with-no-destination/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/silas-wan-japa-a-comedy-of-errors-with-no-destination/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/silas-wan-japa-a-comedy-of-errors-with-no-destination/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/silas-wan-japa-a-comedy-of-errors-with-no-destination/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Deyemi Okanlawon, Mercy Johnson, Nigerian Comedy, nollycritic, nollywood, Sabinus, Silas wan Japa --- ### [Ori: The Rebirth - Destiny and a Seriously Stubborn Head](https://nollycritic.com/ori-rebirth-destiny-and-a-seriously-stubborn-head/) **Published:** May 12, 2025 **Author:** Shalom O. Obisesan **Excerpt:** n 2004, Muyiwa Ademola gave us Ori, a film that dared to explore Yoruba metaphysics, destiny, and fate at a time when spiritual thrillers **Content:** In 2004, Muyiwa Ademola gave us *[Ori](https://www.imdb.com/title/tt0968305/ "Ori")*, a film that dared to explore Yoruba metaphysics, destiny, and fate at a time when spiritual thrillers were rare in Nollywood. Two decades later, *Ori: The* *Rebirth* arrives not just as a sequel, but as a cinematic echo, pulling the thread of its predecessor into a modern world where smartphones and spiritual wars now share screen time. The result is a story steeped in supernatural politics, familial devotion, and a heavy layer of confusion. ## *Ori (Rebirth)* Directed by: Adebayo Tijani, Muyiwa Ademola, Tope Adebayo Produced by: Muyiwa Ademola Genre: Drama, Supernatural Released on: May 1, 2025 (Cinemas) Language: Yoruba ### A Story Stitched by Spirit and Struggle *Ori: The Rebirth* continues the arc of Bisade (Muyiwa Ademola), a successful man gripped by his fate and tormented by unseen forces. His mother-in-law, Yeye Fernandez, cloaked in spiritual righteousness, is secretly plotting his demise. Bisade is called home urgently from a trip to Abuja, but his plane crashes on the way—a divine interruption of evil. From here, the story becomes a riddle. He survives, but loses his memory, landing in a quiet village where he builds a new life with Temidun (Toyin Abraham), who is already raising their son, Eniafe. A spiritual war, masterminded by the cunning Yeye Fernandez and her dark cult, threatens to rip apart his life and plunge him once more into the vortex of his unfinished past. The passage of time is poorly marked, making it difficult to track how long Bisade has been missing or how he transitioned into this second life. It’s only when his fate starts to unravel—through a spiritual attack and Temidun’s desperate prayers—that he regains his memory. The issue? His return to memory is abrupt. There is no visual or narrative bridge. One moment he is bleeding in a trance-like battle, the next, clarity. This narrative unfolds with emotional and spiritual urgency, yet it struggles under the weight of its own structure. The story frequently jumps in time without proper cues, blurring key transitions. Characters appear or reappear without clear grounding. The film wants to be a mystery, but often ends up being an enigma even to those paying close attention. ### Performances That Ground the Chaos Despite its narrative flaws, the film is anchored by powerful performances. Toyin Abraham gives a soul-baring performance as Temidun, exuding grief, hope, and spiritual resilience. Her tears don’t feel performative; they pull you in. Sola Sobowale, as the matriarch whose fear of generational curses fuels devastating decisions, remains a force. Though she shares no screen time with Toyin, their parallel journeys reflect a mother’s capacity to destroy or protect, both equally laced with love. Muyiwa Ademola revisits his role with mature restraint. He doesn’t push too hard; instead, he allows the chaos of Bisade’s world to swallow him naturally. Omowunmi Dada, as Bisade’s first wife Olapeju, and the young actor playing Eniafe, give grounded performances, even if the script forgets to flesh them out fully. Femi Adebayo, Odunlade Adekola, and Lateef Adedimeji appear, but their roles feel more like marketing placements than essential parts of the story. ### A Film Fighting Itself One of the biggest issues *Ori: The Rebirth* faces is tonal inconsistency and editorial choices. Abrupt scene transitions cut emotional arcs short. Expository monologues and unexplained spiritual logic dilute the emotional weight. At times, scenes designed to heighten tension instead drag out, particularly when padded with unnecessary dialogue or redundant action. The film’s pacing is another challenge. Clocking in at over two hours, it begins to feel bloated. The film also carries the burden of being a sequel without offering enough on-ramp for new audiences. Without having watched *Ori (2004),* viewers are likely to be lost amid references, characters, and callbacks. ### Visuals, Sound, and Spiritual Texture Where *Ori: The Rebirth* succeeds technically is in its visual language. The cinematography in village scenes is rich and atmospheric. The mise-en-scène effectively brings a sense of time and place. The soundtrack is a standout element. Music heightens mood and delivers emotional cues. In several scenes, especially those featuring spiritual encounters, the music does more storytelling than the dialogue. ### Final Thoughts: Fate, Memory, and the Weight of the Past *Ori: The Rebirth* attempts to wrestle with destiny and human agency, and to a degree, it does. Its spiritual premise is potent, and its emotional themes are relatable. It attempts to explore fate, destiny, and the spiritual implications of ancestry, yet it is this ambition that becomes both its gift and flaw. The strength of the film lies in its spiritual ambition. It takes on Yoruba cosmology, divine assignments, and generational curses with a kind of cinematic boldness rarely seen in contemporary Nollywood. But as was true with the 2004 original, the film is layered in ways that make it difficult to follow. Characters speak in coded monologues. Editing sometimes chops scenes before they settle. And if you haven’t seen the first film, the time jumps and spiritual logic may leave you piecing together more than just the plot. For viewers who saw the 2004 original, the callbacks are evident but poorly integrated. For new viewers, the lack of backstory becomes a stumbling block. The narrative is bold, the performances visceral, but the storytelling struggles to balance suspense with clarity. Still, for all its imperfections, *Ori: The Rebirth* stands out. It is its spiritual and psychological layering that makes it a compelling, if flawed, return. What it does offer is a compelling reminder that in the realm of the Yoruba worldview, no coincidence is ever just coincidence. Destiny is a character all on its own. ### Verdict *Ori: The Rebirth* is an ambitious spiritual sequel that sometimes gets tangled in its own threads. But if you’re willing to do the work of piecing it together, there are rewards in its symbolism, performances, and emotional stakes. It’s not perfect, but it’s undeniably daring. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ori-rebirth-destiny-and-a-seriously-stubborn-head/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ori-rebirth-destiny-and-a-seriously-stubborn-head/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ori-rebirth-destiny-and-a-seriously-stubborn-head/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ori-rebirth-destiny-and-a-seriously-stubborn-head/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ori-rebirth-destiny-and-a-seriously-stubborn-head/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Eniafe, Femi Adebayo, Lateef Adedimeji, Muyiwa Ademola, Nigerian spiritual films, nollycritic, Nollywood 2025, Odunlade Adekola, Omowunmi Dada, Ori Rebirth, Sola Sobowale, Toyin Abraham, Yoruba cinema, Yoruba mythology --- ### [After 30: Beautiful, Bold and Emotionally Empty](https://nollycritic.com/after-30-beautiful-bold-and-emotionally-empty/) **Published:** May 12, 2025 **Author:** Uju Okosieme **Excerpt:** Our favourite girls are back. Ten years after Before 30 left viewers hanging, After 30 picks up the story of Temi, Nkem, Aisha and Ama-older **Content:** Our favourite girls are back. Ten years after *[Before 30](https://www.imdb.com/title/tt8320472/ "Before 30 Recap: Everything You Need to Know Before After 30")* left viewers hanging, [*After 30* ](https://nollycritic.com/before-30-recap-everything-you-need-to-know-before-after-30/ "After 30 ")picks up the story of Temi, Nkem, Aisha and Ama—older, supposedly wiser, and facing the complex realities of life after thirty. Now streaming on Prime Video, this long-awaited sequel had one job: tie up the loose ends. But does it? ## *After 30* Directed by: Omorinsojo Spaine Produced by: Ronke Ayeni Genre: Drama/Romance Released on: May 9, 2025 (Prime Video) Language: English ### Promising Concepts, Scattered Focus According to the official synopsis, *After 30* follows four Nigerian women navigating love, friendship, and the pressure to settle down. The film attempts to juggle several storylines: Temi is planning a wedding with her fiancé Kunle, while Ayo, her old flame, unexpectedly returns. Aisha is quietly struggling with her decision not to have another child. Ama is questioning her sexuality while reopening a restaurant with Alice. Nkem, meanwhile, is exploring the idea of single motherhood through various options. Each plotline has strong potential, but the film struggles to give them the depth they deserve. Instead of a rich ensemble story, we get fragmented glimpses that leave more confusion than clarity. ### Rushed Arcs and Underdeveloped Relationships The biggest issue with *After 30* is its pacing. It feels rushed, almost like it was made just to tick a box rather than to continue a beloved story. Major developments happen with little to no build-up. Ama’s journey toward understanding her sexuality, for instance, is barely sketched out. Her scenes with Alice lack emotional groundwork, so when things escalate, it feels unearned. Temi’s engagement to Kunle is another missed opportunity. We never really see them function as a couple, which weakens the emotional stakes when she suddenly gravitates back toward Ayo. Her decision to revert to an old pattern makes more sense to those of us who watched *Before 30*, but in the context of this film alone, the shift feels hollow. We don’t see her wrestle with her choice or even reflect on her past, which makes it frustrating to witness her repeat it. Perhaps the most confusing plot turn comes from Aisha. Her decision to block Nkem’s adoption doesn’t align with the deep bond these women supposedly share. Even after Nkem proves her seriousness, Aisha projects her issues onto her friend’s life-changing decision. The film doesn’t explore this betrayal with enough weight to make it believable. ### Flashes of Excellence in an Uneven Script Despite the script’s shortcomings, a few performances rise to the occasion. Anee Icha is a standout as Ama, bringing a sense of raw honesty to her scenes. Damilola Adegbite gives a solid performance as Temi, though the character’s emotional arc doesn’t offer much range or growth. The most memorable moment comes from Meg Otanwa and Beverly Naya. In a particularly emotional scene, Aisha reveals to Nkem that she’s had her tubes tied. Both actresses deliver, creating one of the few truly affecting moments in the film. It’s a reminder that with the right writing, these characters—and these actors—have the power to move us. Even Dakore Akande makes a brief but delightful appearance in a role that’s different from her usual fare. It’s short, but refreshing. ### Visually Stunning, Sonically Familiar What *After 30* lacks in writing, it makes up for in visuals. A few over exposed shots do not undermine the fact the film is beautifully shot, with crisp cinematography and stylish production design that showcases the set and locations in a polished, modern light. The characters’ fashion is equally impressive—each look thoughtfully styled to reflect their personalities. The music is another high point. Kaliné Njoku, whose music played a major role in the original series, returns as the film’s composer. The score is elegant, and the soundtrack blends seamlessly into the story’s emotional beats. It’s a subtle but effective nod to *Before 30*’s legacy, where music helped define the tone. ### A Love Letter With Loose Ends There are moments when *After 30* feels like a true love letter to fans. The cartoon-style intro is a charming touch. The film takes a moment to honour the late Karibi Fubara, who played Akin in *Before 30*, and nearly all the original cast members return—including those who played minor roles like Mimi Onalaja. It feels like a reunion, one that many of us waited years for. Unfortunately, what we get is not closure, but more of the same unresolved tension. Despite the time that has passed, Temi’s character still hasn’t grown. Aisha and Nkem’s conflict is the most layered storyline, but even that fizzles out without proper resolution. The scene with Layi Wasabi feels out of place and distracts from the more grounded tone of the film. On a brighter note, it’s worth commending the production team for something rarely done in Nollywood—they credited all the extras. It’s a small touch, but it shows care and respect for the work behind the scenes. ### Verdict *After 30* is a beautiful film on the surface, supported by a talented cast and strong production design. But the writing lacks coherence and depth, leaving us with another open-ended story that, much like its predecessor, promises more than it delivers. It’s enjoyable enough to watch—especially for fans of the original series—but by the end, you may find yourself wondering what the point of it all was. The film earns a solid 3 out of 5 for style, performance, and effort, but falls short in emotional payoff. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/after-30-beautiful-bold-and-emotionally-empty/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/after-30-beautiful-bold-and-emotionally-empty/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/after-30-beautiful-bold-and-emotionally-empty/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/after-30-beautiful-bold-and-emotionally-empty/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/after-30-beautiful-bold-and-emotionally-empty/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Popular reviews, Reviews **Tags:** After 30, Anee Icha, Before 30, Beverly Naya, Damilola Adegbite, Meg Otanwa, nollycritic, nollywood, O.C Ukeje, Omorinsojo Spaine, Prime Video --- ### [Aso Ebi Diaries: An Intriguing Drama on Friendship and Fabrics](https://nollycritic.com/aso-ebi-diaries-an-intriguing-drama-on-friendship-and-fabrics/) **Published:** May 4, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Aso Ebi Diaries is not another 'owambe' film. What initially looks like a flashy lace-and-Ankara fest becomes something far more grounde **Content:** [*Aso Ebi Diaries* ](https://nollycritic.com/biodun-stephens-aso-ebi-diaries-explores-love-and-culture/#google_vignette "Aso Ebi Diaries ")is not another ‘*owambe*‘ film. What initially looks like a flashy lace-and-Ankara fest becomes something far more grounded: a rich, carefully told story about female friendship, personal identity, heartbreak, healing, and the cultural weight of belonging. Directed by Biodun Stephen in what may be her most balanced and emotionally coherent work to date, the film strips back the noise and lets the characters, and their humanity, shine. ## *Aso Ebi Diaries* Directed by: Biodun Stephen Written by: Frances Okeke Genre: Drama Released on: April 18, 2025 (Cinemas) Language: English ### A Story Told in Real Colours, Not Just Costume At the heart of the film is Elizabeth Gomez, known as Fari (Nancy Isime), a woman rebuilding her life after a scandal robs her of identity, status, and stability. She doesn’t wallow, though. With her two best friends, Temisan (Kiekie) and Chizzy (Chizzy Alichi), she finds her way back to herself using fashion and the Aso Ebi tradition as armour and expression. The story’s strength lies in how it treats these three women: flawed, warm, real, and fully human. Their friendship is the emotional spine of the story, and for once, the tension that builds among them feels organic. The eventual fallout between Temi and Chizzy isn’t some explosive twist. It’s the kind of subtle, lived-in conflict that happens when banter goes too far and wounds are too raw. It’s honest. It’s earned. And it’s one of the film’s finest decisions. All plot points in the film are well-fleshed out, giving depth to each central character in the film. ##### Character as Craft, Not Cliché This is some of the best character work Biodun Stephen has done. Fari isn’t a stereotype. She’s not defined by societal expectations or forced moral arcs. She exists as selfish, confused, driven. Nancy Isime plays her with restraint, allowing the script to breathe through her rather than overpower her. She’s a woman who doesn’t know what she wants, but knows she wants to be wanted. And that’s enough. Kunle Remi’s Dimeji is a standout. He’s the ideal male lead: stable, grounded, kind, and patient. The attention given to his character arc is rare in Nollywood. His romantic arc is central, built patiently, with quiet, earned charm. The dialogue between him and Fari is romantic without being overwrought, and his presence gives the story an emotional anchor. Daniel Etim Effiong as Kitan is frustratingly good. His performance lingers in ambiguity. You can’t quite tell what he wants. He carries a mix of sincerity and calculation, and that dissonance mirrors Fari’s own uncertainty. That friction makes him an essential contrast to Dimeji. Chizzy Alichi is brilliant as Chizzy. She’s comedic, yes, but she’s also deeply sympathetic. Her story arc (being strung along for three years by a useless man named Joshua) hits familiar notes but avoids caricature. Watching her growth, from desperation to clarity, gives the film its most visible transformation. Her father, Chief Longinus (Kalu Ikeagwu), is another gem. His scenes are few, but they ring true with affection, protective meddling, and that classic Nigerian father energy. Temisan, played by Kiekie (Adeaga Ilori), is perhaps the most surprising revelation of the film. Gone is the usual loud, cartoonish typecast. In this role, she’s layered: a shopaholic, a loyal friend, a woman growing through her own flaws. It’s easily her most grounded, credible performance. ### Production and Detail: Where the Story Lives *Aso Ebi Diaries* pays attention to everything from how characters dress to how they move through space. The editing is seamless, giving scenes time to breathe. The transitions are fluid. And the sound design carries the story’s emotional weight without pushing too hard. The music and sound design deserve credit for how well they guide tone and emotion. The soundtrack builds gently and swells when needed, always enhancing but never distracting. Even the use of colour grading, particularly in the flashback scenes, is intentional although it seems to be a bit oversaturated. The attention to casting especially the resemblance between the younger and older versions of Iya Laje is commendable. ### Final Thoughts: We Came for the Slay, We Stayed for the Story [*Aso Ebi Diaries* ](https://www.imdb.com/title/tt31866821/ "Aso Ebi Diaries ")reminds us that stories don’t need to be loud to resonate. It doesn’t rely on sudden deaths, affairs, or trauma for effect. It’s not about grand betrayals. It’s about the quiet pain of broken trust, the softness of real affection, and the long, slow rebuild that follows. It’s about women who laugh, fight, love, forgive and dress like royalty while doing it. It also quietly subverts expectations. It resists the melodramatic flourishes that often weigh down Nollywood drama. It trusts its characters and its audience, choosing sincerity over spectacle. The chemistry between the actors, the lived-in dialogue, and the cultural specificity give the film a softness and strength rarely held together this well. ### Verdict *Aso Ebi Diaries* is one of the most emotionally intelligent Nollywood films in recent memory. A love letter to friendship, fashion, and the power of women who carry each other through the chaos. **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/aso-ebi-diaries-an-intriguing-drama-on-friendship-and-fabrics/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/aso-ebi-diaries-an-intriguing-drama-on-friendship-and-fabrics/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/aso-ebi-diaries-an-intriguing-drama-on-friendship-and-fabrics/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/aso-ebi-diaries-an-intriguing-drama-on-friendship-and-fabrics/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/aso-ebi-diaries-an-intriguing-drama-on-friendship-and-fabrics/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Aso Ebi Diaries, Biodun Stephen, Chizzy Alichi, Daniel Etim Effiong, Kalu Ikeagwu, Kiekie, kunle remi, Nancy Isime, nigerian cinema, nollywood, Shaffy Bello --- ### [Silver Ever After: What Happens When The Kids Leave?](https://nollycritic.com/silver-ever-after-what-happens-when-the-kids-leave/) **Published:** May 3, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Silver Ever After, directed by Laju Iren, is one of those rare Nollywood films that dares to place a long-term.. **Content:** *Silver Ever After*, directed by Laju Iren, is one of those rare Nollywood films that dares to place a long-term marriage at the centre of its story. Released on YouTube, it delivers something quiet but profound, a story not about finding love, but fighting to hold on to it. It unpacks the emotional weight that often builds behind silence, miscommunication, and the quiet drift that can happen when purpose becomes buried under routine. A story of rekindling, rediscovery, and subtle faith. ## *Silver Ever After* Directed by: Famous Odion Iraoya Written by: Laju Iren Genre: Drama Released on: April 17, 2025 (Youtube) Language: English ### Uncovering the Unsaid The film follows Fortune (Uzor Arukwe) and Chisom (Blessing Obasi Nze), a middle-aged couple on the brink of their 25th wedding anniversary. Their children have left home, and what’s left is the haunting quiet of two people who used to be in sync. The brilliance of Silver Ever After lies in how it makes the viewer part of the relationship’s journey. We’re not spoon-fed the problems upfront. Instead, we listen, observe, and slowly realise what’s been missing between them. If marriage requires a third party, this time it’s us, the audience. Rather than grand gestures, the tension builds through moments: missed glances, misaligned expectations, unspoken disappointments. The storytelling is mature, opting to show rather than explain. One standout scene, where a young woman says “Please, pray for me,” captures this subtlety. Chisom’s expression and eventual choice speaks volumes without any dramatic swell. It’s a film that gives space for silence to sting. Thematically, it explores what happens after the distractions fade. After decades of child-rearing and ministry work, who are Fortune and Chisom without those roles? What do they do when purpose becomes foggy and intimacy fails to follow? ### Performances and Character Depth Blessing Obasi Nze is excellent as Chisom. She delivers what might be her best performance yet, nuanced, layered, and deeply emotional without being overwrought. Chisom is not your typical Nollywood wife character. She’s not there for pity or sainthood. She’s complex, hurt, strong, and struggling. Her silence is heavy, and her moments of vulnerability feel earned. Uzor Arukwe as Fortune is restrained but resonant. Known for more boisterous roles, here he finds stillness. His spiritual conflicts, especially with his role as a faith leader, add layers. Fortune wants to do right, but doesn’t know how. And when that inability mixes with shame and pride, what emerges is distance. That quiet between him and his wife becomes a character of its own. Tunji and Mirabelle, the younger couple, offer a reflective counterpoint. Their energy and open communication serve as a subtle mirror. They nudge the older couple into uncomfortable self-awareness, and their presence prevents the film from being too heavy. ### Script, Structure, and Subtext The dialogue is wonderfully natural. Characters talk like people, not actors performing lines. That roughness in rhythm, the imperfection in their phrasing, reflects the emotion underneath. The screenplay does well to let emotions drive the words, not the other way around. The storytelling structure is sharp. It takes its time but doesn’t dawdle. The plot moves forward with intention. Editing lets scenes breathe, and that breath is what makes the emotional weight land. However, there are some lapses, notably, unclear transitions between past and present, and the continuity of Fortune’s hair colour. Also, Chisom’s reference to an incident in 2015 is never fully explained, and some secondary performances don’t quite hit the mark. There’s also a missed opportunity around Fortune’s health. The film heavily implies erectile dysfunction as the source of physical distance, but doesn’t show him seeking medical help. That absence of action undermines an otherwise realistic portrayal of a couple trying to reconnect. ### Final Thoughts: A Quiet Fire *Silver Ever After* isn’t about perfect love. It’s about painful, patient love. The kind that drifts when you stop listening, and returns when you choose to try again. It’s also a gentle faith film that doesn’t preach. Its theology is lived, not lectured. What makes this film stand out is its focus on older love stories, on seasons that come after the celebrations fade. And it understands that in marriage, sometimes the hardest thing to do is simply sit still and say, “I’m still here.” ### Verdict *Silver Ever After* is a slow burn with a steady pulse. Strong performances, emotional intelligence, and grounded writing make it one of Nollywood’s more thoughtful takes on marriage, purpose, and rediscovery. [**Rating**](https://www.youtube.com/watch?v=OSaW0W_EPYY): 3.25/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/silver-ever-after-what-happens-when-the-kids-leave/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/silver-ever-after-what-happens-when-the-kids-leave/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/silver-ever-after-what-happens-when-the-kids-leave/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/silver-ever-after-what-happens-when-the-kids-leave/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/silver-ever-after-what-happens-when-the-kids-leave/?share=linkedin) - **Categories:** Movies, Reviews **Tags:** Blessing Obasi Nze, Laju Iren, Nigerian Marriage Stories, nollywood, Nollywood Faith Films, Silver Ever After, Uzor Arukwe, YouTube Nollywood --- ### [Nollywood Movies With Tense Mother and Son Dynamics](https://nollycritic.com/nollywood-movies-with-tense-mother-son-dynamics/) **Published:** October 11, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood, as a vibrant mirror of Nigerian life, captures not just these toxic elements but also the broader spectrum of tense relationships... **Content:** In Nigerian society, parental authority often wears the mask of unwavering love, even when it veers into toxicity. This is especially evident in the dynamics between mothers and sons, where overprotectiveness, emotional manipulation, or outright enabling of flaws can create profound challenges. “They’re just looking out for us,” we say, empathising with behaviours that border on control or harm. Yet, Nollywood, as a mirror of Nigerian life, captures not just these toxic elements but also the broader spectrum of tense relationships—through stories that make the unbelievable believable, we understand these mothers as products of societal pressures, personal traumas, or survival instincts. These portrayals highlight both the darker sides of toxicity and the everyday tensions that arise from love’s complexities. At its core, cinema archives the realities we live, prompting us to examine how love and strain coexist. In this piece, we explore select Nollywood titles to delve into mother-son duos that range from slightly tense to more pronounced strains, offering a lens into Nigeria’s complex family structures where affection and challenges intertwine. ### Overindulgence and Enabling Kemi Adetiba’s *King of Boys* (2018) is a cornerstone in exploring this theme, not just for its gripping tale of power and corruption but for its raw depiction of maternal dominance clashing with filial independence as a twisted form of love. Alhaja Eniola Salami, played with fierce intensity by Sola Sobowale, is a businesswoman and philanthropist entangled in Lagos’ underbelly, with a checkered past that fuels her political ambitions. Her relationship with her son Kitan (Ademola Adedoyin) is a volatile mix of overprotection and resentment: she spoils him rotten, shielding him from her dark dealings while expecting blind loyalty, but berates him as the weakest Salami in the family for his lack of ruthlessness, often excluding him from key discussions and prioritizing him as the male heir over her more capable daughter despite his ineffectiveness. Eniola’s iron-fisted control over her criminal empire spills into their bond, demanding that he inherit her crime empire, leading to arguments, belittling, and an iconic slap when he rejects her ruthless ways, as the tension stems from her dominance clashing with his desire for normalcy. Their dynamic peaks in betrayals—Kitan’s naive involvement exposes family vulnerabilities, culminating in him witnessing his sister’s murder in his arms, discovering his girlfriend’s betrayal, and ultimately taking his own life in despair—highlighting how Eniola’s “protective” love, tainted by ambition and absentee parenting amid violence, erodes maternal bonds and fosters fractured trust. We empathise with Eniola’s drive, born from survival in a patriarchal society, but it normalizes a toxicity where a mother’s control overrides her son’s autonomy, framing it as familial loyalty. In Nigerian homes, this resonates—mothers who indulge sons as compensation for societal hardships, only for it to foster vulnerability, dependency, and resentment. ### Discipline and Conflict Biodun Stephen’s *Breaded Life* (2021) shifts the lens to overt conflict, portraying a mother-son bond marked by disapproval and attempts at guidance that create ongoing strain. Mummy, embodied by Tina Mba, is the quintessential Nigerian mother, exasperated by her overindulged son Efe (Timini Egbuson), whose irresponsible lifestyle leads to constant altercations. \\The film features heated exchanges where she questions his choices and decries his unruliness, reflecting efforts to rein him in amid his bratty demeanor. This paints a picture of love expressed through criticism and firm boundaries, though it often results in emotional friction for both. Yet, this presentation of repeated confrontations as “caring” mirrors real-life Nigerian families, where mothers’ frustration stems from economic pressures or single parenting, manifesting as shared exhaustion. The film’s redemption arc suggests growth is possible, but it underscores how such tension can be seen as a mother’s role in guiding her son, even if it tests their bond. ### Class-Drven Expectations Kemi Adetiba’s *The Wedding Party* (2016) offers a lighter yet tense exploration of class-driven involvement, where maternal love manifests as concern and active participation. Obianuju Onwuka, played by Ireti Doyle, is the affluent mother who believes her son Dozie (Banky W) deserves “someone more suitable” than his bride Dunni, leading to clashes with the in-laws and moments of subtle influence on the union. The film’s chaotic wedding day amplifies this, with Obianuju’s personal frustrations spilling into her oversight of Dozie’s choices. It’s a slightly tense dynamic, guised as a mother’s protective instinct in elite circles, but it highlights how such involvement can test adult sons’ independence. In Nigerian culture, this is commonplace—mothers offering input on marriages under the banner of family honour, often seen as wisdom from experience, which can perpetuate generational discussions. ### Hidden Past and Revelation Finally, Biodun Stephen’s *I Am Anis* (2025), inspired by true events, delves into the strains of hidden traumas and their ripple effects on mother-son bonds. Anisola Williams (Shaffy Bello) has rebuilt her life after a challenging past, raising her son David (Adebowale Adedayo) in a setting of stability. When her secrets surface on what should be a joyous day, it forces a confrontation that tests their relationship, with David’s own experiences adding layers of inherited challenges. Anisola’s love involves protective secrecy to maintain their facade, reflecting the idea of withholding pain as maternal care. This mirrors Nigerian society’s quieter struggles, where mothers shield sons from past stigmas, only for it to emerge as tension, understood as “doing what’s best” amid survival needs. As these Nollywood films illustrate, tense dynamics in mother-son relationships aren’t just entertainment—they’re a societal archive, showing how we empathise with dedicated parents under the guise of love. From indulgence to firm guidance, these patterns persist because they’re woven into our cultural fabric, often prompting reflection on both toxic undertones and everyday strains. Yet, as Nigeria evolves, it’s worth questioning: Who does this love truly benefit? The mothers, shaped by expectations? The sons, navigating it? Or a society that values continuity over deeper understanding? ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-movies-with-tense-mother-son-dynamics/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-movies-with-tense-mother-son-dynamics/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-movies-with-tense-mother-son-dynamics/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-movies-with-tense-mother-son-dynamics/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-movies-with-tense-mother-son-dynamics/?share=linkedin) - **Categories:** Articles **Tags:** Biodun Stephen, Biyi Bandele, blood sisters, Breaded Life, Cultural Norms, family drama, i am anis, Ireti Doyle, Kate Henshaw, Kemi Adetiba, Kenneth Gyang, king of boys, Mother-Son Dynamics, Nigerian Society, nollywood, Parental Love, Shaffy Bello, Social commentary, Sola Sobowale, Tense Relationships, The Wedding Party, Tina Mba, Toxicity --- ### [Adunni Ogidan Binrin: A Fight for Justice Buried in Overreach](https://nollycritic.com/adunni-ogidan-binrin-a-fight-for-justice-buried-in-overreach/) **Published:** May 2, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Adunni Ogidan Binrin sets out with grand ambitions: to tell the story of a fearless woman standing up to tyranny and injustice **Content:** *Adunni Ogidan Binrin* sets out with grand ambitions: to tell the story of a fearless woman standing up to tyranny and injustice. It’s a tale rooted in resistance, a David-and-Goliath struggle woven into a colonial-era backdrop. But somewhere between its historical aspirations and its cinematic execution, the story gets lost in an exhausting mess of melodrama, technical missteps, and narrative confusion. What should have been a stirring chronicle of defiance and sacrifice becomes a long, dragged-out ordeal that asks a lot from its audience and gives back little. ## *Adunni Ogidan Binrin* Directed by: Yemi Amodu Produced by: Funmi Ogidan Bello Genre: Drama Released on: April 25, 2025 (Cinemas) Language: English ### An Idea Without Cohesion Adunni, a barrister played by Funmi Ogidan-Bello, takes a stand against the oppressive cocoa monopoly enforced by King Adedamola (Patrick Doyle) and the colonial District Officer, Mr. Thompson. The people are enslaved, robbed of their rights to farm and trade, and punished brutally for resistance. The narrative aims to centre Adunni as a voice of justice, a leader rising against injustice. But this story is told through layers of underdeveloped subplots, weakly executed twists, and overlong scenes that suck the urgency and emotional power out of what should be a focused rebellion. Much of the runtime is consumed by dialogues that lack weight, scenes that stretch far beyond their utility, and repetitive exposition that stalls the momentum. For a film about resistance, there’s very little tension. For a film about injustice, there’s hardly any emotional pay-off. The stakes are high, but the delivery is flat. ### Performances That Struggle to Land Funmi Ogidan-Bello, in the lead role, shows flashes of potential, but she’s often let down by clunky writing and overly staged scenes. There is little emotional nuance, and the drama feels forced. The character is meant to be powerful, yet the film does little to make us feel that power. Dialogue that should ring with defiance lands more like a line read. The supporting cast includes talented actors like [Nancy Isime](https://nollycritic.com/?s=nancy+isime "Nancy Isime") (as Romoke), Lateef Adedimeji, Odunlade Adekola (Bamidele), Iyabo Ojo, Tina Mba, and Keppy Ekpenyong, but they’re all buried under poor direction and chaotic scripting. Nancy Isime plays a widow whose husband, Wole, was killed by betrayal. Her character’s pain never quite registers, and her logic often doesn’t either. She knows Bamidele is responsible for her husband’s death, yet still lets him into her home. And we get scenes of him coercing her. It’s melodrama turned tasteless. Odunlade Adekola, cast once again as the double-faced betrayer, brings his usual flair, but his performance can’t save a character that lacks believable motivation. Lateef Adedimeji and Iyabo Ojo’s characters suffer a similar fate—actors with range, trapped in hollow roles. ### Tonally and Structurally Lost The film shifts between languages (English and Yoruba) without clear reason. Well, we have non-Yoruba speakers in the film. Sometimes characters flip within a single scene, confusing the audience. Why are some of the so-called uneducated speaking English? How come they are in the same category as Adunni? The subtitles are often inaccurate or premature, and the set design is plagued by anachronisms: reclining chairs, modern artwork, and photochromic glasses that simply do not belong in the era the film claims to be set in. There are scenes that break any sense of cinematic rhythm. Sequences drag on for no reason, and tension is often built up only to be fumbled. For instance, after someone is shot at night, the next scene is set in daylight, killing the continuity. The editing has no urgency, the sound design is barely present, and even the musical cues fail to amplify the story’s emotional moments. ### Final Thoughts: Resistance Without Resonance *Adunni Ogidan Binrin* wants to be a film about courage. A woman stands against a corrupt king and colonial control, driven by conscience. But what plays out on screen feels more like a poorly stitched historical drama masquerading as epic resistance. It tries to say something about collective suffering, about women taking charge when their men are broken, about betrayal, about justice. But the message is buried under poor acting, misfired tension, and exhausting dialogue. The intent was there. The result? A film that tests patience more than it inspires action. ### Verdict [*Adunni Ogidan Binrin* ](https://nollywire.com/titles/adunni-ogidan-binrin/ "Adunni Ogidan Binrin ")is ambitious in scale but sloppy in execution. It fumbles what should be a compelling story and turns it into a slow, confusing watch. **Rating**: 1.25/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/adunni-ogidan-binrin-a-fight-for-justice-buried-in-overreach/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/adunni-ogidan-binrin-a-fight-for-justice-buried-in-overreach/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/adunni-ogidan-binrin-a-fight-for-justice-buried-in-overreach/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/adunni-ogidan-binrin-a-fight-for-justice-buried-in-overreach/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/adunni-ogidan-binrin-a-fight-for-justice-buried-in-overreach/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Adunni Ogidan Binrin, Funmi Ogidan-Bello, Iyabo Ojo, Keppy Ekpenyong, Lateef Adedimeji, Nancy Isime, nollywood, Odunlade Adekola, Patrick Doyle, Tina Mba --- ### [Landline: A Time Loop Thriller That Will Keep You Hooked](https://nollycritic.com/landline-a-time-loop-thriller-that-will-keep-you-hooked/) **Published:** April 30, 2025 **Author:** Uju Okosieme **Excerpt:** Dele Doherty’s directorial debut, Landline, recently dropped on Prime Video, and it’s one we’ve been eagerly anticipating since the first trailer hit **Content:** Dele Doherty’s directorial debut, *[Landline](https://www.imdb.com/title/tt36690031/ "Landline"),* recently dropped on Prime Video, and it’s one we’ve been eagerly anticipating since the first trailer hit. Starring Zainab Balogun, Gabriel Afolayan, and Bucci Franklin, this suspense-filled drama promised an intense ride — and it delivers on that front. Here’s what we thought about the film. ## *Landline* Directed by: Dele Doherty Written by: Dele Doherty Genre: Psychological Thriller Released on: January, 2025 (Prime Video) Language: English ### A Deadly Time Loop With High Emotional Stakes In *Landline*, a stranded military sergeant receives eerie calls from an old landline, each guiding him to save his pregnant wife from a relentless killer, only to watch her die again and again in a nightmarish loop. Right from the synopsis, the film signals its time-loop premise, a familiar but tricky concept Nollywood has tackled with mixed results. The major plot follows Kolapo, trapped in a safe house and racing against time to save his wife, Shalewa. Smaller threads explore why Kola is in hiding and his wife is being hunted, layering extra tension onto the main story. ### Strong World-Building, but a Flimsy Motive Given the looping structure, *Landline* is impressively attentive to detail. Repeated moments — like Shalewa’s gunshot wound — remain consistent across loops, reinforcing the film’s internal logic. However, the reason Shalewa becomes a target feels unnecessarily exaggerated. The villains move to extreme action based purely on suspicion without clear evidence. While it heightens the drama, it stretches credibility slightly in an otherwise tightly plotted film. ### Raw Emotion and Convincing Chemistry Gabriel Afolayan and Zainab Balogun deliver deeply affecting performances as Kola and Shalewa. Afolayan captures Kola’s mounting desperation as the loops continue, while Balogun portrays Shalewa’s fear and heartbreak with impressive authenticity, especially in the scene where Shalewa kills the intruder but chooses to die herself to protect her unborn child. The chemistry between the two leads is convincing and helps ground the film emotionally. Their connection is further strengthened by natural, believable dialogue, making their relationship feel real and worth rooting for. ### Captivating Visuals and Nail-Biting Tension The film’s technical execution deserves praise. The opening shot — Shalewa, lost and disoriented — instantly immerses us. Close-up shots throughout the film heighten the emotional stakes, Dutch angles help picture a disoriented character. The mood and tone of the film suits the genre. *Landline* also uses sound strategically: music cues build suspense without overwhelming the story. Scenes like Shalewa hiding in the closet as the killer lurks nearby are visually striking and pulse-raising, showing a strong understanding of thriller mechanics. ##### A Strong Thriller With a Few Frustrating Character Choices *Landline* grips viewers from the very first scene and never lets go. However, some character decisions feel questionable. It’s odd that a heavily pregnant woman alone at night would open the door without caution, and when Kola realises the existence of the loop, he spends too much time explaining instead of acting swiftly. Also the scene where the killer appears to dodge bullet looked poorly choreographed. Shalewa’s emotional reactions during the killer’s pursuit also occasionally feel unrealistic given the life-threatening situation. Despite these flaws, the film maintains its intensity to the end, though the ending leaves us wondering how long Kola will be trapped in this cycle, as the loop seemingly remains unbroken even after Shalewa’s rescue. ### Verdict *Landline* tells a gripping story with a strong three-actor cast. While it stands out as one of the best loop films we’ve seen from [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") with strong performances, and polished visuals, it leaves us with several unanswered questions. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/landline-a-time-loop-thriller-that-will-keep-you-hooked/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/landline-a-time-loop-thriller-that-will-keep-you-hooked/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/landline-a-time-loop-thriller-that-will-keep-you-hooked/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/landline-a-time-loop-thriller-that-will-keep-you-hooked/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/landline-a-time-loop-thriller-that-will-keep-you-hooked/?share=linkedin) - **Categories:** Articles, Movies, Nollywood, Reviews **Tags:** Bucci Franklin, Dele Doherty, Gabriel Afolayan, Landline, nollycritic, nollywood, Prime Video, Zainab Balogun --- ### [Owambe Thieves: A Cultural Mess of Chaos and Comedy](https://nollycritic.com/owambe-thieves-a-cultural-mess-of-chaos-and-comedy/) **Published:** April 28, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Owambe Thieves had one job: give us chaos, comedy, and a high-stakes heist in gele and agbada. It had the potential to... **Content:** *[Owambe Thieves](https://www.imdb.com/title/tt36242590/ "Owambe Thieves")* had one job: give us chaos, comedy, and a high-stakes heist in gele and agbada. It had the potential to bring something fresh to [Nollywood’s](https://nollycritic.com/?s=NOLLYWOOD "Nollywood's") growing genre of caper-style dramas—but instead, it stumbles into a mix of tonal confusion, poor writing, and scattered character arcs. What begins as a story of desperation and survival derails into an inconsistent tale where motivations are unclear, betrayals come out of nowhere, and a promising concept is weighed down by poor execution . At this point, it feels like most films are put out to condition the audience to accept and get used to mediocrity. ## *Owanbe Thieves* Directed by: Adeoluwa Owu Produced by: Eniola Ajao Genre: Drama Released on: April 18, 2025 (Cinemas) Language: English ### A Premise Built on Desperation *[Owambe Thieves](https://nollycritic.com/owambe-thieves-unveils-betrayal-and-survival-this-easter/ "Owambe Thieves")‘* story starts strong. Lola (Eniola Ajao) and Cheta (Zubby Michael) are a struggling married couple who’ve just had a child. They’re jobless, broke, and judged harshly by everyone around them. Cheta is fired early on by his boss Oga Bling-Bling (Femi Branch) for having a spine. Bernard (Odunlade Adekola), the ever-predictable Nollywood trickster, offers them a roof over their heads but tries to take advantage of Lola. They escape and move in with her mother (Sola Sobowale), a character as materialistic as she is cold. From this setup, the film lays out its central tension: how far would two desperate people go for survival? The eventual heist idea emerges at Lola’s sister’s wedding, where money will flow and her scheming begins. It’s a believable and interesting setup—a broke couple seeing an opportunity in Nigeria’s culture of public spraying. They steal, it works, and now they have a business model. But then the film tries too hard to upscale that simple premise into something it isn’t. Organized heists? Blueprints? High-level crime coordination? The tone shifts drastically from gritty hustle to Netflix-wannabe criminal network, and the story buckles under the weight of that ambition. ### Performances and Characters: A Few Bright Spots Zubby Michael and Eniola Ajao hold down the screen with their morally grey charm. You don’t root for them, but you get why they do what they do. They carry the film’s first half well, though Eniola’s line delivery occasionally slips. Sola Sobowale plays the kind of loud, morally compromised matriarch she’s mastered. Odunlade is, well, Odunlade. You see him, you know something’s off. Femi Branch’s casting as an Igbo man was bold, but not necessarily smart. His performance leans into caricature more than character. Papaya’s role is mostly visual, contributing little beyond a surface-level idea of flirtation. And her character’s arc (or lack of it) doesn’t justify the screentime. But the most jarring shift is Cheta’s sudden infidelity. It’s not just that it felt out of character, it fed into tired stereotypes: give a poor man money, and he becomes a cheat. That arc deserved more thought, especially considering how grounded the couple had been up until that point. ### Plot and Technical Oversights The plot moves fast in the first act but collapses in its attempt to scale up. A wedding heist across different Nigerian tribes should feel loud, colourful, and unpredictable. Instead, it’s surprisingly tame. The inclusion of multiple owambes across Yoruba, Igbo, and Hausa cultures had potential but ended up more as a montage of costume and background music with noticeable errors like Yoruba music playing at an Igbo ceremony. Worse still, key scenes were rushed. The final heist was clumsily cut, the revenge subplot felt slapped on, and the film ended with a poorly timed “To be continued” that no one asked for. There’s also a glaring lack of polish. Some crew members appear in the background, continuity breaks are visible, and Lola explains to the point that night falls mid-monologue. This should have been a fun crime comedy. ### Final Thoughts: Good Concept, No Payoff *Owambe Thieves* had the right ingredients: a solid lead duo, a cultural playground of parties and politics, and a refreshing premise of desperation driving crime. But it doesn’t trust its own simplicity. In trying to make a gritty couple into a slick criminal operation, it loses its footing. The cultural details are half-baked, the characters are underdeveloped, and the tone sways between dramatic realism and absurd fantasy. This could have been a standout satire about class, survival, and the spectacle of Nigerian parties. Instead, it’s a watchable but hollow experience just enough story to keep you curious, but not enough coherence to keep you satisfied. ### Verdict *Owambe Thieves* is the definition of almost. Almost funny, almost clever, almost chaotic. But in the end, it leaves you feeling nothing. **Rating**: 2.1/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/owambe-thieves-a-cultural-mess-of-chaos-and-comedy/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/owambe-thieves-a-cultural-mess-of-chaos-and-comedy/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/owambe-thieves-a-cultural-mess-of-chaos-and-comedy/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/owambe-thieves-a-cultural-mess-of-chaos-and-comedy/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/owambe-thieves-a-cultural-mess-of-chaos-and-comedy/?share=linkedin) - **Categories:** Articles, Blog, Drama, Movies, Nollywood, Reviews **Tags:** Denrele Edun, Eniola ajao, Femi Branch, Hausa Wedding, Igbo Wedding, nigerian cinema, Nigerian Comedy, Nigerian Film Review, nollywood, Nollywood Heist, Odunlade Adekola, Owambe, Owambe Thieves, Papaya ex, Party Culture, Sola Sobowale, Yoruba Wedding, Zubby Michael --- ### [Broken Hallelujah: Love, Loss, and a Little Too Much Sentiment](https://nollycritic.com/broken-hallelujah-love-loss-and-a-little-too-much-sentiment/) **Published:** April 26, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Broken Hallelujah plays like a soft gospel ballad: earnest, emotional, and familiar. At its heart, it’s a film about faith, infertility... **Content:** *Broken Hallelujah* plays like a soft gospel ballad: earnest, emotional, and familiar. At its heart, it’s a film about faith, infertility, and enduring love between two people who try to hold on when life gives them nothing to hold. In the tradition of many Christian-themed Nigerian dramas, it tells a story that feels both predictable and affecting. But while it finds power in quiet commitment and genuine performances, it often trades sharp storytelling for drawn-out sentiment. ## *Broken Hallelujah* Directed by: Great Val Edochie Written by: Jennifer Nkem-Emeanya Genre: Drama Released on: April 18, 2025 (Youtube) Language: English ### When Faith is Tested, and Love Stays The [film](https://nollycritic.com/?s=film "film") centres on Moroundiya (Bimbo Ademoye), nicknamed Diya, a Christian woman whose name meaning “compensation for suffering”, sets the tone for her journey. Orphaned early and raised by her deeply spiritual grandmother, Diya grows up under the shadow of prayer and perseverance. Her lifelong love for Okwudiyi (Daniel Etim Effiong) blossoms into marriage, but after five years without children, their relationship begins to crack. The early stretch of the film spends too much time on their childhood and courtship. While it does help flesh out the emotional bond they share, it also slows down the pacing. The heart of the story only really begins after their marriage, when infertility, manipulation, and temptation start to challenge their foundation. Cheta’s business success, Diya’s content creation work, and their comfortable (not wealthy) lifestyle set the story apart from the typical poverty-to-riches arc. But that’s also what makes their struggle more relatable. They aren’t suffering financially, they’re suffering emotionally. And in many ways, that suffering feels more grounded. ### Performances and Relationships [Bimbo Ademoye](https://www.imdb.com/name/nm8673980/ "Bimbo Ademoye") as Diya gives one of her most restrained and mature performances. She holds the emotional core of the film without overplaying it. Daniel Etim Effiong as Diyi is equally committed, portraying a husband who is caught between love and societal pressure. The chemistry between them is believable and refreshingly grounded. Eso Dike as Dotun (the business partner with multiple “baby mamas”) functions as the tempter, nudging Diyi toward infidelity. His character is thinly written but effectively acted. Moet Abebe’s role as Beauty, while more of a plot device than a character, plays her part well in that almost-affair that turns Diyi’s arc. What makes Diya and Diyi work as a couple is that they aren’t written as saints. Diya’s frustration, Diyi’s moment of weakness, and their slow drift from one another are handled with subtlety. But some narrative choices like the sudden, vague months-long silence from Diyi before proposing feel under-explored. Diya needed an explanation, and so did we. ### Tone and Pacing: Where the Story Lingers Too Long The only thing that might put you off (especially if you don’t watch YouTube films so often) about *Broken Hallelujah* is its length. Scenes stretch unnecessarily, especially in the first and final acts. The film spends too much time showing their youth when the real story is in their marriage. Some cuts, especially around the village sequences and random thug appearances, would have made the pacing tighter without losing anything important. That said, the film is technically competent. The sound is clean. The visuals are polished for the usual platform’s standard. And while the ending, complete with guardian angel revelations and a prophetic shawl, leans into cliché, it’s done with sincerity. ### Final Thoughts: Predictable, But Not Without Purpose *Broken Hallelujah* doesn’t break new ground, but it understands the ground it walks on. It’s a film about hope wrapped in the ache of longing. It captures what it means to live through delay and not let it define your joy. It doesn’t frame Diya as barren or broken, but as someone who refuses to give up on life even when life delays its blessings. While the twist at the end was expected, it still resonates because it completes the circle of faith the film builds from the beginning. The idea that someone could love, wait, forgive, and keep moving forward is what gives the film its emotional core. And if it teaches anything at all, it’s that not all miracles are loud. Some arrive after the long, quiet, frustrating years of still showing up, still serving, still hoping. ### Verdict *Broken Hallelujah* plays it safe, but plays it well enough. It’s emotionally honest, even when it drags, and its heart is in the right place. **Rating**: 3.25/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/broken-hallelujah-love-loss-and-a-little-too-much-sentiment/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/broken-hallelujah-love-loss-and-a-little-too-much-sentiment/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/broken-hallelujah-love-loss-and-a-little-too-much-sentiment/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/broken-hallelujah-love-loss-and-a-little-too-much-sentiment/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/broken-hallelujah-love-loss-and-a-little-too-much-sentiment/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Barbara Soky, Bimbo Ademoye, Broken Hallelujah, Daniel Etim Effiong, Eso Dike, Faith and Family, Guardian Angel, Infertility in Marriage, Moet Abebe, Nigerian Christian Film, Nigerian Marriage Films, Nollywood Drama --- ### [Makemation: A Family Drama on AI, Technology, and the Future](https://nollycritic.com/makemation-a-family-drama-on-ai-technology-and-the-future/) **Published:** April 24, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Makemation enters Nollywood with ambition, not just in scope but in meaning. Framed as Africa’s first AI-themed feature film... **Content:** *[Makemation](https://nollycritic.com/see-the-teaser-for-makemation-nollywoods-first-ai-film/ "Makemation")* enters [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") with ambition, not just in scope but in meaning. Framed as Africa’s first AI-themed feature film, it could have easily settled for the novelty of that claim. But instead, it chooses to centre something much deeper: a 17-year-old girl, poverty-stricken and overlooked, refusing to be silenced by her circumstances. In a story shaped by gender discrimination, digital inequality, and quiet resilience, the film is not simply shouting about technology. It is asking what kind of future becomes possible when young girls, and not only them, are given the tools to imagine one. ## *Makemation* Directed by: Michael Akinrogunde Written by: Nengi Diri, Toyosi Akerele-Ogunsiji Genre: Drama Released on: April 18, 2025 (Cinemas) Language: English ### Story and Substance: When Intention Meets Impact At the core of *[Makemation](https://www.imdb.com/title/tt35820217/ "Makemation")* is Zara Sodangi, a Hausa teenager who dreams earnestly, constantly, and against all odds. What starts as a coming-of-age drama in a rural Lagos community transforms into a social commentary on innovation, inequality, and identity. Zara is poor. Her father, Jato, believes her place is in the kitchen. Her community wants her in the market, not at a tech competition. But with the support of her mother, her friend Yara, and a few allies, she gains entry into the Makemation school/competition. This moment is where her personal journey becomes symbolic of something bigger: the right to imagine. Rather than glorifying technology, the film roots it in tangible struggle. Zara’s project, inspired by her father’s misdiagnosis, highlights how limited access to proper healthcare can have devastating effects. Her transition from a girls-in-tech empowerment idea to a software-based diagnostic tool could have been clearer, but the switch still reflects her responsiveness to real-life challenges. Every subplot, from the neighbourhood street boy to the bickering market women, contributes to building the social backdrop Zara is pushing against. These women, mocking her family for not prioritising market work, are not just gossipers. They represent generational expectations and cultural barriers. ### Plot Structure and Development The structure moves confidently through Zara’s evolution: from intern to competitor, from silenced to seen. The six-month span of the Makemation competition is filled with tests, setbacks, and subtle wins. One of the more striking moments comes when Zara’s father destroys her laptop, a device she barely managed to obtain through crowdfunding. The borrowed replacement, tied to a thug-led loan scheme, adds stakes that are not fully explored. The tension of what could happen if the money is not repaid is raised but never fully capitalised on. The story feels intentional, the tone is consistent, the emotional beats are steady, and the final stretch delivers impact without melodrama. One flaw is the moment the one-legged tech institute staff member is made to explain her disability. Up until that point, the film had done well to normalise her presence without centering her difference. That sudden need to explain takes away from what was otherwise an empowering silence. ### Performances and Character Realism The acting across the board is grounded and effective. Zara, brought to life by Tomi Ojo with stunning realism, is never made to appear too perfect or too pitiful. She reacts like a 17-year-old would: with moments of fear, courage, and unsteady hope. Her chemistry with her mother, her scenes with her father, and her dynamic with the tech mentors all feel organic. Her brother Yara, though given less screen time, represents another path: football, freedom, and low expectations. Daran, the young “amebo” brother, provides levity and slight annoyance without being a distraction. Nasboi’s cameo, complete with his song Small Money, is a brilliant addition that never feels forced. The use of music generally is thoughtful. When the Mama song plays during a moment of maternal defence, it lands. Not because it is dramatic, but because it fits. The cast is deep and filled with notable names who never overshadow the central story. The casting itself deserves praise. The accents are accurate. The representation is layered. Even the presence of a one-legged woman at the tech institute is initially treated as background (a refreshing refusal to exoticise disability) until the script stumbles by forcing her to explain herself later in the film. That moment aside, Makemation’s cast (featuring names like Shaffy Bello, Richard Mofe-Damijo, , and rising stars like Idara Peniel-Ekaidem) shows up and delivers with purpose. Shaffy Bello, Richard Mofe-Damijo, Nse Ikpe-Etim, Ali Nuhu bring weight without ego. Idara Peniel-Ekaidem’s debut performance reflects a generation of youth using technology to challenge norms. Michael Dappa, Adeoluwa Akintoba, Toyin Afolayan, and others round out a cast that clearly understands the story they are telling. ### Technical Choices and Direction Director Michael “AMA Psalmist” Akinrogunde keeps his vision close to the ground. Lagos is not stylised or futuristic. It is presented with honesty. Even the AI elements are not exaggerated. Instead, they are introduced through dialogue, good CGI, competition visuals, and use-case ideas that feel plausible. The sound editing, while occasionally patchy, does not derail the viewing experience. The editing keeps a respectful pace and the story never rushes emotional moments. It is a film that lets breath happen. *Makemation* avoids Nollywood’s common pitfall of romanticising poverty or turning trauma into spectacle. It speaks of struggle, but it also shows joy. The jokes work. The chemistry works. The messages are passed with fluidity. And most importantly, the film allows hope to feel earned. ### Final Thoughts: A Film That Believes in Belief *Makemation* is about a wider shift in how Nollywood imagines technology, innovation, and youth. In a previous article, I asked what Nollywood might eventually say about tech and artificial intelligence. And with this film, we might finally have an answer. *Makemation* doesn’t present AI as something distant, foreign, or abstract. Instead, it anchors the concept in the everyday lives of Nigerians, reminding us that ideas, not just access to tools, are what drive the future. The story doesn’t show technology as magic; it shows it as problem-solving, often born out of necessity. It imagines AI not as a futuristic gimmick but as a survival tool. That message, especially in a genre often fuelled by fantasy or excess, is quietly radical. It’s a film that believes in young people. It believes that a girl from a small home, with no laptop, with a sick father, with a thousand things stacked against her, can dream of changing the world and mean it. It believes that technology is not about the tools, but the people who use them. It believes in Gen Z without being preachy, and it believes in future-building without losing touch with the present. *Makemation* is a film about technology, but it is really a film about voice. About giving it, earning it, and using it. It stands apart in how it portrays empowerment, not as a slogan, but as small, daily acts of resistance. It makes clear that the biggest barriers to innovation are not tools or access, but belief. *Makemation* feels necessary. It speaks to girls across the continent who are still told that their dreams are too big, or that they can’t even achieve it. It echoes the real-world efforts of young Africans leveraging technology to solve real problems in healthcare, education, and community building. In a media space crowded with shallow representations of wealth and success, this film focuses on dignity. More than anything, *Makemation* reflects what Nollywood can do when it stops trying to impress and starts trying to tell the truth. In a time when stories about wealth, parties, and chaos dominate cinema screens, this film focuses on dignity, imagination, and real solutions. It does not shy away from culture. It challenges it. It does not turn girls into symbols. It lets them be. ### Verdict *[Makemation](https://makemation.com/ "Makemation")* does what most aspirational films struggle to do. It earns your emotion without forcing it. It brings real issues to the screen with clarity and grace. Though not perfect in every beat, it holds its message tightly and offers something rare: grounded hope. **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/makemation-a-family-drama-on-ai-technology-and-the-future/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/makemation-a-family-drama-on-ai-technology-and-the-future/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/makemation-a-family-drama-on-ai-technology-and-the-future/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/makemation-a-family-drama-on-ai-technology-and-the-future/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/makemation-a-family-drama-on-ai-technology-and-the-future/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Abubakar Suleiman, Adenike Oyetunde, adeoluwa akintoba, Adeyemi Adeniran, African Girls in STEM, African Innovation, AI in film, Akeem Ogara, Ali Nuhu, Chiamaka Uzokwe, Chimezie Imo, Chioma Chukwuka, Chioma Edak, Chuks Joseph, Elvina Ibru, Female Empowerment, Fiyinfoluwa Asenuga, Funmbi Toye, Gen Z in Film, Gender Discrimination, Ibrahim Chatta, Idara Peniel Ekaidem, Ife Durosinmi Etti, Inspirational Nollywood, Iquo Ukoh, Iyin Aboyeji, Jenni Frank, Jide Kosoko, Josh Jinadu, Jude Chukwuka, Kem Ajieh Ikechukwu, Makemation, Michael Akinrogunde, Michael Dappa, Munachi Okpara, Nasboi, Nigerian Film, nollywood, Nollywood Reviews, Oladotun Kayode, Osas Okonyon, Paul Nnadiekwe, Richard Mofe Damijo, Sapphire Ekeng, Shaffy Bello, SLK Comedy, Tech in Nollywood, Tomi Ojo, Tony Umez, Toyin Afolayan, Victor Afolabi, Wunmi Toriola, Youth Innovation, Yvonne Jegede, Zara Sodangi --- ### [Shaping Us: A Tense Exploration of Parenthood, Pain, and Friendship](https://nollycritic.com/shaping-us-a-tense-exploration-of-parenthood-pain-and-friendship/) **Published:** April 22, 2025 **Author:** Uju Okosieme **Excerpt:** Kambili Ofili’s Shaping Us, may not have made a big splash when it was released earlier this year, but it’s certainly worth your attention **Content:** Kambili Ofili’s directorial debut, *[Shaping Us](https://www.imdb.com/title/tt29924032/ "Shaping Us")*, may not have made a big splash when it was released earlier this year, but it’s certainly worth your attention. Despite earning 10 nominations at the 2024 Toronto International [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") Film Festival, it somehow flew under the radar. We’re a little late to the party, but better late than never. Here’s our take on this deeply emotional drama, which is now streaming on multiple platforms. ## Shaping Us Directed by: Kambilli Ofili Written by: Kambilli Ofili Genre: Drama Released on: March 8, 2025 (Showmax/Youtube/Tubi) Language: English ### A Dinner Party with Layers of Emotion The film’s synopsis tells us that a farewell dinner for Maks sparks shocking revelations among a close-knit group of friends—Ara, Biodun, Yan, Zee, and Kwams—bringing buried secrets and desires to the surface. While that sounds straightforward, the story goes deeper than a single evening of revelations. The main plot threads follow Ara and Biodun, a couple who have struggled for years to conceive and are finally expecting their first child. Their joy becomes the backdrop for what is meant to be an intimate dinner party for their friend Maks, who is relocating. However, tension brews beneath the surface. Another storyline follows Zee and Yan, a couple adjusting to life as new parents while grappling with the emotional toll of postpartum depression. Meanwhile, Kwams quietly nurses feelings for Maks, feelings he struggles to express as she prepares to relocate. Smaller arcs—like the security guard Jimoh’s strained relationship with his daughter Angel, and the emotional undercurrents of Maks inviting Tobi to the party—add layers of emotional texture to the evening’s unfolding drama. ### Storytelling That Feels Real and Rooted The film opens by taking us through several years in the lives of Ara and Biodun as they try to have a child. We witness their heartbreak and resilience, and by the time the core story begins, we’re already invested in their journey. Their farewell dinner for Maks sets the stage for everything that follows, but what makes the story work is how grounded and real it feels. The narrative is simple but deeply considered. Every interaction and revelation feels earned, and the emotional payoff comes not from melodrama but from how authentically the characters’ struggles are portrayed. Even though some reveals—like the paternity of Ara’s unborn child—feel predictable, the eventual twist brings a surprising emotional depth that lingers. ### Performances That Carry the Weight of the Story The performances in *Shaping Us* are emotionally resonant and impressively grounded. Kambili Ofili’s portrayal of Ara is deeply affecting, especially in scenes where the weight of her fertility journey becomes overwhelming. Floyd Igbo’s Biodun matches her vulnerability with quiet strength, creating a believable, emotionally complex couple. Uzoamaka Power, formerly Aniunoh, shines in a particularly memorable moment when Zee finally voices her frustrations and emotional exhaustion to her husband Yan in front of everyone, played with care by Bucci Franklin. The scene feels painfully honest, capturing the tension that often accompanies new parenthood. There’s also a quiet spark between James Gardiner’s Kwams and Omowunmi Dada’s Maks that subtly anchors another emotional thread of the film. Their chemistry doesn’t need grand gestures to feel real—it’s in the pauses, the eye contact, and everything unsaid. ### Visuals and Sound That Deepen the Tension Visually, *Shaping Us* maintains a muted but polished aesthetic that complements the film’s emotionally tense tone. The cinematography is clean and intentional, with framing that emphasizes the emotional isolation or connection of characters in each scene. It doesn’t draw attention to itself, but instead quietly supports the story being told. The music in this film is especially well used. From the start of the dinner party, it creates a sense of subtle unease. The score never overwhelms but lingers in the background, effectively building tension and signaling that something deeper is simmering beneath the surface of each conversation. ### Vulnerability Meets Emotional Payoff What *Shaping Us* does best is capturing the fragility and resilience of human connection. The dinner party structure might seem like a simple setup, but it’s cleverly used to peel back the emotional layers of each character, one by one. Even when you anticipate certain plot twists, it’s the emotional fallout that makes them feel impactful. The final reveal about the true paternity of Ara’s child is handled with a surprising amount of grace. Rather than turning it into a scandal, the film leans into emotional truth. That’s a choice that speaks to the kind of story *Shaping Us* is trying to tell—one rooted in emotional realism rather than theatrics. There’s something refreshing about how these characters are allowed to feel deeply, make mistakes, hurt one another, and still find their way toward healing. It’s not about tying up every storyline with a bow, but about capturing the reality of adult relationships: messy, complicated, and deeply human. ### Verdict At its core, *Shaping Us* explores the complexities of motherhood—both the longing for it and the emotional toll it can take—while also shining a light on love, friendship, and forgiveness. It’s a patient, heartfelt film that trusts its characters and trusts the audience to sit with discomfort long enough to find the meaning behind it, earning it 3.5 out of 5 stars. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/shaping-us-a-tense-exploration-of-parenthood-pain-and-friendship/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/shaping-us-a-tense-exploration-of-parenthood-pain-and-friendship/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/shaping-us-a-tense-exploration-of-parenthood-pain-and-friendship/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/shaping-us-a-tense-exploration-of-parenthood-pain-and-friendship/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/shaping-us-a-tense-exploration-of-parenthood-pain-and-friendship/?share=linkedin) - **Categories:** Articles, Nollywood, Reviews **Tags:** Bucci Franklin, Floyd Igbo, James Gardinier, Kambili Ofili, nollycritic, Omowumi Dada, Shaping Us, TIFF, Uzoamaka Power --- ### [Radio Voice: A Rare Drama With Brilliant Performances](https://nollycritic.com/radio-voice-a-rare-drama-trope-with-brilliant-performances/) **Published:** April 20, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Radio Voice, directed by Isioma Osaje opens with a promise: that silence, no matter how deep, can be broken. Set within the charged atmosphere... **Content:** *[Radio Voice](https://www.imdb.com/title/tt36468193/ "Radio Voice")*, directed by Isioma Osaje opens with a promise: that silence, no matter how deep, can be broken. Set within the charged atmosphere of a struggling radio station, the film builds its drama not through sensationalism, but through humanity. It explores trauma, ambition, and survival with refreshing restraint, choosing character depth over clichés. It begins as a story about the death of a beloved radio presenter that later becomes a portrait of how broken people find power through speaking upon air and off. ## *Radio Voice* Directed by: Isioma Osaje Written by: Ufuoma Metitiri, Isioma Osaje Genre: Drama Released on: April 11, 2025 (Cinemas) Language: English ### A Story About Redemption Without Begging for It At the heart of the story is Uche, played with controlled vulnerability by Nancy Isime, a former sex worker and single mother navigating her second chance as a radio host. Her arc is the spine of the film. She doesn’t plead for sympathy. She owns her past without apology, and through her presence behind the microphone, she commands attention. The story doesn’t exaggerate her trauma, but it lets her live through it, making her a full-fleshed and more realistic character. Her motivation is simple and sharp: to give her daughter a better future. Parallel to her is Caro (Richard Mofe-Damijo), the station manager, a man wrecked by grief after losing his wife Mayowa (Nse Ikpe-Etim), Power FM’s beloved voice. Mayowa’s death leaves a void both personal and professional. Caro’s connection with Uche never turns romantic, a choice that feels deliberate and grounded. Instead, they grow into something much rarer on screen: emotional kinship. He becomes a quiet pillar, not a saviour. Blessing (Damilola Adegbite), the new head of marketing, is caught between professional responsibility and the emotional weight of legacy, having been groomed by Mayowa to step up before her death. Adegbite’s performance is understated and firm, never showy, but always present. She anchors the film’s ethical centre, becoming a quiet counterbalance to the office politics and betrayals unfolding around her. ### Plot That Builds, Falters, but Finds Its Voice *[Radio Voice](https://www.imdb.com/title/tt36468193/ "Radio Voice")* begins with emotional clarity. Characters are introduced with intention. The station is reeling, and everyone is holding on to something: past wounds, ambitions, quiet guilt. Office tensions rise with Andy (Deyemi Okanlawon), a character driven by ego and resentment, and his manipulative alliance with Akin (Timini Egbuson), Uche’s exploitative ex, adds conflict to Uche’s attempt at reinvention. Their attempts to ruin her credibility are timely reminders of how easily women are targeted when they begin to rise. The film, for the most part, maintains a steady emotional tone. But the pacing stumbles in the final act. The result is a conclusion that feels rushed, but not emotionally empty. It still lands, because the characters have already done the heavy lifting. ### Performances That Carry the Weight Nancy Isime delivers a career-best performance. Her portrayal of Uche is measured, grounded, and quietly devastating. There’s no begging for attention, no overreaching. Just a woman finding strength in her own story. Richard Mofe-Damijo brings depth and silence to Caro, embodying a grieving man learning to lead again. Their scenes together are some of the most emotionally honest in the film. Damilola Adegbite, returning to film after a long break, proves she hasn’t missed a beat. Her Blessing is composed, thoughtful, and quietly commanding. Deyemi Okanlawon gives Andy the right amount of menace without ever tipping into caricature, and Yasmin, as Uche’s daughter Precious, brings emotional grounding to the story. Her scenes provide balance, warmth, and a sense of real-world consequence. ### Direction and Tone Isioma Osaje’s direction is thoughtful and layered. The radio station isn’t just a backdrop; it’s a stage for redemption and resistance. Radio becomes more than medium—it becomes metaphor. The sound editing is uneven in moments, and the lighting occasionally undercuts the cinematography, but these are technical stumbles in an otherwise coherent vision. What matters more is the restraint: the refusal to sensationalise pain or sell romance for easy emotional payout. Uche and Caro do not fall in love. The story resists the familiar degeneration into cliché. ### Final Thoughts: Letting Women Speak *[Radio Voice](https://nollycritic.com/rmd-partners-with-nile-entertainment-for-two-new-films/ "Radio Voice")* is not loud, but it resonates. It stands as a rejection of polished apologies and trauma packaged for pity. It gives space for flawed women to rise not by being rescued, but by reclaiming their narrative. It doesn’t reward Uche with romance or a miracle. It gives her something more radical: a microphone and a platform. The film’s emotional power comes from its ability to let moments breathe. It slows down to allow grief, ambition, guilt, and healing to share the same room. Even when the plot slips into uneven terrain, the characters remain grounded, and their stories matter. ### Verdict *Radio Voice* is a rare Nollywood drama that centres its emotion without drowning in sentimentality. With standout performances, a focused script, and direction that values restraint over spectacle, it tells a story that lingers. It is a film that knows exactly what it wants to say and says it with clarity. **Rating**: 3.9/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/radio-voice-a-rare-drama-trope-with-brilliant-performances/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/radio-voice-a-rare-drama-trope-with-brilliant-performances/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/radio-voice-a-rare-drama-trope-with-brilliant-performances/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/radio-voice-a-rare-drama-trope-with-brilliant-performances/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/radio-voice-a-rare-drama-trope-with-brilliant-performances/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Popular reviews, Reviews **Tags:** Cinema, Damilola Adegbite, Deyemi Okanlawon, Female Redemption Stories, Isioma Osaje, Nancy Isime, Nigerian Film, nollywood, Nse Ikpe-Etim, radio voice, Richard Mofe-Damijo, Timini Egbuson --- ### [Family Brouhaha: Is Exactly As Its Name Implies](https://nollycritic.com/family-brouhaha-is-exactly-as-its-name-implies/) **Published:** April 18, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Family Brouhaha directed by Femi Adebayo, attempts to explore the drama within a multigenerational Nigerian family tied to a wealthy cocoa empire. **Content:** [*Family Brouhaha* ](https://www.imdb.com/title/tt36269366/ "Family Brouhaha ") directed by [Femi Adebayo,](https://nollycritic.com/?s=femi+adebayo "Femi Adebayo,") attempts to explore the drama within a multigenerational Nigerian family tied to a wealthy cocoa empire. What begins as a story about legacy and disunity quickly spirals into chaotic excess. Let’s get into the review, **spoilers ahead**. ## *Family Brouhaha* Directed by: Femi Adebayo Written by: Oyinlola Lasisi Genre: Comedy Drama Released on: April 11, 2025 (Cinemas) Language: English, Yoruba ### A Story Lost in the Noise [*Family Brouhaha*](https://www.imdb.com/title/tt36269366/ "Family Brouhaha ") presents the Braimoh family as one in crisis after the death of its matriarch. We’re introduced to a lineage of characters fighting over inheritance, family loyalty, betrayal, marriage troubles, and a long list of personal grievances. There are multiple storylines, but none are meaningfully developed. Instead, the film throws conflict after conflict without ever resolving them. Asake’s pain as a barren wife, Kunle’s cultural stereotypes, and Abiola’s traumatic monologue to a therapist are introduced with promise but left behind as the story stumbles forward. And those are just a few. Themes of barrenness, infidelity, childhood trauma, grief, and generational pressure are all introduced but dropped before they can land. This is a story that never picks a direction. There is drama, there is shouting, there is betrayal—but there is no clarity. ### A Plot Without Grip From the first scene, the film sets the tone for confusion. A family tree appears with names and faces the viewer is expected to memorise instantly. What follows is a series of unstructured scenes featuring far too many characters, most of whom are underwritten or forgettable. Scenes begin and end without rhythm. Moments that should be dramatic turn comedic, and comedic bits fall flat or feel out of place. The story quickly devolves into unstructured chaos with too many characters and subplots. A saxophone sound overshadows a birthday song during Grandma’s 80th, a Christmas hymn violin instrumental as a score (O Come, O Come, Emmanuel) plays while Grandma (Joke Sylva) is seen sad about the happenings and her husband’s death; and dramatic reveals like “a post about my husband kissing his so-called best friend is trending online?” are dropped in elementary style with no real weight. Asake shouting this line in front of someone she wants no business with (who also randomly follows her into her room) is one example of the film’s inability to anchor scenes in logic or tone. Each subplot, from Asake’s marital problems to Abiola’s unexplored childhood trauma, begins with promise but is left hanging. The conflict between Mofe and his brother Abiola is introduced with weight, only to vanish. The tension between them, built on childhood wounds and resentment, is abandoned after a therapy session. The viewer is led through conflicts that vanish without closure. Relationships are introduced but never developed, and emotional beats are constantly undercut by tonal confusion. The final act devolves into scattered cacophony and absurdity with no payoff. The film ends not with resolution, but with fatigue. ### Performances Undermined by Poor Direction The cast features familiar names—Gabriel Afolayan, Wale Ojo, Shaffy Bello, Joke Silva. Despite having an ensemble of recognisable talent, most of the actors are weighed down by poor writing and erratic direction. The dialogue is heavy on English monologues and expositional lines, often feeling stiff and unnatural. The subtitles themselves are riddled with spelling errors and strange phrasing, distracting from the already chaotic flow. Characters code-switch between Yoruba characters often deliver lines in Yoruba, then repeat the same lines in English despite the presence of subtitles. This removes all fluidity from the interaction and makes conversations feel staged. Mofe’s wife (played with exaggerated emotion) is a character whose drama never becomes comedy, despite clearly being positioned for that purpose. Gabriel Afolayan’s Kabiru doesn’t speak. Joke Silva, a seasoned actor, spends most of her screen time looking sad. ### Direction, Tone and Technical Disconnect The direction is fragmented. Actors feel like they’ve been left to perform on instinct without a shared vision. Scenes unfold with no tonal consistency. The film cannot decide whether it wants to be a drama, a comedy, or a farce. Reaction shots and jump cuts try to create rhythm but only deepen the confusion. Visual storytelling is absent. Characters shout, cry, and fight, but without emotional build-up, everything collapses into background noise. A Christmas hymn, is played in a scene meant to reflect sadness, but it feels emotionally confusing and contextually misplaced. [*Family Brouhaha*](https://www.imdb.com/title/tt36269366/ "Family Brouhaha ") occasionally attempts to reflect mood, but this visual strategy is not tied to the actual scenes. Sound is another issue, especially in scenes with background music. Nothing flows. Instead of immersing the viewer, these choices push them further away. ### Final Thoughts: A Mirror of a Larger Problem *Family Brouhaha* does more than fail as a film. It represents a broader crisis in Nollywood storytelling. There’s an obsession with dysfunctional wealthy families who throw money at every problem and live lives out of reach for the average Nigerian. This film joins others like *Asoebi Diaries* and *Owanbe Thieves* in repeating the same themes of chaos, wealth, and empty glamour. The fixation on the elite and money is not just tired, it’s alienating. These stories create a classist narrative loop, celebrating wealth without critique, using chaos as entertainment, and confusing aspiration for fantasy. Viewers are tired of dreaming through cinema. There’s a growing need for stories that reflect the reality on the ground, not just recycled fantasies of soft-life families fighting over money and maids. It’s not the existence of wealth that’s the problem. It’s the lack of imagination in how stories about it are told. There’s a refusal to engage with working-class life, systemic struggle, or even realistic emotional conflicts. When conflict is just noise, and when direction is absent, the viewer is left with nothing but fatigue. ### Final Thoughts: A Film That Forgets the Audience *Family Brouhaha* doesn’t just struggle to tell a coherent story—it actively resists one. There’s no payoff to its conflicts, no emotional anchor to hold onto. Performances are uncoordinated, subplots are abandoned, and tone is sacrificed for the illusion of emotional intensity. The film doesn’t know what to do with its characters, and worse, it doesn’t know how to let the audience in. For all its shouting and spectacle, it forgets the most basic rule of storytelling: give us something to care about. What could have been a layered family drama collapses under the weight of its own excess. **Rating**: 1.5/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/family-brouhaha-is-exactly-as-its-name-implies/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/family-brouhaha-is-exactly-as-its-name-implies/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/family-brouhaha-is-exactly-as-its-name-implies/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/family-brouhaha-is-exactly-as-its-name-implies/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/family-brouhaha-is-exactly-as-its-name-implies/?share=linkedin) - **Categories:** Articles, Blog, Drama, Nollywood, Reviews **Tags:** Family Brouhaha, Femi Adebayo, Gabriel Afolayan, Joke Silva, Layi Wasabi, Nigerian Film, nollywood, Shaffy Bello, Wale Ojo --- ### [A Lagos Love Story: The Hype, the Stars, the Disappointment](https://nollycritic.com/a-lagos-love-story-the-hype-the-stars-the-disappointment/) **Published:** April 16, 2025 **Author:** Uju Okosieme **Excerpt:** Inkblot Productions’ A Lagos Love Story is now streaming on Netflix. Its announcement created buzz, thanks to its promising lead actors **Content:** Inkblot Productions’ [*A Lagos Love Story* ](https://nollycritic.com/netflix-set-to-release-a-lagos-love-story-soon/ "Netflix Set to Release ‘A Lagos Love Story’ Soon")is now streaming on Netflix. Its announcement created buzz, thanks to its promising lead actors and the premise of an Afrobeats star falling for his concierge. But does the Naz Onuzo film live up to expectations? ## [*A Lagos Love Story*](https://nollycritic.com/netflix-set-to-release-a-lagos-love-story-soon/ "Netflix Set to Release ‘A Lagos Love Story’ Soon") Directed by: Naz Onuzo Written by: Naz Onuzo, Ozzy Etomi Genre: Rom-com Released on: April 11, 2025 (Netflix) Language: English ### Too Many Threads, Too Little Substance The synopsis reads: *When she’s hired to plan a huge festival in Lagos, Promise unexpectedly finds herself falling for the brash Afrobeats star at the center of it all.* Sounds straightforward, but that’s not exactly what happens. Promise is hired as a concierge, not a planner. This discrepancy between the synopsis and the actual plot is a recurring issue in Nollywood—marketing often misrepresents the film itself. There are three major plot lines here: the romance between Promise and King Kator, Promise’s desperate attempt to save her family home by trying to get a job with Fadekemi Rhodes, and Favour’s seemingly sweet friendship with Adanna, which turns sour. These are supported by minor subplots such as Favour trying to build her fashion brand, King Kator’s contract problems with King Group, and Mayowa offering Promise money to stay in King Kator’s life. The problem is that none of these plotlines is developed enough to hold weight on its own, and when stitched together, they feel even more disjointed. For example, Promise is deeply invested in saving her family home, but we never really understand why it’s such a big deal to her. Similarly, Adanna’s sudden shift from helpful to predatory toward Favour comes out of nowhere. Their entire dynamic turns without explanation, which leaves you wondering if that was always the intention. Instead of answers, the film leaves you with a long list of questions—and that’s a problem. None of the characters’ actions feels grounded in motivation. Things just happen, and we’re expected to go along with them. ### A Love Story Rushed and Underdeveloped [*A Lagos Love Story* ](https://ink-blot.tv/movies/__trashed/ "A Lagos Love Story ")promises a simple, swoon-worthy romance but doesn’t deliver. The love story between Promise and King Kator never gets the space it needs to grow. From their meet-cute (if you can call Promise falling on top of Kator that) to their eventual fights and reconciliation, it all feels rushed. We don’t get enough quiet, intimate moments to feel the chemistry or believe in their connection. When the conflict comes, it doesn’t hit hard, and when they get back together, it lacks emotional payoff. Then there’s the King Group contract, a central point that brings the characters together, but the film never explains why he’s stuck in this contract or what’s at risk. The contract serves as a vague device to push the plot forward, but it’s not fleshed out. The lack of detail here weakens the entire foundation of the story. The same goes for Promise’s effort to save her family home, a central plot driver, which is underwritten and lacks clarity. ### A Mix of Genuine Talent and Caricature Mike Afolarin is one of the film’s bright spots. His performance as King Kator is enjoyable, and he brings charm to the character. The casting of Jemima Osunde and Susan Pwajok as sisters works well, and Kalu Ikeagwu is a good fit as their father. However, [*A Lagos Love Story*](https://ink-blot.tv/movies/__trashed/ "A Lagos Love Story ") is filled with cringeworthy moments. From Promise and King Kator’s initial meeting when she literally falls on top of him to the public argument at the event. The whole sequence is awkward to watch, and it sets the tone for other exaggerated scenes throughout the movie. It seems like the filmmakers were aiming for comedic cringe, but it doesn’t quite land. Side characters don’t fare as well, particularly Maliya Michael’s portrayal of Deborah, which feels like a caricature rather than a real person. One standout awkward scene is when Shege breaks a piece of art at the party, and Fadekemi lashes out at King Kator. It’s meant to be dramatic, but the execution is off. Fadekemi’s reaction seems out of place, especially since her overall goal is to keep Kator in line with his contract. ### Bright and Catchy but Not Enough Visually, the film is vibrant. The colour grading is lively and matches the light, romantic tone the film seems to be aiming for. It’s easy on the eyes, but good visuals can’t distract from a poorly structured story. One area [*A Lagos Love Story*](https://ink-blot.tv/movies/__trashed/ "A Lagos Love Story ") gets right is music. Featuring original songs from the fictional King Kator, the film cleverly brings its Afrobeats star to life through sound. A standout moment is the dinner party hosted by Achike, where King Kator delivers a diss track, “Wait for Me,” in response to being forced into an impromptu performance. It’s one of the few scenes where story, performance, and music come together well. ### Great Potential, Poor Execution There were so many storylines that had potential but were abandoned or never fully realised. For instance, the whole conflict around King Kator’s contract with King Group is set up to be a big deal, especially after the humiliating dinner party, yet it’s brushed aside with no resolution. The relationship between Fadekemi and Achike is also confusing. Is he her boss? Her husband? If he’s her boss, his behaviour is wildly inappropriate. If he’s her husband, then the story should say so. These are basic storytelling details that the film glosses over. The biggest issue is that the characters are all one-dimensional. Their decisions lack clear motivation, and they move through the story without much purpose. For someone as famous as King Kator, the lack of media attention or online backlash is wildly unrealistic. Moments that should’ve gone viral—like his initial fall with Promise—are treated like non-events. It’s a missed opportunity to explore what it really means to date an Afrobeats superstar in Lagos. Still, there are moments of creativity—like the inclusion of the Fontain character from King Kator’s hit song “Bad Ass Fontain.” It’s a fun nod for viewers. ### Verdict *A Lagos Love Story* had the potential to be a charming, feel-good romantic comedy. Instead, it delivers a muddled plot, underdeveloped characters, and a love story that never quite lands. **Rating**: 1.75/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-lagos-love-story-the-hype-the-stars-the-disappointment/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-lagos-love-story-the-hype-the-stars-the-disappointment/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-lagos-love-story-the-hype-the-stars-the-disappointment/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-lagos-love-story-the-hype-the-stars-the-disappointment/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-lagos-love-story-the-hype-the-stars-the-disappointment/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Popular reviews, Reviews **Tags:** A lagos love story, Inkblot Productions, Jemima Osunde, Kalu Ikeagwu, Mike Afolarin, Naz Onuzo, Netflix, nollycritic, nollywood, Susan Pwajok --- ### [Recall Review: Memory Loss Is Not the Only Problem Here](https://nollycritic.com/recall-review-memory-loss-not-the-only-problem-here/) **Published:** April 14, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Kunle Afolayan's Recall, which premiered at AFRIFF 2024 and is currently showing in cinemas, positions itself in this space of emotional loss... **Content:** Cinema has the power to ask questions that words often struggle with. What do we remember? What do we choose to forget? And what happens when memory itself collapses? We’ve had a similar story like this in [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood"). [Kunle Afolayan](https://nollycritic.com/?s=kunle+afolayan "Kunle Afolayan")‘s *[Recall](https://www.imdb.com/title/tt34476668/ "Recall")*, which premiered at AFRIFF 2024 and is currently showing in cinemas, positions itself in this space of emotional loss and spiritual interference. It’s a premise loaded with emotional potential, touching on themes of memory, love, and the shadows of spiritual interference. The film presents itself with polish and poise, pulling the audience into a world shaped by loss and longing. But beneath the surface of this domestic mystery lies a film that reaches for emotional depth in every direction, often forgetting to ask whether it has earned it. ## *Recall* Directed by: Kunle Afolayan Produced by: Kunle Afolayan Genre: Thriller Released on: April 4, 2025 (Cinemas) Language: English ### A Hollow Story in a Heavy Frame Anita, played by Sharon Ooja, loses the memory of the last ten years of her life. She wakes up unable to recognise her husband, her children, or the life she’s built. This premise holds the potential for psychological depth, emotional dissonance, and moral complexity. Yet, the film barely scratches the surface. The story leans heavily on its idea but never follows through. We’re told Anita is searching for answers, but her arc rarely suggests inner conflict or real stakes. The concept of recall is undermined by a lack of clear intent: is Anita supposed to recover her memory, reclaim her life, or reject it? The film never decides. Worse still, when Anita chooses to leave her husband Goke (Olarotimi Fakunle), the film has an opportunity to resolve quietly, but forces a bloated spiritual climax instead. Goke offers his life for hers after she becomes ill due to mysterious spiritual forces. In return, she chooses to remarry him. The emotional logic behind this resolution is as thin as the scarf someone ties on her in a herbalist’s hut. For a film obsessed with emotion, it rarely earns any. ### A Plot Built on Convenience, Not Conflict The film opens with a celebration of Anita and Goke’s tenth wedding anniversary. The tone is warm, the setup promising. Quickly, however, the pacing unravels. There are long montages filled with slow shots, musical swells, and emotional beats that feel unearned. Much of the narrative is padded with scenes that try to evoke feeling but come off as forced. The prophetess scene with Patience Ozokwor, complete with the subtitle “speaking in glossolalia,” feels misplaced, more comedic than spiritual. This kind of tonal confusion surfaces repeatedly. When Anita divorces Goke and time passes, the story could have moved into something sharper. Instead, it meanders into mysticism. The influence of juju as a plot device is significant. Anita’s memory loss is tied to it, but the film never unpacks this idea. There’s a suggestion that even if Goke didn’t cause it, he benefited from it. Still, the film doesn’t hold him accountable or challenge Anita’s final choice to return to him. The questions are there, but the film doesn’t engage with them. ### Straining to Connect Sharon Ooja’s portrayal of Anita feels stuck between facial expressions. The emotional weight of memory loss never really settles in her performance. She tries to give range, but rarely lands on anything grounded. Olarotimi Fakunle, as Goke, delivers a performance that swings between teary breakdowns and confused smiles, never quite giving us a man grieving a lost marriage. His fake buck teeth do not help. There are moments meant to pull sympathy, but instead we’re left laughing at his tears. Veterans like Tina Mba (Anita’s mother), a Keppy Ekpenyong (her father), and Patience Ozokwor (the prophetess) manage to lift their scenes. The two child actors give spirited performances, but feel like they’re in another film altogether. Their tone doesn’t match the rest of the production, making their emotional highs seem over-directed or out of place. ### Polished Surface, Weak Direction Like many recent Nollywood titles, *Recall* looks clean. The cinematography is sleek, the lighting is consistent, and the colour palette—dominated by cool, monotone blues and fog—reflects the film’s emotional tone. However, this visual polish is not backed by strong direction. The camera lingers where it shouldn’t, emotional moments are rushed or overdone, and scenes exist without clear motivation. The CGI butterfly looks poor. The montage sequences drag. The entire production seems focused on creating mood rather than building meaning. Afolayan’s early films asked real questions. *The Figurine* balanced spiritual mystery with psychological realism. *Recall* abandons that balance. It tries to explore spiritual consequence but instead collapses under melodrama. The ambiguity that once made Afolayan’s work intriguing is now replaced by predictability and poorly handled symbolism. Even the soundtrack feels heavy-handed. Lyrics like “What have we become?” and “If I can’t recall you…” force an emotional tone the story hasn’t earned or even preached about. ### Final Thoughts: What’s Left to Remember? *Recall* aims for emotional depth but delivers melodrama without nuance. It toys with big questions: memory, consent, spiritual interference, but drops them for a romance arc that never convinces. It gestures at complexity, yet refuses to stay with any idea long enough to say something meaningful. The ending asks us to believe in forgiveness, in love, in sacrifice. But it never shows us why. ### Verdict *Recall* presents a compelling premise but loses its way in execution. The film leans heavily on emotional suggestion without making its story or characters resonate. What should feel intimate and unsettling comes off as distant and confused. For all its sleek production and ambition, it lacks a clear emotional or thematic spine. **Rating**: 2.2/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/recall-review-memory-loss-not-the-only-problem-here/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/recall-review-memory-loss-not-the-only-problem-here/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/recall-review-memory-loss-not-the-only-problem-here/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/recall-review-memory-loss-not-the-only-problem-here/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/recall-review-memory-loss-not-the-only-problem-here/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Bimbo Akintola, Juju in Film, Keppy Ekpenyong, Kunle Afolayan, Memory and Identity, nigerian cinema, nollywood, Nollywood Review, Olarotimi Fakunle, Patience Ozokwor, recall, Sharon Ooja, Tina Mba --- ### [The Masked King: The Kingdom That Ate Its Own](https://nollycritic.com/the-masked-king-the-kingdom-that-ate-its-own/) **Published:** April 12, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The Masked King reflects a world shaped by inherited customs and enforced loyalty. It opens up a story of duty, resistance, and the weight of culture **Content:** Cinema works best when it holds a mirror to what people live through. It captures the structure of power, the contradictions inside belief, and the consequences of silence. Film, when honest, doesn’t simplify the past or separate it from the present. It draws a straight line between them. *[The Masked King](https://m.imdb.com/title/tt36208544/?ref_=sr_i_10 "The Masked King")* reflects a world shaped by inherited customs and enforced loyalty. It opens up a story of duty, resistance, and the weight of culture, showing a people pushed to choose between survival and truth. ## *The Masked King* Directed by: Uduak-Obong Patrick Written by: Awal Abdulfatai Genre: Historical Drama Released on: March, 28 2025 (Cinemas) Language: English, ### A Kingdom Bound by Silence and the Burden of Tradition *The Masked King* sets itself apart by not just telling a story, but by posing a difficult question: what happens when tradition becomes a tool for harm, and silence its most dangerous enforcer? At the heart of the film is King Ansa, a man elevated to power through ancient customs, yet shackled by them. His reign begins under the heavy influence of an advisory council steeped in the ideals of the former kings, a group more committed to preserving order than challenging inherited cruelty. He becomes both a symbol and a prisoner of continuity. The film’s narrative unfolds like a fable weighted by history. We move from an unsettling opening where a woman kills a high priest, to a meticulously staged coronation ritual. The contrast is deliberate. It tells us from the start that power is maintained through blood, secrecy, and sacrifice. As Ansa takes the throne, we witness a slow collision between personal truth and political image. His mother hides a devastating secret. To make it worse, her daughter, the princess, might just be pregnant with twins (an act considered taboo, punishable by death.) This isn’t just a family crisis. It’s a direct threat to the very values Ansa has vowed to uphold. While the narrative follows Ansa’s rise, the film cleverly weaves in other threads: a Christian missionary named Mary, quietly working to save women and children from cultural practices that endanger them; and a rebel movement, led by a masked figure, that challenges the kingdom’s role in the transatlantic slave trade. These storylines are pressure points, each questioning the legitimacy of the existing order. The rebels ask: how can a king sell his own people and still claim to serve them? Mary, which might be modelled after the real historical figure Mary Slessor, raises a subtler concern: can intervention ever truly be selfless when it’s rooted in foreign ideology? Despite its complexity, stays grounded in character. Ansa both the villain and the hero. He’s just a man trying to be the example his people expect, even as the ground beneath him shifts. His mother, a woman torn between loyalty to her son and the moral obligation to protect the innocent (especially, with his sister in the picture.) *The Masked King* avoids a tidy resolution. It doesn’t offer heroes, only people trying to survive systems that have outlived their purpose. When the mask finally falls, both literally and metaphorically, it’s not meant to shock. It’s a reflection of how easily identity can be swallowed by duty, and how rebellion often comes from those we least expect. This isn’t a film about answers. It’s a film about the cost of asking the right questions. ### Embodied Convictions and Quiet Rebellions: On Performance The weight of this film rests heavily on its characters, figures pulled between duty, identity, and the brutal cost of tradition. Each performance shapes the moral pulse of the film. At the centre is Daniel Etim Effiong as King Ansa, a character who believes in structure, law, and the sacredness of tradition. Effiong plays as both a tyrant, also as a man crushed by the crown he fought to wear. He effectively captures a man torn between image and instinct, and it’s this restraint that makes his fall all the more compelling. Shaffy Bello as the Queen Mother is a standout, not because her role is loud or dominating, but because it carries the burden of suppressed history and an unshakable future. As a Yoruba actor, her inclusion could have risked feeling culturally distant. Yet, she grounds her role so effectively, the cultural mismatch fades behind the emotional truth of the character. [Uche Montana](https://nollycritic.com/?s=uche+montana "Uche Montana"), playing the Princess, brings softness and uncertainty that fits the role. Her character is less central to the main political conflict but vital to the film’s emotional core. She represents the consequence of rigid systems. She doesn’t overreach, and that’s exactly why she works. Though the backstory of her pregnancy feels incomplete, Montana does enough with what she’s given to make us care. Her scenes anchor the film’s central question: who really suffers when beliefs go unchallenged? Segun Arinze, Gideon Okeke, and Uzor Arukwe fill in the world around Ansa, each one representing different shades of loyalty, betrayal, and fear. Their roles aren’t as emotionally expansive, but they’re crucial for shaping the atmosphere of the court, the suffocating echo chamber of obedience that allows injustice to hide in plain sight. Jenny Stead (*[Baby Farm](https://nollycritic.com/baby-farm-a-sanctuary-of-many-doors-and-few-exits/ "Baby Farm")*), as Mary, offers a morally complex portrayal. Then there is the masked rebel leader, whose performance is veiled, literally and symbolically. The physicality here becomes crucial. Because the face is hidden, expression comes through body movement, stance, timing. Throughout *The Masked King* , the performances never pull attention for attention’s sake. They serve the narrative. The emotional intensity is carefully balanced. No one is playing for melodrama, and even when stakes are high, the characters stay human. ### Crafting a World That Feels Lived In The technical choices don’t aim to impress on a surface level. Instead, they work in quiet harmony to immerse the viewer into a specific time, place, and psychological state. Costume design is one of the film’s most convincing strengths. While it’s difficult to verify historical precision, the presentation of attire aligns with the cultural framework the story operates within. The use of language is another point of authenticity. While English dominates most scenes, there are moments where local dialects break through. This layering of language adds depth without alienating the audience, and reflects the linguistic texture of postcolonial West African societies. Sound design and music are emotionally loaded without being manipulative. The score underscores tension, dread, and the rare flickers of hope. Silence is also used meaningfully. In a story where so much revolves around what is not said, moments of quiet often speak the loudest. The editing seems to maintains a steady, rhythm for a limited screen-time. There are some rushed cut aways from emotion, that might obstruct one from thinking, absorbing, and reflecting. It would have been very essential for a film that juggles this many plot threads. ### Final Thoughts: A Mirror to Our Past, and a Question to Our Future What *The Masked King* does is hold up a mirror not to shock us, but to remind us. It draws from a past that feels distant on paper but painfully close in spirit. It reaches into history, into belief systems and customs, and shows how some of the things we inherited were never questioned. And when power is built on the unquestioned, people suffer quietly. Especially women. The film’s power lies in how deeply it understands the complexity of culture, belief, and identity. The film does not mock tradition, but it refuses to romanticise it either. It shows us what happens when practices meant to guide a people begin to harm them, when silence is mistaken for peace, and when loyalty becomes a weapon turned inward. There’s an intentional irony at play. In a culture where twins are seen as taboo, where mediums declare prophecies with unquestionable finality, we are asked to reckon with the contradictions we often carry as a people. The questions come slowly, and they stay. Who decides what’s sacred? When do customs stop being guidance and start becoming control? The film doesn’t provide easy answers. History in *The Masked King* is not a backdrop. It is a force. The narrative threads—colonial interference, the slave trade, Christian intervention—aren’t just plot points. They are reminders that many of the changes in our history were not organic. They were imposed, negotiated, or quietly accepted under control that we thought we fought against. And now, we live in the tension of that inheritance. The film asks: was that change necessary? Did we want it? And if we did, was it ever really ours? There’s something haunting in the way *The Masked King* blends fiction with cultural memory. It never tries to tell us what is good or evil. Instead, it leaves us with a more troubling question: what have we chosen to forget, and what have we simply renamed? The character of Mary, though compassionate, is not simply framed as a saviour. Her role reflects the historical reality of missionary work that challenged harmful practices while also furthering colonial interests. The film doesn’t romanticise her presence. It shows that help can still come with a cost. The masked rebellion, while symbolic, avoids becoming a hollow metaphor. It pushes back against the systems that both uphold and exploit tradition. Yet, even this resistance is complicated. It is not clean or triumphant. It is personal, born from betrayal, and shaped by a culture that has buried its own people for centuries. In the end, the film’s beauty is in its bitterness. It doesn’t give the satisfaction of a clear villain or a redemptive arc. It closes in the same way life often does—with sacrifice, uncertainty, and a faint hope that someone might remember the cost. It mirrors a reality we still live with, whether we acknowledge it or not. A reality where change is both a gift and a curse. A reality where we are always navigating the line between who we were, and who we are becoming. ### Verdict *The Masked King* positions itself at the intersection of history, belief, and consequence. It confronts the viewer with uncomfortable truths about how societies preserve power through tradition, and how those same traditions often mask violence. It goes beyond being a film just for a story. **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-masked-king-the-kingdom-that-ate-its-own/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-masked-king-the-kingdom-that-ate-its-own/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-masked-king-the-kingdom-that-ate-its-own/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-masked-king-the-kingdom-that-ate-its-own/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-masked-king-the-kingdom-that-ate-its-own/?share=linkedin) - **Categories:** Articles, Blog, Movies, Reviews **Tags:** aniel Etim Effiong, Bernard Raubenheimer, Gideon Okeke, Jude Chukwuka, nile entertainment, nollycritic, Segun Arinze, Shaffy Bello, The Masked King, Uche Montana, Uduak-Obong Patrick, Uzor Arukwe --- ### [Labake Olododo: A Righteous Warrior or a Flawed Hero?](https://nollycritic.com/labake-olododo-a-righteous-warrior-or-a-flawed-hero/) **Published:** April 8, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Labake Olododo, the latest cinematic outing from Iyabo Ojo, arrives with all the markings of a modern Nollywood epic **Content:** [*Labake Olododo*, ](https://www.imdb.com/title/tt35886471/ "Labake Olododo, ")the latest cinematic outing from Iyabo Ojo, arrives with all the markings of a modern [Nollywood](https://nollycritic.com/nollywood-movies-and-series-to-see-this-march-2025/ "Nollywood") epic. It’s grand, loud, filled with big names, and eager to join the new wave of blockbuster traditional dramas. Directed by Biodun Stephen and produced by Iyabo Ojo herself, the film has already proved its commercial muscle with a ₦50 million opening weekend. But once the noise fades, what remains is a film that tries to do a lot: tell a story of war, love, betrayal, and power, all wrapped in traditional regalia and ancient wisdom. What it offers in ambition and scope, it undercuts with uneven storytelling, inconsistent logic, and misaligned messaging. It’s impressive in moments but far from seamless. ## *Labake Olododo* Directed by: Biodun Stephen Produced by: Iyabo Ojo Genre: Epic Drama Released on: March 28 21, 2025 (Cinemas) Language: Yoruba ### Plot and Narrative Structure: A Commanding Setup, But a Wobbly Start *Labake Olododo* employs a familiar Nollywood structure that opens in medias res, with a disorienting flash-forward to pique the audience’s interest, before unwinding the events through a series of flashbacks. While this narrative technique is often used for shock value, here it leaves the audience confused, especially since the opening scene doesn’t immediately connect to the overall plot. The film struggles with a disjointed exposition, revealing key story elements (like Labake’s true identity and the significance of the opening scene) too late in the narrative. The payoff for these structural choices ultimately feels forced, especially when the film reveals that the Labake we saw in the opening scene is the daughter of the woman we initially thought was the protagonist. The first three scenes offer little narrative grip. It’s unclear who is who, why they matter, or what’s at stake. It a young girl called Labake who enters a bush and sights something. This sequence is left floating until the very end, where it’s finally linked back during Labake’s downfall. The problem? It takes nearly half the film for the central conflict, which is Labake’s betrayal of the neighbouring kingdom Olugbon, to become fully clear. Before that, viewers are expected to stay engaged without enough context or direction. In the following scenes, the problem worsens. This structural choice affects how we perceive the story’s stakes and coherence. Even the opening war sequence, which is meant to establish Labake’s legend, feels like style without weight. Despite its energy and spectacle, it lacks real definition. Blood is shed, swords clash, but there’s no clarity about what they’re fighting for. The moment feels like spectacle for spectacle’s sake, lacking narrative weight. Rather than grounding the viewer, it disorients, leaving us to watch noise without understanding the stakes. Characters appear, disappear, and speak in riddles. The viewer is left trying to piece things together without a firm narrative grip. Despite its flaws, the revenge plot is *Labake Olododo*’s strongest pillar. The slow burn of betrayal—close allies quietly sowing seeds, Labake’s overconfidence blinding her, and the final reveal where her inner circle turns—is well crafted. The strategic planning by her enemies feels thought-through. ### Characterization and Themes Thematically, the film is trying to juggle a lot—power, honour, betrayal, romance, vengeance. But it doesn’t always balance those threads well. The romantic subplot, in particular, feels forced. The betrayal that follows, while dramatically juicy, isn’t given enough setup to feel earned. The result is a movie that wants to evoke tragedy but hasn’t built the emotional foundation for it to hit. ### Labake: Warrior, Strategist… Righteous? Not Quite Iyabo Ojo plays Labake with intensity—a hardened warrior who leads with confidence and fearlessness. She commands a team of elite fighters, leads campaigns, and protects Lukosi’s supremacy among the kingdoms. However, her methods often raise eyebrows. A major turning point is her deception against the neighbouring kingdom, Olugbon. Labake secretly engineers an attack on them while publicly blaming an “unknown enemy.” When Olugbon turns to Lukosi for help, she declines, allowing their fall. This strategy might be smart, but it’s far from righteous. Which brings us to the title—*Olododo*, meaning “The Righteous One.” It’s a misfit. The film never gives the audience a reason to believe Labake is righteous. She is fierce, powerful, and strategic but manipulative, secretive, and self-serving. There’s no moment in the film where she makes a sacrifice or acts with moral clarity. The title doesn’t reflect the character. ### Love and Betrayal: A Rush to the Heart Her quick fall from grace lacks the internal conflict that would make her eventual choices more impactful. Instead of a gradual transformation, her surrender to love feels abrupt, undermining her character development. Labake, initially introduced as a stony, war-hardened leader, softens into love far too easily. Her emotional arc lacks the buildup to make her vulnerability believable. One moment, she’s commanding troops with ice in her veins; the next, she’s swooning under the stars, rethinking her existence over a man’s letter. This transition feels abrupt, unearned, and eazy. Labake’s romantic arc with Jaiyeoba is problematic. The relationship feels forced and lacks emotional depth. Jaiyeoba’s pursuit of Labake comes off as shallow and implausible. His feelings evolve without context, and his boldness crosses the line from confidence into disrespect, undermining any romantic tension. Additionally, the advice given to Labake by Agbeke—who suggests that she change herself for Jaiyeoba—is problematic, as it frames power and individuality as things a woman should compromise for love. This, alongside Labake’s uncharacteristic decision to abandon her powers (the cowries in her hair, a symbol of her strength), presents a regressive message about womanhood and power dynamics in relationships. When Labake lets go of her powers, the film treats it like a plot beat, not a turning point. There’s no tension, no second thoughts, no emotional resistance. What should feel like the moment she crosses a line instead plays like a casual choice. Her downfall feels less like tragedy and more like carelessness, not because of what she does, but because of how the film presents it. With little introspection and no real internal struggle. ### Performances and Comic Relief There’s no denying that *Labake Olododo* is a grand production. From the opening shots of war-prepped warriors to the sweeping visuals of Lukosi’s palace grounds, the film sets a tone of scale and significance. Iyabo Ojo plays Labake with stern resolve, surrounded by a cast that includes Femi Adebayo, Ibrahim Chatta, Afeez Oyetoro, Wumi Toriola, Yinka Quadri, Olumide Oworu, Femi Adebayo, Broda Shaggi, Cute Abiola, Kamo State, and Afeez Oyetoro. Where casting falters is with the character of the school superintendent—a supposed British man who speaks with neither British nor American cadence. In a scene introducing Western education to Lukosi, the character is clearly intended to be British. But the actor—likely not a native English speaker—delivers lines in stiff, unnatural rhythm, lacking the accent and tone one would expect from a colonial-era British figure. It’s a jarring moment that pulls viewers out of the story. Given the cultural and historical weight that colonial education carries in Nigeria, this was a chance to reflect that influence seriously. Instead, it feels like a rushed casting decision. The comic relief included felt unnecessary and detracted from the extremities of the stakes in the story. ### Visual Storytelling and Cinematography The film has moments of strength, particularly in the fight sequences, which are exhilarating and well-choreographed. However, the cinematography fails to consistently reinforce the narrative. There are moments where the editing is jarring, and the visual storytelling contradicts the dialogue. For example, when Labake is revealed to have orchestrated the deaths of Prince Adeeso and his father by Princess Adesewa, the montage showing Labake unveiling her face contradicts the narrative, presenting it as if Princess Adesewa witnessed it herself. Whereas it is Beyioku who fed the daughter the information. To make it worse, when Beyioku explains the attack, Labake is absent from the scene, further muddying the logic. This creates a disconnect between what the viewer sees and what is explained, undermining the impact of the revelation. Additionally, the anachronistic choice of crochet hair for Labake and Iya Agba stands out as an unintended flaw. This choice clashes with the supposed time period, and its modern appearance detracts from the historical authenticity the film attempts to establish. The costume design, while functional, does not fully capture the period, further distancing the audience from the setting. ### Final Thoughts: A Half-Ripe Epic *Labake Olododo* offers an interesting premise but falters in its execution. The story of a female warrior navigating love, betrayal, and power in a patriarchal society is ripe with potential. But the film’s narrative structure and character development are hampered by inconsistent pacing and underdeveloped motivations. The romantic subplot feels forced, and the thematic exploration of power and righteousness is undermined by Labake’s lack of agency and internal conflict. Despite its potential, *Labake Olododo* leaves much to be desired in terms of both storytelling and character depth. ### Verdict *Labake Olododo* is a step in the right direction for Nollywood’s traditional epics. It has the bones of a great story: a strong central character, palace politics, love and betrayal, humour, action. Not new, but it undercuts itself with inconsistent pacing, unnecessary comic relief, an ill-fitting title, emotional shortcuts, and occasional sloppiness in execution. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/labake-olododo-a-righteous-warrior-or-a-flawed-hero/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/labake-olododo-a-righteous-warrior-or-a-flawed-hero/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/labake-olododo-a-righteous-warrior-or-a-flawed-hero/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/labake-olododo-a-righteous-warrior-or-a-flawed-hero/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/labake-olododo-a-righteous-warrior-or-a-flawed-hero/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Afeez Oyetoro, Biodun Stephen, Broda Shaggi, Cute Abiola, Femi Adebayo, Ibrahim Chatta, Iyabo Ojo, Kamo State, labake olododo, nollycritic, nollywood, Olumide Oworu, Wumi Toriola, Yinka Quadri --- ### [The Artifact: An African Adventure That Rarely Sparkles](https://nollycritic.com/the-artifact-an-african-adventure-that-rarely-sparkles/) **Published:** April 8, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Tolu Awobiyi’s The Artifact comes with an ambitious promise: to be Nigeria's answer to Indiana Jones. With a pan-African vision, a youthfu **Content:** Tolu Awobiyi’s *[The Artifact](https://www.imdb.com/title/tt34481856/ "The Artifact")* comes with an ambitious promise: to be [Nigeria’s](https://nollycritic.com/?s=Nigeria "Nigeria's") answer to *Indiana Jones.* With a pan-African vision, a youthful cast, and a treasure-hunt plot stretching across seven Nigerian states, it aims to break new ground in Nollywood. Despite having all the right pieces: a mysterious relic, hidden clues, competing forces, and a reluctant hero, the film settles into a mid-tier experience. It’s not a failure. But it never quite becomes the edge-of-your-seat thrill ride it wants to be. ## *The Artifact* Directed by: Tolu Lordtaner Awobiyi Written by: Tolu Lordtaner Awobiyi Genre: Adventure Released on: March 28, 2025 (Cinemas) Language: English ### A Strong Setup That Doesn’t Soar The plot centres on Jayjay (Adeoluwa Akintoba), a young man who couldn’t care less about his father’s obsession with ancient relics, until his father, Professor Jang, is killed, and Jayjay becomes the only person who can decipher a trail of cryptic messages linked to the missing stones of the Fatima. With his three friends: Zara, Chidinma, and Tunde, Jayjay embarks on a quest across Nigeria, unaware they’re being manipulated by unseen forces. The adventure puts them in the crosshairs of a corrupt ex-senator, an international art thief known as The Mist (played by Kunle Remi), and the African Art Recovery Agency on their tails. On paper, this is solid. It’s got the mystery, the personal stakes, and the looming danger. But in execution, the tension feels too flat. The dangers, while present, are rarely felt. And for a supposed life-or-death quest, the stakes are curiously tame. ### Performances: Adequate but Uneven Adeoluwa Akintoba holds the centre as Jayjay, the disinterested son turned accidental adventurer. He does a decent job of carrying the film, with clear motivations and a consistent emotional tone. But while we understand his character’s arc on paper, we don’t feel it. His performance gives us the surface—grief, resistance, resolve—but not the depth. We know what’s driving him, but we’re never really drawn into his internal conflict. Tunde, played by Ovy Godwin, is the group’s loudmouth and supposed comic relief. He’s a caricature through and through: constantly complaining when things get hard, instantly on board when money is mentioned, and unable to keep quiet in tense situations. It’s clear his role is to inject humour. Then there’s Zara (Miracle Inyanda), who ends up being both Jayjay’s love interest and the daughter of the ex-senator entangled in the artifact conspiracy. It’s a level of plot convenience that cheapens both relationships and makes her character feel more like a narrative shortcut than a person. The script has a habit of stating the obvious. In one moment, a character surveys a ransacked room and says, “This place looks like it’s been turned upside down.” It has. We just saw it. These moments pile up, making the dialogue feel like narration instead of conversation. Rather than allowing silence, glances, or tension to build scenes, characters keep explaining what the audience can already see. This robs the film of nuance and weakens its emotional beats. The rest of the cast including Gabriel Afolayan as Abdullahi, Bimbo Manuel as Prof. Jang, Wendy Lawal as Agent Emma, Kunle Remi as The Mist, Shola Fosudo as the Senator, and Sharon Rotimi as Chidinma, do a good job. ### Visuals and Production: Nigeria on Display Visually, the film is one of its better aspects. The locations, ranging from Erin Ijesa in Osun to the rocky beauty of Assop Falls in Plateau, are stunning. The cinematography makes the most of natural landscapes, giving *The Artifact* a visual freshness. There’s also commendable effort in costumes, set design, and pacing. You can feel that a lot of care went into planning the journey, from the look of the “clue sites” to the travel transitions. The film is definitely trying to do something different. ### Final Thoughts: A Noble Effort That Falls Short *The Artifact* is a well-intentioned, visually engaging adventure with moments of potential. It breaks from the mystical Nollywood epic to try something fresh. ### Verdict *The Artifact* brings ambition, beautiful locations, and a refreshing genre twist to Nollywood. But it’s let down by flat performances, dialogue that over-explains, and a lack of real emotional or narrative tension. A noble effort, but more lukewarm than legendary. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-artifact-an-african-adventure-that-rarely-sparkles/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-artifact-an-african-adventure-that-rarely-sparkles/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-artifact-an-african-adventure-that-rarely-sparkles/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-artifact-an-african-adventure-that-rarely-sparkles/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-artifact-an-african-adventure-that-rarely-sparkles/?share=linkedin) - **Categories:** Articles, Blog, Movies, Reviews **Tags:** adeoluwa akintoba, african adventure movie, african art films, african indiana jones, assop falls, enugu movie locations, erin ijesa, fatima artifact movie, Film review, Gabriel Afolayan, kunle remi, Lordtanner, miracle inyanda, nigerian cinema 2025, nigerian film locations, nigerian film rating, nigerian film reviews, nigerian movie critique, nigerian youth films, nollycritic, nollywood 2025 releases, nollywood adventure film, nollywood treasure hunt, ovy godwin, pan-african movie, stones of fatima, The Artifact, Tolu Awobiyi --- ### [Finding Me: A Chaotic Search That Loses Its Voice](https://nollycritic.com/finding-me-a-chaotic-search-that-loses-its-voice/) **Published:** March 19, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Watching Finding Me is like walking into a house with too many rooms, each painted a different colour. The film tries to be many things at once **Content:** Watching *[Finding Me](https://www.imdb.com/title/tt36188455/ "Finding Me")* is like walking into a house with too many rooms, each painted a different colour. The film aims to be many things at once—a story of love, self-realisation, liberation, and even a dash of comedy and action. Yet, amid these shifting tones, it loses sight of its core purpose. Released on Prime Video, and fronted by big names like Funke Akindele, Joseph Benjamin, Efa Iwara, and many others (very literally), *Finding Me* positions itself as a tale of self-discovery. Yet, as the plot thickens—or more accurately, unravels—you cannot help but question who’s discovering what, and why it’s all unfolding in such a scattered manner. **SPOILER ALERT!** ## *Finding Me* Directed by: Funke Akindele and Isioma Osaje Written by: Samuel Adekanmi, Funke Akidele, Fatimah Binta Gimsay Genre: Drama Released on: March, 16 2025 (Prime Video) Language: English, Yoruba ### When Too Much Happens, Nothing Lands The film’s premise should have been promising. Atinuke Phillips (Funke Akindele) is trapped in a stifling marriage with Kola Phillips (Joseph Benjamin), a man who is manipulative, deceitful, and emotionally distant. This setup has all the ingredients for an incisive exploration of emotional manipulation, power imbalances, and societal pressures. Instead, the film becomes burdened by underdeveloped subplots, abrupt tonal shifts, and half-baked resolutions. One minute we’re dealing with infidelity and family disputes, the next, we are plunged into random comedy routines, to unnecessary fights. Atinuke’s relationship with Anthony (Efa Iwara) is the clearest example of this mess. Their romance appears from nowhere, without any real emotional build-up. There’s a scene right in the middle—Anthony touches Atinuke’s face and says, “Do you trust me?”—and it lands with such jarring emptiness, it makes you pause and wonder, “How did we even get here?” *Finding Me* had so many things that were right there to be developed, but somehow it leaves each plot point unfinished leaving one to wonder what they’ve successfully absorbed after almost 2 hours 30 minutes of screen time. The final third is a tale of chaos and convenience, the filmmakers employ many and any plot device to try to save the film but to on avail. At the end of the film, there is not much disparity between our hero and villain, turns out the Tinuke is just as guilty as some of the crimes associated with her husband. Stealing (from Olowo Steels), negligence (her son), cheating and fraud (she tries to pin a pregnancy on her husband). Both characters are decadent making it quite difficult to root for our hero. ### Where’s the Real Conflict? If *Finding Me* is supposed to be about self-discovery, you’d expect to feel the weight of both Tinuke’s internal struggles and the external pressures that make her journey necessary. But oddly enough, those stakes barely register. Tinuke seems bothered only by her husband’s constant belittling, yet beyond that, the film doesn’t show us the world closing in on her. Where are the societal expectations? Where’s the shame or the insecurity that’s supposed to push her to the gym, to reassess herself, to take charge? We don’t really see it. Why did she eventually need a man to “find herself”? (As a matter of fact, this part remains largely unexplored also in the plot) Her best friend, Sarah (Omoni Oboli) who should ideally serve as her voice of reason or even a reflection of what Tinuke could aspire to, seems more put-together than Tinuke herself. Instead of helping us understand Tinuke’s external environment or support system, the friend’s presence raises more questions: Why hasn’t she helped her friend see herself differently all this time? Why does it feel like Tinuke is isolated, not by society, but simply because the plot says so? It leaves the audience disconnected from Tinuke’s supposed transformation. Her low self-esteem and lack of agency feel more like plot requirements than genuine, lived experiences, and that disconnect weakens the whole idea of self-discovery. ### The Third Act That Does Too Much By the time we reach the third act, the story becomes noticeably overloaded. The film introduces several big revelations and dramatic twists in quick succession, which makes the climax feel less like a natural resolution and more like a race to tie everything up at once. In the space of a few scenes, Anthony is arrested. The long-trusted family doctor is exposed as a fraud, revealed to have colluded with Kola to deceive Tinuke about her fertility. Tinuke also admits to her best friend that her son, Denrele, was adopted, something she had kept hidden for years. Kola faces arrest for murder, while Anthony is suddenly framed with a dead body in his car boot. On top of that, Tinuke, despite having gathered evidence of Kola’s manipulation, openly confronts him and tells him where the evidence is, leading to an expected physical attack. Even her brother steps in, only to get caught up in the chaos. It’s not that these plot points couldn’t work—they each carry weight on their own. But the issue is how tightly packed they are, giving the audience little breathing room to process each event. The emotional beats don’t land because there’s no pause to reflect. Instead of building tension gradually, the third act rushes through everything, making it harder to connect the dots or feel the full impact of Tinuke’s journey. The result is a finale that feels overwhelmed by its own ambition, leaving viewers more startled than satisfied. ### Performances That Try to Save the Ship Funke Akindele dials down her usual flair. She doesn’t give us her typical comic mannerisms, and that is refreshing. But unfortunately, the character she’s playing lacks enough internal consistency to allow her performance to breathe naturally. Atinuke’s decisions, oscillating between feeling trapped and briefly liberated, are not given the time to develop naturally, leaving her journey feeling superficial. She makes silly decisions, her character remains static; she doesn’t develop as her character journey morphs from trapped to liberated and back to trapped. Her character ends up appearing unwise from the beginning to the end as she doesn’t “find herself”, doesn’t grow genuinely as the situations around her only force her to accept what comes to her. Efa Iwara does well within the confines of what he’s given. His performance is sincere, his presence solid. But again, there’s no space for his character to develop meaningfully. Their chemistry is rushed, transactional, more plot device than believable relationship. Joseph Benjamin puts in a convincing performance as Kola the bloke, while Dele Odule, Shaffy Bello, Femi Adebayo, Omowunmi Dada, Emeka Nwagbaraocha, Stephanie ‘Calabar Chic’ Faith Isuma, put up palpable performances. Then there’s Semiu (Abdulgafar Abiola ‘Cute Abiola’), slotted in as comic relief. Normally, this kind of character might derail the seriousness, but surprisingly, his role is one of the better-executed aspects, serving as a bridge between the chaotic tones and one of the films few convincing plot devices. ### Technically Sound, Emotionally Hollow The look and feel does not go will the genre, creating a sharp contrast. The props employed during the big fight between Kola and appeared like they were only there to be damage. The editing is however ocassionally deliberate—there’s a moment where Anthony encourages Atinuke to say “I am beautiful”, and the soundtrack subtly echoes it in the background. It’s clever, it works. But such moments are rare islands in an ocean of tonal whiplash. The film fails to carefully use music to elevate the emotional moments in the film. After dragging the viewer through emotional betrayal, trauma, false identities, and a supposed journey of finding oneself, it cuts to a celebratory, jumpy theme song that completely erases the emotional weight of the final scenes. There’s no chance to sit with the discomfort, no breathing room to reflect. It’s as if the film itself is eager to distract you from what it has just shown. ### Final Thoughts [*Finding Me* ](https://nollycritic.com/finding-me-what-we-know-about-funke-akindeles-new-film/ "Finding Me ")had all the ingredients to be a layered story about self-worth, control, and breaking free. Instead, it gets caught up trying to do too much at once—blending old Nollywood stereotypes, clumsy plot twists, misplaced comedy, and rushed character arcs. What could have been a clear, sharp film about a woman’s journey ends up muddled, with no single message standing tall. Other than the striking absence of catharsis, the biggest flaw in *Finding Me* is that our hero does not seem to find herself. All it takes is for Anthony to start behaving like Kola and then the cycle repeats. ### Verdict If you’re looking for something coherent and emotionally grounded, *Finding Me* might not offer what you’re after. It is a film with moments of brilliance buried under a mountain of narrative noise. It entertains, but only if you do not think too hard. **Rating**: 2.2/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/finding-me-a-chaotic-search-that-loses-its-voice/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/finding-me-a-chaotic-search-that-loses-its-voice/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/finding-me-a-chaotic-search-that-loses-its-voice/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/finding-me-a-chaotic-search-that-loses-its-voice/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/finding-me-a-chaotic-search-that-loses-its-voice/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Abdulgafar Abiola, african cinema, Amazon Prime Video, Ariyo Oluwakemisola Apesin, Betrayal, Calabar Chic, Dakore Egbuson-Akande, Dele Odule, efa Iwara, Emeka Nwagbaraocha, Femi Adebayo, Film Analysis, Finding Me, Funke Akindele, Joseph Benjamin, Movie Critic, nigerian cinema, nollycritic, nollywood, Nollywood Critique, Nollywood Drama, Nollywood Review, Nollywood Stars, Omoni Oboli, Omowunmi Dada, Self-Discovery, Shaffy Bello, Sharon Ooja Egwurube, The Cute Abiola, Tina Mba --- ### [Love in Every Word: A YouTube Hit or Just the Hype?](https://nollycritic.com/love-in-every-word-a-youtube-hit-or-just-the-hype/) **Published:** March 13, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Watching Love in Every Word was as nice as its title: Love. It is adorable, but it is doesn’t necessarily break new ground... **Content:** Watching *Love in Every Word* was as nice as its title: *Love*. It is adorable, but it is doesn’t necessarily break new ground, yet it has captivated an audience that keeps returning for more. It is clear that people love it. The hype around it, from social media conversations to its soaring YouTube views suggests that this is more than just another Nollywood romance—it’s a YouTube Nollywood phenomenon. From the perspective of someone who is not a regular YouTube Nollywood viewer, I did not love it so much, but I can appreciate why it works. ## *Love in Every Word* Directed by: Stanley Obi Produced by: Omoni Oboli and Tomi Adeoya Genre: Romantic Comedy Released on: March 7, 2025 (Youtube) Language: English, Igbo ### Love, Familiarity, and Playing It Safe There is something about this kind of romance that draws people in. It is predictable, but that is part of the appeal. *Love in Every Word* is a modern Igbo love story that plays with the expectations surrounding Igbo men, relationships, and career struggles. Chioma and Obiora’s love story is built on everyday realities—relationship struggles, cultural identity, and the way personal experiences shape love. The dialogue between them—especially their debate about “Igbo men” and their supposed traits—makes it clear that the film is trying to push against certain stereotypes. The story is adorable in the way it handles romance. The banter between Chioma and Obiora brings genuine moments of charm, and their love feels earned. Chioma is in a toxic workplace, dealing with a frustrating boyfriend, and then enters Obiora—wealthy, intentional, and ready to make her life easier. It is charming, but some of the conflicts feel exaggerated. The workplace tension with Chioma’s boss, for example, feels exaggeratedly toxic, almost as if the film needed a villain just to amplify her struggles. ### When Charisma Carries the Film The performances in *Love in Every Word* are what truly make it work. [Uzor Arukwe](https://nollycritic.com/?s=Uzor+Arukwe "Uzor Arukwe"), playing Obiora, is the heart of this film. He is a natural actor, and when he plays his usual Igbo persona, it feels effortless. There’s an ease to his performance that makes him feel real. Chioma, played by ‘Bambam’ Olawunmi Adenibuyan, brings some charm to the role, but her performance is not as fluid. It is not bad, but there are moments where her reactions feel a little too calculated, as if she is too aware of playing a role. This makes her chemistry with Obiora feel uneven at times. ### A Film Made for YouTube Visually, *Love in Every Word* is neat with a few colour grading inconsistencies. The visuals are clear, the lighting is warm, and the locations are simple but effective. The direction follows the tried-and-true Nollywood YouTube formula—keep it simple, keep it relatable, and don’t overcomplicate things. It does not try too hard to be cinematic, and that is fine. Where the film struggles is in pacing. Some scenes drag too long, while others are rushed. The script is engaging, but it does not trust the audience to pick up on things on their own. It explains everything, instead of letting moments breathe. ### Final Thoughts This film works because it understands its audience. It is exactly what Nollywood YouTube does best—familiar, simple,easy-to-watch romance, that is accessible, and built around actors people love to watch. It doesn’t challenge the genre, but it doesn’t need to. ### Verdict If you enjoy[ Nollywood YouTube](https://www.youtube.com/@OmoniOboliTv " Nollywood YouTube") romances, you will enjoy *Love in Every Word*. It is charming, it is familiar, and it does what it is meant to do. It is not the most memorable love story, but it is the kind you will have a good time with. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/love-in-every-word-a-youtube-hit-or-just-the-hype/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/love-in-every-word-a-youtube-hit-or-just-the-hype/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/love-in-every-word-a-youtube-hit-or-just-the-hype/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/love-in-every-word-a-youtube-hit-or-just-the-hype/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/love-in-every-word-a-youtube-hit-or-just-the-hype/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** african cinema, Bambam Olawunmi, Chioma, Film review, Love in Every Word, Movie Critic, nigerian cinema, nollycritic, nollywood, Nollywood Actors, Nollywood Critique, Nollywood Drama, nollywood movies, Nollywood Review, Nollywood Romance, Nollywood YouTube, Obiora, Omoni Oboli, Romantic Drama, Uzor Arukwe, YouTube Movies, YouTube Nollywood --- ### [Suky: A Fight for Freedom That Loses Its Punch](https://nollycritic.com/suky-a-fight-for-freedom-that-loses-its-punch/) **Published:** March 12, 2025 **Author:** Shalom O. Obisesan **Excerpt:** There’s something oddly uninspired about eponymous film titles. Suky. Just that. No hint of what’s to come, no intrigue—just the name of the protagon **Content:** There’s something oddly uninspired about eponymous film titles. *[Suky](https://www.imdb.com/title/tt34402250/ "Suky")*. Just that. No hint of what’s to come, no intrigue—just the name of the protagonist, as if that alone should carry the weight of the story. But maybe that’s the point. Maybe the film wants us to step in blindly, without expectation, and discover for ourselves what kind of journey Suky is about to take. The question is: does that journey leave a mark, or does it fade into the background like its title? ## *Suky* Directed by: Ola Cardoso Written by: Isaac Ayodeji Genre: Crime Drama Released on: March 7, 2025 (Prime Video) Language: Yoruba ### A Story of Revenge, But at What Cost? *[Suky](https://nollycritic.com/suky-new-movie-from-nemsia-studios-to-premire-on-prime-video/ "Suky")* presents itself as a brutal, emotionally charged revenge drama, following Olasunkanmi (Suky), played by James Damilare Solomon, a young man whose father, Adigun (Tobi Bakare), is murdered after refusing to bow to oppression in the world of underground fighting. The film introduces strong themes of survival, sacrifice, and the cyclical nature of violence. Initially, it seems to be a straightforward story about vengeance, but as the narrative unfolds, it becomes clear that Suky’s fight is not only about revenge—it is about freedom. However, while this shift in purpose could have made for a layered, introspective story, the film struggles with execution. The transition from revenge to a broader fight for justice is mismanaged, coming too late in the narrative. Instead of a gradual evolution, the shift feels abrupt—almost as if Suky himself forgets his original anger and only remembers it near the climax. This lack of emotional continuity makes it difficult for the audience to stay invested in his journey. ### A Story That Struggles to Find Its Footing The biggest flaw in *Suky* lies in its plotting. A slow-burn approach isn’t inherently a problem—if it serves a purpose. But here, the story meanders rather than builds, often losing focus. Certain plotlines, like Suky’s dynamic with Dr. Simisola (Bimbo Ademoye), feel underdeveloped. What exactly was their relationship? Was there an emotional connection forming, or was she simply a symbol in his journey? The film hints at something deeper but never follows through, making their interactions feel hollow. Then there’s the issue of plot conveniences. Why did Suky have to kill the man who murdered his father at the very end? It’s too convenient that the same man ended up in the same prison as Suky, years later, seemingly unchanged. Time has passed, Suky has grown from a child to an adult, but his father’s killer appears frozen in time, as if he hadn’t aged, evolved, or faced consequences beyond this moment. This feels like the film forcing a full-circle ending. And if Suky did end up getting revenge in the end, then what was all that effort to redefine the film’s purpose about? Did he truly escape the cycle of violence, or did the narrative contradict itself? These inconsistencies weaken the emotional weight of the story, making its central message feel muddled. The film wants to say something about freedom over vengeance, but moments like this blur that distinction, leaving the audience unsure of what Suky’s journey ultimately meant. ### A Protagonist Who Fades Too Soon Young Suky, played by Abolade Ajibade, is full of fire—his grief and determination are clear, and his early scenes set up what should have been a compelling character arc. However, once we transition to adult Suky (James Damilare Solomon), something gets lost. The bitterness that should define him seems to fade too quickly. He becomes a quieter, more passive presence in his own story, only reigniting his anger close to the film’s end. His transformation from a revenge-driven fighter to someone seeking a greater cause should have been gradual, but instead, the film sidetracks into prison politics, fight sequences, and other characters’ struggles, leaving Suky’s emotional journey underdeveloped. Marshal (Olarotimi Fakunle) serves as a compelling antagonist but is also trapped in his own personal prison, both physically and psychologically. He is both oppressor and victim, controlling the prison but still answering to the powerful Senator (Femi Adebayo), who treats him as a pawn. His end serves as a cautionary tale—he fights for freedom in the wrong way, driven by selfishness, and ultimately loses. Suky, on the other hand, chooses to fight for another person’s freedom instead of his own. Then there’s Dr. Simisola (Bimbo Ademoye), a doctor held captive in the prison system, used and controlled by Marshal. Her role is largely symbolic—like the caged bird she keeps, she is trapped, unable to free herself despite her strength and intelligence. She has accepted that there is no way out. Suky, however, offers a different perspective: fighting back may come at a cost, but it is better than surrender. The contrast between these characters is one of the film’s stronger elements, yet the emotional impact is undercut by the film’s sluggish pacing and inconsistent focus. The story veers off into side plots and a few unnecessary fight sequences, taking away from the tension that should have built up naturally. ### A Strong Effort in Action, But an Uneven Narrative Visually, *Suky* does a lot right. The cinematography captures the grit of its setting, and the fight choreography is one of the film’s standout aspects. The action sequences, particularly the Dambe fighting scenes, feel raw and intense. However, even this is not without flaws—some fights fail to follow the real rules of Dambe, breaking immersion for those familiar with the sport. The film also relies heavily on imagery rather than dialogue, which is a commendable choice. The problem is that the emotional weight needed to support this visual storytelling isn’t always there. Key moments that should be impactful often feel hollow because the buildup isn’t strong enough. But when dialogue is used, there’s an issue that stands out—the decision to have the film entirely in Yoruba. On the surface, it’s an interesting and commendable creative choice. It gives the film a unique cultural identity and are largely enjoyable. But when such choices are made, one must ask: **why**? Why Yoruba? What purpose does it serve? If language is going to be central to a film’s identity, it must feel natural within the world the film builds. Here, it doesn’t. Some actors sound unnatural, as if they are struggling with the language rather than owning it. More importantly, in a typical Nigerian prison, a mix of languages would naturally emerge, reflecting Nigeria’s diversity. Yoruba wouldn’t be the universal language—except if the film provided an in-world justification for this choice, which it doesn’t. As a result, instead of enhancing realism, the language choice ends up feeling forced, limiting the film’s believability rather than enriching it. ### Final Thoughts *Suky* is about captivity—not just physical imprisonment, but the different ways people are bound by systems greater than themselves. Every character is fighting for freedom, yet how they fight determines their fate. The prison is not just a setting; it is a metaphor for the world the characters exist in. Suky is trapped, but so is Marshal, Dr Simisola, and the bird. The difference is that how they choose to fight for their selves. The Marshal fights for himself, driven by power and revenge, and loses. Suky, like his father, makes a choice that isn’t entirely about himself. His father fought not just for survival but because his son pushed him to resist oppression— a choice that ultimately cost him his life. Suky, too, chooses to fight for someone else, but unlike his father, his battle doesn’t end in complete loss. Instead, it shifts the narrative from one of vengeance to one of sacrifice, showing that true freedom comes not from fighting for oneself, but for something greater. But the film takes too long to get here. Instead of tightening the narrative around this idea, it meanders, focusing too much on the suffering of other prisoners, the corruption of the system, and side characters whose arcs never feel fully realized. The shift from revenge to freedom could have been a powerful emotional transformation, but because Suky himself is emotionally distant for much of the film, it doesn’t land with the weight it should. The film also sets up intriguing questions about power, oppression, and choice but struggles to answer them with clarity. Suky’s journey mirrors his father’s, yet his realization comes too late to feel truly earned. He fights not for himself, but for someone else, just as his father did. And just like his father, it costs him everything. It’s a poetic, almost biblical cycle of sacrifice—but the film doesn’t dig deep enough to make that theme resonate as it should. ### Verdict *Suky* is a slow burn that lingers, demanding patience from its audience. Its pacing and emotional detachment make it feel longer than it is, but beneath its surface, there are layers of meaning for those willing to engage. While it may not grip viewers entirely, it offers moments of depth that leave something to reflect on after the credits roll. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/suky-a-fight-for-freedom-that-loses-its-punch/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/suky-a-fight-for-freedom-that-loses-its-punch/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/suky-a-fight-for-freedom-that-loses-its-punch/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/suky-a-fight-for-freedom-that-loses-its-punch/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/suky-a-fight-for-freedom-that-loses-its-punch/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Popular reviews, Reviews **Tags:** Abolade Ajibade, african cinema, African Storytelling, Bimbo Ademoye, Cinematic Storytelling, Dambe Fighting, Femi Adebayo, Fight Films, Film Critique, Film Direction, Film Discussion, Itele D Icon, James Damilare Solomon, Martial Arts, Movie Analysis, Movie Review, Nigerian Films, nollywood, Nollywood Action, Nollywood Cinema, Nollywood Reviews, Ola Cardoso, Olarotimi Fakunle, Prime Video, Prison Drama, Revenge Films, Ruthless, Suky, Tobi Bakare --- ### [Reel Love: Is this Romance Real or For Reels?](https://nollycritic.com/reel-love-is-this-romance-real-or-for-reels/) **Published:** February 21, 2025 **Author:** Shalom O. Obisesan **Excerpt:** eleased just in time for Valentine’s Day, Reel Love entered cinemas with all the makings of a box office hit: star-studded cast **Content:** Released just in time for Valentine’s Day, [*Reel Love*](https://www.imdb.com/title/tt35381095/ "Reel Love") entered cinemas with all the makings of a box office hit: a star-studded cast, a romance-centred plot, and the irresistible promise of love wrapped in glossy social media perfection. With director [Kayode Kasum ](https://nollycritic.com/?s=kayode+kasum "Kayode Kasum ")at the helm, the film leans into a world where love isn’t just lived—it’s performed for the internet. But as one of the characters reminds us, “Not everything that glitters on the internet is gold,” and *Reel Love* itself plays on that irony. Riding on the wave of holiday romance fever, it quickly became a commercial success. But beneath the surface of its shiny Instagram-worthy moments lies a film that demands a closer look. This review sets out to peel back the layers, going beyond the glitter to explore the narrative choices, character dynamics, and the filmmaker’s commentary on love in the digital age. Expect a deep dive into not just what Reel Love presents, but how it makes us feel, and why. But, hey! This review contains **spoilers**! Certain moments need to be unpacked to fully understand our take. So, here goes. ## Reel Love Directed by: Kayode Kasum Written by: Ife Olujuyigbe Genre: Drama, Romance Released on: February 14, 2025 (Cinemas) Language: English ### Plot *Reel Love* sets out to explore the complexities of modern relationships in an era dominated by social media. The film follows Tomide, a popular relationship influencer who carefully curates his online persona to reflect the perfect love life. However, when a heated argument with a stranger, Rachel, goes viral, his spotless reputation takes a hit. To repair his image, his girlfriend, Imani, suggests a staged romance with Rachel—an arrangement that, ironically, brings Tomide closer to someone he never expected to fall for. Meanwhile, Rachel, reluctant at first, is nudged by her friend to embrace the opportunity for social media fame, despite her initial disdain for internet clout. As the two fake their love for the cameras (taking brand-sponsored photos, going on orchestrated dates, and playing into the public’s expectations) the lines between performance and reality blur. While the intention seems to be a commentary on the superficiality of social media love, the film ends up mirroring the very hollowness it critiques. The narrative is riddled with clichés, from forced proposals to conveniently timed discovery of an engagement ring and her vengeful exposure of the truth. The film gestures at deeper emotional beats, such as Tomide’s strained relationship with his absentee father and Rachel’s grief over her father’s passing, yet these moments remain underdeveloped, serving more as plot devices than meaningful character arcs. Furthermore, The climactic reconciliation at the bar, meant to reflect Tomide’s transformation as he rejects social media validation, lacks the emotional weight to feel truly earned. Ultimately, *Reel Love* presents a plot that is serviceable but formulaic, offering little in terms of narrative innovation or depth. ### Story The story aims to delve into the pressures of modern love, exploring how societal expectations and digital personas can complicate genuine emotional connections. Through Tomide’s experiences, the film attempts to convey the struggle of balancing public perception with personal truth, highlighting the conflict between maintaining appearances and pursuing authentic happiness. The character’s emotional turmoil is meant to resonate with audiences who are all too familiar with the performative nature of social media relationships. However, what we actually see is a narrative that feels shallow and contrived. The film introduces intriguing ideas such as the tension between real and performative love, the impact of social media on self-worth, and the generational cycle of emotional repression, but fails to explore them with any nuance. Instead, it relies on melodrama and superficial conflicts that resolve too conveniently. Tomide’s struggle with his absentee father is touched on but never meaningfully developed, making their reconciliation feel hollow. Rachel’s grief over her father’s death is similarly reduced to a plot device, serving more to create drama between her and Tomide than to explore her emotional journey. Just as Tomide’s sudden realisation about “true love” lacks any real build-up. Consequently, the story feels more like a cautionary tale than an authentic exploration of modern romance. ### Performances Timini Egbuson delivers a competent performance as Tomide, effectively capturing the influencer persona—charming, confident, yet emotionally disconnected. However, the script limits his range, making his character’s emotional struggles feel surface-level rather than deeply internalised. His chemistry with Rachel, played by TJ Omusuku, is inconsistent. While they have moments of connection (including the good stuff), their transition from staged romance to real love feels rushed, and their interactions often lack the natural ease that would make their relationship truly compelling. Omusuku, in her first lead role, does a commendable job, bringing a grounded presence to Rachel’s no-nonsense, stubborn attitude. Atlanta Bridget Johnson as Imani plays the role of the picture-perfect girlfriend well, but her character lacks depth. Her shift from being the composed, supportive partner to a sudden antagonist feels more like a plot requirement than a natural progression of her character. Meanwhile, Funke Akindele playing Tomide’s mother, brings warmth and humour to her role. Dakore Egbuson-Akande as Rachel’s mentor adds gravitas, though her character’s impact on the story is minimal but noteworthy. Muyiwa Ademola as Tomide’s absentee father provides an emotionally charged presence, yet the film barely scratches the surface of his strained relationship with his son. Shaffy Bello and Bimbo Ademoye offer enjoyable performances in their supporting roles, with Ademoye providing comedic relief as Rachel’s lively best friend, Chizaram. Hermes Iyele, playing Megaphone, embodies the role of an opportunistic gossip blogger who is just there to nitpick and be a deliberate antagonist. Strong individual performances shine in moments, but the overall lack of depth in character development prevents the cast from fully elevating the film. ### Technical Aspects [*Reel Love* i](https://www.imdb.com/title/tt35381095/ "Reel Love i")s technically proficient and slightly, creatively noteworthy. This technical precision, while commendable, results in a clinical feel that diminishes emotional engagement. The film’s visual narrative is competent with one notable strength is its visual parallelism particularly the contrast between Tomide and Rachel’s initial meeting at the crowded Ram and Beer bar, filled with public scrutiny and social media buzz, and their final reconciliation in an empty, phone-free space. This subtle touch effectively conveys Tomide’s decision to step away from the performative nature of online love, reinforcing one of the film’s central ideas. When it comes to sound, *Reel Love* brings an interesting, if slightly underutilised, selection of soundtracks. Take the scene where Tomide is confronted with the reality that “not everything that glitters on the internet is gold”—right as Instagram Boy by Ifeme C.S. plays. With lyrics like “Na Instagram you wan dey find boyfriend, you don chop breakfast now, your eye don clear abi?” the song perfectly mirrors the film’s commentary on social media-driven relationships. Other notable tracks, such as Heavy by Remii and High by DM, contribute to the film’s emotional tone, adding a fresh and vibrant energy. However, while these tracks are well-chosen, they’re not always given enough time to shine. Sometimes, the music is overshadowed by dialogue or cut short before it fully enhances the moment. There’s an undeniable connection between the soundtrack and the film’s unfolding drama, but the execution doesn’t always allow these elements to fully blend and elevate the viewing experience. It’s a bit like preparing a perfect playlist for a road trip, only to have someone constantly talk over the best parts of the song. On the downside, the film still struggles with technical inconsistencies. The overuse of Kotrell’s Now and Always in emotional scenes makes certain moments feel repetitive rather than profound. While *Reel Love* succeeds in curating an engaging auditory experience, it doesn’t fully capitalise on it, leaving some moments feeling disconnected from their musical potential. Ultimately, the film’s technical choices, while functional and at times impressive, don’t consistently elevate the storytelling. ### Final Thoughts *Reel Love* attempts to critique the performative nature of modern relationships but ultimately becomes a victim of its own superficial storytelling. The film raises relevant questions about identity, societal pressure, and digital personas but shies away from exploring them with the complexity they deserve. Its narrative choices are safe and formulaic, offering a conventional romantic drama without the emotional depth needed to make a lasting impact. A significant part of [Nollywood’s](https://nollycritic.com/?s=NOLLYWOOD "Nollywood’s") charm lies in its ability to transport audiences into grand, cinematic worlds—sometimes larger than life, sometimes deeply relatable. *Reel Love* leans into that tradition, crafting a romance that feels heightened and, at times, out of reach. And that’s not necessarily a bad thing. We watch films to be blown away, to escape, to dream. But the problem isn’t in its idealism, it’s in the emotional disconnect that comes with it. The film wants to be aspirational, yet it forgets to ground its romance in an emotional truth that audiences can fully invest in. This is why key moments, like Tomide and Rachel’s sudden transition from animosity to intimacy, feel rushed rather than earned. The chemistry isn’t given room to build organically, making the romance feel more like a scripted fantasy than a lived experience. The visual parallels, such as the contrasting scenes at the Ram and Beer bar, hint at thoughtful storytelling but are undercut by the film’s reluctance to embrace ambiguity or emotional complexity. Instead, the story opts for simplistic resolutions and moral platitudes, undermining its potential as a thought-provoking commentary on contemporary love. In the end, *Reel Love* feels more like a reflection of the idealised love it seeks to critique. Beautifully packaged but emotionally hollow. ### Verdict *Reel Love* is a technically polished film (aside the peeking boom mic) but it struggles to tell it’s story in a way that feels genuine and emotionally engaging. While it offers relatable themes and impressive performances, its predictable plot and lack of emotional depth leave it feeling as hollow as the social media personas it critiques. Audiences may find fleeting moments of entertainment, but the film falls short of delivering a memorable cinematic experience. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/reel-love-is-this-romance-real-or-for-reels/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/reel-love-is-this-romance-real-or-for-reels/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/reel-love-is-this-romance-real-or-for-reels/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/reel-love-is-this-romance-real-or-for-reels/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/reel-love-is-this-romance-real-or-for-reels/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Atlanta Bridget Johnson, Bimbo Ademoye, Box Office Hit, Cinema, Cinematic Experience, Dakore Egbuson-Akande, Fake Love, February 2025, Film Analysis, film criticism, Film review, Funke Akindele, Influencer Culture, Jay On Air, Kayode Kasum, Love and Social Media, Modern Romance, Movie Review, Muyiwa Ademola, nollywood, nollywood movies, Nollywood Romance, Nollywood Soundtracks, Reel Love, Romance, Shaffy Bello, Social Media Culture, Timini Egbuson, TJ Omusuku, Valentine's day --- ### [Tarella: A Long-Awaited Fairytale That Falls Short of Its Magic](https://nollycritic.com/tarella-a-long-awaited-fairytale-that-falls-short-of-its-magic/) **Published:** February 13, 2025 **Author:** Shalom O. Obisesan **Excerpt:** e’ve been waiting for Tarella for what feels like forever. At first, we were excited. An African Cinderella story, a mythical kingdom **Content:** We’ve been waiting for *[Tarella](https://www.imdb.com/title/tt29957008/ "Tarella")* for what feels like forever. At first, we were excited. An African Cinderella story, a mythical kingdom, a touch of history, and a grand romance? It sounded like exactly the kind of film we needed. But as the months turned into years, the wait started to feel endless. Would it ever actually come out? Would it still live up to what we had imagined? Well, it’s finally here, and honestly, better late than never. Who would have thought that Cinderella’s origins could be traced back to an Egyptian girl from 30 BC? With *Tarella*, we finally get a fairytale that feels closer to home. ## *Tarella*: *Princess of The Nile* Directed by: Kayode Kasum, Lolo Eremie Written by: Lolo Eremie Genre: Fantasy, Romance Release date: 7 February, 2025 (Cinemas) Language: English ### Story *[Tarella](https://nollycritic.com/?s=Tarella "Tarella")* reimagines the well-known fairytale, placing it in a mythical West African kingdom called Akkaya. It follows Tarella, an orphaned girl who, despite the cruelty of her stepfamily, crosses paths with Prince Nosa, a man bound by duty but drawn to her spirit. The film brings in an ancient Egyptian connection, linking Tarella to Rhodopis, a historical figure said to have inspired Cinderella. At its core, it presents love as something that must overcome social status, expectations, and personal struggles. But beyond the romance, it is also about identity—who Tarella is, where she comes from, and what her place in this world should be. This is the story the film sets out to tell. But as a viewing experience, *Tarella* does not fully bring out its emotional depth. The romance lacks urgency, and the personal stakes feel too distant. The film has all the elements of a grand fairytale but struggles to make the audience feel the weight of Tarella’s journey. Moments that should be surprising or impactful are presented too casually, and the drama that should hold everything together never quite reaches its full intensity. The story had the potential to be captivating, but it is held back by a lack of energy in how the characters respond to their struggles. ### Plot The plot follows a familiar structure. Tarella endures mistreatment from her stepfamily, finds an opportunity to change her fate, and must prove her worth in an extraordinary way. Alongside this, Prince Nosa must navigate royal pressures while drawn to Tarella. The film introduces its own twists, such as an animated retelling of the Egyptian origins of the story and a mysterious connection between Tarella and Rhodopis. The final act brings resolution, but it does not carry the weight that a climactic moment should. Scenes unfold, but the impact does not linger. ### Performances Okawa Shaznay as Tarella plays her role with the expected softness and grace, but the emotional intensity never quite reaches a level where the audience deeply feels her struggles. Timini Egbuson as Prince Nosa fits the part visually and delivers his lines with ease, but there is little that makes him stand out as a lead. Richard Mofe-Damijo, as King Ohen, is a highlight—his performance gives a sense of authority and wisdom, making his character one of the more convincing ones. The stepsisters, Ebinimi and Ebikella, play their roles with the necessary cruelty with idea of “wicked stepsisters.” Gideon Okeke’s performance is distracting, largely due to his accent, which feels unnatural for the setting. Nengi Hampson’s role adds to the story, but not in a way that makes a lasting impression. Overall, the performances are functional but not compelling. ### Technical Aspects The film’s production design is one of its stronger elements. The costumes and sets successfully bring the world of Akkaya to life, making it feel distinct from typical settings. The decision to include animation to tell the Egyptian side of the story is a creative touch that reinforces the film’s mythical tone. However, its execution is clunky. The animation itself is palpable, but the way it is blended into the live-action scenes is disjointed. The sound design and score do their job but do not elevate the film beyond what is expected. The technical choices are not bad, but they do not actively enhance the storytelling either. ### Final Thoughts The idea of an African Cinderella rooted in historical mythology is exciting, and Tarella had all the right ingredients to be a standout film. But something is missing. The drama does not pull the audience in, and the emotional beats do not land as they should. The romance, which should be the film’s driving force, is not compelling enough to carry the weight of the story. The film plays it safe, never pushing its moments to be as gripping or as magical as they could be. ### Verdict *Tarella* is an ambitious attempt at redefining a classic tale, but it falls short in emotional engagement and dramatic intensity. While it is visually appealing and culturally significant, it does not leave a lasting impact. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/tarella-a-long-awaited-fairytale-that-falls-short-of-its-magic/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/tarella-a-long-awaited-fairytale-that-falls-short-of-its-magic/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/tarella-a-long-awaited-fairytale-that-falls-short-of-its-magic/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/tarella-a-long-awaited-fairytale-that-falls-short-of-its-magic/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/tarella-a-long-awaited-fairytale-that-falls-short-of-its-magic/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Acting Performance, african cinema, Bolaji Ogunmola, Cinematography, Daniel Etim Effiong, Film review, Genoveva Umeh, Kanaga Emmanuel Eme, Kayode Ojuolape Jnr, Love and Romance, Love Stories, Movie Analysis, Movie Rating, Movie Review, nollycritic, nollywood, nollywood 2024, Nollywood Cinema, Nollywood Critique, nollywood movies, Nollywood Romance, Romance, Romantic Drama, Summer Rain Movie, Tina Mba, valentine, valentine's --- ### [Love Lockdown – When Circumstance Becomes the Third Party in a Relationship](https://nollycritic.com/love-lockdown-when-circumstance-becomes-the-third-party-in-a-relationship/) **Published:** February 15, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Few films capture the unpredictable nature of love quite like Love Lockdown. Set against the backdrop of a global crisis, **Content:** Few films capture the unpredictable nature of love quite like *Love Lockdown*. Set against the backdrop of a global crisis, the film explores how external forces can reignite past emotions, complicating the certainty of present commitments. With a strong central premise and compelling performances, it raises a timeless question. Do we choose love, or does love choose us? ## *Love Lockdown* Directed by: Lyndsey Efejuku Written by: Anthony Deluola, Freddie O. Anyaegbunam Jr., Egbemawei Dimiyei Sammy Genre: Drama, Romance Released on: February 14, 2025 (Cinemas) Language: English ### Story *[Love Lockdown](https://www.imdb.com/title/tt34949575/ "Love Lockdown")* is an exploration of human connection, desire, and the unpredictability of relationships. It presents love as something that is not only shaped by choice but also by circumstance. The film delves into the idea that timing and proximity can sometimes blur the lines between true emotional connection and fleeting attraction. While its premise suggests a story about rekindled romance, *Love Lockdown* ultimately serves as a reflection on how external forces, like a global crisis, can trap us in past emotions and force us to reassess what we truly want. It asks a fundamental question: do we love because it is right, or because it is convenient? ### Plot Yemi (Andrew Yaw Bunting) is a man with a structured life, engaged to the successful and loving Zainab (Detola Jones). However, when a COVID-19 lockdown unexpectedly confines him with his ex, Taylor (Chidera Makatah), emotions from the past resurface. In isolation, their unresolved feelings reignite, blurring the boundaries between nostalgia and genuine love. As time stretches on and the outside world remains inaccessible, Yemi is confronted with a decision that could alter the course of his future: is his love for Zainab real, or is Taylor the person he was always meant to be with? As a concept, the film attempts to use the lockdown as both a literal and metaphorical cage, forcing its characters into an emotionally volatile space. However, while it successfully captures the tension of being trapped in a situation beyond one’s control, the film occasionally relies too heavily on its premise, rather than fully developing the complexity of Yemi’s emotional conflict. ### Performances [Andrew Yaw Bunting](https://nollycritic.com/?s=andrew+bunting "Andrew Yaw Bunting") delivers a performance that balances restraint with internal conflict. He effectively portrays a man wrestling with his emotions, but, the poor character development causes a disconnect. His chemistry with Chidera Makatah (Taylor) is evident, making their rekindled relationship feel organic rather than forced. Makatah, in particular, stands out, as she brings a layered portrayal of an ex-lover who exists in a space between regret and temptation. She embodies Taylor with a natural charm, making it easy to understand why Yemi finds himself drawn back into her orbit. ### Technical Aspects *Love Lockdown* takes a minimalistic approach visually, focusing on its confined setting. This enhances the feeling of isolation, and heighten moments of sexual intimacy. One of the film’s weaker technical elements is its sound design. Inconsistent audio levels make certain conversations difficult to follow, which occasionally detracts from the emotional weight of key moments. However, where the film excels is in its use of lighting and production design to create a believable lockdown setting. The subtle visual cues such as dimming lights reflecting the passage of time help reinforce the film’s central theme of isolation. ### Final Thoughts Beyond its romantic premise, *Love Lockdown* touches on deeper issues of fate, choice, and the impact of circumstances on relationships. While its execution is not flawless, it succeeds in presenting a situation that many viewers might find relatable—being forced to confront unresolved emotions when least expected. The film presents a strong premise: two former lovers forced into close quarters during a lockdown, confronting their past while their future remains uncertain. However, while the setup is ripe for an intense psychological and emotional journey, the film falls short in fully immersing the audience in the depth of its characters. The tension between Yemi, his ex, and his fiancée could have been an intricate dance of emotions, self-discovery, and moral dilemmas, but instead, the film leans too heavily on the lockdown itself as a plot device. The characters’ inner struggles and motivations are unexplored, leaving the audience observing rather than truly feeling the weight of their choices. For instance, Yemi’s descent into rekindling a past romance comes across as impulsive rather than emotionally driven. His conflict is present, but the film does little to truly unravel his psychology. Is he struggling with unresolved love, or is he simply succumbing to loneliness and proximity? The lack of deeper introspection makes his actions seem more like plot conveniences than genuine character development. At the end, Yemi’s eventual choice is as a result of Zainab being the person in the wrong. Similarly, his ex, played by Chidera Makatah, remains somewhat one-dimensional. Her motivations are clear, but they lack the emotional layering that would make the audience empathize with her predicament. That said, *Love Lockdown* could have benefited from a more refined screenplay that delved further into Yemi’s psyche, as well as a stronger role for Zainab to create a more balanced emotional conflict. If the film had focused more on the psychological and emotional underpinnings of the characters rather than the physical constraints of the lockdown, it would have resonated on a much deeper level. The film is engaging but leaves the impression that it could have explored its themes with greater depth. ### Verdict A thought-provoking drama with strong performances, *Love Lockdown* delivers an engaging exploration of love under unexpected circumstances even if it misses the opportunity to create a truly immersive emotional experience. While it has shortcomings, its central conflict remains compelling enough to hold the audience’s attention until it ends in predictability. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/love-lockdown-when-circumstance-becomes-the-third-party-in-a-relationship/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/love-lockdown-when-circumstance-becomes-the-third-party-in-a-relationship/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/love-lockdown-when-circumstance-becomes-the-third-party-in-a-relationship/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/love-lockdown-when-circumstance-becomes-the-third-party-in-a-relationship/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/love-lockdown-when-circumstance-becomes-the-third-party-in-a-relationship/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Andrew Bunting, Anthony Deluola, Freddie O. Anyaegbunam Jr., Love Lockdown, Lyndsey Efejuku, nollycritic, nollywood, Reviews --- ### [Summer Rain: Love, Loss, and Second Chances](https://nollycritic.com/summer-rain-love-loss-and-second-chances/) **Published:** February 11, 2025 **Author:** Shalom O. Obisesan **Excerpt:** t’s the season of love, and Nollywood continues to explore romance from fresh angles. Summer Rain offers another perspective on love **Content:** It’s the season of love, and Nollywood continues to explore romance from fresh angles. *[Summer Rain](https://www.imdb.com/title/tt35338103/ "Summer Rain")* offers another perspective on love, one that asks: Can love survive time, misunderstandings, and unresolved wounds? Can soulmates truly find their way back to each other, even after a decade apart? As Nollywood delves into the complexities of rekindled romance, *Summer Rain* attempts to capture the beauty and pain of love that refuses to fade, despite all odds. But does it succeed? Let’s find out. ## *Summer Rain* Directed by: Adenike Adebayo-Esho Written by: Owumi Ugbeye Genre: Drama, Romance Released on: February 7, 2025 (Cinemas) Language: English ### Story *Summer Rain* is a story of love rediscovered. It follows Murewa and Adim, childhood sweethearts who are torn apart by misunderstandings, only to find their paths crossing again ten years later. The film examines the weight of unspoken words, the pain of assumptions, and the consequences of choices made in youthful naivety. While it presents itself as a romance, it also touches on deeper issues—betrayal, trauma, and the long shadow that past wounds can cast on the present. The film intends to explore the endurance of love despite separation and miscommunication, and in some ways, it succeeds. However, while its earlier moments capture the thrill and innocence of young love with an engaging authenticity, its later years become weighed down by dialogue-heavy interactions that at times feel too rehearsed. The chemistry between the leads is strongest in the film’s youthful segment, where their emotions are conveyed with spontaneity and sincerity. As they grow older, the film leans more into conversations that spell things out rather than allowing emotions to simmer naturally, making the latter half less compelling than its vibrant beginnings. ### Plot The plot follows Murewa and Adim as they navigate love, separation, and unintended consequences. Their teenage romance is abruptly cut short when Murewa, frustrated by Adim’s hesitation to express his love, enters a relationship with Tofe, a wealthy suitor. However, her reluctance to fully commit to Tofe leads to a tragic turn. A critical misunderstanding arises when Adim, believing she has moved on, storms off in anger without knowing the full truth. The situation is further exacerbated by Murewa’s mother, who keeps Adim away under the pretense that he is too young to take responsibility. A decade later, fate reunites them on a work project. Murewa, now engaged to another man, is unwilling to reopen old wounds, but Adim’s discovery that her daughter, Tiara, shares his blood type forces the past back into the present. A DNA test confirms what fate had already decided. Tiara is his child! This revelation sets the stage for a slow but inevitable reconciliation, one that forces Murewa to confront not only her lingering feelings but also the deception that shaped her life for the last ten years. ### Performances The film thrives in its earlier sequences, where the young characters, particularly Genoveva Umeh and Kayode Ojuolape Jnr as young Murewa and Adim, embody their roles with a sense of freshness and emotional authenticity. Their performances make their characters’ initial romance feel both charming and real. However, the transition to their older counterparts—played by Bolaji Ogunmola and Daniel Etim Effiong—is where the film struggles. While both actors are competent, the chemistry between them does not feel as organic as in their younger years. The weight of their past is evident in their performances, but the natural ease that made their younger romance so compelling feels somewhat diminished. Kanaga Emmanuel Eme, as the manipulative and entitled Tofe, also delivers a solid performance, effectively portraying a man whose charm masks a deep-seated cruelty. ### Technical Aspects Visually, *Summer Rain* excels in its portrayal of intimacy. The cinematography in the younger timeline is especially effective in reinforcing the closeness between Murewa and Adim, using tight frames to capture their world in a way that feels personal and warm. However, this same level of visual storytelling does not always extend into the present-day sequences, where the framing and composition become more conventional, missing opportunities to visually express the distance and tension between the older characters. The film’s sound design and score are functional, if not particularly memorable. Music is used effectively in key emotional moments. ### Final Thoughts One of the film’s weaknesses is [Nollywood’s](https://nollycritic.com/?s=nollywood "Nollywood’s") ongoing challenge with consistent character representation. The casting of different actors for the younger and older versions of the same characters is a necessary choice, but in *Summer Rain*, the disparities are glaring. The actors playing the younger versions share little resemblance with their older counterparts, making it difficult to connect the two timelines seamlessly. This issue is particularly evident with Gboyega and Tofe, whose actors not only look different but also exhibit similar traits, such as nonchalance and a specific eye movement, that make it momentarily confusing to distinguish them. I almost appreciated the attention to character nuance until I realized that I got it mixed up. *Summer Rain* tells a story that is, at its core, about love’s ability to endure despite the damage inflicted by time and circumstance. Its best moments lie in the early years of Murewa and Adim’s romance, where the performances feel most sincere, and the cinematography most alive. However, as the film progresses, its reliance on dialogue over visual storytelling, along with its struggle to maintain the same emotional intensity across its timelines, holds it back from being truly exceptional. ### Verdict *Summer Rain* is an engaging romance that thrives on its youthful charm. While it does not entirely escape Nollywood’s usual pitfalls, it remains a heartfelt film that fans of love stories will find rewarding. **Rating**: 3.4/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/summer-rain-love-loss-and-second-chances/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/summer-rain-love-loss-and-second-chances/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/summer-rain-love-loss-and-second-chances/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/summer-rain-love-loss-and-second-chances/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/summer-rain-love-loss-and-second-chances/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Acting Performance, african cinema, Bolaji Ogunmola, Cinematography, Daniel Etim Effiong, Film review, Genoveva Umeh, Kanaga Emmanuel Eme, Kayode Ojuolape Jnr, Love and Romance, Love Stories, Movie Analysis, Movie Review, nollycritic, nollywood, nollywood 2024, Nollywood Cinema, nollywood movies, Nollywood Romance, Romance, Romantic Drama, Summer Rain Movie, Tina Mba, valentine, valentine's --- ### [The Switch: A Predictable Plot With Weak Execution](https://nollycritic.com/the-switch-a-predictable-plot-with-weak-execution/) **Published:** February 5, 2025 **Author:** Uju Okosieme **Excerpt:** Okey Ifeanyi’s movie The Switch recently landed on Prime Video, and as always, we’re here to let you know if it’s worth the watch. **Content:** Okey Ifeanyi’s movie *[The Switch](https://www.imdb.com/title/tt29008390/ "The Switch")* recently landed on Prime Video, and as always, we’re here to let you know if it’s worth the watch. ## *The Switch* Directed by: Okey Ifeanyi Written by: Agu Gift Ihuoma Genre: Drama Release date: January, 2025 (Prime Video) Language: English ##### Plot The synopsis reads: *Stephanie loves her fiancé but complains that he’s too soft and nice. She constantly compares him to her friend’s boyfriend, who abuses and batters her. So, both couples agree to switch partners for a month.* The premise is easy to follow, albeit completely unrealistic. It explores the dynamics between these couples before, during, and after they decide to exchange partners. ##### Story While we always appreciate filmmakers thinking outside the box, this story is so far-fetched that it’s hard to take seriously—especially in a Nigerian setting, where no one would willingly agree to such an arrangement. Beyond that, the plot’s predictability drains any tension or anticipation, making it difficult to stay engaged. The dialogue is cringeworthy, often feeling forced and unnatural. Even worse, the movie drags on unnecessarily, with several moments where it feels like it should have ended already. The lack of pacing and build-up makes the experience frustrating rather than immersive. ##### Performances Right from the first scene—where Ik Ogbonna’s Pablo is shown beating his fiancée, Judith ([Sandra Okunzuwa)](https://nollycritic.com/?s=sandra+okunzuwa "Sandra Okunzuwa)")—the execution is underwhelming. The scene meant to establish the gravity of their toxic relationship, comes off as poorly staged and unconvincing. None of the performances in this film stand out. The couples lack chemistry, and their portrayals fail to make us care about their characters or their choices. Everything feels one-note, which makes it difficult to connect with the film emotionally. ##### Technical Aspects Let’s start with the most distracting choice: Ik Ogbonna’s hairstyle. Whoever decided on that look did him a great disservice—it was simply terrible. Beyond that, the film struggles with sound issues, with background noise occasionally overpowering conversations, making it hard to stay immersed in the scenes. These technical missteps add to the film’s overall lack of polish. ##### Final Thoughts This movie lost us from the very first scene. The premise itself is already hard to buy into, but the way it’s executed makes it even more unbelievable. Of course, it’s the men who come up with the idea of switching partners, and the way Judith immediately understands what they’re suggesting—despite their vague and awkward phrasing—is just not believable. Also, the amount of times the word *switch* was said in this movie was quite annoying. ##### Verdict Like many Nollywood films, *The Switch*‘tries to teach a lesson. However, because the moral of the story is predictable from the start, the journey to that lesson feels empty and lacks any real impact. It’s simply not a compelling watch, earning it a rating of 1.75 stars. Underwhelming. **Rating**: 1.5/5 ⭐⭐ Rating: 1.5 out of 5. https://www.youtube.com/watch?v=CRAOXQYZqdQ ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-switch-a-predictable-plot-with-weak-execution/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-switch-a-predictable-plot-with-weak-execution/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-switch-a-predictable-plot-with-weak-execution/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-switch-a-predictable-plot-with-weak-execution/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-switch-a-predictable-plot-with-weak-execution/?share=linkedin) - **Categories:** Articles, Blog, Movies, Reviews **Tags:** Bolaji Ogunmola, Felix Omokhodion, Ik Ogbonna, Okey Ifeanyi, Onyii Alex, Prime Video, Sandra Okunzuwa, The Switch --- ### [Something About The Briggs: A Thoughtful Exploration of Faith, Family, and Love](https://nollycritic.com/something-about-the-briggs-a-thoughtful-exploration-of-faith-family-and-love/) **Published:** February 4, 2025 **Author:** Shalom O. Obisesan **Excerpt:** In Something About The Briggs, marriage isn’t just about love, it’s about survival, adaptation, and the burden of expectations... **Content:** There really is something about the Briggs. “There are certain attributes that make you attractive to him. Do everything within your power to maintain it,” Mrs Briggs tells her daughter, echoing a philosophy shaped by years of marriage and her experience. But her husband counters with a stark truth: “Those things that attracted you will repel you.” In *[Something About The Briggs](https://nollycritic.com/something-about-the-briggs-set-for-january-premier/ "Something About The Briggs")*, marriage isn’t just about love, it’s about survival, adaptation, and the burden of expectations. The film dives into the complexities of family, faith, and commitment, questioning whether love alone is enough to hold a relationship together. But does it truly capture the weight of these themes, or does it fall into familiar storytelling patterns? ## *Something About The Briggs* Directed by: Bukola Ogunsola Written by: Bukola Ogunsola Genre: Drama Released on: January 31, 2025 (Cinemas) Language: English ### Story *[Something About The Briggs](https://www.imdb.com/title/tt35185591/ "Something About The Briggs")* is an exploration of love, marriage, and generational trauma within a wealthy but fractured family. Bukola Ogunsola crafts a narrative that dissects the fears and insecurities passed down through relationships, particularly the idea that marriage inevitably leads to misery. Through Sophie Briggs’ reluctance to marry due to her family’s history of dysfunctional unions, the film questions whether people are doomed to repeat their parents’ mistakes or if love, with effort and understanding, can break toxic cycles. Faith, forgiveness, and personal growth emerge as central ideas, offering a layered perspective with a fusion of faith on marriage beyond romance and social expectations. The film effectively captures the complexities of relationships, showing how deeply ingrained beliefs shape one’s perception of love. Sophie’s fears feel real, and her journey reflects a broader conversation about emotional baggage and learned behaviours within families. The Briggs family’s struggles, ranging from emotional neglect to outright abuse resonate because they mirror common realities, making the film feel deeply personal yet universal. However, *Something About The Briggs* is not entirely bleak; by incorporating faith and personal accountability, it offers a hopeful outlook, suggesting that while love alone isn’t enough, commitment and self-awareness can bridge the gap between desire and lasting companionship. ### Plot Sophie Briggs is hesitant about marriage, convinced that the institution is cursed in her family. Her fiancé, Chuks Obi, refuses to accept her fears at face value and insists on meeting her family, setting off a journey through the troubled marriages of Sophie’s siblings. Her brother Richard is emotionally abusive to his wife, Mina; her sister Cynthia struggles with insecurities in her relationship; and her other brother, Jason, is caught in a marriage dominated by manipulation and disrespect. As Sophie and Chuks navigate this whirlwind of dysfunction, hidden family secrets begin to unravel, forcing Sophie to confront whether her fears are rooted in fate or choice. The climax sees an unexpected figure, enter the picture, shifting the family dynamic and challenging long-held perceptions about love and resilience. In this film, dialogue and drama drive the plot forward. The dialogue remains crisp, clear, and sharp ensuring that even in emotionally charged moments, every word is delivered with precision. However, it comes off as precalculated but still effectively helps to move the plot forward while maintaining cohesion. ### Performances The performances in *Something About The Briggs* are a mix of compelling character work and occasional theatricality. Sophie (Ariyike Owolagba), as the emotional core of the story, is portrayed with a delicate balance of vulnerability and frustration, making her fears about marriage believable. Her interactions with Chuks (Daniel Etim Effiong) offer a natural chemistry, though his insistence on pushing forward despite her hesitations creates moments of tension that could have been explored with more depth. Sofia, the domineering older sister, commands attention with her sharp delivery and physical presence, making her both an antagonist and an unintentional source of comic relief. Stan Nze’s character (Richard), as the emotionally abusive husband, is portrayed with an unsettling realism, making his scenes particularly uncomfortable to watch. Meanwhile, the couple consisting of Jason (Kenneth Okoli) and his controlling wife, Bimbo (Iyabo Ojo), provides a contrast that adds to the film’s layered depiction of marriage dynamics. The ensemble cast carries the weight of the film effectively, with each character embodying different facets of love and dysfunction. The only drawback is that some of the emotional beats feel exaggerated, veering into melodrama instead of nuance, but the strength of the cast’s performances ensures that these moments remain engaging rather than distracting. The same with dialogue. While functional, it often feels too deliberate in its effort to drive the plot forward, occasionally sacrificing natural flow for exposition. ### Technical Aspects *Something About The Briggs* stands out as a visually ambitious project, with its production values reflecting the film’s high aspirations. The production design is undeniably lavish, immersing the audience in the world of the affluent Briggs family. Every setting, from the grand family home to smaller, intimate spaces, is carefully designed to reinforce the film’s themes of status, emotional strain, and personal identity. The costume design enhances the film’s aesthetic and also subtly communicates character traits. From the way characters present themselves at home (sometimes appearing overdressed) to the detailing of formal attire, the film uses fashion as an extension of personality and class. However, while this emphasis on grandeur adds visual appeal, it occasionally distracts from the film’s intended realism, making certain scenes feel more stylised than natural. Cinematographically, the film leans towards conventional framing and lighting techniques, ensuring clarity, with a few scenes that enhance its emotional weight through more inventive visual storytelling. The camera work is functional, capturing performances effectively. The sound design and music elevate the film’s emotional resonance, with a serenading score that underscores key moments without overwhelming them. The choice of music complements the film’s reflective tone, reinforcing its themes of love, loss, and reconciliation. The seamless integration of faith-based messaging into the film’s structure is handled with remarkable restraint, avoiding the preachiness. Editing and pacing present a mix of strengths and weaknesses. The film prioritises plot progression, ensuring that no scene feels unnecessary, yet this sometimes comes at the expense of organic pacing (even though it was 2 hours long). Some transitions feel abrupt, and certain emotional beats might have benefitted from a more patient approach, allowing the weight of pivotal moments to settle. However, the overall flow of the film remains engaging, with no significant lag in momentum. Ultimately, *Something About The Briggs* is a technically accomplished film that demonstrates a strong commitment to quality. While it doesn’t push Nollywood’s cinematic boundaries in terms of innovation, it delivers a polished and immersive experience, ensuring that its storytelling is well-supported by its visual and auditory elements. ### Final Thoughts *Something About The Briggs* attempts to tell a narrative around love, marriage, and generational patterns, all within the framework of faith and societal expectations. Something About The Briggs finds a way to seamlessly integrate faith without alienating a general audience. It presents biblical perspectives on love and marriage, particularly through 1 Corinthians 13, while remaining accessible to both religious and secular viewers. This balance is what makes *Something About The Briggs* a conversation starter with its influence unmistakable. The film’s layered messaging provides depth to its central theme: love is more than mere attraction; it is an evolving commitment. The Briggs family’s “curse” and the idea of generational mistakes lingering over new unions create an undercurrent of tension. *Something About The Briggs* embraces a visual and situational approach in its storytelling, allowing its themes to unfold through interactions, conflicts, and even the presence of certain characters. This is evident in the contrast between Mr. and Mrs. Briggs’ perspectives on attraction and marriage where their dialogue alone tells a much larger story about generational mindsets. ### Verdict In the end, *Something About The Briggs* succeeds in delivering a thought-provoking yet entertaining experience. It offers a fresh take on familiar themes, engaging its audience with both its storytelling and its emotional resonance. Whether through its faith-driven undercurrents or its commentary on love and marriage, it leaves viewers with something to discuss long after the credits roll. **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/something-about-the-briggs-a-thoughtful-exploration-of-faith-family-and-love/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/something-about-the-briggs-a-thoughtful-exploration-of-faith-family-and-love/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/something-about-the-briggs-a-thoughtful-exploration-of-faith-family-and-love/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/something-about-the-briggs-a-thoughtful-exploration-of-faith-family-and-love/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/something-about-the-briggs-a-thoughtful-exploration-of-faith-family-and-love/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews --- ### [Atiko: A Heartfelt Drama on Fate, Sacrifice, and Destiny](https://nollycritic.com/atiko-an-heartfelt-drama-on-fate-sacrifice-and-destiny/) **Published:** January 22, 2025 **Author:** Shalom O. Obisesan **Excerpt:** In this analysis of Atiko, we delve into the film’s blend of cultural themes, emotional storytelling, and technical artistry to uncover what makes .. **Content:** For Biodun Stephen’s *[Atiko](https://www.imdb.com/title/tt35048458/ "Atiko")*, we delve into the film’s blend of cultural themes, emotional storytelling, and technical artistry to uncover what makes it both compelling and flawed. By examining the plot, performances, technical aspects, and overarching story, we explore how the filmmakers use the lens of Yoruba spirituality to tackle universal themes of sacrifice, fate, and generational love. Our approach highlights not just the film’s intentions but also how it resonates with audiences, celebrating its strengths while critiquing its limitations. In doing so, we aim to provide a balanced perspective that appreciates *Atiko* for what it achieves and the conversations it sparks. We tried so hard to write this without spoilers, but some details might still give it away. Anyway, **spoilers ahead!** ## *Atiko* Directed by: Biodun Stephen Written by: Yakub Moshood Genre: Drama Released on: January, 2025 (Circuits) Language: English, Yoruba ### Plot The official logline on [Circuits](http://www.ciircuits.tv "Circuits") reads: “Lifelong friends Ajoke and Lape, facing hardships, discover a surprising lineage common to them. Their pursuit of change strains family bonds and challenges village perceptions, forcing them to hide their secret at a high cost.” The plot of *Atiko* revolves around two lifelong friends, Ajoke and Lape, who take drastic measures to rewrite destinies after a devastating prophecy condemns them to a life of poverty. From their modest lives in a Yoruba village to the ripple effects of their decisions, the story chronicles the tension that emerges between the mothers and their children, as well as the suspicions it stirs within the community. The film thrives on the mystery of the mothers’ peculiar behaviour, gradually revealing the layers of their secret and keeping the audience engaged. The plot unfolds through a series of emotionally charged events, though its abrupt scene transitions occasionally dilute some of its dramatic impact. While the prophecy and its fulfilment create a fascinating premise, some elements feel underexplored, such as Busola’s miscarriages and Karen’s role in Aderopo’s life, which could have added more depth to the story. One major flaw in the plot is the scene where Ajoke and Lape take the boys to Baba Tapa’s shrine. They looked old enough to recall such a pivotal event especially with amount of mysticism experieced. in the scene. That said, the central conflict between the mothers’ and the sons’ longing for connection is powerfully portrayed, offering a heartfelt look at the cost of generational sacrifice. The film shines in how it builds suspense and keeps viewers invested in uncovering the truth, leaving you hooked as it leads to its inevitable finale. ### Story *Atiko* is a story about fate, sacrifice, and the enduring struggle between tradition and personal ambition. Through the lens of Yoruba cultural beliefs, the film explores the idea of predestination and how individuals navigate the burden of unavoidable destinies. It highlights the emotional turmoil of parents who give up everything to ensure a brighter future for their children, even if it means severing the joys of maternal connection. This narrative positions themes of love, selflessness, and destiny at the forefront. The film tells a deeply moving story that lingers with the audience long after the credits roll. The idea that prosperity can come at the cost of personal happiness and familial connection speaks to a profound truth about sacrifice and parenthood. The tension between the characters’ personal desires and the constraints of their cultural and spiritual circumstances is palpable, leaving viewers to reflect on the costs of “rewriting fate.” The emotional weight of the mothers’ choices and their tragic end remains the story’s most impactful takeaway. ### Performances The performances in *Atiko* breathe life into its emotionally charged narrative, with the cast delivering layered and compelling portrayals. Ibrahim Chatta is a standout as Baba Tapa, the enigmatic spiritual figure whose prophecy propels the story. Chatta, known for embodying authoritative roles, imbues Baba Tapa with a distinct physicality. His characteristic twitches and subtle expressions heighten the character’s mystique, distinguishing him from his previous roles. Adebowale “Mr Macaroni” Adedayo shines as Akorede, revealing a level of emotional vulnerability that many might not have expected from him. His heartfelt performance in moments such as pleading with his mother to accept his gift of a house showcases his depth as an actor. Deyemi Okanlawon complements him well as Aderopo, portraying his character’s confusion, frustration, and deep love for his mother with a quiet strength. The mothers, Ajoke and Lape, portrayed by Bimbo Oshin and Adediwura Gold in their older versions, bring a unique charm and complexity to the film. Their characters exude love and care while skilfully masking their secrets with an air of wisdom and cunning. This ambiguity keeps the audience invested, unsure whether the mothers or their sons are hiding something. The younger versions of these characters, played by Modola Osifuwa (younger Ajoke) and Bolaji Ogunmola (younger Lape), successfully convey the desperation and determination that lead to the mothers’ ultimate sacrifices. These performances lay a solid emotional foundation, making the older characters’ actions feel all the more poignant. The supporting cast also deserves recognition. Teniola Aladese, as Busola, Akorede’s wife, gives a sensitive and authentic performance, especially as she grapples with the pain of repeated miscarriages and her growing doubts about her husband. Adunni Ade as Karen, Aderopo’s wife, brings depth to her character, though her role could have been explored further. Adebayo Salami, as Baba Mogaji, delivers a dignified performance, particularly in moments where he steps in to mediate conflict. Even the smaller roles, played by actors such as Wumi Toriola, Jide Kosoko, Adeniyi Johnson, and Salewa Yusuf, contribute meaningfully to the overall narrative. ### Technical Aspects The film’s technicalities blend emotional storytelling with a variety of visual and auditory choices to enhance its impact. The cinematography captures a natural, lived-in aesthetic that reflects the grounded setting of a Yoruba village. There’s an authenticity to the film’s colour grading and lighting that immerses the audience in its emotional world. However, the frequent cuts between shots sometimes feel jarring, particularly in the opening musical scene, where the camera’s observational style struggles to fully convey Ajoke’s dilemma in the marketplace. A more choreographed, immersive approach could have strengthened the connection to this scene. The film’s soundtrack is memorable, with songs that echo the themes of destiny, hope, and resilience. Music is more than an accompaniment here—it becomes a character of its own, underscoring pivotal moments and drawing the audience into the emotional weight of the story. The visual effects, crafted by Anthill Studios, add an effective layer of mysticism. The spiritual elements depicted through VFX successfully convey the supernatural in Baba Tapa’s coven enhancing the film’s connection to Yoruba spirituality. These effects feel purposefully unnatural, amplifying the audience’s sense of otherworldliness without being overbearing. Where the technical aspects falter is in the pacing and editing. Abrupt scene transitions occasionally undercut emotional moments, such as when Ajoke discovers Lape’s death. Allowing certain scenes to linger would have heightened their emotional resonance. Similarly, the use of certain props, like the exaggerated bandages on Aderopo and Akorede, while characteristic of Yoruba cinema, can feel a little heavy-handed. Also, the make up for Baba Tapa is inconsistent. *Atiko* demonstrates a thoughtful approach to its technical elements, particularly in its visual and auditory design. Together, these choices create an immersive and emotionally resonant viewing experience. ### Final Thoughts *Atiko* is a film that thrives on its emotional depth, cultural grounding, and thematic resonance, but like many stories, it invites a closer look at certain narrative choices. Some viewers may point out perceived plot holes, such as Busola’s departure from the story after leaving Akorede or the absence of Karen’s child on screen. However, these elements don’t detract from the overall narrative; rather, they serve the story’s emotional and thematic priorities. Busola’s exit from the plot feels natural and justified. Her leaving Akorede’s life mirrors her leaving the narrative. Her story is less about resolution and more about the cumulative toll of her relationship with Akorede, his mother, and the mysterious forces around them. The film doesn’t need to follow her journey beyond that point; her absence reinforces the lingering sense of loss and fracture within Akorede’s life. What may seem like plot holes are instead narrative choices that prioritise the story’s emotional and thematic arcs over exhaustive details. *Atiko* is less concerned with tying off every thread than with immersing its audience in a tale of sacrifice, love, and the unrelenting grip of destiny. It’s a film that invites viewers to reflect on the weight of generational choices and the mysteries of fate, leaving some questions unanswered, not out of neglect, but to maintain its aura of intrigue. ### Verdict *Atiko* is a poignant exploration of sacrifice, destiny, and the complexities of generational love, anchored by strong performances and a deeply emotional core. The film excels in immersing the audience in its themes of cultural spirituality and the cost of rewriting fate, with moments that linger long after the credits roll. It is a heartfelt, thought-provoking drama that resonates through its emotional sincerity. *Atiko* succeeds in delivering a compelling tale that will leave audiences reflecting on its messages of love, sacrifice, and the burden of destiny. Atiko is currently streaming via [Circuits](https://nollycritic.com/circuits-seven-doors-atiko-set-to-premiere-on-new-virtual-cinema/ "Circuits"). **Rating**: 3.85/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/atiko-an-heartfelt-drama-on-fate-sacrifice-and-destiny/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/atiko-an-heartfelt-drama-on-fate-sacrifice-and-destiny/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/atiko-an-heartfelt-drama-on-fate-sacrifice-and-destiny/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/atiko-an-heartfelt-drama-on-fate-sacrifice-and-destiny/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/atiko-an-heartfelt-drama-on-fate-sacrifice-and-destiny/?share=linkedin) - **Categories:** Movies, Nollywood, Popular reviews, Reviews **Tags:** Adebowale "Mr Macaroni" Adedayo, Adediwura Gold, atiko, Bimbo Oshin, Biodun Stephen, circuits, Deyemi Okanlawon, nollycritic, nollywood --- ### [Sarah’s Bind: A Shallow Social Drama With a Weak Plot](https://nollycritic.com/sarahs-bind-a-shallow-social-drama-with-a-weak-plot/) **Published:** January 31, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Sitting through Sarah’s Bind was an exercise in patience. The film attempts to explore the consequences of overprotective parenting... **Content:** Sitting through[ *Sarah’s Bind* ](https://www.imdb.com/title/tt29001716/ " Sarah’s Bind ")was an exercise in patience. The film attempts to explore the consequences of overprotective parenting but does so in a way that feels heavy-handed and lacking in nuance. From the outset, it becomes clear that the film relies on tired tropes, unnatural dialogue, and forced drama to communicate its message. Rather than presenting a layered discussion, it simplifies complex themes into a predictable narrative. Yet, for all its flaws, the film does manage to raise pertinent questions, questions it fails to answer effectively. ## *Sarah’s Bind* Directed by: Okey Ifeanyi Written by: Adaeze Ibechukwu Genre: Drama Release date: January, 2025 (Prime Video) Language: English ### Plot The narrative follows Mrs Jimma, who, despite resenting her own mother’s strictness, finds herself imposing the same restrictions on Sarah, her daughter. At first, she appears more permissive, allowing Sarah to complete her NYSC, but after a conversation with her friend Clara, fear consumes her. Rather than reflecting on her own experiences, she tightens her control, convinced that she is preventing Sarah from making the same mistakes she made. This shift in character feels abrupt and unearned, making her arc less of a natural progression and more of a forced plot device. Sarah, meanwhile, remains largely passive throughout the film. Even when faced with physical reprimands and emotional manipulation, she does not retaliate, nor does she actively push against her mother’s control. Her romantic subplot with Joshua follows a problematic trajectory—despite her initial dismissiveness and his manipulative behaviour, she eventually gives in after his persistent pursuit. The father, Mr Jimma, who has been absent for 21 years, suddenly appears as the “reasonable” parent. The film’s pacing suffers from unnecessary repetition, with several scenes dedicated to Sarah recounting past events to friends, dragging the runtime beyond what the story necessitates. ### Story At its heart, *Sarah’s Bind* is a film about fear—how a parent’s unresolved past can unconsciously dictate their approach to raising a child. Mrs Jimma, shaped by a restrictive upbringing, resents her own mother’s control but repeats the same patterns with her daughter, Sarah. The film attempts to explore the consequences of excessive protection: does it truly safeguard children, or does it push them towards rebellion? However, instead of offering a layered discussion, the film presents a rigid, almost fatalistic approach to parenting, suggesting that people inevitably become their parents if they lack awareness. It highlights the cycle of learned behaviour, yet it does little to challenge or subvert it. The film also touches on gender-based parenting disparities, reinforcing the societal tendency to over-monitor girls while giving boys more freedom, though it never fully interrogates this imbalance. Tonally, the film positions itself as a family drama, but its execution leans more towards melodrama, with exaggerated conflicts that feel contrived rather than organic. There’s an evident attempt to make the story emotionally compelling, but instead of developing characters through meaningful interactions, the film relies on heavy-handed dialogue and repetitive scenarios. Despite its intent to shed light on real-life struggles, the film ultimately lacks the subtlety required to make its themes truly impactful. The story could have been a thought-provoking reflection on parenting, gender roles, and autonomy, but instead, it becomes a frustrating portrayal of unexamined cycles and unchallenged ideologies. ### Performances The performances feel stiff and unconvincing, largely due to weak character development and uninspired dialogue. Mrs Jimma, positioned as a conflicted anti-hero, comes across as one-dimensional, her emotional turmoil conveyed through exaggerated outbursts rather than genuine depth. Sarah, despite being the supposed protagonist, lacks agency. Her passivity, both in dealing with her mother’s control and her interactions with Joshua, makes her a frustratingly weak character, reinforcing the idea that she is merely a product of her circumstances rather than an individual with her own convictions. Joshua, on the other hand, embodies a problematic masculinity that the film fails to critique—his manipulative behaviour is presented as persistence, his entitlement as charm. The dialogue delivery across the board is unnatural, making emotional moments pre-planned and forced rather than impactful. Even the film’s attempts at confrontation and catharsis fall flat due to the lack of believable chemistry between the characters. ### Technical Aspects From a filmmaking perspective, *Sarah’s Bind* struggles in execution. The cinematography is inconsistent, with a few shaky shots that feel more like production errors than creative choices. The lighting some scenes is poorly managed. The score does little to enhance the film, often feeling misplaced or redundant. While the soundtrack manages to convey the film’s themes, its composition is not so impressive. Overall, the technical flaws amplify the already weak storytelling, making the film feel unpolished. ### Final Thoughts One of the most frustrating aspects of the [film](https://nollycritic.com/?s=film "film") is its portrayal of gender roles. The film places women in limiting stereotypes. Mrs Jimma is overbearing and emotionally volatile, Sarah is naïve and submissive, and even secondary female characters lack depth. Men, by contrast, are positioned as either the “reasonable” counterbalance (Mr Jimma) or the persistent, entitled suitor (Joshua), both of whom the film frames as inherently good. Mr Jimma, despite abandoning his family for over two decades, is suddenly presented as the voice of wisdom. Joshua’s relentless pursuit of Sarah follows an outdated romantic trope that, in reality, normalises disrespect of personal boundaries. Persistent pursuit in fiction often creates a controlled environment where audiences know that feelings will eventually be reciprocated. However, in real life, there is no such guarantee. What is framed as “romantic determination” can often feel like coercion. Joshua’s character exemplifies this entitlement, disregarding Sarah’s disinterest until she finally relents, which sends a problematic message about relationships. The film does not critique this dynamic, making it even more frustrating to watch unfold. And this is just one of its major pitfalls. Ultimately, *Sarah’s Bind* lacks nuance, presenting its themes in a way that feels regressive rather than thought-provoking. ### Verdict *Sarah’s Bind* attempts to explore important themes but is ultimately bogged down by weak storytelling, problematic gender portrayals, and poor technical execution. It lacks the nuance and polish needed to make a meaningful impact, resulting in a frustrating viewing experience. Based on this judgement, the film gets a rating of 2/5 stars. **Rating**: 1.75/5 ⭐⭐ Rating: 1.5 out of 5. https://www.youtube.com/watch?v=6AHHEya6Z6o ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/sarahs-bind-a-shallow-social-drama-with-a-weak-plot/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/sarahs-bind-a-shallow-social-drama-with-a-weak-plot/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/sarahs-bind-a-shallow-social-drama-with-a-weak-plot/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/sarahs-bind-a-shallow-social-drama-with-a-weak-plot/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/sarahs-bind-a-shallow-social-drama-with-a-weak-plot/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Adaeze Ibechukwu, nollycritic, nollywood, Okey Ifeanyi, Prime Video, Sandra Okunzuwa, Sarah's Bind --- ### [Oldest Bridesmaid: Popular Premise, Empty Drama](https://nollycritic.com/oldest-bridesmaid-popular-premise-empty-drama/) **Published:** January 21, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Oldest Bridesmaid, completed on September 13, 2020, and released in January 2025, attempts to blend comedy and drama, but fails to achieve either. **Content:** *[Oldest Bridesmaid](https://www.imdb.com/title/tt14013598/ "Oldest Bridesmaid")*, completed on September 13, 2020, and released in January 2025, attempts to blend comedy and drama, but fails to achieve either. Directed by Stanley Obi, the film opens with a sense of datedness, evident from the text/title graphics and sound quality. While the narrative explores themes of love, family, and societal pressures through the lives of four sisters, it lacks the emotional resonance needed to connect with viewers. ## *Oldest Bridesmaid* Directed by: Stanley Obi Written by: Ojor Nneka Genre: Drama, Comedy Released on: January, 2025 (Prime Video) Language: English ### Plot The film opens with Kitan, the youngest of four sisters, announcing her engagement, sparking a ripple of reactions among her sisters. Christabel, the eldest, embodies a pragmatic “iron lady” persona, dismissing romance in favour of her career. Toke is fiercely independent, revelling in her casual lifestyle, while Vivian struggles with the emotional stagnation of an eight-year relationship without a proposal in sight. Kitan’s announcement forces each sister to confront their personal struggles and unspoken frustrations. While the plot sets up a compelling premise: a family reckoning with differing approaches to love and marriage; it falters in execution. Key moments feel underdeveloped, such as the handling of Kitan’s abuse, which is rushed into the climax without the buildup needed to deepen its impact. Subplots, like Christabel’s budding romance, fail to enrich the main storyline, while abrupt scene transitions and awkward pacing disrupt the film’s ability to sustain engagement. Rather than weaving events into a meaningful narrative, the plot simply unfolds, lacking the emotional layering required to fully immerse viewers in the characters’ lives. In order words, the series of events fail to create the intended momentum, offering little engagement beyond watching the drama unfold on screen. ### Story *Oldest Bridesmaid* sets out to explore the diverse challenges women face within the spheres of love, marriage, and family. It reflects on societal pressures to marry at the “right time,” the allure of independence, and the compromises that often come with romantic relationships. Through the sisters’ differing journeys, the film aspires to present a multifaceted look at modern womanhood, balancing drama with comedic moments to make its themes relatable and thought-provoking. While the story touches on meaningful ideas such as questioning societal expectations and exploring personal fulfilment, it lacks the emotional resonance to leave a lasting impression. The comedic elements, often centred around Mrs Alabi’s maternal antics, fail to provide genuine humour, and the dramatic moments feel shallow due to the flat performances and misplaced musical cues. Despite aiming to present layered perspectives on love and marriage, the story ultimately feels like a collection of predictable events rather than a deeply engaging narrative. Its potential for impact is hindered by an uneven tone and a lack of narrative depth, leaving the audience with little to connect to beyond surface-level observations about relationships. ### Performances The performances leave much to be desired, failing to draw viewers into the emotional lives of the characters. While the sisters’ conflicts are relatable on paper, the portrayals lack the depth and conviction needed to make these struggles resonate. Kitan’s scenes of abuse, for example, feel superficial, offering little room for the audience to empathise with her plight. Similarly, Vivian’s desperation for a proposal comes across as melodramatic rather than sincere, robbing her storyline of emotional weight. One major issue contributing to this disconnect is the post-recorded dialogue, which strips the performances of natural emotion and makes interactions feel robotic. Even the comedic relief from Mrs Alabi, who is meant to inject energy into the film, feels overdone and one-note, failing to land the intended humour. Ultimately, the performances leave the audience watching from a distance, unable to form meaningful connections with the characters or their journeys. ### Technical Aspects The technical execution significantly undermines the film’s storytelling, making it difficult for the film to leave a lasting impression. From the very beginning, the dated quality of the production is apparent (it being dated is not wrong, by the way), with its text and title graphics animation. The sound design is particularly problematic, with dialogue in certain scenes sounding like it was recorded separately and was well integrated into the final mix. This post-recorded audio robs the performances of their emotional nuance, creating a disconnect between the actors and their “human-ness”. The film’s editing choices further disrupt its flow, with frequent abrupt cuts used as transitions that fail to establish the passage of time or maintain continuity. This leaves scenes feeling disjointed and prevents the audience from fully engaging with the narrative. Additionally, the musical score often feels mismatched to the on-screen action. For instance, the ominous tone of the score during a lighthearted conversation about Kitan’s wedding creates confusion about the intended mood, distracting viewers from the scene’s purpose. Visually, the film doesn’t offer much to keep the audience invested. The cinematography lacks creativity, and the framing does little to elevate the drama or provide a visual language that enhances the themes. Ultimately, the technical shortcomings compound the film’s struggles, making it harder for its narrative and performances to resonate. ### Final Thoughts *Oldest Bridesmaid* aspires to be a heartfelt exploration of familial bonds, love, and societal pressures, but its execution leaves much to be desired. Stanley Obi’s direction seems to lack a cohesive vision, resulting in a film that struggles with tonal inconsistency. The comedic elements rarely land, with much of the humour relying on Mrs Alabi’s antics. Meanwhile, the drama, intended to be the emotional core of the film, lacks the weight and nuance necessary to resonate with its audience. The film’s inability to balance its themes of romance, independence, and family pressure stems from an overall lack of depth in the storytelling. Instead of inviting viewers into the characters’ emotional lives, the narrative feels like a collection of loosely connected scenes, further hampered by technical flaws. While there are glimpses of potential in the concept, such as the exploration of abusive relationships and societal expectations, these ideas remain underdeveloped. The lack of attention to detail in both the performances and technical aspects diminishes the film’s ability to communicate its messages effectively. ### Verdict In the end, *Oldest Bridesmaid* leaves viewers with more frustration than satisfaction, struggling to achieve the impact it set out to deliver. *Oldest Bridesmaid* becomes a watchable but disengaging spectacle, offering little more than a series of events unfolding without the emotional depth or narrative continuity necessary to truly captivate. **Rating**: 1.75/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/oldest-bridesmaid-popular-premise-empty-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/oldest-bridesmaid-popular-premise-empty-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/oldest-bridesmaid-popular-premise-empty-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/oldest-bridesmaid-popular-premise-empty-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/oldest-bridesmaid-popular-premise-empty-drama/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews --- ### [Lisabi - A Legend is Born: A Legend Lost in Translation](https://nollycritic.com/lisabi-a-legend-is-born-a-legend-lost-in-translation/) **Published:** January 13, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Lisabi: A Legend is Born has a lot to prove. Following the mixed reception of Lisabi: The Uprising, this sequel faces the task of redeeming the franchise **Content:** *Lisabi: A Legend is Born* has a lot to prove. Following the mixed reception of [*Lisabi: The Uprising*,](https://nollycritic.com/lisabi-the-uprising-an-ambitious-epic-weighed-down-by-cgi/) this sequel faces the task of redeeming the franchise. While the first film had its merits, including its ambitious cultural themes, it struggled with pacing, emotional depth, and some underwhelming CGI. Now, with a chance to build on what came before, *A Legend is Born* needs to correct those missteps and offer a more engaging, well-rounded experience. The question is whether it can do just that and live up to the potential the story has. Before reading this, if you haven’t, consider reading our review of *Lisabi: The Uprising*. This review contains **spoilers.** ## Lisabi: A Legend is Born Directed by: Niyi Akinmolayan Written by: Niyi Akinmolayan/Yinka Olaoye Genre: Epic Released on: January 10, 2025 (Netflix/Circuits) Language: Yoruba ### Story The story of aims to delve deeper into the life of Lisabi, the legendary Egba hero, by exploring themes of betrayal, pride, and the consequences of leadership. It positions itself as an intimate portrayal of Lisabi’s struggles following the liberation of the Egba people from the tyranny of the Oyo Empire. The filmmakers appear to focus on the grand battles to the personal toll of leadership, highlighting how power and adulation can spark envy and dissent among allies. In practice, the film struggles to deliver its thematic intentions with clarity or impact. While it sets up Lisabi as a tragic figure undone by betrayal and hubris, the lack of meaningful character development dilutes its emotional weight. Themes such as loyalty and ambition are muddled, with character actions often feeling unearned or disconnected. The result is a story that feels shallow and fails to evoke the gravity of Lisabi’s legacy, leaving viewers disengaged from the emotional core of the film. ### Plot *The plot* follows Lisabi and the Egba people as they fend off a final assault from the Oyo Empire, culminating in victory. However, as peace settles, the narrative shifts to internal conflicts within the Egba community. Envy and resentment among Lisabi’s allies begin to fester, leading to betrayal and ultimately Lisabi’s downfall. The film seemingly attempts to show the complexity of leadership, portraying Lisabi as both a hero and a flawed man whose pride leads to tragic consequences. What unfolds on screen is a disjointed and poorly paced series of events. The battle against the Oyo warriors, which dominates the early portion of the film, feels overly extended with repetitive, exaggerated slow-motion sequences. Once the focus shifts to internal conflicts, the narrative becomes scattered and illogical, with character motivations appearing abrupt and inconsistent. Significant moments, such as Bejide’s death or Lisabi’s fall from grace, lack the buildup needed for emotional resonance. The plot often feels directionless, with excessive flashbacks and unnecessary sequences detracting from the overall pacing and coherence. ### Performances Lateef Adedimeji as Lisabi shoulders the narrative’s weight as the protagonist. His portrayal captures moments of charisma and leadership, but his delivery falters in conveying Lisabi’s emotional complexities. Lisabi, as the protagonist, is the heart of the narrative. His character is central to both the mythology and the plot, portrayed as a figure chosen by the gods with a purpose greater than himself. The flashback of his tragic origin:his mother’s death and the gods’ intervention, establishes him as a Moses-like figure, destined for greatness. However, the execution of Lisabi’s pride and eventual moral downfall feels disconnected from the strong foundation laid for him. The character’s pride, rooted in his destiny as the chosen one, is meant to evolve from admirable confidence to destructive arrogance. However, Lateef’s performance struggles to anchor these transitions, leaving critical scenes, such as Bejide’s death and his interactions with Ikeola emotionally unconvincing. While he exudes presence in his commanding moments, Lisabi’s journey feels shallow, as the disconnect between intention and execution hinders audience investment in the character’s arc and it almost looses the essence of an epic. As Ikeola, Adebimpe ‘Mo Bimpe’ Adedimeji provides a stabilizing presence in Lisabi’s life, serving as a voice of reason and caution. Ikeola plays a supporting yet pivotal role as Lisabi’s confidant and implied love interest. Her character’s role in forewarning Lisabi about betrayal is vital, yet the film’s disjointed structure and underdeveloped narrative undermine her significance. Her actions and concerns lack context within the narrative, making her motivations unclear and her warnings seem misplaced. Mo Bimpe’s performance is restrained but lacks the depth to make Ikeola’s concerns and relationship with Lisabi convincing. The lack of development in her relationship with Lisabi leads to an absence of chemistry between the real-life couple in the film. This in turn leaves pivotal moments, such as Lisabi’s grief over her death, feeling forced, over-the-top, and farfetched. Despite the potential of Ikeola’s character, the portrayal comes across as lacklustre, with little to elevate her role beyond a plot device. Bimbo Akintola delivers a poignant performance as Lisabi’s mother, whose sacrifice sets the foundation for the protagonist’s journey. Her portrayal conveys desperation and maternal love, adding emotional weight to the flashback scenes. However, the poorly executed CGI and overuse of slow motion, with one major discrepancy, distract from the intensity of her performance. While Akintola brings dignity to the role, the technical shortcomings of the scene undermine its impact, leaving her otherwise heartfelt moments diminished. Olumide Oworu’s Bejide is a critical figure who challenges Lisabi’s authority, exposing the protagonist’s moral decline. Oworu’s portrayal captures Bejide’s conviction and boldness, but the character’s abrupt presence and disappearance lacks the emotional buildup necessary for its intended impact. His confrontation with Lisabi, which should have marked a turning point in the narrative, feels rushed and underwhelming. Deyemi Okanlawon and Seun Akindele deliver brief yet commanding performances, while Kola Ajeyemi, Jide Awobona, and Damilola Ogunsi remain relegated to the sidelines. Their presence adds diversity to the cast but does little to elevate the film. Gabriel Afolayan and Odunlade Adekola shine in moments that hint at their potential, but the film’s lack of focus prevents them from leaving a lasting impression. The supporting cast, including talents like Muyiwa Ademola, Gabriel Afolayan, Adebayo Salami (Oga Bello), Odunlade Adekola, Kevin Ikeduba, Boma Akpore, Olarotimi Fakunle, Olayode Juliana and Efe Irele, and Ibrahim Yekini Icon. Despite their individual strengths, the ensemble struggles to overcome the film’s overarching narrative flaws. Many characters feel like filler, with unclear motivations and limited screen time, leaving them underutilized and forgettable. ### Technical Aspects The technical aspects of *Lisabi: A Legend is Born* leave much to be desired. The fight scenes are overly long, with excessive slow motion that disrupts the pacing and highlights flaws in execution. Wooden swords and visible mistakes, like a character striking the ground instead of his opponent, show a lack of precision in choreography (not to talk of the 17th century baby wearing diapers.) These issues could have been masked with faster cuts or tighter editing. The CGI, particularly the Mikolo-esque bird, is poorly executed. The CGI, though integral to the story, its unrealistic appearance makes its presence in the scene unnecessary. The practical effects used to create an eerie atmosphere are commendable, with a few striking shots. The soundtrack, while powerful and evocative, competes with dialogue in some instances, making it difficult to follow conversations. This recurring issue from the first installment remains unaddressed, further detracting from the film’s overall quality. Combined with slow pacing and unnecessary flashbacks, the technical flaws amplify the film’s underwhelming impact. ### Final Thoughts *Lisabi: A Legend is Born* had an opportunity to redeem the shortcomings of *[Lisabi: The Uprising](https://en.wikipedia.org/wiki/Lisabi:_The_Uprising "Lisabi: The Uprising")*, but instead, it compounds the flaws of its predecessor. The oral history of Lisabi, which holds the mystery of his life and death at its core, provides a fascinating foundation, but the film fails to capture this intrigue. While *The Uprising* struggled with pacing and inconsistent storytelling, *A Legend is Born* amplifies these issues, delivering a disjointed narrative that feels both unnecessary and directionless. Instead of expanding on Lisabi’s legacy with purpose, the sequel meanders through poorly executed sequences, offering no substantial improvement. The sequel’s attempt to replicate the oral tradition’s fragmented nature backfires due to its lack of coherence. Scenes such as Lisabi’s interaction with Ikeola and the extended flashbacks are not only misplaced but also poorly timed, disrupting the flow of the story. Critical moments, like Ikeola’s warnings about betrayal, feel forced and lack the context to make them impactful. The exaggerated use of slow motion, coupled with underwhelming CGI, further drags the film into mediocrity, distracting from the emotional weight of the narrative. Even pivotal plot points, such as Bejide’s death and Lisabi’s resulting pride, fail to leave a lasting impression due to shallow development. Compared to *The Uprising*, *Lisabi: A Legend is Born* feels even more unnecessary. *The Uprising* had its faults but at least introduced the audience to Lisabi’s journey with a sense of purpose, however flawed. *A Legend is Born* offers no such justification for its existence, delivering a stretched and redundant story that seems to exist solely for the sake of continuation. The extended fight sequences and flashbacks, meant to deepen the narrative, only highlight the lack of meaningful progression. ### Verdict In the end, *Lisabi: A Legend is Born* is a missed opportunity to right the wrongs of its first instalment. Instead of honouring the complex and enigmatic figure of Lisabi, the film feels like an overstretched retelling devoid of creativity or direction. It not only fails to redeem itself but also diminishes the impact of the Lisabi story, making it an unnecessary addition. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/lisabi-a-legend-is-born-a-legend-lost-in-translation/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/lisabi-a-legend-is-born-a-legend-lost-in-translation/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/lisabi-a-legend-is-born-a-legend-lost-in-translation/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/lisabi-a-legend-is-born-a-legend-lost-in-translation/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/lisabi-a-legend-is-born-a-legend-lost-in-translation/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Adebimpe Oyebade Adedimeji, circuits, Femi Adebayo, Gabriel Afolayan, Jide Awobona, Jide Kosoko, Lateef Adedimeji, Lisabi The Uprising, Muyiwa Ademola, Netflix, nollycritic, nollywood, Odunlade Adekola, Olumide Oworu --- ### [Katangari Goes to Town: A Murder Mystery Lacking Suspense](https://nollycritic.com/katangari-goes-to-town-a-murder-mystery-lacking-suspense/) **Published:** January 7, 2025 **Author:** Uju Okosieme **Excerpt:** First Features, Native Filmworks, and Michelangelo Productions kick off 2025 with their latest film, 'Katangari Goes To Town', now streaming on Prime Video. **Content:** First Features, Native Filmworks, and Michelangelo Productions kick off 2025 with their latest film, ‘[Katangari Goes To Town](https://www.imdb.com/title/tt35281197/ "Katangari Goes To Town")‘, now streaming on Prime Video. This whodunit, Reuben Reng and starring an ensemble cast and some very special peacocks, piqued our interest. Did it live up to the hype? Let’s get into the review. ## *Katangari Goes to Town* Directed by: Reuben Reng Written by: Emil Garuba, Paul S. Rolston Genre: Comedy, Murder Mystery Released on: January 4, 2025 (Prime Video) Language: English ### Plot The synopsis reads: *Quirky ‘Katangari,’ a retired police inspector and legendary sleuth, is called to Abuja to investigate the murder of his international businessman cousin, Chief Bello Gyang. Suspects include Bello’s family, friends, and associates, all confined in his beautiful mansion until the culprit can be identified.* While the premise sets up a classic closed-room mystery, it ultimately doesn’t engage us as expected. The film attempts to flesh out the relationships between the suspects and the deceased, but the gradual reveals and lack of suspense make the journey feel less compelling. ### Story The story follows a tried-and-true murder mystery formula—multiple suspects and an eccentric detective—but it falters when it comes to keeping the audience involved. Unlike other whodunits that keep you guessing from the outset, ‘Katangari Goes to Town’ takes its time, and the clues offered along the way fail to elicit much suspicion. A well-executed murder mystery should have you changing your suspects with each new revelation. Unfortunately, this one doesn’t achieve that sense of suspense until it’s almost too late. The eventual culprit is isolated from the from the start of the investigations making her an easy guess. We expected a twist but maybe not getting a twist was the twist? ### Performances Segun Arinze nails the role of Katangari, but this is nothing new for the actor, who has portrayed similar characters in the past. Likewise, Ireti Doyle’s Ulan is solid, but it feels like a continuation of familiar roles she’s taken on before. Sani Mu’azu’s portrayal of Audu is similarly forgettable. Patience Ujah’s performance as Mima, however, is inconsistent. In some scenes, she’s effective, but in others, particularly when she’s front-and-centre, her portrayal falls flat. Supporting cast members, including Gbubemi Ejeye, Munachi Abii, Bethel Njoku, and Victor Panwal, deliver passable performances but don’t leave a lasting impression. ### Technical Aspects The location choice for the village in Jos is stunning, with vibrant shots that capture its beauty. Details like the “Beware of Owner” sign at Katangari’s home are a nice touch, revealing his quirky personality. Unfortunately for a mystery, the film’s attention to detail is subpar. From typos in newspaper headlines to air conditioners in the restroom and collosal mistakes in autopsy reports, this murder-mystery is plaqued with many technical errors. Furthermore, Katangari’s white hair and beard seem off-putting, disrupting the character’s look and diminishing the immersion. This hair and make-up choice could have been executed better. The peacock and it’s sound effects is quite intriguing, perhaps more details should have been explored if any symbolism was intended. ### Final Thoughts The film captures our attention early with its stunning visuals, we especially enjoy the dynamic between Munachi Abii’s Sofia and Ireti Doyle’s Ulan. Both actresses have a strong rapport, providing some much-needed energy to the film. However, the story starts to unravel when Katangari’s command over the suspects, despite their supposed power and influence, becomes unbelievable. How can one man, even with a gun, hold a group of supposedly influential people at bay in such a confined space? Additionally, the dance scene with Katangari and Mima feels wholly unnecessary. The decision to make it a focal point seems out of place in the broader context of the mystery. As for the big reveal at the end, it’s hardly shocking, as the film practically tells us who the killer is by isolating the character. ### Verdict Overall, *Katangari Goes to Town* marks a decent start for [Nollywood](https://nollycritic.com/see-the-best-20-nollywood-movies-of-2024/ "Nollywood") in 2025, but it’s not as engaging as the genre demands. Despite its beautiful visuals and intriguing premise, this one doesn’t quite deliver on its potential earning it a rating of 2.5 out of 5. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/katangari-goes-to-town-a-murder-mystery-lacking-suspense/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/katangari-goes-to-town-a-murder-mystery-lacking-suspense/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/katangari-goes-to-town-a-murder-mystery-lacking-suspense/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/katangari-goes-to-town-a-murder-mystery-lacking-suspense/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/katangari-goes-to-town-a-murder-mystery-lacking-suspense/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** First features project, Ireti Doyle, Katangari goe to town, native filmworks, nollycritic, nollywood, Prime Video, Reuben Reng, Reviews, Segun Arinze --- ### [Everybody Loves Jenifa: Does Everybody Really Love Her?](https://nollycritic.com/everybody-loves-jenifa-festive-spectacle-or-hollow-nostalgia/) **Published:** December 23, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Everybody Loves Jenifa arrives with all the flair and anticipation expected from a Funke Akindele-led blockbuster. However, beneath the surface lies... **Content:** *[Everybody Loves Jenifa](https://www.imdb.com/title/tt34573436/ "Everybody Loves Jenifa")* arrives with all the flair and anticipation expected from a Funke Akindele-led blockbuster. The film wears many hats: action, comedy, and drama, often juggling them with mixed success. Divided into two distinct chapters, the Lagos/Nigeria segment serves as a socially charged domestic drama, while the Ghana chapter transforms into a fast-paced, *King of Boys*-esque thriller. It’s a film bursting with star power, comedic moments, and moments of undeniable charm. However, beneath the surface lies a slightly muddled execution. The energy Funke Akindele brings to her titular character keeps the film afloat, but an overabundance of subplots, abrupt tonal shifts, and some missed creative opportunities prevent *Everybody Loves Jenifa* from fully realizing its potential. While it undoubtedly delivers as a festive crowd-pleaser, it leaves the question: does everyone truly love Jenifa, or are we expected to? ## *Everybody Loves Jenifa* Directed by: Funke Akindele and Tunde Olaoye Written by: Funke Akindele, Akinlabi Ishola, Collins Okoh Genre: Drama, Comedy Released on: December 13, 2024 (Cinemas) Language: English ##### Story *Everybody Loves Jenifa* attempts to explore ambition, justice, and resilience within a chaotic world. The narrative touches on heavy themes like domestic violence, power dynamics, and social responsibility, blending them with Jenifa’s signature comedic charm. Jenifa’s journey feels both personal and larger-than-life, as she navigates societal obstacles, external threats, and her vulnerabilities. However, despite its thematic richness, the story struggles to maintain cohesion. The film introduces thought-provoking concepts but rarely delves deep enough to leave a lasting impact. Moments of emotional gravity are often overshadowed by comedic gimmicks or sidetracked by excessive subplots. While Jenifa’s growth is clear, the film leans heavily on the audience’s pre-existing love for her character rather than earning that affection through the narrative itself. Nevertheless, amidst the narrative disarray, *Everybody Loves Jenifa* finds its charm in Jenifa’s undying spirit and her interactions with those around her. The story carries heart, but its delivery feels scattered, missing the focus required to tie its themes together. ##### Plot The plot unfolds across two distinct chapters: the Lagos/Nigeria narrative, filled with societal tension and moral dilemmas, and the Ghana segment, which escalates into a chaotic thriller. Jenifa’s entanglement with Lobster’s domestic violence scandal in Lagos sets the stage for a compelling conflict, only to be abruptly abandoned as the film pivots to a suspenseful yet haphazard adventure in Ghana. While the transition between the two chapters offers a certain dynamism, it feels rushed and underdeveloped. Subplots appear and disappear without resolution, and the sheer number of celebrity cameos clutters the narrative, reducing potentially meaningful arcs to fleeting moments. Additionally, the abrupt tonal shifts between comedic and intense thriller elements can be jarring, disrupting the overall flow of the film. That said, certain plot elements still shine through. The romance between Jenifa and Shege, while occasionally feeling forced, offers moments of genuine connection and levity. The comedic chaos of the Ghana chapter also carries enough energy to keep the audience entertained, even if it feels narratively disjointed. Ultimately, the plot’s ambition is commendable, but its execution leaves much to be desired, with loose ends and uneven pacing overshadowing its brighter moments. ##### Performances One of the undeniable strengths of *Everybody Loves Jenifa* is its performance. [Funke Akindele](https://nollycritic.com/story-so-far-funke-akindele-nollywoods-most-bankable-filmmaker/ "Funke Akindele") remains a force of nature, effortlessly embodying Jenifa with her signature comedic timing, infectious energy, and moments of vulnerability. Her portrayal anchors the film, reminding audiences why Jenifa remains one of Nollywood’s most enduring characters. Falz, as Shege, delivers a performance filled with charm and light-hearted sincerity. Though their romantic subplot feels slightly contrived by the plot, their chemistry creates some of the film’s most heartwarming moments. Two performances that undeniably stand out are Layi Wasabi as Rex and Bisola Aiyeola as Madam Bassey. Layi Wasabi’s comedic delivery feels sharp and natural, consistently stealing scenes with impeccable timing. Bisola Aiyeola, through her portrayal of Madam Bassey, reminds us of her incredible range as an actress. She balances strength, vulnerability, and satire with finesse, making Madam Bassey one of the film’s more memorable characters. However, not all characters are given the same care. Patience Ozokwor’s Miss Agnes feels underutilized, her presence reduced to little more than a glorified cameo. Additionally, the over-reliance on celebrity appearances, while exciting for audiences, dilutes the focus from the core narrative. Additionally, the sheer number of celebrity cameos, while exciting for audiences, sometimes dilutes the focus from the core characters and their arcs. Certain roles feel shoehorned in, as though their primary purpose was to populate the screen. Despite these shortcomings, the performances inject much-needed life into the film. Even when the story falters, the charisma and dedication of the cast keep the audience engaged. ##### Technical Aspects Technically, *Everybody Loves Jenifa* delivers a serviceable experience, hitting industry standards without pushing creative boundaries. The cinematography, production design, and costumes are adequate. The colour grading, which appeared dull in the film’s trailer, carries over into the final product, giving the film an underwhelming visual tone. Another noticeable shortcoming lies in the soundtrack. With the promotional use of Everybody Loves Christmas creating anticipation for a festive atmosphere, it’s puzzling that the song was absent from the film itself. This feels like a missed opportunity, not only in setting a festive tone but also in reinforcing the emotional and thematic undercurrents of the narrative. The soundtrack as a whole doesn’t leave much of an impression, failing to elevate key moments or create memorable auditory cues. For a film positioned as a December blockbuster, these oversights in visual and musical presentation are hard to ignore. While the technical execution doesn’t detract significantly from the experience, it certainly doesn’t elevate it either. ##### Final Thoughts *Everybody Loves Jenifa* is a celebration of its titular character with cracks in its foundation. It feels less like a carefully crafted film and more like an extended highlight reel celebrating Jenifa as a character. However, the film struggles to make the audience truly care about Jenifa’s journey. Jenifa isn’t portrayed as someone we’re discovering anew or growing with; she’s simply presented as a character we’re expected to love without question. This reliance on the audience’s pre-existing affection for Jenifa creates an emotional disconnect for those who may not already be invested in her story. The film does too little to earn the audience’s emotional buy-in, leaning instead on nostalgia and forced feel-good moments. For example, the rushed and overly explained conclusion, complete with Sege’s coordinated surprise with Jenifa’s friends, feels more like an obligation to wrap things up neatly than an organic resolution to the story. Simply put, the emotional investment in Jenifa’s journey feels surface-level, relying heavily on nostalgia and the audience’s pre-existing affection for her. The rushed resolution, overly explained plot points, and inconsistent pacing further weaken the film’s emotional core. Additionally, while the promotional campaign for Everybody Loves Jenifa was undeniably groundbreaking, it inadvertently highlighted the film’s biggest weakness: its story was never the selling point. The focus was placed on everything else except the narrative. From celebrity appearances (even Hilda Bassey), comedy, and familiar charm, the story itself was left fragmented and underdeveloped. When the credits roll, it becomes clear why: the film doesn’t deliver a cohesive or compelling story that matches its grand promotional promises. That said, *Everybody Loves Jenifa* is not without its charm. It is entertaining and filled with moments designed to make audiences laugh, cheer, and feel good. ##### Verdict An interesting but uneven crowd-pleaser, propped up by undeniable star power and scattered moments of charm. Entertaining, yes, but ultimately unsatisfactory as a cohesive cinematic experience. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/everybody-loves-jenifa-festive-spectacle-or-hollow-nostalgia/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/everybody-loves-jenifa-festive-spectacle-or-hollow-nostalgia/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/everybody-loves-jenifa-festive-spectacle-or-hollow-nostalgia/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/everybody-loves-jenifa-festive-spectacle-or-hollow-nostalgia/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/everybody-loves-jenifa-festive-spectacle-or-hollow-nostalgia/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Bisola Aiyeola, Everybody Loves Jenifa, Funke Akindele, Layi Wasabi, nollycritic, nollywood, Patience Ozokwor --- ### [Behind The Scenes: A Masterclass in Saying Everything Out Loud](https://nollycritic.com/behind-the-scenes-a-masterclass-in-saying-everything-out-loud/) **Published:** December 18, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Behind the Scenes, co-directed by Tunde Olaoye with Funke Akindele at the helm as producer and key performer, is a family drama centred... **Content:** [*Behind the Scenes*,](https://technext24.com/2025/12/15/behind-the-scenes-nollywood-movie-n200m/ "Behind the Scenes,") co-directed by Tunde Olaoye with Funke Akindele at the helm as producer and key performer, is a family drama centred on Ronke Fernandez (Scarlet Gomez), a successful woman whose open generosity toward relatives slowly morphs into emotional and financial drain. The film, clocking in at an uomfortable runtime, features Tobi Bakre as entitled brother Adewale, Ibrahim Chatta as the distinctive driver, Destiny Etiko as maid Oluchi, and Debo Adedayo in a restrained dramatic role. It arrives with Akindele’s commercial savvy, marketed as an inside look at film production chaos. The result is accessible, morally instructive, and commercially assured, yet creatively cautious in its pursuit of absolute certainty. ## *Behind The Scenes* Directed by: Tunde Olaoye, Funke Akindele Produced by: Funke Akindele Genre: Drama Released on: December 12, 2025 (Cinemas) Language: English ### A Premise Rooted in Nigerian Reality *Behind the Scenes* opens on a situation many Nigerians recognise intimately. Ronke’s wealth makes her the family anchor. She opens her wallet and home to family, only to watch requests grow heavier. The film traces this familiar slide from kindness to exploitation with deliberate steps. Early scenes establish Ronke’s warmth and the relatives’ gradual entitlement. Pressure builds through requests that start reasonable and turn relentless. The narrative appears headed toward a standard cautionary tale, yet a central twist reframes everything. At first, it lands flat. But on reflection, scenes click into place. Earlier moments gain new meaning, the logic feels planned rather than forced. This delayed reward ties to clever marketing. Akindele sold the film as an inside look at filmmaking chaos. The tease creates misdirection. Subtle integration of this layer within the story lets the title unfold its meaning without heavy explanation. The approach feels thoughtful, turning potential predictability into intelligent payoff. ### Clarity as Comfort, Ambiguity as Sacrifice The film prioritises explanation above all else. Themes arrive stated plainly, motivations voiced aloud, turns carefully flagged. It pauses to educate: detailing Naira mutilation’s illegality, laying out medical conditions fully, reinforcing civic lessons. This reflects Nollywood’s pedagogical tradition, especially Yoruba theatre roots where cinema serves moral guidance. The commitment ensures accessibility—no viewer leaves confused or misinformed on key points. Yet this clarity carries cost. Emotional beats are described rather than allowed to breathe. Moments ripe for silence or visual implication extend with dialogue, music, or emphasis. Meaning emerges through words, limiting resonance that could come from behaviour or restraint. The result is easy comprehension but rare invitation to deeper reading. ### Performances Within Safe Boundaries Scarlet Gomez brings lively energy to Ronke, keeping us with her as demands mount. Tobi Bakre starts strong as Adewale, his early dependence organic and relatable. His later transformation following tragedy, however, rushes and lacks full development. Funke Akindele leans into familiar comedic rhythms as Adetutu before settling into controlled antagonism. Ibrahim Chatta stands out as the driver, his distinct mannerisms and physical presence crafting a character that remains memorable on its own terms. Destiny Etiko commits earnestly to Oluchi, delivering sincerity. Adebowale “Debo” Adedayo strips away his comic persona for restraint and sincerity, reinforcing his transition into serious dramatic work. His presence adds texture and signals growing confidence in emotional weight. ### Polished Visuals That Reassure Rather Than Express The film’s technical choices reflect its overall caution, favouring a consistently attractive look that reassures viewers rather than challenging them. The film look is fairly serviceable for the genre. But the cinematography is underemployed as visual tool, scenes are consistently bright and beautiful barely setting the mood or tone.. There are no daring angles or shadows to suggest inner turmoil; instead, the camera stays steady and observational, mirroring the film’s desire for straightforward comprehension. Costumes and makeup follow the same safe path. Characters remain immaculately styled throughout, hair perfect, outfits coordinated, even in moments of supposed crisis or vulnerability. This perpetual neatness reinforces a sense of control and presentation, aligning with the instructional tone: no messiness allowed, no raw edges exposed. Production design keeps settings comfortable and middle-class, avoiding grit that might unsettle. Sound design and score serve the narrative reliably, with gentle cues for emotional shifts and clear dialogue delivery. The overall aesthetic is professional and pleasing, but it feels interchangeable with many Nollywood titles. It prioritises looking good and feeling safe over expressive risk or cultural specificity, content to guide the viewer gently rather than provoke or linger. ### Final Thoughts *[Behind the Scenes](https://nollycritic.com/behind-the-scenes-funke-akindele-announces-new-blockbuster/ "Behind the Scenes")* knows its message and delivers it without doubt. Generosity needs limits, health matters, civic rules count. The twist’s logic and marketing play show self-awareness. Yet the insistence on spelling everything out caps emotional depth. Meaning is handed over, not discovered. The film succeeds where it aims: clear, instructive, commercially strong. It hints at evolution, listening to calls for subtlety, while staying rooted in didactic tradition. In Nollywood’s landscape, this balance works commercially, but creative growth lies in trusting audiences more. ### Verdict *Behind the Scenes* suits viewers seeking straightforward morals with polished family drama. It offers comfort and lessons rather than surprise or nuance. Reliable and thoughtful, it reinforces Akindele’s dominance while nudging toward bolder steps. **Rating**: 3.05/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/behind-the-scenes-a-masterclass-in-saying-everything-out-loud/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/behind-the-scenes-a-masterclass-in-saying-everything-out-loud/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/behind-the-scenes-a-masterclass-in-saying-everything-out-loud/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/behind-the-scenes-a-masterclass-in-saying-everything-out-loud/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/behind-the-scenes-a-masterclass-in-saying-everything-out-loud/?share=linkedin) - **Categories:** Reviews **Tags:** Behind the Scenes, black tax, critique, Debo Adedayo, Destiny Etiko, family drama, Funke Akindele, generational conflict, Ibrahim Chatta, moral lesson, nollywood, Review, Scarlet Gomez, Tobi Bakre, Tunde Olaoye --- ### [A Very Dirty Christmas: A Festive Tale That Delivers Comfort](https://nollycritic.com/a-very-dirty-christmas-a-festive-tale-that-delivers-comfort/) **Published:** December 23, 2025 **Author:** Shalom O. Obisesan **Excerpt:** A Very Dirty Christmas, produced by Ini Edo and directed by Akay Mason, is a family-centred holiday drama that explores the intersections of domestic... **Content:** *[A Very Dirty Christmas](https://www.imdb.com/title/tt38907680/ "A Very Dirty Christmas")*, produced by Ini Edo and directed by [Akay Mason](https://nollycritic.com/?s=akay+mason "Akay Mason"), is a family-centred holiday drama that explores the intersections of domestic conflict, sibling loyalty, and long-held secrets. Released in Nigerian cinemas on 16 December 2025, the film situates itself firmly in the seasonal feel-good category, prioritising warmth and accessibility over complex storytelling. While it achieves moments of emotional engagement, several narrative and performance choices leave the experience uneven. ## *A Very Dirty Christmas* Directed by: Akay Mason Produced by: Ini Edo Genre: Comedy Drama Released on: December 16, 2025 (Cinemas) Language: English ### A Reunion That Pulls Back the Curtain on Pain The story primarily follows Lulu (Ini Edo), whose marriage to Caleb (Lateef Adedimeji) is troubled beneath the surface. Infertility becomes the justification Caleb uses to cheat, while Lulu, deeply religious and bound by familial expectations, endures the deception in silence. Parallel to this marital tension, as the Christmas pressure tightens, is the disappearance of the youngest sister, Jade (Nancy Isime), whose disappearance propels Lulu and her other sister, Lala (Waje Iruobe), into a high-stakes search. when youngest sister Jade disappears after trouble, pulling Lulu and Lala into a search. This urgency ties the sisters emotionally, turning the festive gathering into catalyst for buried secrets and tensions. The intertwining of these plots aims to balance domestic drama with suspense, although at times the urgency of the disappearance story feels diluted by other narrative threads. One of the film’s most consequential twists reframes Lulu’s perceived failings and exposes her husband’s manipulation. Her eventual decision feels narratively satisfying, yet the resolution that follows is abrupt. This sudden shift undermines some of the emotional payoff, as the audience sees little of the internal journey that would justify her openness to new beginnings. ### Comedy That Leans Gentle and Situational The humour is soft and character-driven. Sibling antics, in-law banter, and small domestic mishaps provide lightheartedness without loud slapstick. The film knows when to drop comedy for serious moments, letting pain breathe. It earns “awwws” and smiles more than belly laughs, suiting family viewing across ages ### Performances That Carry the Warmth Performances are similarly mixed. Ini Edo anchors the narrative with steady control, convincingly portraying Lulu’s tension between faith, duty, and anger. Lateef Adedimeji captures Caleb’s entitlement and duplicity well. Nancy Isime’s portrayal of Jade is less effective; during high-stakes hostage moments, her reactions often register as neutral, softening the tension. Lulu’s mother’s performance also struggles to make an impression. Conversely, the domestic interplay between Dr Philip’s wife Vivian (Wumi Toriola) offers small but effective comedic relief. ### Technical Choices That Keep It Cosy *A Very Dirty Christmas* aligns with the conventions of mainstream Nollywood festive cinema. Akay Mason’s direction prioritises narrative accessibility and ensemble interaction over visual experimentation. The cinematography favours bright, evenly lit interiors and warm colour palettes that reinforce the seasonal setting, while the editing is functional, designed to keep multiple storylines moving in parallel without formal complexity. Sound design and music are used conservatively, supporting emotional beats without drawing attention away from dialogue or performance. Collectively, these technical choices reinforce the film’s positioning as accessible holiday entertainment rather than an ambitious formal statement. ### Final Thoughts Public discussion has largely focused on the film’s title, with the CAN questioning its appropriateness for a Christmas release. Ini Edo and cast members have defended the title, clarifying that the story itself does not disrespect Christian values and emphasises familial messiness rather than moral corruption. *A Very Dirty Christmas* uses Christmas as pressure point for family truths, not spiritual mockery. Title controversy overshadowed content, but the film stays light, exposing messy dynamics without ridiculing faith. It entertains with relatability, forgiveness, and fresh starts. Depth stays modest: feel-good over provocative. For festive viewing, it delivers warmth and lessons without demanding too much. ### Verdict In sum*, A Very Dirty Christmas* is a neutral, moderately engaging family drama that works best when expectations are modest. It delivers some emotional beats, light humour, and festive warmth but leaves narrative and character development unevenly explored. The film suits audiences seeking a comfortable, seasonal watch rather than those looking for a tightly structured or deeply resonant story. **Rating**: 2.35/5 ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-very-dirty-christmas-a-festive-tale-that-delivers-comfort/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-very-dirty-christmas-a-festive-tale-that-delivers-comfort/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-very-dirty-christmas-a-festive-tale-that-delivers-comfort/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-very-dirty-christmas-a-festive-tale-that-delivers-comfort/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-very-dirty-christmas-a-festive-tale-that-delivers-comfort/?share=linkedin) - **Categories:** Reviews **Tags:** a very dirty christmas, Akay Mason, CAN, Christmas drama, critique, Elvina Ibru, Eucharia Anunobi, family secrets, Femi Branch, forgiveness, holiday film, Ini Edo, Lateef Adedimeji, Nancy Isime, nollywood, Phyna, Review, Waje, Wumi Toriola --- ### [Princess Obuseh Sets Netflix Ablaze as “Blaze” in The Covenant](https://nollycritic.com/princess-obuseh-sets-netflix-ablaze-as-blaze-in-the-covenant/) **Published:** December 22, 2025 **Author:** Michael Arowoselu **Excerpt:** TakeOne Talents has announced a notable career milestone for its talent, Princess Obuseh, following her performance as Blaze in the Netflix... **Content:** TakeOne Talents has announced a notable career milestone for its talent, **[Princess Obuseh](https://www.imdb.com/name/nm13071283/ "Princess Obuseh")**, following her performance as *Blaze* in the [Netflix](https://www.netflix.com/ "Netflix") series *[The Covenan](https://nollycritic.com/the-covenant-new-tv-series-set-for-netflix-this-december/ "The Covenan")[t](https://nollycritic.com/the-covenant-new-tv-series-set-for-netflix-this-december/ "he Covenant")*—a role that stands as one of her most substantial and defining screen appearances to date. While Obuseh is no stranger to global platforms, *The Covenant* represents a clear evolution in her on-screen presence. Her portrayal of Blaze is marked by authority, emotional restraint, and narrative weight, positioning her within a more mature and consequential character space. Rather than relying on overt dramatics, Obuseh delivers a grounded, intentional performance that subtly but decisively recalibrates her standing as an actor to watch. Streaming globally on Netflix, *The Covenant* offers audiences a broader view of Obuseh’s growing range and discipline as a performer. The role reflects not only technical growth, but a discernible maturity in her creative choices—signalling readiness for increasingly demanding roles within the international film and television landscape. For TakeOne Talents, the moment is less about arrival and more about alignment. The agency’s emphasis on long-term career development over fleeting visibility is evident in Obuseh’s trajectory, which has been shaped with patience and strategic intent. Speaking on the milestone, **Heavens Obule**, co-founder of TakeOne Talents, said: > “Princess Obuseh has always approached her work with clarity and discipline. This role affirms what we’ve long believed—that when preparation meets opportunity, the results speak for themselves. Blaze isn’t just a character she played; it’s a statement of readiness.” Co-founder **Abiodun Odu** echoed this sentiment, adding: > “Our responsibility goes beyond securing roles; it’s about guiding careers. Princess’s performance in *The Covenant* is the result of trust in process and intentional decision-making. She represents the calibre of talent we are proud to manage.” With a growing body of work that reflects control, focus, and narrative awareness, Princess Obuseh continues to demonstrate that sustainable careers are built deliberately—one role at a time. *The Covenant* stands as a strong indicator of both the scale and substance of projects that lie ahead. TakeOne Talents remains committed to representing artists whose ambition is matched by discipline, and whose careers are shaped with local relevance and global perspective. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/princess-obuseh-sets-netflix-ablaze-as-blaze-in-the-covenant/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/princess-obuseh-sets-netflix-ablaze-as-blaze-in-the-covenant/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/princess-obuseh-sets-netflix-ablaze-as-blaze-in-the-covenant/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/princess-obuseh-sets-netflix-ablaze-as-blaze-in-the-covenant/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/princess-obuseh-sets-netflix-ablaze-as-blaze-in-the-covenant/?share=linkedin) - **Categories:** Articles **Tags:** Abiodun Odu, heavens obule, Netflix, princess obuseh, TakeOne, the covenant --- ### [The Best New Nollywood Feature Film Directors of 2025](https://nollycritic.com/the-best-new-nollywood-feature-film-directors-of-2025/) **Published:** December 22, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Every director starts somewhere, and 2025 has proven to be the year when several talented Nollywood professionals took that decisive... **Content:** Every great director starts somewhere, and 2025 has proven to be the year when several talented Nollywood professionals took that decisive step from supporting roles to the director’s chair. These aren’t just debuts—they’re statements of artistic vision. From an actor crafting a harrowing crime thriller to a music video director orchestrating a socially conscious narrative about Lagos’ chaos. This year’s first-time feature directors have brought skill, intention, and undeniable talent to their projects. Here are the new directors who captured our attention and earned their place in Nollywood’s evolving story. **Daniel Etim-Effiong – The Herd** Daniel Etim-Effiong’s directorial debut with [*The Herd* ](https://nollycritic.com/the-herd-turns-real-life-fears-into-a-heart-pounding-cinematic-experience/)catches everyone by surprise. Best known for his captivating performances in romantic roles. Transitions beautifully behind the camera while also taking on the lead character—delivering brilliantly on both fronts and further solidifying his commitment to excellent storytelling. *The Herd* is a Nollywood crime thriller that explores Nigeria’s ongoing crisis of kidnapping and insecurity. The film follows Gosi (played by Etim-Effiong), a young man who is abducted alongside his newly married best friends and several other travelers. The feature offers a deeply affecting and uncomfortably realistic portrayal of the pain and anguish that families and friends endure when a loved one is kidnapped. *The Herd* is currently streaming on Netflix. **Dele Doherty – Landline** *Landline* follows the life of a stranded military sergeant who receives eerie calls from an old landline. Each guiding him to save his pregnant wife from a relentless killer. Only to watch her die again and again in a nightmarish loop. For Dele Doherty, the directorial debut with *Landline* is a great leap from behind-the-scenes roles like writer (*Eva’s Love Story),* editor (*The Gift*), and Camera Handler (*Room 7*). One of *Landline’s* highest score points would be its attention to detail in its plot and story structure. **Wingonia Ikpi – Lost Days** The First Features initiative has continued to deliver fresh and intriguing acts and stories. [Wingonia Ikpi](https://www.imdb.com/name/nm11702698/) is no stranger to film production. From being a Content Development Producer for FilmOne Entertainment from 2022 to 2023. To launching Boxonia Blueprint, her own film production and talent management company in 2024. And production credits that span multiple Nollywood hits, including Toyin Abraham’s *Ijakumo*, Okey Bakassi’s *Bank Alert*, and *Son Of The Soil*. In *Lost Days*, Chisom Agu embarks on a journey to reunite with the man she once loved and the child she left behind. But buried secrets surface, and she discovers that the past is far more complicated-and dangerous. *Lost Days* is currently still streaming on Prime Video. **Akinola Davies Jr – My Father’s Shadow** Akinola Davies Jr. began his career creating music videos and commercials before venturing into narrative filmmaking in 2020 with the short film Lizard. The film won Best Short Film at the 2021 BAFTA Awards and earned nominations from the London Critics Circle Film Awards. This year, he made his feature directorial debut with [*My Father’s Shadow*](https://nollycritic.com/my-fathers-shadow-set-to-represent-the-uk-at-the-oscars/), co-written with his brother Daniel Davies. Set against the backdrop of Nigeria’s 1993 presidential election, *My Father’s Shadow* follows two young boys who spend a day with their estranged father. The film is slow-paced yet crafted with remarkable intentionality—a quality that makes its accolades unsurprising. It has been selected as the UK’s official entry for the Oscars’ International Feature Film category and recently earned Davies the Best Director award at the 2025 British Independent Film Awards. **Sarah Kwaji – Out In The Darkness** Sarah Kwaji began her film career in 2017 as a student at the Toronto Film School and later pursued postgraduate studies in Advanced Film Production at Sheridan College. She has worked on various projects in the Canadian Film and Television industry in roles including casting, assistant director, and production manager [*Out In The Darkness*](https://nollycritic.com/out-in-the-darkness-a-meditation-on-postpartum-pain-that-struggles-to-hold-us/) illuminates a dark and often unspoken reality of the mental and emotional collapse that can follow childbirth. The film dives into postpartum depression and psychosis with sincerity. **Afolabi Olalekan – Freedom Way** Prior to Afolabi Olalekan’s directorial debut earlier this year, he had worked as an editor, content director, producer, and music video director at the notable Mavin record label. This leap stands as not just a national but a global success. [*Freedom Way*](https://nollycritic.com/freedom-way-a-haunting-tale-on-lagos-life/) presents a tightly woven story about nine individuals caught in the chaos of Lagos and the consequences of unjust laws. At the center of the story are Tayo and Themba, two tech entrepreneurs who launch a ride-share app for motorcyclists. But in typical fashion, things in Nigeria shift quickly. A sudden motorcycle ban threatens to wipe out their company overnight — not due to bad decisions, but due to erratic government policies that benefit the wealthy and hurt everyday citizens. **Toluwani Osibe –** **Color True Me** Toluwani Osibe is also not new to the filmmaking space, as she has juggled roles that include screenwriting for *Ponzi, This Lady Called Life,* and *Something Like Gold.* She also directed the short film *Heart & Might* and authored a self-help book, Becoming A Spectacular Woman. *Colour True Me* tells the story of Sylvia Philips. A beauty queen and celebrity, whose picture-perfect life goes tumbling when the truth about her past comes out. And now she must face the consequences and seek refuge in the same past she thought was completely buried. These directors represent diverse backgrounds, from acting and engineering to music video production and television writing, all converging to bring fresh perspectives to Nollywood feature filmmaking in 2025. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-best-new-nollywood-feature-film-directors-of-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-best-new-nollywood-feature-film-directors-of-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-best-new-nollywood-feature-film-directors-of-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-best-new-nollywood-feature-film-directors-of-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-best-new-nollywood-feature-film-directors-of-2025/?share=linkedin) - **Categories:** Articles, Nollywood **Tags:** Akinola Davies Jr., Daniel Etim Effiong, Dele Doherty, Freedom Way, Landlie, Lost Days, My Father's Shadow, Netflix, nollycritic, nollywood, Nollywood 2025, Out in the Darkness, Prime Video, The Herd, Wingonia Ikip --- ### [FilmOne Entertainment Dominates the Best of Nollywood Awards](https://nollycritic.com/filmone-entertainment-wins-big-at-best-of-nollywood-awards/) **Published:** December 17, 2025 **Author:** Michael Arowoselu **Excerpt:** FilmOne Entertainment shone at this year’s Best of Nollywood (BON) Awards, clinching nine awards across diverse categories in a night... **Content:** [FilmOne Entertainment](https://www.filmoneng.com/home "FilmOne Entertainment") shone at this year’s Best of Nollywood (BON) Awards, clinching nine awards across diverse categories in a night that celebrated the very best of Nigerian cinema.This achievement solidifies FilmOne’s position as a powerhouse in Nollywood distribution and production. The awards, presented at a high‑profile industry event, celebrated outstanding achievements in filmmaking, storytelling, performance, and technical craft highlighting the creative excellence that continues to define Nigerian cinema on both the continent and the global stage. While official listings from the Best of Nollywood (BON) 2025 show a spread of winners across various productions, FilmOne Entertainment’s slate was widely recognised in multiple categories, underscoring the company’s role in driving quality filmmaking and promoting diverse narratives to audiences. FilmOne’s winning titles and categories included: ● Best Supporting Actress: Mercy Aigbe (*My Mother Is a Witch*) ● Best Soundtrack: *Iyalode* ● Best Use of Food: *Owambe Thieves* ● Best Indigenous: *Abanisete* ● Best Screenplay: *My Mother Is a Witch* ● Best Use of Makeup: *Labake Olododo* ● Best Editing: *Reel Love* ● Movie of the Year: *Farmer’s Bride* ● Director of the Year: *[Farmer’s Bride](https://nollycritic.com/farmers-bride-forbidden-love-cultural-expectations-and-freedom/ "Farmer’s Bride")* “This remarkable haul of nine awards reflects our commitment to excellence, and the immense talent and vision within our team and collaborators,” said Ladun Awobokun, Chief Content Officer, FilmOne Entertainment & FilmOne Studios. “We are proud to champion stories that resonate deeply with audiences across West Africa and beyond.” The company’s success this awards season comes on the heels of outstanding box office achievements including record‑breaking Nigerian and international titles distributed by FilmOne and sustained efforts to elevate Nollywood’s profile through bold acquisitions and strategic premieres. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/filmone-entertainment-wins-big-at-best-of-nollywood-awards/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/filmone-entertainment-wins-big-at-best-of-nollywood-awards/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/filmone-entertainment-wins-big-at-best-of-nollywood-awards/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/filmone-entertainment-wins-big-at-best-of-nollywood-awards/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/filmone-entertainment-wins-big-at-best-of-nollywood-awards/?share=linkedin) - **Categories:** Nollywood News **Tags:** Abanisete, Farmer’s Bride, FilmOne, Filmone entertainment, Iyalode, labake olododo, My Mother is a Witch, Owambe Thieves, Reel Love --- ### [To Catch a Falling Sky Wins Big at Red Sea Souk Project Market](https://nollycritic.com/to-catch-a-falling-sky-wins-big-at-red-sea-souk-project-market/) **Published:** December 16, 2025 **Author:** Michael Arowoselu **Excerpt:** Selected in the Projects in Development and Production category, To Catch a Falling Sky received two significant recognitions at Red Sea Project Market: **Content:** Selected in the Projects in Development and Production category, To Catch a Falling Sky received two significant recognitions at [Red Sea Project Market](https://redseafilmfest.com/en/ "Red Sea Project Market"): - Freshly Ground Stories In-Kind Award — Professional Business and Legal Support valued at $5,000 - Red Sea Souk Jury Special Mention Award — $15,000 These awards provide support across development, production, and post-production, with dedicated backing for projects within the Souk’s development strands. *To Catch a Falling Sky* (formerly Love is a Deeper Shade of Red prior to a title change in November) is being developed as a Nigeria–United Kingdom co-production, with Orwi Manny Ameh and Sheila Nortley attached as producers. The project has also received ongoing support from Red Sea Labs, the Red Sea Film Foundation’s year-round development initiative. In 1966 Nigeria, as civil war erupts, a brilliant but childless woman must confront her husband’s devastating choice to bring home a second wife, forcing her to choose between resentment and an unthinkable alliance as their country collapses around them. Nigerian writer-director[ Cheta Chukwu ](https://nollycritic.com/strawberry-chinny-see-the-trailer-for-cheta-chukwus-new-film/) expressed that; “This recognition means so much to me. To stand in a room surrounded by filmmakers I deeply admire and hear our project was surreal. It felt like a quiet confirmation of the journey we’ve been on. Developing this film has been a path of faith, dedication, and community. Watching it rise like this, step by step, piece by piece, feels incredibly affirming.” Speaking on the growing impact of the Souk, Faisal Baltyuor, CEO of the Red Sea Film Foundation, noted the market’s expansion this year, with increased global participation and strong support for emerging and established filmmakers alike. The Souk Awards also recognised projects by Mohamed Kordofani (*Goodbye Julia*, Cannes 2023) and Maha Haj (*Personal Affairs*, Cannes 2016). Also participating in this year’s Red Sea Souk Project Market were Nigerian projects by CJ Obasi and Tomi Folowosele. In total, 40 selected projects across various stages of production competed for cash and in-kind awards. - ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/IMG_1410-1.jpeg?resize=640%2C960&ssl=1) - ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/IMG_1328-1.jpeg?resize=640%2C427&ssl=1) - ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/IMG_1334-1.jpeg?resize=640%2C422&ssl=1) - ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/IMG_1398-1.jpeg?resize=640%2C960&ssl=1) ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/to-catch-a-falling-sky-wins-big-at-red-sea-souk-project-market/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/to-catch-a-falling-sky-wins-big-at-red-sea-souk-project-market/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/to-catch-a-falling-sky-wins-big-at-red-sea-souk-project-market/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/to-catch-a-falling-sky-wins-big-at-red-sea-souk-project-market/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/to-catch-a-falling-sky-wins-big-at-red-sea-souk-project-market/?share=linkedin) - **Categories:** Nollywood News **Tags:** Cheta Chukwu, nollywood, Red Sea International Film Festival, Red Sea Souk Project Marke, To Catch A Falling Sky --- ### [The Most Anticipated Nollywood Films That Never Arrived in 2025](https://nollycritic.com/the-most-anticipated-nollywood-films-that-never-arrived-in-2025/) **Published:** December 15, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood has delivered some bangers this year. Blockbusters shattered box office records and series kept us glued to our screens... **Content:** As we wrap up 2025, [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") has delivered some bangers this year. Blockbusters shattered box office records and series kept us glued to our screens. But let’s be real: not every hyped project made it across the finish line. Several films generated massive buzz early on, with trailers, cast announcements, and anticipation lists placing them firmly in the 2025 spotlight. Yet, here we are, with no release in sight. Production delays, distribution hurdles, and the unpredictable nature of the industry turned excitement into frustration for many fans. These are the key titles that were teased or expected for 2025 but remain unreleased. No wide theatrical drop, no streaming premiere, nothing. We’ve sifted through updates to confirm their holdout status. ### Unreleased in 2025: **Finding Messiah**: Oscar Heman-Ackah’s ambitious political musical drama promised a fresh take on Nollywood with its fictional ancient civilization in the Republic of Zambay. Starring heavyweights like Pete Edochie, Taiwo Ajai-Lycett, Ngozi Ezeonu, Alex Usifo, Ejike Asiegbu, and Daddy Showkey, the 2024 teaser trailer had everyone talking. It topped anticipation lists for 2025, but despite wrapping principal photography ages ago, there’s no release date, no further promo, and it’s stuck in “coming soon” purgatory. **Phoenix Fury**: Ifeoma Chukwuogo’s revenge drama swept awards at [AFRIFF](https://www.afriff.com/ "AFRIFF") 2024 (Best Film, Best Director) and got festival nods like Silicon Valley African Film Festival. With a strong cast including Uzoamaka Aniunoh (now Uzoamaka Power), Richard Mofe-Damijo, Ama K. Abebrese, and Onyinye Odokoro, it was primed for a big 2025 push. Teasers and buzz built high expectations, but no wide release materialized. Another festival darling that hasn’t hit general audiences yet. **Headless**: Michael Ndiomu’s psychological thriller bridges crime, politics, and the film industry, starring Gideon Okeke, Uzoamaka Aniunoh, Baaj Adebule, Gbubemi Ejeye, and Ruby Okezie. Billed as an AFRIFF opener and hyped for its intense narrative about a producer found with a decapitated head, it appeared on 2025 must-watch lists. Cast announcements and festival mentions kept the hype alive, but no official drop or further updates in 2025. **I Do Not Come to You by Chance**: Again, Ishaya Bako’s adaptation of Adaobi Tricia Nwaubani’s acclaimed novel about a graduate drawn into cybercrime misses yet another year. It toured festivals extensively since 2023 and was repeatedly tipped for a 2025 home release (possibly on Netflix), but it never materialized, keeping African audiences in the dark. **77: The Festac Conspiracy**: Izu Ojukwu’s highly anticipated sequel to ’76, starring Ramsey Nouah, Rita Dominic, and a stellar ensemble, reimagines the historic FESTAC ’77 events with political intrigue. It premiered at Cannes 2025 and generated massive global buzz, but despite plans for a theatrical rollout, no wide release happened this year leaving fans waiting. **Hell Ride**: Uche Odoh’s drama-comedy mix highlighting a woman’s resilience, starring Latin’ Amusan. It premiered at AFRIFF 2024 and was slated for a public 2025 release, but no cinema or platform drop occurred yet. ### Honorable Mentions (Widely Expected but Not Officially Promised for 2025): **Blood Sisters (Season 2)**: Netflix’s groundbreaking thriller got a surprise renewal, with production wrapping and teases of more family drama and twists starring Ini Dima-Okojie and Nancy Isime. Fans pinned hopes on a 2025 return after the cliffhanger ending, but post-production dragged on. No episodes dropped yet. **Sugar Rush 2**: The sequel to the 2019 comedy hit had rumors swirling for years, with Adesua Etomi, Bimbo Ademoye, and Bisola Aiyeola expected to reprise their roles. Filming started way back, and it popped up in some 2025 lists amid fan demands, but no official movement or release from the team. Nollywood’s magic sometimes come with these unpredictable timelines. Funding, post-production tweaks, or strategic holds can push projects back. It’s a bummer when the hype fades without payoff, but fingers crossed these gems surface in 2026 stronger than ever. Which one stung the most for you? Drop your thoughts, and let’s hope for fewer ghosts next year! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-most-anticipated-nollywood-films-that-never-arrived-in-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-most-anticipated-nollywood-films-that-never-arrived-in-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-most-anticipated-nollywood-films-that-never-arrived-in-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-most-anticipated-nollywood-films-that-never-arrived-in-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-most-anticipated-nollywood-films-that-never-arrived-in-2025/?share=linkedin) - **Categories:** Articles, Movies **Tags:** Adesua Etomi, African cinema delays, Alex Usifo, Ama K. Abebrese, Baaj Adebule, Bimbo Ademoye, blood sisters season 2, Daddy Showkey, delayed Nollywood movies, Ejike Asiegbu, Enyinna Nwigwe, Finding Messiah, Gabriel Afolayan, Gbubemi Ejeye, Gideon Okeke, Headless movie, Ifeoma Chukwuogo, Ini Dima-Okojie, Kate Henshaw, Michael Ndiomu, Mike Afolarin, Nancy Isime, Ngozi Ezeonu, nigerian cinema 2025, Nollywood 2025, Nollywood anticipated films, Nollywood delays, Nollywood disappointments, Nollywood news, Onyinye Odokoro, Oscar Heman-Ackah, Pete Edochie, Phoenix Fury, Rahama Sadau, Richard Mofe-Damijo, Ruby Okezie, Sugar Rush 2, Taiwo Ajai-Lycett, This is Lagos film, unreleased Nollywood films, Uzoamaka Aniunoh, Uzoamaka Power --- ### [This Is Not a Nollywood Movie: It's Wale Ojo's](https://nollycritic.com/this-is-not-a-nollywood-movie-its-wale-ojos/) **Published:** December 13, 2025 **Author:** Shalom O. Obisesan **Excerpt:** This Is Not a Nollywood Movie, written and directed by Wale Ojo, is a meta comedy that follows Kenneth Okechukwu (Ojo himself)... **Content:** *[This Is Not a Nollywood Movie](https://nollycritic.com/?s=wale+ojo "This Is Not a Nollywood Movie")*, written and directed by [Wale Ojo](https://nollycritic.com/?s=wale+ojo "Wale Ojo"), is a meta comedy that follows Kenneth Okechukwu (Ojo himself), an Igbo filmmaker from the East obsessed with winning international awards. He heads to Lagos to shoot his big project, assembling a cast of eccentric has-beens and divas. His best friend Pius (Broda Shaggi) tags along as loyal sidekick. What starts as a passion-driven adventure quickly descends into production hell: thugs, hijacks, endless chases, and absurd detours. The film positions itself as satire on Nollywood chaos and award-chasing dreams. Strong chemistry and quirky characters provide laughs, but repetition, choppy editing, and a premise that loses direction turn early promise into frustration. ## *This Is Not a Nollywood Movie* Directed by: Wale Ojo Written by: Wale Ojo Genre: Comedy Released on: Decmeber 5, 2025 (Cinemas) Language: English ### A Love Letter to Chaos The heart of the film is Wale Ojo’s clear affection for filmmaking. Kenneth’s dream of Hollywood glory mirrors many Nigerian creators’ ambitions, and the meta layer (Yoruba actors playing Igbo characters) adds playful commentary on Nollywood’s fluid identities. Every role has its own comedic quirk, from diva Queen Venus to faded star Vincent Van Glory. The duo of Ojo and Shaggi stands out: balanced, in sync, and surprisingly grounded. Shaggi tones down his usual over-the-top style, matching Ojo’s energy perfectly. Their friendship carries scenes even when the plot wanders. ### Passion Turns to Pandemonium Kenneth Okechukwu arrives in Lagos determined to make an award-winning film. He assembles an eccentric cast: veteran Vincent Van Glory (Hanks Anuku), diva Queen Venus (Bimbo Akintola), Shakospara (Shata Bandle) the real lover boy-turned-writer, and lover boy persona Bayo Valentino (Olumide Owuru). Early chaos feels promising as production stumbles. But the story quickly diverges: chases, thugs, hijacks, and wild encounters pile up. A long car chase through Lagos impresses technically but drags. One bizarre sequence involves water and a CGI crocodile. What begins as satire on filmmaking struggles becomes a series of repetitive fights and detours. The core motivation (making the movie) gets buried under noise, making the film feel like it mirrors its own chaotic set. ### Performances Full of Sync and Spark The cast shines brightest. Every role carries deliberate weirdness, creating a world where no one is “normal.” This uniform quirkiness feels fresh compared to films relying on one comic relief. The ensemble’s unique comedic flairs spread laughs evenly, making ordinary scenes sparkle with odd energy. Wale Ojo and Broda Shaggi (Samuel Animashaun Perry) deliver believable chemistry as Kenneth and Pius. For once, Shaggi dials back just slightly, his usual over-the-top style, matching Ojo’s energy perfectly. Their balanced dynamic makes their duo iconic. Bimbo Akintola steals scenes as Queen Venus, her diva flair and top-notch accent pure joy. A bed clash with Olumide Owuru’s Bayo Valentino is hilarious. Hanks Anuku’s comeback as Vincent Van Glory cleverly nods to his own career hiatus. Every character brings unique comedic quirk, making the ensemble feel alive and different from standard Nollywood fare. OAP Ijeoma Ononoju, and Ghanian social media personality Firdaus ‘Shatta Bandle’ Iddrisu (as Shakosphere) make brilliant appearances. ### Technical Style: Guerrilla Chaos as Choice The raw, jumpy editing and guerrilla feel seem deliberate, like indie experimentation or stage-drama energy on screen. Shots are loose, blocking theatrical, mise-en-scène indie, very similar to *Progressive Tailors’ Club* by Biodun Stephen. This suits satire on Nollywood production madness. A Lagos car chase impresses for scale alone. Yet repetition (jokes, fights) wears thin, aggravated by choppy cuts. Sound issues in cinemas (muffled dialogue, no subtitles) hurt clarity. The style starts fresh but becomes tiring, testing patience as chaos piles on. ### Final Thoughts *This Is Not a Nollywood Movie* is clearly Wale Ojo’s personal ode to the industry’s passion and pitfalls. The wacky characters, strong leads, and meta humour show real love. It starts with sharp potential, poking fun at award-chasing dreams and production nightmares. But the premise drifts into endless detours, repetitive comedy, and overwhelming action that loses the thread. What could have been tight satire stretches into boredom. Still, the chemistry, quirks, and sheer audacity make it watchable and different. ### Verdict *This Is Not a Nollywood Movie* suits viewers who enjoy chaotic, character-driven comedy and don’t mind repetition for meta laughs. It frustrates those wanting focused satire or fresh jokes throughout. Quirky and bold, it’s a love letter that gets lost in its own madness. **Rating**: 2.55/5 ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/this-is-not-a-nollywood-movie-its-wale-ojos/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/this-is-not-a-nollywood-movie-its-wale-ojos/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/this-is-not-a-nollywood-movie-its-wale-ojos/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/this-is-not-a-nollywood-movie-its-wale-ojos/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/this-is-not-a-nollywood-movie-its-wale-ojos/?share=linkedin) - **Categories:** Reviews **Tags:** Bimbo Akintola, Broda Shaggi, critique, filmmaking satire, Hanks Anuku, Ijeoma Ononoju, Lagos chaos, meta humour, Nollywood Comedy, OAP Ijekumora, Olumide Owuru, Progressive Tailors' Club, Review, Shata Bandle, this is not a nollywood movie, Wale Ojo, Wale Ojo directorial --- ### [Colour Me True: Secrets, Scandals, and the Cost of Reinvention](https://nollycritic.com/colour-me-true-secrets-scandals-and-the-cost-of-reinvention/) **Published:** December 11, 2025 **Author:** Uju Okosieme **Excerpt:** Colour Me True, directed by Toluwani Obayan Osibe. Starring Shalewa Ashafa and Bucci Franklin, the film promises vibrancy and emotional richness... **Content:** First Features, Natives Filmworks, and Michelangelo Productions return with the tenth entry in the First Features project, [*Colour Me True*,](https://nollycritic.com/colour-true-me-new-first-feature-title-heads-to-prime-video/ "Colour True Me: New First Feature Title Heads to Prime Video") directed by Toluwani Obayan Osibe. Starring Shalewa Ashafa and Bucci Franklin, the film promises vibrancy and emotional richness, so let’s find out how much colour it truly brings to the screen. ## *Colour Me True* Directed by: Toluwani Obayan Osibe Written by: Toluwani Obayan Osibe, Paul S. Rowlston Genre: Drama Released on: December 4, 2025 (Prime Video) Language: English ## A Journey Triggered by Exposure The synopsis reveals a reality star whose life unravels after the truth about her identity comes to light. Known publicly as Sylvia Philips, Ivie retreats to the orphanage where she grew up and confronts the past she has kept buried. The narrative largely revolves around Ivie’s exposure, supported by secondary plot threads: her fractured relationship with Ruth, her breakup with Miles, Boma’s relationship with her mother, and a few romance-driven moments that orbit the main story. ## Performances That Spark in Moments Shalewa Ashafa (Ivie) and Eseosa Bernard (Ruth) share a believable chemistry that strengthens their scenes together, even when certain acting choices fall into uneven territory. Bucci Franklin’s performance as Adolphus echoes characters he has portrayed before, making it feel familiar rather than distinctive. The young performers, Chimdiya Nwigwe and Alison Adeeyinwo as Boma and Giggles, bring a natural charm to their roles, though the writing occasionally pushes them into comedic territory that softens their emotional moments. The film’s opening proposal-scene, where Miles abandons Ivie after she is exposed, suffers from awkward execution, and Nnamdi Agbo’s flat performance certainly doesn’t help. Thankfully, he delivers a much stronger showing in the final scene. ## Vibrant Visuals With Technical Hiccups [*Colour Me True* ](https://www.imdb.com/title/tt39122582/ "Colour Me True ")embraces its title with bright, bold lighting choices and playful shot selections that keep the film visually engaging. However, the sound design struggles in moments where dialogue becomes difficult to hear, forcing the audience to work harder than they should to follow essential conversations. The colourful energy remains consistent, but the inconsistency in audio dulls some of its intended impact. ## A Story That Means Well but Falters in Execution The film’s emotional stakes often feel overstated. Ivie’s “big secret” doesn’t justify the magnitude of the backlash she receives, which weakens the urgency of the narrative. The Aunty Mary character is a familiar Nollywood caricature that quickly becomes repetitive. Boma’s meltdown after being caught with weed attempts to build toward an emotional breaking point, but the scene arrives abruptly and lacks the finesse needed to make it land convincingly. ## Verdict *Colour Me True* is warm, heartfelt, and visually delightful, celebrating themes of sisterhood and found family. Yet it inflates conflicts that don’t feel as high-stakes as the film insists, and emotional beats such as Adolphus’ betrayal never connect deeply enough to leave the intended mark. Still, it is a beautiful watch with uplifting moments, ultimately earning a 3.25-star rating. **Rating**: 3.25/5 ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/colour-me-true-secrets-scandals-and-the-cost-of-reinvention/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/colour-me-true-secrets-scandals-and-the-cost-of-reinvention/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/colour-me-true-secrets-scandals-and-the-cost-of-reinvention/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/colour-me-true-secrets-scandals-and-the-cost-of-reinvention/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/colour-me-true-secrets-scandals-and-the-cost-of-reinvention/?share=linkedin) - **Categories:** Reviews **Tags:** Bucci Franklin, Colour me true, First features project, Michelangelo Productions, Natives Filmworks, nollycritic, nollywood, Prime Video, Shalewa Ashafa, Toluwani Osibe --- ### [Man of Her Dreams: Martha Ehinome's Anticipated Film Wraps Production](https://nollycritic.com/man-of-her-dreams-martha-ehinomes-anticipated-film-wraps-production/) **Published:** December 9, 2025 **Author:** Michael Arowoselu **Excerpt:** In the Moses Ipadeola-directed Man of Her Dreams, Naya, a woman in her late 20s, who’s been yearning for love will meet Kene... **Content:** [Martha Ehinome](https://www.imdb.com/name/nm12660844/ "Martha Ehinome"), known for her captivating performance as Tumi in the Showmax original series, *Wura*, is making her debut executive produced film with Man of Her Dreams which recently wrapped production. The production which is now in its post-production phase is billed as Martha’s first executive produced project after years embracing fictional characters from *The Herbert Macaulay Affair*, *Wura, The Origin: Madam Koi-Koi* and others. In the Moses Ipadeola-directed *Man of Her Dreams*, Naya, a woman in her late 20s, who’s been yearning for love will meet Kene, a seemingly perfect man only to discover there’s more to his identity and personality than she bargained for. This woman must choose between the forever love she’s always yearned for and the frightening reality of a relationship where love, sanity, and reality blur. The film is deftly directed by Ipadeola whose film *Ekun Iyawo: A Tale of A Run Away Bride* has screened at various local and international film festivals to warm reception. Martha’s newly registered production company, ME & Co serve as the Executive Producer and Emmanuel Izuoba, best known as Assistant Producer and Director of *Christmas in Lagos*, and Martha Ehinome are credited as producers. The film jointly written by Martha and Gbolahan Akitunde will offer a meditative and insightful look into yearning, choices and reality. The writing grounds itself on the story of Naya and Kene. Man of Her Dreams is beautifully captured by Fadamana Okwong credited with *The Artifact, [A Green Fever](https://nollycritic.com/a-green-fever-a-thriller-that-almost-had-it-all/ "A Green Fever"), In Ibadan, Fire and The Moth* and other commercially successful and critically acclaimed Nollywood titles. Joy Kadiri known for her work on Jade Osiberu’s Gangs of Lagos, Christmas in Lagos and others handled the film’s Art direction and visual language. “This project represents a defining moment for me creatively. I’ve told stories in different forms over the years (through acting, my vlogs, & the small worlds I’ve built online) but bringing this story to the screen is the actualisation of something I’ve wanted for a very long time,” said Martha. “I’m glad this is the story that marks this chapter. It’s bold, it’s emotional, it’s layered, and it weaves in things I love: our culture, our spirituality, the emotional realities we don’t always talk about, and an intimacy that feels honestly African and very relatable.” The film features incredible cross generational talents including Martha Ehinome, Vine Olugu who played major roles. Ireti Doyle, Gbubemi Ejeye and Tosin Adeyemi bring their talents to the project, creating a rich plethora of characters. These cast members carried the physicality of the film’s subject matter and added, in varying degrees, further depth to the film. - ![Man of her Dreams](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/f60ca500-ee3c-458b-b749-d7cd70113ea0.jpg?resize=640%2C360&ssl=1) - ![Man of her Dreams](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/bff5f5da-451d-4c3d-bd88-c4d6b07a4907.jpg?resize=640%2C360&ssl=1) - ![Man of her Dreams](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/d4127352-347b-4a04-9fc4-c4ae31f4e9be.jpg?resize=640%2C360&ssl=1) - ![Man of her Dreams](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/274e837a-8595-4cf7-9241-fe0c82c2d21c.jpg?resize=640%2C360&ssl=1) - ![Man of her Dreams](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/ca3cdfdd-f038-4b62-b03e-e6786ad7294a-1024x576.jpg?resize=640%2C360&ssl=1) - ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/DSC07458.jpeg?resize=640%2C800&ssl=1) - ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/DSC08163.jpeg?resize=640%2C800&ssl=1) - ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/DSC09189.jpeg?resize=640%2C800&ssl=1) ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/man-of-her-dreams-martha-ehinomes-anticipated-film-wraps-production/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/man-of-her-dreams-martha-ehinomes-anticipated-film-wraps-production/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/man-of-her-dreams-martha-ehinomes-anticipated-film-wraps-production/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/man-of-her-dreams-martha-ehinomes-anticipated-film-wraps-production/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/man-of-her-dreams-martha-ehinomes-anticipated-film-wraps-production/?share=linkedin) - **Categories:** Nollywood News **Tags:** Gbubemi Ejeye, Ireti Doyle, Man of her dreams, Martha Ehinome, Tosin Adeyemi, Vine Olugu --- ### [Stitches Suffers at the Helm of an Overly Familiar Plot (Review)](https://nollycritic.com/stitches-suffers-at-the-helm-of-an-overly-familiar-plot/) **Published:** December 8, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Although Stitches delivers a beautiful cinematic experience, the storyline, however, feels way too recycled to be ignored. **Content:** Following its world premiere at the 2025 Toronto International Film Festival in August, *[Stitches](https://nollymeter.com/movies/stitches "Stitches")* commenced screening across cinemas nationwide on November 28, 2025. The Lagos-set drama follows Boma, a gifted fashion designer from a humble background, whose rise into high society is threatened by love and the weight of social class. The feature is produced by the collaborative effort of Chris Odeh (Sozo Films), Ramsey Nouah (Ramsey Films), and Joy Odiete (Bue Pictures Film distribution) into a fresh company called [BRS Studios](https://nollycritic.com/brs-studios-reveals-its-2025-nollywood-film-slate/ "BRS Studios"). It stars Dakore Egbuson-Akande, Regina Askia, Adaobi Dibor, and Obinna Okenwa. Although *Stitches* delivers a beautiful cinematic experience, the storyline, however, feels way too recycled to be ignored. ## *Stitches* Directed by: Shirley Frimpong-Manso Written by: Chidima Uzozie Thecla, Uche Atelia, and Shirley Frimpong-Manso Genre: Drama Released on: November 28, 2025 (Cinemas) Language: English **Very Familiar Plot** *Stitches* follows Boma, a young aspiring fashion designer struggling to establish herself in Lagos after losing her mother. When her aunt, owner of a renowned fashion brand, offers her a blank check to pursue her dreams, Boma finally has the chance she’s been waiting for. Just as she’s determined to make her mark in the city, romance enters her life through their biggest client yet. Now she must balance her career ambitions with new love, fighting to keep both from unraveling. Woven alongside Boma’s journey are other characters who also navigate the intersection of love and survival. Ultimately, love triumphs—and this time, no one has to sacrifice their ambition for it. The narrative masterfully explores love, identity, ambition, and resilience, with the protagonist’s journey seamlessly weaving through each theme in compelling ways. That said, the premise of relocating to Lagos feels overdone at this point. The fashion design industry angle, in particular, has become a well-worn path in storytelling. **Intentionality Saves the Flaw of Familiarity** Although the plot feels very familiar to *Almost Perfect,* which also tells the story of a young girl who defies odds and moves to Lagos in pursuit of her fashion design career. There is some depth with *Stitches*, or better put, intentionality that makes its difference stand out even more. And we see that with how little things like the reaction of the guest at the funeral made sense, to the shocking entrance of the mother’s carbon copy. And then the shared passion for helping less privileged kids between Boma and Mofe. This helped add some depth to their intimacy. They may seem like little scenes here and there but they helped elevate it from just trying to survive and fall in love in Lagos to something a lot more intentional. While there was clear intentionality in certain areas, the aunt’s character felt underdeveloped. Given her significant influence on the overall narrative, her backstory deserved more attention. Key questions remain unanswered: if she prioritized her career, how does she have a daughter nearly Boma’s age? Why is she so deeply invested in her niece’s development yet seemingly indifferent to her own daughter’s life and choices? These gaps weaken what should have been a pivotal character. **Palpable Chemistry** Boma (Adaobi Dibor) and Mofe (Obinna Okenwa) give outstanding performances, particularly notable for their immediate, tangible connection. From their initial meeting, they displayed an intuitive grasp of each other’s gestures and communicated volumes through their quiet scenes together. Combined with exceptional work from Dakore Egbuson-Akande, Tomi Ojo, and Martha Ehinome, Stitches showcases nearly flawless acting across the board. **Excellent Dance Between Picture Frames and Sound Scores** One of the beautiful things that aids storytelling is the blend of clear picture frames and sound scores. Each setting was enhanced by the frame choices that made the audience appreciate the difference between the minimalistic home in Port-Harcourt and the boldness of Lagos. The set designs added some texture to the lead characters, as we could tell what felt like home and what felt like a choking box. Especially, with the storyline leaning towards romance more, the sound choices also helped elevate the mood and the feelings being expressed. There was also something very distinct about the clear sound for the actors’ dialogues, which gave the charming Mofe, a prince charming bass that lingered through, and then the boldly shy Boma. At, some point, one could tell that the audio seemed recorded but it blended in nicely. **Final Thoughts** A flashback between Boma’s mum and her sister could have illuminated the ways the life choices drove them apart. And then, there was the unexplained angle on the aunt having a child, when she had explicitly mentioned that she chose her career over having a family. **Verdict** *Stitches* tells a refreshing story, and even though it has a familiar plot line, it manages to deliver it better. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/stitches-suffers-at-the-helm-of-an-overly-familiar-plot/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/stitches-suffers-at-the-helm-of-an-overly-familiar-plot/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/stitches-suffers-at-the-helm-of-an-overly-familiar-plot/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/stitches-suffers-at-the-helm-of-an-overly-familiar-plot/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/stitches-suffers-at-the-helm-of-an-overly-familiar-plot/?share=linkedin) - **Categories:** Reviews **Tags:** Chiemezie Imo, Chris Odeh, Dakore Egbuson-Akande, film, Joy Odiete, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Obinna Okenwa, Ramsey N, Regina Asika, Reviews, Stitches --- ### [Warlord: Olori Ogun - An Epic on the Price of Power](https://nollycritic.com/warlord-olori-ogun-an-epic-on-the-price-of-power/) **Published:** December 6, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Warlord: Olori Ogun is a sweeping Nigerian epic directed by Odunlade Adekola, Tope Adebayo, and Abiodun Olanrewaju, running over two hours... **Content:** [*Warlord*: *Olori Ogun* ](https://www.imdb.com/title/tt38961171/)is a sweeping Nigerian epic directed by Odunlade Adekola, Tope Adebayo, and Abiodun Olanrewaju, running over two hours to unpack themes of ambition, loyalty, supernatural cost, and moral duty through Yoruba spiritual traditions. Muyiwa Ademola stars as Oba Adeyiga, a king whose drive for dominance leads to unholy alliances. Odunlade Adekola plays the warlord Olori Ogun, a feared enforcer hiding inner longing. The story centres on a kingdom’s internal fractures, blending political intrigue with mythic forces. It stands as a culturally grounded tale of human frailty, rewarding those who appreciate layered African storytelling, though pacing and density test patience. ## *Olori Ogun (Warlord)* Directed by: Odunlade Adekola, Tope Adebayo, Abiodun Olanrewaju Produced by: Odunlade Adekola Genre: Epic Released on: November 28, 2025 (Cinema) Language: Yoruba ### A Realm of Ambition and Spiritual Weight The emotional core lies in the human cost of power. Oba Adeyiga’s relentless quest for authority leaves scars on those around him, his choices a mix of strength and self-inflicted weakness. The warlord’s duality adds depth: outwardly a tyrant enforcing control, inwardly a man craving connection and family. This contrast creates tension, as loyalty binds him to the king while personal desires pull him apart. The film explores Nigerian family pressures through revelation: bonds once seen as romantic prove paternal, reshaping actions from greed to hidden care. Supernatural elements feel integral, not added flair, underscoring how ambition invites unseen consequences. ### A Kingdom’s Rise and Hidden Cracks [*Warlord*: *Olori Ogun* ](https://www.imdb.com/title/tt38961171/)kicks off with a fierce duel that establishes the king’s rise and the brutal stakes of rule. Oba Adeyiga seeks supernatural aid through a spirit called Lewuke, which grants strength but demands a heavy toll. He forms a sacred covenant with the warlord before a powerful deity, ensuring unwavering loyalty. The warlord enforces the king’s will across villages, crushing uprisings with efficiency. Subplots introduce moral layers: a wronged woman named Ogindo harbours resentment, leading to confrontation. Nonlinear shifts between past and present add mythic feel, but abrupt cuts and missing subtitles can confuse. There are extra scenes that don’t really help the main story, like prisoners talking about plotting their escape or a slave giving birth and some debating if she’ll give birth to twins or not. These slow down the pace and feel like filler, not adding much to the central plot or themes. ### Performances That Command Attention Odunlade Adekola dominates as the warlord, blending physical menace with subtle vulnerability that makes his inner conflict believable. Muyiwa Ademola conveys the king’s insecurity beneath his authority, his portrayal a study in ambition’s isolation. Ibrahim Yekini’s portrayal, memorable and excellent, while Toyin Abraham adds honesty to her limited role, her presence hinting at untapped potential. Elero grounds the ensemble with solid texture. The cast overall elevates the material, though more space for emotional buildup could have deepened the impact. ### Technical Craft With Cultural Texture The directors handle the epic scale with confidence, framing moral conflicts through lingering close-ups and vast landscapes. Cinematography captures tension in faces and settings, makeup and costumes rooting the world in historical detail. The score stands out, its refined tones occasionally weaving in Egyptian-inspired rhythms to heighten drama. Editing supports the nonlinear structure but could have used clearer markers to ease transitions. Violence is honest without excess, aligning with the story’s brutality. Overall, the technical side immerses in Yoruba traditions, though pacing lags in spots. ### Final Thoughts *[Warlord: Olori Ogun ](https://nollycritic.com/warlord-olori-ogun-makes-%e2%82%a647-million-at-the-box-office-in-its-opening-week/ "Olori Ogun: Warlord ")*asks what loyalty costs when ambition rules. Can supernatural power ever bring true strength? The covenant’s weight and the warlord’s duality probe deep moral ground, rewarding attentive viewers. Yoruba spiritual elements enrich the narrative, making it a standout for cultural resonance. Yet the film’s density overwhelms at times, with subplots and abrupt shifts demanding more clarity. Nollywood’s epic ambition shines here, proving stories like this deserve the screen. ### Verdict *[Warlord: Olori Ogun ](https://nollycritic.com/warlord-olori-ogun-makes-%e2%82%a647-million-at-the-box-office-in-its-opening-week/ "Olori Ogun: Warlord ")*suits fans of Yoruba mythology and moral epics who can handle dense storytelling. It offers strong performances and cultural depth worth the runtime. Ambitious and flawed, it leaves a lingering echo of power’s true price. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/warlord-olori-ogun-an-epic-on-the-price-of-power/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/warlord-olori-ogun-an-epic-on-the-price-of-power/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/warlord-olori-ogun-an-epic-on-the-price-of-power/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/warlord-olori-ogun-an-epic-on-the-price-of-power/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/warlord-olori-ogun-an-epic-on-the-price-of-power/?share=linkedin) - **Categories:** Reviews **Tags:** [5 Dec 2025 at 14:13:47]: ...Odunlade Adekola, critique, Itele, Muyiwa Ademola, Nollywood epic, Olori Ogun Warlord, power and loyalty, Shalom Obisesan, supernatural drama, Toyin Abraham, Tunde Olaoye, Yoruba mythology --- ### [Warlord: Olori Ogun Makes ₦47 million at the Box Office in its Opening Week](https://nollycritic.com/warlord-olori-ogun-makes-₦47-million-at-the-box-office-in-its-opening-week/) **Published:** December 5, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Warlord: Olori Ogun tells the story of a fearless warrior navigating complex family dynamics while protecting his community and preserving his heritage. **Content:** Yoruba epics are back at the cinemas, and this time it’s one with so much vim and grit. Produced by Odunlade Adekola Film Production (OAFP) and [FilmOne ](https://nollycritic.com/?s=filmone "FilmOne ")Studios, *[Warlord: Olori Ogun ](https://www.imdb.com/title/tt38961171/ "Warlord: Olori Ogun ")*earned ₦47 million at its opening week. For FilmOne Entertainment, this collaboration further champions indigenous storytelling. This underscores the company’s commitment to elevating African stories and ensuring culturally significant films reach wider audiences. “This is the kind of indigenous film we are proud to champion,” said Victoria Ogar, Head of Distribution at FilmOne Entertainment, in a press release. “*Warlord: Olori Ogun* represents the beauty of our stories, and we are so excited for audiences across Nigeria to experience it.” *War Lord: Olori Ogun* is directed by Adebayo Tijani, Abe Lanre, Tope Adebayo, and Odunlade Adekola.Set in the heart of Yoruba tradition, *Warlord: Olori Ogun* tells the story of a fearless warrior navigating complex family dynamics while protecting his community and preserving his heritage. The film combines historical drama with rich cultural storytelling to deliver an immersive cinematic experience. The star-studded cast list includes: Femi Adebayo Salami, Ibrahim Chatta, Toyin Abraham, Muyiwa Ademola, Eniola Ajao, and Fathia Balogun. Odunlade Adekola, who serves as both producer and lead actor also shared his excitement as regards the project and also a hint of what the audience can expect. In his words, “Fans should expect something powerful and exceptional. *Warlord: Olori Ogun* is a strong story, and I am proud of what we created,”. *Warlord: Olori Ogun* continues to screen across cinemas nationwide, following the debut on Friday, November 28th. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/warlord-olori-ogun-makes-%e2%82%a647-million-at-the-box-office-in-its-opening-week/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/warlord-olori-ogun-makes-%e2%82%a647-million-at-the-box-office-in-its-opening-week/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/warlord-olori-ogun-makes-%e2%82%a647-million-at-the-box-office-in-its-opening-week/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/warlord-olori-ogun-makes-%e2%82%a647-million-at-the-box-office-in-its-opening-week/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/warlord-olori-ogun-makes-%e2%82%a647-million-at-the-box-office-in-its-opening-week/?share=linkedin) - **Categories:** Nollywood News **Tags:** film, nigerian cinema, nollycritic, nollywood, Reviews --- ### [Colour True Me: New First Feature Title Heads to Prime Video](https://nollycritic.com/colour-true-me-new-first-feature-title-heads-to-prime-video/) **Published:** December 2, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Natives Filmworks and MichaelAngelo Productions have announced Colour True Me as the 10th title in the First Features Slate Initiative. **Content:** [Natives Filmworks ](https://www.instagram.com/p/DRhADj5DF4y/?igsh=MWlrMXo3NGk4MGsyZA==)and MichaelAngelo Productions have announced *Colour True Me* as the 10th title in the [First Features](https://nollycritic.com/the-lost-days-new-first-features-slate-explores-themes-of-family-and-forgiveness/) Slate Initiative. Written and Directed by Toluwani Osibe, Colour True Me tells a gripping story on identity, in a world that often celebrates image more than truth. Starring Shalewa Ashafa as Sylvia Philips, we are taken into her world as a beauty queen and celebrity. Whose picture-perfect life goes tumbling when the truth about her past comes out. And now she must face the consequences as she seeks refuge in the same past she thought was completely buried. Alongside Ashafa, the feature stars Bucci Franklin whose character hints at a more subtle and emotion driven persona, as opposed to what we have seen him in before. Other cast members include Eseosa Bernard, Nnamdi Agbo, Gerard Adebija, Amara Uwechi, Chimdiya Nwigwe, Alison Adeeyinwo and Stanley Ebuka. The feature is said to have been filmed in Abuja and wrapped up production in July 2025. *Colour True Me* will start streaming on Prime Video on the 4th of December 2025. The First Features initiative is down to 2 more expected releases as it slowly closes up its 12 feature slate. And so far as continued to deliver fresh and intriguing stories. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/colour-true-me-new-first-feature-title-heads-to-prime-video/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/colour-true-me-new-first-feature-title-heads-to-prime-video/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/colour-true-me-new-first-feature-title-heads-to-prime-video/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/colour-true-me-new-first-feature-title-heads-to-prime-video/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/colour-true-me-new-first-feature-title-heads-to-prime-video/?share=linkedin) - **Categories:** Nollywood News **Tags:** Bucci Franklin, film, First features project, native filmworks, nollycritic, nollywood, Nollywood 2025, Prime Video, Shalewa Ashafa --- ### [Safari Reminds Us of the Importance of Defiance](https://nollycritic.com/safari-reminds-us-of-the-importance-of-defiance/) **Published:** December 3, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Written by Tunde Babalola and directed by Obi Emelonye, Safari tells a story hinged on defiance and emotional captivity. It centers around two lives that find... **Content:** Written by Tunde Babalola and directed by Obi Emelonye, *[Safari](https://nollycritic.com/safari-see-the-trailer-for-obi-melonyes-new-romantic-thriller/ "Safari")* tells a story hinged on defiance and emotional captivity. It centers around two lives that find themselves united by a shared desire to escape the lives they are trapped in. The feature is also yet another successful collaboration between Nollywood and the Kenyan tourism industry. The cast ensemble includes Osas Ighodaro, Jide Kene Achufusi, Ali Nuhu, Emmanuel Mugo, and Daniel Lee Hird. ## *Safari* Directed by: Obi Emelonye Written by: Tunde Babalola Genre: Drama Released on: November 21, 2025 (Cinema) Language: English **From Freedom To Murder Mystery** *Safari* kicks start with a clear picture of the dynamics behind Nkiru’s (Osas Ighodaro) marriage. And her husband’s constant political plotting as he takes on another wife. Heartbroken by the realization that her marriage was all a game plan, she takes a trip to a safari in Kenya. However, her light breath of fresh air soon leads her into a murder case involving her tour guide. But Nkiru isn’t the only one trying to break free from an ugly situation. As the tour guide also finds himself trying to escape prostitution, a the hands of an aggressive boss. Although they stall at admitting their growing desire for one, they soon choose each other as a reason to fight the ones who hold them captive. However, they must first prove their innocence even when everything points to them. **Pacing and a Lack of Depth almost ruin the momentum** The feature suffers at the hands of unnecessary scenes being prolonged, leaving no room for the scenes that truly matter. At the hands of the real evil perpetrators, we see no character depth and a watered-down narrative. Their characters are supposed to be those of people who master minded a clean murder and set-up, but we see how easily they fall with almost no difficulty. For one, these powerful men seem to have little to no guards protecting them. And waved around their illicit acts so openly that one wonders why the police struggle to believe they were the murderers. **Impressive Performances All-round** Osas Ighodaro delivers a beautiful performance. From being the subtle yet vocal wife to the ever-manipulating husband. To a vibrant and cheery lady who finds her way back to the things she loves. Alongside Emmanuel Mugo, the two spark an exciting romantic chemistry from their very first meeting. So much so that, although the odds seem impossible, one starts to root for their love. Other supporting acts like Jide Kene-Achufusi, Ali Nuhu and Ken Abami also give a remarkable performance, which aids the story flow throughout. **Beautiful Pictures That Properly Capture Culture** One unique thing *Safari* was able to do was to sell the tourism culture in Kenya. With the way it highlights the ambience, nature, wildlife, and its people. We didn’t just see the actors in those spaces, but we could see the intentionality given, especially with the synergy with the musical score and sound. *Safari* is immersive. For a few minutes, one could easily forget they were in a cinema hall and not on a safari in Kenya. **Final Thoughts** Its always great to see how Nollywood is able to strengthen its collaboration slates. However, it’s more important if we can also emulate the same grace in how we highlight our tourism culture, too. It’s also so funny how when a woman finds freedom from a hostile marriage, it’s often tied to her finding love somewhere else. **Verdict** *[Safari](https://www.imdb.com/title/tt38682559/ "Safari")* definitely leaves one hurriedly adding Kenya to one’s bucket list of trips. And definitely something to get one thinking and emotionally invested. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/safari-reminds-us-of-the-importance-of-defiance/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/safari-reminds-us-of-the-importance-of-defiance/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/safari-reminds-us-of-the-importance-of-defiance/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/safari-reminds-us-of-the-importance-of-defiance/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/safari-reminds-us-of-the-importance-of-defiance/?share=linkedin) - **Categories:** Reviews **Tags:** Ali Nuhu, Daniel Lee Hird, Emmanuel Mugo, film, Jide Kene Achufusi, Kenyan Tourism, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Osas Ighodaro, Reviews, Safri --- ### [Ibadan Indie Film Festival: A Landmark Year for Independent Cinema](https://nollycritic.com/ibadan-indie-film-festival-a-landmark-year-for-independent-cinema/) **Published:** December 2, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The Ibadan Indie Film Festival (IFA) came last week with its 2025 edition — a bold, emotionally charged celebration anchored in the theme “IFA IS HOME.” **Content:** The Ibadan Indie Film Festival (IFA) came last week with its 2025 edition — a bold, emotionally charged celebration anchored in the theme “IFA IS HOME.” This year’s festival doubled down on its commitment to Ibadan as both a creative hub and a cultural sanctuary, reaffirming the city’s place in Nigeria’s growing independent film movement. The three-day programme, which we attended, gathered filmmakers, students, film workers, academics, and cinephiles from across the country for screenings, workshops, conversations, and the much-anticipated Ibadan Indie Film Awards. ### “IFA Is Home”: A Theme Rooted in Belonging This year’s theme wasn’t just symbolic, it guided the curation, attendance, and broader intention of the festival. Festival Director Moses Ipadeola described the theme as a deliberate return to IFA’s origins: > “This year, we believe the moment has come to deepen that connection and focus intentionally on the filmmakers of Ìbàdàn. It’s a place where local stories and voices are highlighted and celebrated.” Festival Founder Chukwu Martin echoed this: > “We want to show off filmmakers creating from Ìbàdàn and those who hold the city dear, as a home for creativity and revitalization.”y Since launching in 2022, IFA has developed into one of Nigeria’s most significant indie platforms, elevating new voices while preserving the city’s long-standing relationship with cinematic experimentation. ### Screenings, Conversations, and Community This year’s programme brought together a broad slate of short films spanning fiction, experimental cinema, documentary, student productions, and hybrid works. Many of the screenings included Q&A sessions that placed emerging filmmakers in direct conversation with their audiences. The festival also hosted workshops on visual storytelling, indie funding, story development, and production techniques contributing to what has become one of IFA’s strongest traditions: building capacity at the grassroots level. ### IFA 2025 Award Winners and Nominations Below is the full list of categories, nominees, and winners as announced at the 2025 Ibadan Indie Film Awards ceremony. **LIFETIME ACHIEVEMENT IN CINEMA** Recipient: **Sir Ola Balogun** A tribute to the legendary filmmaker whose pioneering work laid foundations for modern Nigerian cinema. **BEST STORYTELLING** *Beyond Olympic Glory* *Telephone* ***Ranti Ronu* — Winner** **DEMAS NWOKO AWARD (BEST EXPERIMENTAL)** *In Our Dreams We Fly* ***First Blood* — Winner** *Together Apart* *Home* **JURY AWARD (SPIRIT OF IFA)** *Together Apart* ***In Our Dreams We Fly* — Winner** *Telephone* **BEST ACTOR** Adunolaoluwa Osilowo *(Isekonu)* Favour Etim (*Asake’s Sin*) Festus Osas Miracle (*In Our Dreams We Fly*) Uche Mary Odindo (*Together Apart*) Damilola Oni *(Telephone)* **Daniel Adeshina (*Telephone*) — Winner** Idowu ‘Iya Rainbow’ Phillips (*Ola*) Zinah Ndubueze (*Home*) Jide Ibitoye (*Ranti Ronu*) Martha Ehinome (Tell It No More) **BEST DIRECTOR** **Fimisinuola Adejonwo — *Telephone* (Winner)** Festus Obehi Destiny — *In Our Dreams We Fly* Shedrack Salami — *Beyond Olympic Glory* Damilare Williams-Shire — *Together Apart* Blue Adekunle — *Ranti Ronu* **BEST SCREENPLAY** ***Ranti Ronu* — Winner** *Isekonu* *Tell It No More* *Together Apart* **BEST PRODUCTION DESIGN** ***Telephone* — Winner** *Mother* *Asake’s Sin* **BEST CINEMATOGRAPHY** *Mother* ***Together Apart* — Winner** *Ranti Ronu* *In Our Dreams We Fly* **MOST PROMISING INDIE FILMMAKER** **Festus Obehi Destiny — *In Our Dreams We Fly* (Winner)** Damilare Williams-Shire — *Together Apart* Fimisinuola Adejonwo — *Telephone* **BEST INDIE POSTER** *Market People* *Ranti Ronu* — Winner *Together Apart* *Happy Times* *Mother* **IFA BEST INSPIRATIONAL FILM** Winner: Beyond Olympic Glory (Dir. Shedrack Salami) ### A Festival Growing into Its Future IFA 2025 marks the festival’s most community-driven edition yet, bridging nostalgia, innovation, and intention. Its commitment to young filmmakers, regional voices, and experiments in form reflects a festival steadily cementing its place in Nigeria’s cultural landscape. From the emotional responses during screenings to the robust conversations in hallways and courtyard spaces, this year made one thing clear: Ibadan is not just a backdrop, it is a filmmaking home. Nollycritic will continue to spotlight standout films from the festival in separate reviews and features. ![Ibadan Indie Film Festival](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/SnapInsta.to_587625189_18003377183832800_8160954259153109012_n.jpg?resize=640%2C800&ssl=1)![Ibadan Indie Film Festival](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/SnapInsta.to_587794120_18003377264832800_2394358227364186062_n.jpg?resize=640%2C800&ssl=1)![Ibadan Indie Film Festival](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/SnapInsta.to_587289284_18003377333832800_9008671641833208007_n.jpg?resize=640%2C800&ssl=1)![Ibadan Indie Film Festival](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/SnapInsta.to_587287059_18003377144832800_7089695141311916250_n.jpg?resize=640%2C800&ssl=1)![Ibadan Indie Film Festival](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/12/SnapInsta.to_586701521_18003471899832800_1263803772001254162_n.jpg?resize=640%2C360&ssl=1) ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ibadan-indie-film-festival-a-landmark-year-for-independent-cinema/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ibadan-indie-film-festival-a-landmark-year-for-independent-cinema/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ibadan-indie-film-festival-a-landmark-year-for-independent-cinema/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ibadan-indie-film-festival-a-landmark-year-for-independent-cinema/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ibadan-indie-film-festival-a-landmark-year-for-independent-cinema/?share=linkedin) - **Categories:** Nollywood News **Tags:** Adunolaoluwa Osilowo, Asake’s Sin, Beyond Olympic Glory, Blue Adekunle, Chukwu Martin, Damilare Williams-Shire, Damilola Oni, Daniel Adeshina, Favour Etim, Festus Obehi Destiny, Festus Osas Miracle, Fimisinuola Adejonwo, First Blood, Happy Times, Home, Ibadan Creative Scene, Ibadan Indie Film Awards, Ibadan Indie Film Festival, Idowu Phillips, IFA 2025, IFA Is Home, In Our Dreams We Fly, Independent Cinema Nigeria, Isekonu, Iya Rainbow, Market People, Martha Ehinome, Moses Ipadeola, Mother Short Film, Nigerian Indie Filmmakers, Nigerian Short Films, Ola Short Film, Ranti Ronu, Shedrack Salami, Sir Ola Balogun, Telephone, Tell It No More, Together Apart, Uche Mary Odindo, Zinah Ndubueze --- ### [Omotayo Queen Inakoju on the Legalities in Nollywood](https://nollycritic.com/omotayo-inakoju-on-the-legalities-in-nollywood/) **Published:** November 25, 2025 **Author:** Faith Oloruntoyin **Excerpt:** We sat down with Omotayo Queen Inakoju, a seasoned film lawyer with over seven years of experience and the current Head of Legal at EbonyLife Group... **Content:** In film, creativity may steal the spotlight—but without a solid legal foundation, the stories, partnerships, and intellectual property at the heart of cinema remain vulnerable. To shed light on these essential but often ignored structures, we sat down with [Omotayo Queen Inakoju](https://www.linkedin.com/in/omotayo-queen-inakoju-3ab806127/ "Omotayo Inakoju"), a seasoned film lawyer with over seven years of experience and the current Head of Legal at [EbonyLife](https://nollycritic.com/?s=ebonylife "EbonyLife") Group. In this conversation, she breaks down the crucial legalities every filmmaker should know, offering clarity on the fine print that shapes the Nigerian film industry. For Omotayo Queen Inakoju, the path into entertainment law was not straightforward. Initially, she took a role at Silverbird following a friend’s recommendation, which led to her engaging deeply with legal matters in the film industry. Over time, her experiences uncovered her knack for advising and leading key legal conversations for notable Nollywood projects, such as EbonyLife’s newest streaming platform. Please note that this interview has been edited to maintain its conciseness. **For any filmmaker, especially one who is just starting, what are the first legal steps that he or she should take before starting any project?** If I were to shoot a film today called *The Life of a Film Lawyer*. The first thing I need to do is to turn that idea into a script. And when it is a script, it means that it is an actual form of intellectual property. So the first legal step is to register that script with the Nigerian Copyright Commission. Before a producer can come on board, before an investor can come on board, they would want to understand the idea. So if you know that what you want to share with these people, you need to also protect the idea from being stolen. What you can do in that case is to make them sign a non-disclosure agreement, which would list all the documents shared with the other party, from the script to the budget. And also, prevents the other party from proceeding with your idea without your input or approval. As a producer, if you keep partnering, and collaborating with people without clearly specifying exactly what they are contributing and what they get in return, there will be chaos. And that’s where you come up with contracts. The essence of a contract is to establish the relationship between you and other parties. What is next you want to move on to? Let’s shoot. But before you can shoot outdoors in Nigeria, there are papers that you need to get. And then, depending on how big your project is, you might also need insurance to cover cases where actors have been injured on set or even death for both cast and crew members. As well as heavy and costly gadgets. **Does the shooting permit from the government help in any way with the ‘Omo-onile’ harassment that filmmakers encounter?** Sadly, the ‘omo-onile’s still have to be settled cordially and peacefully. Because the government themselves haven’t been able to curb its excesses, it makes it difficult for you to just say I have paid for a permit. Also, settling the omo-onile doesn’t override getting the shooting permit from the government. **Going back a bit to your thoughts on collaborations and agreements. With the legal case on Shanty Town earlier on, why do you think the courts and commissions ruled in favour of Chinenye Nworah over Ini Edo?** Let me put out a disclaimer because I don’t know what happened back-end. I wasn’t there. But then, based on the information we got, Ini Edo invested in the project. Now, investment in the form of finances or in the form of services, I don’t know. But then she invested, and she co-produced. So now the fact that you invested in the project or co-produced the project does not automatically mean that you own or co-own the project. And the fact that you earn profits or earn money from a project does not mean that you own the project. What Ini Edo ought to have done is to have a contract that says; this is what I’m contributing to this project, and this is exactly what I’m getting in return. And when I say what I’m getting in return is not only about money, it’s about clarity on ownership. Who owns what? Does she own IP rights, or do they both co-own it? Does she own the rights to earn profits from the project? Does she have the right to get credit? And maybe Ini Edo didn’t specify that she co-owned or she just assumed that because she invested, she automatically could own. And that’s why the court cleared that no, you contributed to this project, but that doesn’t mean you own the project. And from all the documentation that they submitted, from all the registrations that they did in terms of the project, they were all in Chineye’s name. So, it was hard for her to actually prove that she owned or co-owned the project. **With this, at what stage should any filmmaker or any creative in the industry involve a lawyer?** I would say involve a lawyer from the ideation stage. Because I feel even the ideation stage is the most crucial in the sense that the majority of the people who are contributing to the project are brought on board at this stage. And then the lawyer journeys with you from pre-production to the post-production phase. **For an industry like Nollywood, what legal reforms would you say are urgent, especially for young filmmakers trying to break in?** When you look at the majority of the aspects of the industry is just largely unstructured. You saw the recent incident with Taye Ayimoro. You hardly find situations like that in Hollywood, because there are structured guilds. There are consequences for all the actions that you take as a practitioner. And that’s why people are always wary before they make decisions. Another thing is the payment structure. There’s no structure regarding what actors should be paid, what kind of conditions actors should not be subjected to, and what is the duration that an actor should film straight in a day. All these are just left to the whims and caprices of the parties that are involved, which is not normal in an organized environment. And another thing is also the issue of the implementation of all these laws. **What’s your advice to any established or upcoming filmmaker?** I would say the first thing is for you to have the mindset that you are not only just a creative, you’re actually a creative entrepreneur. And what you are creating is valuable. So the more you attach value to your creative assets, to your creative services, the more you would benefit from it. As a filmmaker, you need to understand what negotiation is and how to present yourself and your ideas in such a way that you are negotiating from a place of value and not a place of desperation. Another thing is that you also need to take steps to protect your intellectual property. It is not enough that you own it; what are you doing to protect the idea? You need to see yourself as a business owner. So your mind needs to be open; it needs to be sharp in terms of distributing and monetizing your content. Okay, it’s a film. Can you create a series from it? So you just need to have an open mind as a filmmaker to be able to get deals, scale up ideas in various ways, negotiate deals appropriately, and make good money from your projects. **Conclusion** In an evolving industry like Nollywood, where passion often outruns structure, Omotayo Inakoju’s insights serve as a necessary pause button. Her message is clear: creativity may fuel the work, but legality protects it. From the first spark of an idea to the final licensing deal, filmmakers must begin to see themselves not just as creatives but as business owners navigating an evolving ecosystem. As Nollywood continues to expand in visibility, ambition, and global reach, the need for stronger structures, informed negotiation, and intentional ownership has never been more urgent. Whether you’re an emerging storyteller or an established creator, Omotayo Inokoju’s counsel is both practical and empowering: value your ideas, protect your rights, understand your partnerships, and treat every project like the legacy it could become. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/omotayo-inakoju-on-the-legalities-in-nollywood/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/omotayo-inakoju-on-the-legalities-in-nollywood/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/omotayo-inakoju-on-the-legalities-in-nollywood/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/omotayo-inakoju-on-the-legalities-in-nollywood/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/omotayo-inakoju-on-the-legalities-in-nollywood/?share=linkedin) - **Categories:** Articles, Interviews **Tags:** Copyrights, Ebony Life, Entertainment Law, Netflix, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Omotayo Inakoju, Silverbird --- ### [Gbubemi Ejeye: From Humble Beginnings to Leading Lady](https://nollycritic.com/gbubemi-ejeye-from-humble-beginnings-to-leading-lady/) **Published:** December 5, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Gbubemi Ejeye, born on June 29, 1994, in Lagos, Nigeria, has evolved from a reluctant law graduate to a celebrated actress whose versatility... **Content:** [Gbubemi Ejeye](https://www.imdb.com/name/nm11319658/ "Gbubemi Ejeye"), born on June 29, 1994, in Lagos, Nigeria, has evolved from a reluctant law graduate to a celebrated actress whose versatility and passion have made her a standout talent. Hailing from the Itsekiri ethnic group of Delta State, Gbubemi’s journey is one of resilience, reinvention, and relentless pursuit of her true calling: storytelling through film. Her story, rooted in a childhood filled with stubbornness and imagination, reflects a woman who has defied expectations to become a beacon of empathy and authenticity in Nigerian cinema. ### Early Life: A Seed Planted in Lagos Growing up in Lagos under the guidance of her parents, Gbubemi was a spirited child with a penchant for stories, a trait that would later define her career. Her father, now late, envisioned a professional path for her, steering her toward law, while her mother, initially skeptical, has since become a pillar of support for her acting ambitions. Gbubemi’s educational journey took her through Home Science Association Nursery and Primary School and Charret Primary School in Lagos, followed by secondary education at Abeokuta Girls Grammar School and Oluade High School. She pursued a law degree at Houdegbe North American University in Benin, graduating in 2015 to honor her father’s wishes. Yet, law felt “hellish” and unfulfilling, devoid of the joy she craved. After completing her National Youth Service Corps (NYSC) in Nigeria, she turned her sights to the creative world, where her true passion lay. ### The Spark: A Stage Debut and Early Hustle Gbubemi’s entry into acting was serendipitous yet deliberate. Her first taste of performance came in November 2018 with the stage play *Color Me Pink* at Terra Kulture, a production centered on breast cancer awareness. This debut ignited her love for acting, which she describes as “healing” and an escape into diverse characters. Transitioning to film, she took on small roles, including a stint as an extra in the TV series Hustle on Africa Magic, an experience that thrilled her despite its modesty. To make ends meet and gain exposure, she appeared as a video vixen in music videos, including Tiwa Savage’s “49-99,” while tirelessly auditioning for film roles. Her screen debut came in 2019 with *Rickety*, where she played Ivy, a supporting character in a modest Nollywood drama. That same year, she took on roles in *Adaife* and *AMCOP: Cladestine* as Dubra, a secretive operative. These early roles, though small, were stepping stones, allowing her to hone her craft and build connections in the industry. Her work as a production assistant on Kunle Afolayan’s *Citation* (2020) further exemplified her hustle; volunteering behind the scenes led to a small role as Rachel, a peer in a story about confronting sexual assault, marking her entry into more prominent productions. ### Building Momentum: From Supporting to Scene-Stealing The years 2020 to 2022 saw Gbubemi steadily climb the ranks, taking on a range of supporting roles that demonstrated her versatility across genres. In 2020, she played Esther in *Jumbled*, a romantic drama, and Kiki in *Uneven*, a comedic take on mismatched relationships, showing her knack for both emotional depth and humor. Her cameo as “Pretty Woman 1” in *Who’s the Boss* added charm to a workplace comedy, while *Daughters* saw her as Idara. In 2021, she embraced diverse roles: Ada in the heist comedy *One Lagos Night*, Dr. Winnie in the ethical drama *The Matron*, Ronke in the thriller *One Way*, and Anael in the supernatural *False Doors*. Each role, though secondary, showcased her growing confidence and ability to adapt to varied narratives, from lighthearted to intense By 2022, Gbubemi was gaining traction with more substantial parts. In *Glamour Girls*, she played Celeste, a glamorous escort in a tale of ambition and danger, adding elegance to a female-driven story. As Nkoyo in *The Set Up 2,* she brought resilience to a thriller about betrayal, while *What Women Want* saw her as Benita, infusing humor into a romantic comedy. Her role as Ann in *The Catalyst* highlighted her ability to drive change in a transformative drama, and in *AM Covenant*, she played Talia, a mature family member entangled in dark secrets, delivering a performance of quiet intensity. Her role as Eniola in Ndani TV’s *Game On Season 2* further cemented her ability to portray strategic, complex characters. Her breakout came with *Far From Home* (2022), a [Netflix](http://www.netflix.com "Netflix") teen drama where she played Adufe, the bold, street-smart girlfriend of protagonist Ishaya. Adufe’s thoughtless yet loyal nature made her both an adversary and a fan favorite, marking Gbubemi’s transition to roles with significant screen presence. This role showcased her ability to embody relatable struggles, earning her widespread recognition and setting the stage for leading parts. ### Leading the Way: Major Roles and Critical Acclaim Gbubemi’s ascent to leading roles began in 2023 with *Shuga* (MTV Shuga Naija Season 5), where she played Mohini, a university student battling an arranged marriage and patriarchal pressures. Drawing from her own strict upbringing, she portrayed Mohini’s vulnerability and resilience with authenticity, addressing real-world issues like gender-based violence and early marriage. The role, set in a production with a predominantly female crew, highlighted her commitment to socially relevant storytelling and earned her critical praise for its emotional depth. In 2024, Gbubemi solidified her status as a leading lady with a string of high-profile roles. In *All’s Fair in Love*, she played Dupe, a loyal friend in a romantic comedy, adding humor to a tale of rivalry. As Dr. Gbemi in *Criminal*, she portrayed a sharp, composed doctor in a thriller, standing out with her presence. In *Queen Lateefah*, her role as sister Rhodes, a sophisticated figure in a drama about power, was a sleeper hit, showcasing her polish and charisma. Her most significant role of the year was Funmi in *Farmer’s Bride*, a tragic romance set in 1980s Ibadan. As Funmi, a young woman forced into a marriage with an older farmer and entangled in a forbidden affair, Gbubemi delivered a tour-de-force performance. Her portrayal of Funmi’s impulsiveness, pain, and manipulation amid cultural constraints earned an AMVCA nomination, with fans and critics lauding her ability to embody complex emotions. Despite challenges with the Yoruba language, she embraced the role non-judgmentally, viewing Funmi as both a victim and a woman accountable for her choices. Looking to 2025, Gbubemi continues to shine. In *Katangari Goes to Town*, she plays Chatong Gyang, a dynamic character in a blend of humor, suspense, and family drama, showcasing her range across genres. Her lead role in *Idia*, a psychological horror thriller co-directed by Ese Ariremu and Jide “Jblaze” Oyegbile, represents a bold pivot into genre filmmaking. Released in cinemas on October 24, 2025, following its premiere on October 19, the film draws from Edo mythology to explore themes of faith, family, death, mental health, and the dangers of answered prayers. Gbubemi stars as the titular Idia, a naive orphan adopted by a strange family whose innocence masks a darker, supernatural force. Her performance carries the film’s emotional and atmospheric weight, with her vulnerability and psychological depth as a haunting evolution from her dramatic turns in *Farmer’s Bride* and *Shuga*. This role not only underscores her growth in tackling complex, folklore-infused narratives but also amplifies her rising star power in African storytelling. ### Gbugbemi Ejeye’s Evolution Beyond the Screen Gbubemi Ejeye’s evolution extends beyond her roles. Starting as an extra and video vixen, she has grown into a leading actress recognized in Top Charts Africa’s “Actors to Watch” list in 2024. Her journey reflects a deliberate shift from minor to central characters, driven by her belief in empathy as the cornerstone of acting. She views stage acting as “risky” and alive, while film offers a contained space to explore characters, a duality she navigates with ease. Her experiences, including subtle gender discrimination like unequal pay, have fueled her advocacy for equity in the industry, aligning with her socially conscious roles like Mohini. Off-screen, Gbubemi is a warm yet tough individual who values authenticity, kindness, and respect in relationships, disliking pretense and rudeness. Her fashion prioritizes comfort and class over trends, and she unwinds by watching movies and eating, a ritual that grounds her after demanding projects. ### A Bright Future Ahead Gbubemi Ejeye’s journey from a law graduate to a Nollywood star is a testament to her resilience and passion for storytelling. From small roles in *Rickety* and *Citation* to leading parts in *Far From Home*, *Shuga*, and *[Farmer’s Bride](https://nollycritic.com/farmers-bride-forbidden-love-cultural-expectations-and-freedom/ "Farmer’s Bride")*, she has evolved into a versatile actress capable of commanding both intimate dramas and grand historical narratives. Her ability to portray complex characters—whether a rebellious teen, a victim of societal pressures, or a historical icon—has earned her critical acclaim and a growing fanbase. With upcoming projects like Idia and aspirations to produce films and collaborate with talents like Jade Osiberu, Mo Abudu, and even Quentin Tarantino, her trajectory is upward. As Gbubemi continues to explore challenging roles and advocate for meaningful stories, her future in Nollywood and beyond looks boundless. Her journey embodies the power of following one’s passion, and we can only hope for more captivating performances that showcase her empathy, strength, and undeniable talent. Here’s to Gbubemi Ejeye, a storyteller whose star is only beginning to shine. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/gbubemi-ejeye-from-humble-beginnings-to-leading-lady/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/gbubemi-ejeye-from-humble-beginnings-to-leading-lady/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/gbubemi-ejeye-from-humble-beginnings-to-leading-lady/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/gbubemi-ejeye-from-humble-beginnings-to-leading-lady/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/gbubemi-ejeye-from-humble-beginnings-to-leading-lady/?share=linkedin) - **Categories:** Articles, The New Nollywood **Tags:** Far From Home, Farmers bride, Gbubemi Ejeye, Glamour Girls, Shuga, The Set Up 2 --- ### [New Nollywood Movies to See in November 2025](https://nollycritic.com/new-nollywood-movies-to-see-in-november-2025/) **Published:** November 3, 2025 **Author:** Michael Arowoselu **Excerpt:** Hello Nolly fam! From new releases to film fetivasl, Theres a lot to be excited for Nollywood in this Month of November. **Content:** Hello Nolly fam! From new releases to film festivals, Theres a lot to be excited for Nollywood in this Month of November. The month opens up with the Nigeria cinema day giving you access to watch the latest Nollywood movies in cinemas for just ₦2000. From multinational crime thrillers to Family dramas and comedies, here are the Nollywood titles set to be released this November! ### *Love Lust and Other Things* (2023) – October 31 A divorced middle-aged woman goes on a journey to find herself and what she really wants between love, sex and money. The film stars an A-list cast, including Osas Ighodaro, Ramsey Nouah, Wale Ojo, Kunle Remi, Yakub Mohammed, Efe Irele, among others. Love, Lust & Other Things stream on Kava.tv from October 31. ### *Fractured* (2025) – November 5 Fractured follows Tosin Aigo, a powerful Nigerian CEO whose perfect life shatters after a violent home invasion. As her mind unravels, she must confront the ghosts of her past and the truth she’s been running from. Directed by Kayode Kasum, the film stars: Atlanta Bridget Johnson, Uzor Arukwe, Shaffy Bello, Toke Makinwa, Tope Tedela, Daniel Etim Effiong, Chico Rocks, Lexan Peters. Premieres at AFRIFF 2025 on November 5. ### *Queen Lateefah* (2024) – November 6 Wunmi Toriola’s Queen Lateefah is a tale of secrets and lies. The film is directed by Adeoluwa Owu and stars Kunle Remi, Nancy Isime, Femi Adebayo, Elvina Ibru, Gbugbemi Ejeye, Enioluwa, Bimbo Manuel, Broda Shaggi, Lateef Adedimeji, KieKie, and more. Coming to Kava TV on November 6, 2025. ### *3 Cold Dishes* (2024) – November 7 Directed by Asurf Oluseyi, [*3 Cold Dishes* ](https://www.imdb.com/title/tt36643696/)tells follows three women, who were trafficked as teenagers and forced into sex slavery. Years later, they reunite to take revenge on the men who once owned them. Their journey becomes one of courage, sisterhood, and the unrelenting will to reclaim power. The cast features a powerful mix of Nigerian talent—Osas Ighodaro, Wale Ojo, Femi Jacobs, Ruby Akubueze and Brutus Mfon—alongside actors from across Francophone and Anglophone Africa Premieres in cinemas on November 7. ### *Summer Rain* (2025) – November 13 Friendship, love, and the fear of losing it all—*Summer Rain* tells the story of two best friends who slowly realize their bond has turned into something more. As they struggle to navigate their feelings without ruining their friendship, misunderstandings and emotional tension begin to build, leading them to a crossroads where they must decide what truly matters. Directed by Adenike Adebayo-Esho, the film features Kayode Ojuolape, Genoveva Umeh, Daniel Etim Effiong, Tina Mba and others. *Summer Rain* will premiere on Kava TV on NNovember 13. ### *Son of Iron* (2025) – November 14 Tunde Olaoye’s *Son of Iron* is next on our list. Through dreams and spiritual encounters with his late grandfather, Kunle embarks on a journey of self-discovery, caught between honoUring his father’s legacy and embracing his true calling. Starring: Sola Sobowale, Tina Mba, Jide Kosoko, Kolade Oyedipe, Debo Adedayo and many others. *Son of Iron* premieres in cinemas on November 14. ### *Grandpa Must Obey* (2025) – November 21 A grumpy grandfather who suddenly finds himself responsible for babysitting his unruly grandchildren. What starts as a reluctant arrangement quickly spirals into a chaotic but comedic sequence of events that tests the patience of an old man and the mischief capacity of modern-day kids. Starring: Kanayo O. Kanayo, Yvonne Jegede, Darasimi Nadi, Fiyinfoluwa Asenuga, and Bimbo Akintola. *Grandpa Must Obey* is coming to Cinemas from November 21st, 20225. ### *Safari* (2025) – November 21 A disillusioned senator’s wife from Nigeria who seeks solace in a luxurious getaway to Kenya. But what begins as a peaceful retreat soon turns into a dangerous affair when she becomes entangled with a charming local tour guide accused of murder. Starring: Osas Ighodaro, Ali Nuhu, Jidekene Achufusi, Anthony Monjaro, and Kenyan actors including Emmanuel Mugo and Helen Keli *[Safari](https://www.safarithemovie.com/ "Safari")* premieres in cinemas on November 21. ### *Son of the Soil* (2025) – November 21 Nigerian soldier Zion Ladejo, haunted by his past, returns home after his sister’s tragic death. Determined to uncover those responsible, he embarks on a vengeful path, while seeking redemption for his own actions. The film stars Razaq Adoti (B*lack Hawk Down*), Iretiola Doyle (*Fifty, Arbitration*), Sunshine Rosman (*Flawsome, Finding Messiah*), Philip Asaya (*Cake, Slum King*), Damilola Ogunsi (*The Weekend, Gangs of Lagos*), Taye Arimoro (*Casa La Novia, The House of Secrets*), Emeka Golden (*Joe, Ije Awele*), Sharon Rotimi (*Chronicles*) and James ‘BlacQ’ Damilare. *Son of the Soil* premieres in cinemas nationwide from November 21. ### *Unknown Soldier* (2025) – November 21 An innocent hero dragged into a mess without asking for it – or unaware of how he got involved. A sudden event that thrust our person into the world of hurt and it comes without warning. Bayo believes his past is behind him. He gets on with his life – building his auto-workshop business and providing for his family. Tragedy strikes when a home invasion and robbery goes wrong. Was it a random incident or has his past come back to haunt him? Starring: Deyemi Okanlawon, Desmond Elliot, Omowunmi Dada, Kehinde Bankole, Eso Dike and many others. *[Unknown Soldier](https://www.imdb.com/title/tt30478145/plotsummary/?ref_=tt_ov_pl "Unknown Soldier")* premieres in cinemas on November 21, 2025. > [View this post on Instagram](https://www.instagram.com/reel/DPgJHKmiCuW/?utm_source=ig_embed&utm_campaign=loading) ### *Warlord: Olori Ogun* (2025) – November 28 The Yoruba epic with four directors; [Odunlade Adekola](https://www.google.com/search?q=Odunlade+Adekola&oq=warlord+nol&gs_lcrp=EgZjaHJvbWUqBwgBECEYoAEyBggAEEUYOTIHCAEQIRigATIHCAIQIRigATIHCAMQIRifBTIHCAQQIRiPAjIHCAUQIRiPAjIHCAYQIRiPAtIBCDcyMzZqMGo5qAIGsAIB8QUszx6gYQnRCA&sourceid=chrome&ie=UTF-8&mstk=AUtExfDlMlUI1r3zD26MVJmpRj68mRf3XxTb6jma8GGMM-XNC5JuFswRoXwMEhrR3bD-31dRrKPdRxVKsJfz3dKELFPLCDYMTbZv9vQTTClRZuTIfcAE5nJns9rVw72V7AAPo9CYgEDV4gMo0M_I3ox-QsV4XsrgofG4yy7i4-Iq5mdNele3LupeIQimrOKmFkgYowGtq7YwHy41M3bP0xbHoQaEC5HzKZp9XDAh_wUU6mp7DrBfEQRSvV7645o4U-1GTJF8FD--EtSFf66wfYQYOC2B&csui=3&ved=2ahUKEwjNhfzbrNSQAxXbhP0HHV6lNgoQgK4QegQIAhAF), [Abbey Lanre](https://www.google.com/search?q=Abbey+Lanre&oq=warlord+nol&gs_lcrp=EgZjaHJvbWUqBwgBECEYoAEyBggAEEUYOTIHCAEQIRigATIHCAIQIRigATIHCAMQIRifBTIHCAQQIRiPAjIHCAUQIRiPAjIHCAYQIRiPAtIBCDcyMzZqMGo5qAIGsAIB8QUszx6gYQnRCA&sourceid=chrome&ie=UTF-8&mstk=AUtExfDlMlUI1r3zD26MVJmpRj68mRf3XxTb6jma8GGMM-XNC5JuFswRoXwMEhrR3bD-31dRrKPdRxVKsJfz3dKELFPLCDYMTbZv9vQTTClRZuTIfcAE5nJns9rVw72V7AAPo9CYgEDV4gMo0M_I3ox-QsV4XsrgofG4yy7i4-Iq5mdNele3LupeIQimrOKmFkgYowGtq7YwHy41M3bP0xbHoQaEC5HzKZp9XDAh_wUU6mp7DrBfEQRSvV7645o4U-1GTJF8FD--EtSFf66wfYQYOC2B&csui=3&ved=2ahUKEwjNhfzbrNSQAxXbhP0HHV6lNgoQgK4QegQIAhAG), [Adebayo Tijani](https://www.google.com/search?q=Adebayo+Tijani&oq=warlord+nol&gs_lcrp=EgZjaHJvbWUqBwgBECEYoAEyBggAEEUYOTIHCAEQIRigATIHCAIQIRigATIHCAMQIRifBTIHCAQQIRiPAjIHCAUQIRiPAjIHCAYQIRiPAtIBCDcyMzZqMGo5qAIGsAIB8QUszx6gYQnRCA&sourceid=chrome&ie=UTF-8&mstk=AUtExfDlMlUI1r3zD26MVJmpRj68mRf3XxTb6jma8GGMM-XNC5JuFswRoXwMEhrR3bD-31dRrKPdRxVKsJfz3dKELFPLCDYMTbZv9vQTTClRZuTIfcAE5nJns9rVw72V7AAPo9CYgEDV4gMo0M_I3ox-QsV4XsrgofG4yy7i4-Iq5mdNele3LupeIQimrOKmFkgYowGtq7YwHy41M3bP0xbHoQaEC5HzKZp9XDAh_wUU6mp7DrBfEQRSvV7645o4U-1GTJF8FD--EtSFf66wfYQYOC2B&csui=3&ved=2ahUKEwjNhfzbrNSQAxXbhP0HHV6lNgoQgK4QegQIAhAH), and [Tope Adebayo](https://www.google.com/search?q=Tope+Adebayo&oq=warlord+nol&gs_lcrp=EgZjaHJvbWUqBwgBECEYoAEyBggAEEUYOTIHCAEQIRigATIHCAIQIRigATIHCAMQIRifBTIHCAQQIRiPAjIHCAUQIRiPAjIHCAYQIRiPAtIBCDcyMzZqMGo5qAIGsAIB8QUszx6gYQnRCA&sourceid=chrome&ie=UTF-8&mstk=AUtExfDlMlUI1r3zD26MVJmpRj68mRf3XxTb6jma8GGMM-XNC5JuFswRoXwMEhrR3bD-31dRrKPdRxVKsJfz3dKELFPLCDYMTbZv9vQTTClRZuTIfcAE5nJns9rVw72V7AAPo9CYgEDV4gMo0M_I3ox-QsV4XsrgofG4yy7i4-Iq5mdNele3LupeIQimrOKmFkgYowGtq7YwHy41M3bP0xbHoQaEC5HzKZp9XDAh_wUU6mp7DrBfEQRSvV7645o4U-1GTJF8FD--EtSFf66wfYQYOC2B&csui=3&ved=2ahUKEwjNhfzbrNSQAxXbhP0HHV6lNgoQgK4QegQIAhAI). Starring: Odunlade Adekola, Toyin Abraham Ajeyemi, Femi Adebayo, Muyiwa Ademola and many others. More details coming soon. ### *Stitches* (2025) – November 28 STITCHES, Two hearts. One story. She had a dream and the passion to chase it. He lived in a world of privilege. When fate brought them together, the impossible became inevitable. In a society divided by class and bound by prejudice, falling in love became their greatest act of courage. Can love be the thread that stitches two worlds together or will it tear everything apart? Starring: Dakore Egbuson-Akande, Regina Askia, Adaobi Dibor and Obinna Okenwa Premieres in cinemas on November 28 ### *Dust to Dreams* (2025) – November TBD [*Dust to Dreams*](https://nollycritic.com/dust-to-dreams-see-the-trailer-for-the-new-idris-elba-drama/) is set against the pulsating backdrop of Lagos nightlife. The story follows a nightclub owner’s struggle to preserve her empire while her daughter’s estranged father, a soldier, suddenly returns, unearthing long-buried emotions. The cast includes Nse Ikpe-Etim, Eku Edewor, Atlanta Bridget Johnson, and rising talent Constance Olatunde, with a special appearance by British-Nigerian musician Seal. The film weaves themes of family, ambition, and reconciliation with music as a driving force. *Dust to Dreams* is also expected to screen on EbonyLife ON Plus. ### *Ajosepo* (2024) – November TBD estranged brothers Jide and Dapo are compelled to unite when their father becomes embroiled in a compromising situation with the bride’s aunt, endangering the wedding. “Ajosepo” features a stellar cast including [Timini Egbuson](https://nollycritic.com/is-timini-egbuson-the-ultimate-nollywood-golden-boy/), Bisola Aiyeola, Tomike Adeoye, Mercy Aigbe, Mike Afolarin, alongside Nollywood veterans Yemi Solade, Ronke Ojo, and Muyiwa Ademola. The film will stream on EbonyLife ON Plus this November. Which of these Nollywood movies do you anticipate the most? Stay updated as we’ll add more Nollywood movies to this list. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-nollywood-movies-to-see-in-november-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-nollywood-movies-to-see-in-november-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-nollywood-movies-to-see-in-november-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-nollywood-movies-to-see-in-november-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-nollywood-movies-to-see-in-november-2025/?share=linkedin) - **Categories:** Movies **Tags:** 3 Cold Dishes, Dust To Dreams, gradpa must obey, grandpa must obey, love lust and other things, Queen Lateefah, Safari, son of iron, Son of the Soil --- ### [Grandpa Must Obey is a Gleeful, Heartfelt Christmas Comedy](https://nollycritic.com/grandpa-must-obey-is-a-gleeful-heartfelt-christmas-comedy/) **Published:** November 25, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Directed by Chibuzor Afurobi, Grandpa Must Obey is a warm, PG-rated family comedy that clocks in just under one hour and a few more minutes. **Content:** Directed by Chibuzor Afurobi, *[Grandpa Must Obey](https://nollycritic.com/grandpa-must-obey-see-the-teaser-for-the-new-family-comedy/ "Grandpa Must Obey")* is a warm, PG-rated family comedy that clocks in just under one hour and a few more minutes. Kanayo O. Kanayo stars as Akachi, a grieving, stubborn 70-year-old widower who has turned to the bottle since losing his wife Helen (Elvina Ibru). When his overworked daughter Mabel (Yvonne Jegede) has to travel for an urgent job during the Christmas season, she has no choice but to leave her two notorious children, Fola (Darasimi Nadi) and Femi (Fiyinfoluwa Asenuga), with the grandfather they barely know. The kids have driven every previous nanny away with their perfectly coordinated mischief. What follows is a tender clash of generations that slowly melts Akachi’s hardened heart and teaches everyone that family, forgiveness, and second chances matter more than perfection. ## *Grandpa Must Obey* Directed by; Chibuzor Afurobi Produced by: Saviour Kings Bob Genre: Drama, Comedy Language: English ### A Chaos That Hides Real Pain The film opens with a delightful animated title sequence that instantly signals fun ahead. We quickly meet Fola and Femi, two bright, energetic siblings who have turned chaos into an art form. Their single mother has raised them alone while their father’s non-presence is in hushes, a quiet wound the film reveals gently. Nanny after nanny quits in spectacular fashion until Mabel runs out of options and deposits the children at Grandpa Akachi’s doorstep just before Christmas. Akachi is not ready. He lives alone, drinks too much, and keeps everyone at arm’s length, including his kind neighbour Yemisi (Bimbo Akintola), who has been trying to reach him. What starts as a battle of wills (the kids determined to break him, Akachi determined to stay broken) gradually becomes something softer. Through pranks, arguments, accidental truths, and small moments of vulnerability, the three begin to understand each other’s pain and discover that healing often arrives in the form of noisy, mischievous grandchildren. ### Tone and Comedy That Respects Its Audience The humour is soft, situational, gentle, and rooted in character. You won’t choke with laughter, but you will smile constantly and let out plenty of “awwws,” “ohhhs,” and quiet chuckles. The film knows exactly when to dial the comedy down and let the serious moments breathe. When Akachi, drunk and hurting, says cruel things to his daughter, the scene is played straight. The children feel it, we feel it, and their subsequent rebellion against him feels justified rather than random. This balance makes the film equally enjoyable for children and adults: kids love the pranks, grown-ups feel the weight behind them. ### **One Minor Quibble in an Otherwise Smooth Ride**… The only moment in *Grandpa Must Obey* that raises an eyebrow is a late-act incident where the children briefly go missing from Akachi’s care. It caused serious alarm except that their mother is never told. It’s the kind of detail comedies sometimes ignore for pacing, and here it feels like a minor shortcut in an otherwise thoughtful script. ### Performances Full of Natural Warmth Darasimi Nadi and Fiyinfoluwa Asenuga are electric as Fola and Femi. Their sibling chemistry feels completely real; every scheme and every hug lands perfectly. Their sibling chemistry is effortless and infectious; every scheme feels like something real children would cook up. Kanayo O. Kanayo gives one of his warmest, most layered performances in years, moving convincingly from gruff isolation to reluctant affection. Bimbo Akintola brings quiet grace as neighbour Yemisi, Yvonne Jegede handles the stressed single mother role with dignity, and Elvina Ibru’s de-aged flashback scenes with her husband are seamless and touching. Even smaller roles feel lived-in rather than caricatured. ### Technical Choices That Serve the Story The animated opening sets a playful tone that carries through. Comedy cues (light musical stings, well-timed reaction shots) are used sparingly and effectively. When the story needs gravity, the score drops out and the camera lingers just long enough for the emotion to land. The Christmas setting feels authentic rather than forced, and the bright, festive look never becomes garish. ### Final Thoughts *[Grandpa Must Obey](https://nollywire.com/titles/grandpa-must-obey/ "Grandpa Must Obey")* understands that the best family films don’t need constant gags to keep you engaged. It trusts quiet moments, real emotions, and the natural warmth of good actors doing good work. By the time the credits roll, you feel lighter, a little teary, and genuinely hopeful, exactly the way a Christmas movie should leave you. This gentle gem stands out because it aims for the heart and actually hits it. ### Verdict Perfect festive viewing for the whole family. Bring grandparents, parents, and kids; everyone will find something to love. If you want non-stop belly laughs, look elsewhere. If you want smiles, warmth, and a few happy tears, that’s it. **Rating**: 3.4/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/grandpa-must-obey-is-a-gleeful-heartfelt-christmas-comedy/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/grandpa-must-obey-is-a-gleeful-heartfelt-christmas-comedy/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/grandpa-must-obey-is-a-gleeful-heartfelt-christmas-comedy/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/grandpa-must-obey-is-a-gleeful-heartfelt-christmas-comedy/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/grandpa-must-obey-is-a-gleeful-heartfelt-christmas-comedy/?share=linkedin) - **Categories:** Reviews **Tags:** Bimbo Akintola, Chibuzor Afurobi, Christmas movie, critique, Darasimi Nadi, Elvina Ibru, family comedy, feel-good, Fiyinfoluwa Asenuga, forgiveness, grandpa must obey, Healing, intergenerational, Kanayo O. Kanayo, nollywood, Review, Yvonne Jegede --- ### [Christmas in Lagos: A Vibrant Tale of Love and Family](https://nollycritic.com/christmas-in-lagos-a-vibrant-tale-of-love-and-family/) **Published:** December 23, 2024 **Author:** Uju Okosieme **Excerpt:** Jade Osiberu is back with another offering; Christmas in Lagos. Stepping away from the action-packed films she’s become known for... **Content:** Jade Osiberu is back with another offering, stepping away from the action-packed films she’s become known for over the past few years to deliver a heartfelt romcom, ‘[Christmas in Lagos](https://nollycritic.com/jade-osiberus-christmas-in-lagos-a-festive-rom-com-with-studded-cameos-and-afrobeats/ "Jade Osiberu’s Christmas in Lagos; A Festive Rom-Com With Studded Cameos and Afrobeats")‘. Now streaming on Prime Video, let’s see what this movie brings to the holiday table. ## *Christmas in Lagos* Directed by: Jade Osiberu Written by: Jade Osiberu Genre: Drama, Romance Released on: December 20, 2024 (Prime Video) Language: English ### Plot The synopsis reads: *Romance is in the air when the beat drops for Lagos’ Detty December. Fiyin is convinced her best friend Elo is the love of her life but is shocked when he returns home for the holidays with a secret fiancée. Gbemi is torn between her boyfriend and an old flame, while London-raised Ivie seeks a wild holiday but doesn’t count on falling for Ajani.* The synopsis captures the essence of the film perfectly. Like many holiday ensemble movies, ‘Christmas in Lagos’ follows the interconnected lives of multiple characters, each navigating their unique struggles. Impressively, the film balances these storylines without feeling cluttered or overwhelming. ### Story The storytelling is tight and engaging, and despite its two-hour runtime, the film doesn’t drag or feel bloated. The characters are fleshed out enough for the audience to connect with them on different levels. The decision to deviate from a predictable, clichéd ending is a refreshing touch that adds depth to the narrative. ### Performances The casting in *[Christmas in Lagos](https://www.imdb.com/title/tt34714098/ "Christmas in Lagos")* is a highlight. Shaffy Bello and Teniola Aladese as mother and daughter are a pairing we didn’t know we needed, and their dynamic is compelling. Shalom C. Obiago as Ejike Asiegbu’s son is another inspired choice, it’s always a treat when Nollywood gets casting right. The film introduces several debut performances: Rayxia Ojo, Shalom C. Obiago, Angel Anosike, and Ladipoe shine in their roles as Ivie, Elo, Yagazie, and Ajani, respectively. While not all their scenes are flawless, each leaves a lasting impression. Richard Mofe-Damijo’s effortless portrayal of Zach is a standout. His chemistry with Shaffy Bello’s Gbemi is palpable, though Gbemi’s eventual pairing with Toye (played by Wale Ojo) feels more fitting for the story. Teniola Aladese’s Fiyin and her relationship with her mother Gbemi is another highlight, as is the sisterly bond between Yagazie and Caroline (played by Waje Iruobe). Overall, the performances are solid across the board, with every actor bringing their A-game and no one feeling out of place. ### Technical Aspects The film is visually stunning, with vibrant and colorful shots that perfectly match its tone and the lively December vibe of Lagos. The cinematography, especially the close-up shots, captures the characters’ emotions beautifully while showcasing Lagos in a refreshing light. The music is another strength. The soundtrack sets the Detty December mood effortlessly, with Esua’s rendition of D’banj’s *Fall in Love* standing out as a memorable moment. Costume design, hair, and makeup are top-notch. Every character looks impeccable, and it’s evident that a lot of effort went into nailing these details. However, one recurring frustration with Prime Video persists: the subtitles. The errors are distracting, and it’s unclear where the blame lies, but it’s an area that consistently needs improvement. ### Final Thoughts Fiyin’s belief that Elo would propose to her when they hadn’t even started a relationship was amusing, if a bit far-fetched. The film also uses subtle directorial choices effectively—such as Elo’s mother’s initial sadness when seeing him, which later ties into a deeper story. One aspect that felt out of place was Toye giving Gbemi space after her confession about Zach; it didn’t quite align with the rest of the narrative. And while Zach and Gbemi’s chemistry felt stronger, Gbemi ending up with Toye ultimately served the story better. This is a star-studded cast, but the inclusion of fresh faces balances it out, avoiding the typical Nollywood tendency to overpopulate films with celebrities. ### Verdict ‘Christmas in Lagos’ is a delightful film about love and family set against the lively backdrop of Lagos’ December festivities. While it celebrates romance and togetherness, it also explores deeper themes like loss and heartbreak. From its captivating performances to its meticulous attention to detail, this film is a holiday treat worth watching with friends and family. **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/christmas-in-lagos-a-vibrant-tale-of-love-and-family/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/christmas-in-lagos-a-vibrant-tale-of-love-and-family/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/christmas-in-lagos-a-vibrant-tale-of-love-and-family/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/christmas-in-lagos-a-vibrant-tale-of-love-and-family/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/christmas-in-lagos-a-vibrant-tale-of-love-and-family/?share=linkedin) - **Categories:** Movies, Popular reviews, Reviews **Tags:** Christmas in Lagos, Jade Osiberu, nollycritic, Prime Video, Reviews, Richard Mofe-Damijo, Shaffy Bello, Teniola Aladese, Wale Ojo --- ### [Son of Iron: A Heartfelt Drama that never Fully Connects](https://nollycritic.com/son-of-iron-a-heartfelt-drama-that-never-fully-connects/) **Published:** November 22, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Son of Iron, directed by Tunde Olaoye, begins with a promising spark. Ricardo Okey Agbor plays Ogunrotimi (Rotimi), a young man determined... **Content:** *[Son of Iron](https://www.partyjolloftv.com/movies/son-of-iron-1329 "Son of Iron")*, directed by Tunde Olaoye, begins with a promising spark. Ricardo Okey Agbor plays Ogunrotimi (Rotimi), a young man determined to break away from his family’s generations-old blacksmith trade and become a lawyer. The title itself feels like wordplay: a “son of iron” who wants to forge his own path. Years later, the story shifts to Rotimi’s son Kunle, who experiences spiritual visitations from his late grandfather and discovers a natural gift for metalwork. ## *Son of Iron* Directed by; Tunde Olaoye Produced by: Adedayo Adekeye Genre: Drama Language: English/Yoruba ### Two Generations, One Flat Visual Language The [film](https://nollycritic.com/?s=film "film") opens with young Rotimi rejecting his father’s anvil for the courtroom. We follow his stubborn journey and eventual hardship as a husband and father. Years later, teenage Kunle discovers he has an almost supernatural ease with iron and machinery. Visions of his grandfather praise this gift and encourage him to embrace it. Rotimi, scarred by his own failed rebellion, tries everything to steer Kunle away from blacksmithing (and its modern stand-in, electrical repairs). School scenes, family arguments, and spiritual visitations fill the middle stretch. The final act forces both father and son to confront whether Rotimi’s lifelong resistance was wisdom or wasted pride, and whether Kunle’s attraction to the forge is genuine calling or inherited curse. ### Freedom or Fatalism? A father who broke tradition now fights to keep his son from doing the opposite. The cycle of control (grandfather → Rotimi → Kunle) could have been powerful, but it does something else. Early scenes and the title itself suggest “a son of iron can forge his own future.” By the end, the message flips: resisting your bloodline is futile and punishing. Rotimi’s decades of struggle are framed as self-inflicted because he refused his destiny. Kunle’s acceptance, meanwhile, brings success. The film tackles the classic conflict between personal ambition and family obligation. Every viewer recognises the pressure to become a doctor, lawyer, or engineer while parents dismiss creative or manual paths as failure. Early scenes suggest the story might champion individual choice: Rotimi rejects the anvil, Kunle secretly loves it. Yet by the end, the narrative punishes Rotimi for his rebellion. His legal dreams collapse, he struggles for decades, and only prospers once he returns (indirectly) to metalwork through generator repairs. Kunle, who embraces the gift, thrives. The closing impression is clear: trying to escape your “destiny” is stubborn foolishness. ### Performances Trapped in Amateur Territory Sola Sobowale delivers warmth and perfectly timed comic relief that actually earned genuine laughter in the cinema. The film contains a number of recognisable names (Jide Kosoko, Debo Adedayo, Funky Mallam and Tina Mba) appear for minutes at a time. Adult actors playing secondary-school students are painfully miscast; they tower over real pupils used as extras, destroying any illusion of adolescence. School scenes descend into caricature: a principal (Debo Adedayo) spouting fake “old-school” sarcasm, a classmate turned cartoon villain because Kunle called him tone-deaf. Even supposedly dramatic moments are undercut by overacting and random “dramatic stings” where Kunle freezes for no clear reason. The young actors playing Kunle and his peers struggle with exaggerated delivery that no real teenager would use. ### Technical Aspects At almost two-and-a-half hours, the pacing is punishing. Flashbacks are presented in basic black-and-white and include irrelevant sequences the characters could not possibly recall (a lawyer typing alone, random dancing). Dream sequences nest inside flashbacks. Transitions between Rotimi’s and Kunle’s timelines are abrupt, with no distinct visual language to separate generations. Unnecessary shots abound: a lingering close-up of a foot stopping because a ghost says “stop,” random dramatic freezes accompanied by loud stings, prolonged children’s marching songs. The low budget is visible in every frame, from mismatched school uniforms to obvious adult actors playing teenagers who tower over real students used as extras. Music occasionally tries to carry thematic weight with choruses about guidance and destiny, but it cannot rescue the sluggish pace. Every technical decision feels like first-draft filmmaking: unnecessary shots, inconsistent tone, and a final twist where Rotimi’s estranged wife returns the moment success arrives, a cheap, tacked-on flourish that adds nothing except irritation. ### Final Thoughts *Son of Iron* taps into a conversation every Nigerian family has had: whose dreams matter more, yours or your parents’? That emotional core is real and relatable. A tighter script, honest casting, clearer visual storytelling, and a braver stance on personal agency could have turned it into something meaningful. Instead, technical clumsiness, bloated runtime, and a final message that essentially punishes ambition leave it feeling regressive and exhausting ### Verdict Son of *Iron will speak* to viewers who recognise the family arguments and can overlook amateur execution. Most will find the pacing, acting, and unclear conclusion more tiring than rewarding. **Rating**: 1.8/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/son-of-iron-a-heartfelt-drama-that-never-fully-connects/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/son-of-iron-a-heartfelt-drama-that-never-fully-connects/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/son-of-iron-a-heartfelt-drama-that-never-fully-connects/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/son-of-iron-a-heartfelt-drama-that-never-fully-connects/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/son-of-iron-a-heartfelt-drama-that-never-fully-connects/?share=linkedin) - **Categories:** Reviews **Tags:** critique, Debo Adedayo, destiny vs choice, family drama, generational conflict, Jide Kosoko, low-budget, nollywood, Review, Ricardo Okey Agbor, Sola Sobowale, son of iron, Tunde Olaoye, Yoruba culture --- ### [Laraba and Balarabe: New Romance Drama Set for YouTube](https://nollycritic.com/laraba-and-balarabe-new-romance-drama-set-for-youtube/) **Published:** November 21, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Fatimah Binta Gimsay returns with a new short film, Laraba and Balarabe, which is set to premiere on Saturday, 22 November 2025 **Content:** [Fatimah Binta Gimsay](https://www.imdb.com/name/nm10496128/ "Fatimah Binta Gimsay") returns with a new short film, *Laraba and Balarabe*, which is set to premiere on Saturday, 22 November 2025 via Susan Pwajok TV on YouTube. The film, produced by Double C Media, marks another addition to Gimsay’s growing slate of intimate, character-driven stories. ### A Story About Timing, Love, and the Choices That Change Us Laraba and Balarabe follows two former lovers who unexpectedly reconnect after a missed flight forces them to confront a past neither has fully moved on from. What begins as a casual reunion turns into an emotionally charged day that explores longing, regret, and the fragile spaces where timing reshapes relationships. ### Cast and Creative Team The film stars [Susan Pwajok](https://nollycritic.com/?s=susan+pwajok "Susan Pwajok") and Mallum Arik in the lead roles, bringing together two fast-rising talents whose screen chemistry has been highlighted in early previews. Key credits include, Fatimah Binta Gimsay as the director, cinematographer Barnabas Emordi and line producer, Nicole Ofoegbu. See the trailer below. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/laraba-and-balarabe-new-romance-drama-set-for-youtube/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/laraba-and-balarabe-new-romance-drama-set-for-youtube/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/laraba-and-balarabe-new-romance-drama-set-for-youtube/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/laraba-and-balarabe-new-romance-drama-set-for-youtube/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/laraba-and-balarabe-new-romance-drama-set-for-youtube/?share=linkedin) - **Categories:** Nollywood News **Tags:** Barnabas Emordi, Double C Media, Fatimah Binta Gimsay, Laraba and Balarabe, Mallum Arik, Nicole Ofoegbu, Nigerian Filmmakers, Nollywood Short Films, Susan Pwajok, YouTube Premiere --- ### [Open Doors Launches Open Call for African Filmmakers—How to Apply](https://nollycritic.com/open-doors-launches-open-call-for-african-filmmakers-how-to-apply/) **Published:** November 20, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Open Doors, the Locarno Film Festival’s long-running talent development initiative, has officially opened applications for its 2026 programme cycle, **Content:** Open Doors, the [Locarno Film Festival](https://nollycritic.com/?s=locarno "Locarno Film Festival")’s long-running talent development initiative, has officially opened applications for its 2026 programme cycle, targeting director–producer teams, creative producers and directors from 42 African countries. The call marks the next phase of the initiative’s four-year focus on Africa, aimed at strengthening talent pipelines and deepening co-production links across the continent. ### Open Doors Programme Structure and Key Dates The 2026 programmes will begin with an online phase in June and July 2026, followed by an on-site residency during the 79th Locarno Film Festival from 5 to 15 August 2026 in Switzerland. All selected participants are required to attend both phases Applications close on 15 January 2026 at 11:59 pm CET, and submissions must be completed in English. To support applicants, Open Doors will host an information webinar on 26 November 2025 at 10:00 am CET, covering eligibility, application preparation and programme expectations. ### Committee Expansion: Angèle Diabang Joins as Selector The selection committee for the 2026 cycle now includes Senegalese producer Angèle Diabang, founder of Karoninka and Institut Mousso. Her addition brings both regional grounding and extensive experience across African production ecosystems. ### What the Initiative Prioritises Open Doors has emphasised that its focus remains on producers and teams who demonstrate clarity about their next steps, along with the ability to make immediate use of the programme’s support. During the previous cycle, selection trends showed a preference for teams with prior development exposure, including participation in African and international labs and markets. The programme also places value on sustainability. According to its curators, Open Doors aims to support filmmakers “figuring out how to stay in the field,” not those developing a single isolated project. In 2025, one of the most impactful sessions involved selected producers analysing and responding to each other’s work, a shift that encouraged peer-driven growth rather than top-down mentorship. ### Eligibility Across the Continent The Open Doors Projects programme requires director–producer teams with a feature film in development. Directors must be citizens of one of the 42 eligible African countries and, where the director and producer are the same person, the production company must also be registered in an eligible country. The Producers programme is open to producers seeking to expand their company’s capacity, while the Directors programme focuses on filmmakers developing their first or second feature. All applicants must hold citizenship in one of the eligible territories. ### How to Apply Full guidelines, required documents and the application portal are available on the official Open Doors page on the [Locarno Festival website](https://locarnofestival.ch/pro/projects/open-doors "Locarno Festival website"). Applicants are advised to prepare early, as the process requires a detailed dossier, project overview, development strategy and supporting materials. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/open-doors-launches-open-call-for-african-filmmakers-how-to-apply/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/open-doors-launches-open-call-for-african-filmmakers-how-to-apply/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/open-doors-launches-open-call-for-african-filmmakers-how-to-apply/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/open-doors-launches-open-call-for-african-filmmakers-how-to-apply/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/open-doors-launches-open-call-for-african-filmmakers-how-to-apply/?share=linkedin) - **Categories:** Nollywood News **Tags:** African Film Development, African filmmakers, African Producers, Angèle Diabang, Director–Producer Teams, Film Career Labs, Film Funding Africa, Industry Opportunities 2026, Locarno Film Festival, Nollycritic News, nollywood, Open Doors --- ### [The Covenant: New TV Series Set for Netflix This December](https://nollycritic.com/the-covenant-new-tv-series-set-for-netflix-this-december/) **Published:** November 17, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Produced by Vincent Okonkwo, The Covenant joins the list of Nollywood movies set to debut this holiday. With a December... **Content:** Produced by Vincent Okonkwo, *The Covenant* joins the list of Nollywood movies set to debut this holiday. With a December release date, the trailer promises an action-packed series. Shot in the southern part of Nigeria earlier in the year, *The Covenant* hints at a story of survival and rescue. Although it weighs heavily on action, it holds other elements like the supernatural, history and drama. This makes its genre very distinct. The trailer also assures the audience of excellent cinematography as it boasts of a South African DOP, Peter Moloto. Directed by Dimeji Ajibola, the show features a star-studded cast list which includes: Gideon Okeke, Sola Sobowale, Temitope Olowoniyan, Uzee Usman, Segun Arinze, Zybby Micheal, Bimbo Manuel, Ivie Okujaye, Chioma Okafor, Walter Anga, Joseph Momodu and Chinoso Arubayi. *The Covenant* is distributed by Blue Film Distribution and will commence streaming on [Netflix](https://www.netflix.com/ "Netflix") (Africa) and [Kava TV](https://nollycritic.com/?s=kava "Kava TV") (International) on December 12, 2025. See the trailer below! ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-covenant-new-tv-series-set-for-netflix-this-december/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-covenant-new-tv-series-set-for-netflix-this-december/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-covenant-new-tv-series-set-for-netflix-this-december/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-covenant-new-tv-series-set-for-netflix-this-december/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-covenant-new-tv-series-set-for-netflix-this-december/?share=linkedin) - **Categories:** Nollywood News **Tags:** Bimbo Manuel, Chioma Okafor, Gideon Okeke, Ivie Okujaye, Joseph Momodu, Netflix, Segun Arinze, Sola Sobowale, Temitope Olowoniyan, Uzee Usman, Walter Anga, Zybby Micheal --- ### [Nollywood and It's Alarming Health and Safety Shortcomings](https://nollycritic.com/nollywood-and-its-alarming-health-and-safety-shortcomings/) **Published:** November 12, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood, Africa's cinematic powerhouse, produces thousands of films annually, captivating audiences across the globe. Yet behind the scenes,... **Content:** ### The Culture of Waiting for Tragedy I was on my way, performing my usual contribution to capitalism. There I was, rushing as early as 7 AM to get to my destination before 9 AM. The typical scramble for bus, and cab. I was walking so fast trying to out-walk a guy crushed by the weight of his school bag. A door suddenly flung open, almost hitting my forehead (I’m short. Thank you) After barely scooting over the guy, I successfully squeezed my way between the driver’s door and the young man. I smirked to myself at how “sharp” I was. With the vehicle already in motion, I saw something that froze me. It wasn’t new. An electrical pole, slanted at an unnatural angle, dangled from a few strained wires. That’s my usual route. It had been like that for weeks. Two, maybe three. No barriers around it. No sign of repairs. Just an accident waiting to happen. As I sat in the cramped small car, the driver muttered with a shrug, “Until it falls and kills someone, that’s when they will come and fix it.” That moment hit differently. Because that’s exactly how it works here. We wait. We mourn. We post. Then we forget. Safety isn’t taken seriously — not by the government, not by institutions, and often, not even by ourselves. We live in a culture where inaction is the norm, where known dangers are only addressed when they turn into headlines. And this culture is killing people. Nollywood, Africa’s cinematic powerhouse, produces thousands of films annually, captivating audiences across the globe. Yet behind the scenes, a darker reality lurks. The industry, known for its creativity and passion, is grappling with a systemic crisis: a persistent lack of safety measures that has endangered, injured, and in some cases, cost the lives of its actors and crew. ### Recent Incidents Highlighting Safety Lapses in Nollywood #### Junior Pope’s Tragic Drowning Just a year earlier, in April 2024, [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") actor Junior Pope boarded a small wooden boat to reach a movie location on the River Niger. He went live on Instagram, smiling. Hours later, he was gone. The boat capsized. The driver was unlicensed. The boat was unregistered. Only one person onboard had a life jacket — their own. Videos later showed people dragging his body ashore in the dark. Chaos. Screaming. Someone yelled, “He’s alive!” Until he wasn’t. No paramedics. No standby medical team. No emergency protocol. A respected actor died doing his job, not in a warzone, but on a film set. #### Godwin Nnadiekwe’s Injury Barely a year later, in May 2025, actor Godwin Nnadiekwe landed in the hospital with internal bleeding. On set, Zubby Michael had jump-kicked him in the chest, an unscripted stunt that was never approved by the director. It wasn’t planned. It wasn’t safe. It happened anyway. Nnadiekwe later revealed the harsh truth: > “No insurance, no first aid… that’s the reality most of us face.” #### Gideon Okeke in *Sin* [Gideon Okeke](https://www.imdb.com/name/nm2367570/ "Gideon Okeke") had a traumatic accident during the production of Jim Iyke’s *[Sin](https://nollycritic.com/sin-blackout-an-expensive-waste-of-time-and-talent/ "Sin")*. An injury that required stitches and a three-month recovery period. What stings even more, according to him, was Jim Iyke’s lack of response. > *“Jim Iyke refused to show concern and has been running like a small boy,”* Gideon said in a video posted to Instagram. *“I’m my mother’s only child. What if I had died?”* Jim Iyke eventually responded on an interview with Chude Jidenowo. > [View this post on Instagram](https://www.instagram.com/reel/DOguXGtDTZI/?utm_source=ig_embed&utm_campaign=loading) ### Systemic Issues Plaguing Nollywood These incidents are not anomalies. They point to deep-rooted structural issues: - **Nonexistent Safety Protocols**: Some sets operate without formal safety guidelines or emergency response plans. - **Budget Over Safety**: In the race to produce high-volume, low-cost films, safety often takes a back seat. - **Lack of Oversight**: There is minimal regulation or enforcement from governing bodies within the industry. The problem goes beyond dangerous locations or stunts. Just recently, actor Taye Arimoro accused actress Peggy Ovie and her crew of physically assaulting him on a film set after he attempted to leave, having exceeded his agreed work hours. He shared visible injuries online, but no official guild or authority has intervened as of the time this was published. That silence reveals another form of systemic neglect — the absence of workplace conduct standards, conflict-resolution systems, or any real mechanism to protect professionals from on-set abuse. ![nollywood](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/11/G5kOgIjXsAAcsIm.jpg?resize=640%2C360&ssl=1)These tragedies are not unfortunate one-offs. They are symptoms of a broken system. In Nollywood, speed and cost-efficiency often override safety. Shoots happen in rivers, rooftops, highways, and forests — without risk assessments or emergency support. Most filmmakers rely on instinct and improvisation. Few, if any, hire certified stunt coordinators or medical professionals. When filmmakers and actors have no structural protection from physical harm or professional misconduct, it becomes clear that Nollywood’s crisis is one of governance, not just safety gear. The same culture that allows a stunt to go wrong without accountability also allows people to be mistreated under the excuse of “creative pressure” or “production stress.” And when things go wrong? There’s no structure to fall back on. No real union protection. No compulsory insurance. No central enforcement body. The Actors Guild of Nigeria (AGN) has issued statements and even suspended riverine shoots after Junior Pope’s death. They formed a safety committee. But as with many things in Nigeria, committees don’t guarantee change. Is there any official body providing safety oversight? In theory, Nigeria has a regulatory agency overseeing the film industry: the National Film and Video Censors Board (NFVCB). The board was established in 1993 to license, censor, and regulate video content and exhibition in Nigeria. While the NFVCB is legally tasked with enforcing safety regulations, in practice it has done little to proactively implement or monitor safety protocols on set. Its enforcement mechanisms remain weak and largely ceremonial. Following recent tragedies, industry organisations such as the Actors Guild of Nigeria (AGN) have made attempts to step in. The AGN suspended all river-related shoots and called for stricter safety compliance. But these are reactive measures. There is still no structured, fully empowered safety body enforcing standards across the board. But the responsibility still largely falls on individual filmmakers; those who can afford it. That leaves filmmakers to police themselves. Production houses with strong reputations—those backed by Netflix or Amazon—tend to adhere to global best practices: hiring set medics, conducting risk assessments, and providing safety equipment. But outside of these well-funded circles, most Nollywood sets are governed by improvisation and cost-cutting. Crews work long hours, often in dangerous environments, with little protection and even less training on risk management. Filmmakers and actors often bear the brunt of responsibility for their own safety. There are no official industry-wide mandates, safety training programmes, or enforced penalties for neglect. And in a fiercely competitive market where budgets are tight and turnaround times tighter, cutting corners is the rule, not the exception. ### The Bigger Picture: A National Hypocrisy This isn’t just a Nollywood problem. It reflects a national truth. From collapsed buildings to stampedes at palliative distribution centres, from overloaded boats to neglected infrastructure, our systems wait for tragedy before they respond. Safety officers are paid peanuts and overruled. Companies parade polished safety policies that are never enforced. Religious gatherings with tens of thousands of attendees have no medical plan. And when people die, we say, “It is well.” The hard truth? It’s not well. ### The Path Forward Nollywood can lead by example. Safety should not be a luxury or a personal decision. It must be systematized. - Create enforceable safety regulations for productions: stunts, locations, transportation, and emergencies. - Mandate certified personnel: stunt coordinators, medics, and safety officers on all high-risk shoots. - Make insurance compulsory for all actors and crew. - Empower unions and guilds to blacklist unsafe productions. - Push for legislation: The Labour, Safety, Health and Welfare Bill of 2012 must become law. ### This Is Not Only About Film The lights of Nollywood illuminate much more than fiction. They expose how we operate as a country. Behind every tragic story is a preventable flaw: a pole left hanging, a boat without jackets, a kick delivered with no plan. Let this not be another wave of outrage that fades. Let it be the one that changes the script. Because the show must not go on if it costs people their lives. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-and-its-alarming-health-and-safety-shortcomings/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-and-its-alarming-health-and-safety-shortcomings/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-and-its-alarming-health-and-safety-shortcomings/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-and-its-alarming-health-and-safety-shortcomings/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-and-its-alarming-health-and-safety-shortcomings/?share=linkedin) - **Categories:** Articles **Tags:** Actors Guild of Nigeria, Film Set Safety, Godwin Nnadiekwe, Labour Safety Health and Welfare Bill, Movie Production, National Film and Video Censors Board, NFVCB, nigerian cinema, Nigerian film industry, nollycritic, nollywood, Nollywood Regulation, Nollywood Tragedies, On-Set Violence, Peggy Ovie, River Niger, Safety Protocols, Taye Arimoro, unior Pope, Workplace Conduct, Zubby Michael --- ### [Racket Queen: A Simple Yet Powerful Story of Resilience and Support](https://nollycritic.com/racket-queen-a-simple-yet-powerful-story-of-resilience-and-support/) **Published:** November 13, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nora Awolowo and Canon reunite after the AMVCA-nominated, short film What Are You Truly Afraid Of? for yet another short film titled Racket Queen. **Content:** Nora Awolowo and [Canon](https://en.canon-cna.com/ "Canon") reunite after the AMVCA-nominated, short film W*hat Are You Truly Afraid Of?* for yet another short film; *Racket Queen*. Interestingly, the project also reunites some crew like Abdul Tijani and cast members like Folu Storms from Nora’s feature debut earlier this year, *Red Circle.* ## *Racket Queen* Directed by; Nora Awolowo Written by: Abdul Tijani-Ahmed Genre: Drama Language: English/Yoruba **The Bond Passion and Support Holds** *[Racket Queen](https://nollycritic.com/racket-queen-canon-partners-nora-awolowo-on-new-short/ "Racket Queen")* follows the journey of Bamise (Pamilerin Ayodeji), a determined teenage girl chasing her dream of becoming a professional tennis player. Against all odds, her greatest source of motivation comes from the unwavering support of her mother (Tunbosun Aiyedehin). Though battling illness, Bamise’s mother remains devoted to her daughter’s passion, taking her to train under coach Kabir (Kayode Jnr Ojuolape). But what should have been Bamise’s happiest moment, her debut tennis competition, turns heartbreaking when she returns home to the devastating news of her mother’s death. **Its Greatest Flaw is Its Duration** Indeed, *Racket Queen’s* biggest shortcoming is that it leaves the audience yearning for more. Particularly to see what becomes of Bamise after losing the only pillar of support in her life. The short film explores themes of parental support, resilience, and loss, aiming to highlight the profound impact of a parent or guardian’s unwavering belief in a child’s dreams. Told through a reflective lens, the story unfolds in flashback, beginning with an older Bamise giving an interview about her journey to becoming an accomplished, award-winning tennis player. **Keen Cinematography** When it came to cinematography, it was clear that no cost was spared. And this is no surprise with the partnership with Canon. But its not just the crispy shot or the bright pictures, rather the choice of angles. For the lead character, Bamise, we see some precise use of hero shot. Which gives her presence a more solidifying feel for the audience. And then the production design ensured the realism was further cemented. With the color scheme choices for the locations and then some prop set up. That helped the audience quickly understand the situation Bamise and her mom find themselves financially. As well as the type of environment to which they are surrounded by. **Final Thoughts** *Racket Queen* reiterates the abilities short films have in delivering powerful stories. And also the importance of giving short stories just as much intentionality as one who give a feature. And we see the result of this in the great performance that *Racket Queen* delivers. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/racket-queen-a-simple-yet-powerful-story-of-resilience-and-support/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/racket-queen-a-simple-yet-powerful-story-of-resilience-and-support/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/racket-queen-a-simple-yet-powerful-story-of-resilience-and-support/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/racket-queen-a-simple-yet-powerful-story-of-resilience-and-support/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/racket-queen-a-simple-yet-powerful-story-of-resilience-and-support/?share=linkedin) - **Categories:** Reviews, Short Films **Tags:** Abdul Tijani-Ahmed, Canon, film, Kayode Jnr Oujuolape, nollycritic, nollywood, Nollywood 2025, Nora awolowo, Pamilerin Ayodeji, Reviews --- ### [AFRIFF 2025: A Celebration Undermined by Poor Scheduling](https://nollycritic.com/afriff-2025-a-celebration-undermined-by-poor-scheduling/) **Published:** November 12, 2025 **Author:** Faith Oloruntoyin **Excerpt:** AFRIFF has earned its place as one of the most anticipated cinematic events. Yet beneath the glamour, the 2025 edition revealed cracks that... **Content:** The [African International Film Festival (AFRIFF)](https://www.afriff.com/ "African International Film Festival (AFRIFF)") has earned its place as one of the continent’s most anticipated cinematic events. An annual event for filmmakers, critics, and cinephiles eager to celebrate African storytelling. This year’s edition, which was held from 2 to 8 November 2025 in Lagos, was expected to further cement AFRIFF’s legacy as a platform that nurtures new voices while spotlighting established ones, especially as this year marks 14 years since the festival began. **Significant Shortfilm Sideline** Yet beneath the glamour, red carpets, and social buzz, the 2025 edition revealed cracks that demand urgent attention. Most notably, the festival’s poor scheduling and its apparent disregard for short filmmakers. For an event that prides itself on inclusivity,[ AFRIFF 2025](https://nollycritic.com/?s=afriff " AFRIFF 2025") fell short in ensuring that every category received fair representation and visibility. Reports and reactions from attendees online pointed to chaotic scheduling that saw screenings delayed, rescheduled without notice, or clashing with key industry sessions. Many guests arrived at venues only to find their selected screenings postponed or replaced, leaving confusion and frustration in their wake. For a festival of AFRIFF’s stature, such disorganization suggests a troubling lack of coordination that undermines the festival’s credibility and the efforts of the filmmakers involved. As well as a lack of intentionality, as this has been a constant complaint from several editions. The issue was even more glaring for the short film category — a section seen as a starting ground for emerging filmmakers. Several attendees and filmmakers expressed disappointment over how short films were sidelined. Abrupt change in venues and disparities in official selection lists and schedule time. Some screenings were sparsely attended, not because the films lacked merit, but because audiences were either unaware of the schedule change or the new location. It is disheartening that, in a festival dedicated to nurturing African talent, the very creators who represent the industry’s future felt pushed aside. Short films are the heartbeat of any film festival; they capture experimentation, innovation, and the raw hunger that drives the industry forward. When they are treated as fillers rather than features, it sends a discouraging message about whose stories truly matter. AFRIFF’s programming choices this year reflected a shift toward glamour and celebrity culture, sometimes at the expense of genuine artistic discovery. While high-profile screenings and star appearances bring visibility, they should not overshadow the festival’s foundational purpose: creating a balanced platform for all filmmakers. The consequences of such neglect go beyond one festival cycle. Many of these short filmmakers rely on festivals like AFRIFF not only for visibility but also for validation, funding opportunities, and international networking. When their work is sidelined, it sort of echoes silently the possibility of not being valued or prioritized by the organizers. **Poor Communication Structure** Another pressing issue is the festival’s poor communication structure. The official website, in particular, has become increasingly difficult to navigate, cluttered with outdated information and confusing layouts that frustrate users. This is especially problematic because, beyond the social media pages, the website is meant to serve as the primary and most reliable source of information about the festival. Key details such as film selections, screening times, masterclasses, and venue locations are often uploaded late, and in some cases, updates fail to reflect at all. As the festival’s official digital hub, the website should also function as an accessible archive of AFRIFF’s progress, milestones, and impact. Ensuring timely and accurate updates is therefore essential, not just for the sake of professionalism, but to provide industry stakeholders and cinephiles with credible insights into the festival’s ongoing development. **Final Thoughts** AFRIFF’s success is not in question, its impact on African filmmaking over the years is undeniable. However, it defintely could achieve so much more. The 2025 edition should serve as a wake-up call for organisers to reassess priorities and restore balance between prestige and purpose. Festivals thrive not on their red carpets but on the integrity of the curation, the fairness of programming, and the value they give to every voice. If AFRIFF truly seeks to remain Africa’s leading film festival, it must ensure that its next edition does not repeat the same mistakes. The future of African cinema depends not only on celebrating established names but on nurturing the next generation. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/afriff-2025-a-celebration-undermined-by-poor-scheduling/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/afriff-2025-a-celebration-undermined-by-poor-scheduling/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/afriff-2025-a-celebration-undermined-by-poor-scheduling/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/afriff-2025-a-celebration-undermined-by-poor-scheduling/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/afriff-2025-a-celebration-undermined-by-poor-scheduling/?share=linkedin) - **Categories:** Articles **Tags:** afriff, film, nigerian cinema, nollycritic, nollywood, Nollywood 2025, ShortFilms --- ### [3 Cold Dishes Review: Revenge is Best Served 'Hot'](https://nollycritic.com/3-cold-dishes-revenge-is-best-served-hot/) **Published:** November 11, 2025 **Author:** Shalom O. Obisesan **Excerpt:** 3 Cold Dishes is a cross-border crime drama produced by Burna Boy and directed by Asurf Oluseyi. Set across Côte d’Ivoire, Nigeria... **Content:** [*3 Cold Dishes* ](https://www.imdb.com/title/tt36643696/ "3 Cold Dishes ")is a cross-border crime drama produced by Burna Boy and directed by Asurf Oluseyi. Set across Côte d’Ivoire, Nigeria and Benin Republic, it follows three young women trafficked in 2002 who resurface sixteen years later as armed robbers seeking vengeance. Mama Janice (Amelie Mbaye) narrates their story to a beret-wearing journalist (Femi Jacobs) in a framing device that often feels more distracting than illuminating. The film promises a fierce femme-first revenge spree, but choppy pacing, uneven performances, and a plot that forgets its own rules turn a complex idea into a frustrating watch. ## *3 Cold Dishes* Directed by: Asurf Oluseyi Written by: Oluseyi Asurf, Tomi Adesina Genre: Thriller Released on: November 7, 2025 (Cinemas) Language: English, French ### Escaping the Web of Male Violence *[3 Cold Dishes](https://nollycritic.com/see-the-new-teaser-for-3-cold-dishes-and-cinema-release-date/ "3 Cold Dishes")* offers a sobering perspective on the continent-wide crisis of human trafficking. The film refuses to let its protagonists simply break free after one act of rebellion. Even after the pimp’s death in a police raid, Fatouma, Esosa, and Giselle remain entangled in new forms of exploitation. Fatouma serves a corrupt general, Giselle is pawned off to a local chief, and Esosa is shuttled across borders by family. Their bodies and choices are never fully their own. This cyclical entrapment is the film’s most compelling idea, illustrating how trafficking does not end with rescue but morphs into different cages. The line “Justice is slow… even with some corruption” lands with quiet devastation, speaking directly to African audiences familiar with institutional failure. Unfortunately, the film raises these weighty themes but rarely delves into the psychological wreckage they leave behind. We see the women scream at the climax, yet because their inner lives remain unexplored, the catharsis feels hollow and unearned. ### Three Chapters, Too Many Cracks Divided into three distinct time periods (2002 trafficking tagged “3 Cold Dishes; The Old Testament”, the raid’s aftermath, and present-day revenge), the chapter format initially feels promising. Each woman’s origin story carries real emotional charge on paper: Fatouma lured by a Pastor Fred with dreams of Parisian football glory, Esosa betrayed by her uncle Bankole, Giselle sold by her grandmother and subjected to gang rape. These moments are rendered with occasional haunting imagery, a desert expanse that swallows sound. Yet the execution is rushed. Key events blur past, leaving viewers struggling to track who did what to whom and why it matters now. The framing device of Mama Janice recounting everything to the journalist only exacerbates the problem. Instead of deepening context, it constantly yanks attention away from the trio’s lived experience, turning potentially immersive sequences into detached anecdotes. ### Character Differentiation and Performance Disparities The three leads never fully emerge as individuals. Fatouma is defined by her military ties, Giselle by poorly explained supernatural episodes that seem forced into the narrative rather than organic to it, and Esosa by her status as the lone anglophone. This lack of nuance is compounded by linguistic inconsistency: despite supposedly learning French to survive, adult Esosa speaks almost exclusively in English while others flow seamlessly in French, shattering immersion in a Francophone setting. Performance quality mirrors this unevenness. Young Ruby Akubueze delivers a heartbreaking turn as teenage Esosa, her pleas raw and believable. The teenage trio’s fleeting dynamic rings truer than anything in the adult timeline. Once the actors age up, cracks appear. Osas Ighodaro feels unsteady, Fat Touré leans into rage without modulation, and Maud Guerard struggles with a thinly written role. Among the supporting cast, Wale Ojo’s Uncle Bankole stands out as genuinely chilling, dripping with calculated evil. ### Technical Brilliance Meets Executional Stumbles Cinematography is unequivocally the film’s crown jewel. From the unforgiving desert, every frame is composed with confidence. The shift between French and English dialogue feels organic, reflecting real cross-border realities. A motorcycle chase across barren terrain looks spectacular in wide shots, even if the actual action disappoints. Sound design subtly enhances tension, letting silence speak as loudly as gunfire. Yet these strengths cannot paper over deeper flaws. Action sequences underwhelm, often cutting away just as momentum builds. Exposition arrives in heavy, indigestible chunks. Unnecessary detours, police officers leering over the women’s beauty, henchmen debating paltry pay, drag the pacing without adding insight. Most baffling is a late-film cartoon sequence that arrives out of tone. ### Final Thoughts *3 Cold Dishes* is a film of undeniable ambition that ultimately buckles under its own contradictions. Unfortunately, garbled storytelling, rushed pacing, and a script that abandons its own logic turn ambition into frustration. The revenge, promised cold and calculated, arrives lukewarm and haphazard, lacking the strategic precision that could have made it satisfying. The supernatural elements never cohere, and the emotional payoff never arrives. Credit is due for tackling a serious issue and achieving watchability, but the scaffolding collapses long before the end. For all its flaws, the film deserves recognition for tackling human trafficking from a fresh angle, for its stunning visuals, and for proving that pan-African stories can command cinematic scope. A tighter script, deeper psychological exploration, and trust in its own imagery could have transformed it into a modern classic. As it stands, it remains a beautiful, frustrating near-miss, one that leaves viewers with striking images but far too many unanswered questions. ### Verdict *3 Cold Dishes* will satisfy viewers who prize aesthetics over story and are willing to forgive narrative chaos. It disappoints those seeking deep character work or a truly gripping revenge saga. Occasionally dazzling yet meandering, it hints at a brighter future for ambitious African genre filmmaking. **Rating**: 2.25/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/3-cold-dishes-revenge-is-best-served-hot/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/3-cold-dishes-revenge-is-best-served-hot/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/3-cold-dishes-revenge-is-best-served-hot/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/3-cold-dishes-revenge-is-best-served-hot/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/3-cold-dishes-revenge-is-best-served-hot/?share=linkedin) - **Categories:** Reviews **Tags:** 3 Cold Dishes, Amelie Mbaye, Asurf Oluseyi, Benin Republic, Burna Boy, Côte d’Ivoire, critique, cross-border crime, Fat Touré, Female Empowerment, Femi Jacobs, Human trafficking, Maud Guerard, nollywood, Osas Ighodaro, revenge thriller, Ruby Akubueze, Wale Ojo --- ### [Racket Queen: Canon CNA Partners Nora Awolowo on New Short](https://nollycritic.com/racket-queen-canon-partners-nora-awolowo-on-new-short/) **Published:** November 11, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Canon Central returns with yet another short film collaboration with award-winning filmmaker Nora Awolowo, titled Racket Queen. **Content:** [Canon Central & North Africa (CCNA) ](https://en.canon-cna.com/ "Canon Central & North Africa (CCNA) ")hosted an exclusive screening of *Racket Queen*, a short film directed by award-winning filmmaker [Nora Awolowo](https://nollycritic.com/red-circle-see-the-trailer-for-nora-awolowos-new-thriller/ "Nora Awolowo"), on Monday, November 10, 2025, at EbonyLife Place, Victoria Island, Lagos. The event brought together filmmakers, media professionals, and creative enthusiasts to celebrate a powerful story of love, loss, and resilience. At the same time, it reinforces Canon’s ongoing commitment to empowering African storytellers. Directed by Nora Awolowo, *Racket Queen* explores themes of determination and emotional strength. It captures the essence of authentic African narratives through striking visuals. The film was shot entirely on the Canon EOS C400 cinema camera. Underscoring Canon’s dedication to elevating local storytelling with world-class imaging technology. Speaking at the event, Rashad Ghani, B2C Business Unit Director at Canon Central & North Africa, emphasized Canon’s mission to support the region’s creative ecosystem through partnerships that blend innovation with imagination. “Racket Queen is more than a film; it’s an example of what happens when cutting-edge technology meets the artistry of African filmmakers,” he noted. Nora Awolowo also shared insights into her creative process and collaboration with Canon. Describing the project as a milestone in her filmmaking journey. “Working with Canon on this project allowed us to tell a deeply emotional story with tools that enhanced our visual storytelling. It’s a reminder that African stories deserve to be told with the same quality and precision as anywhere else in the world,” she said. She further revealed that the story was inspired by her personal experience with her parents. And their initial hesitation toward her pursuit of a career in cinematography—an emotion that helped fuel the narrative of *Racket Queen*. This marks Canon and Nora Awolowo’s second collaboration. Following their previous work on the AMVCA-nominated short film *What Are You Truly Afraid Of?* Making *Racket Queen* a project to look out for. *Racket Queen* follows the story of Bamise (Pamilerin Ayodeji), a young girl deeply passionate about tennis, supported by her ailing mother (Tunbosun Aiyedehin). Written by Abdul Tijani-Ahmed, the film also features Kayode Jnr Ojuolape and Folu Storms. The screening concluded with an interactive session featuring the cast, crew, and Canon representatives. Offering attendees a behind-the-scenes look at the making of *Racket Queen* and its innovative cinematic techniques. Through initiatives like this, Canon continues to strengthen its bond with Africa’s creative community. Thereby fostering innovation, empowering filmmakers, and inspiring a new generation of visual storytellers. See the trailer for the short below! ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/racket-queen-canon-partners-nora-awolowo-on-new-short/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/racket-queen-canon-partners-nora-awolowo-on-new-short/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/racket-queen-canon-partners-nora-awolowo-on-new-short/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/racket-queen-canon-partners-nora-awolowo-on-new-short/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/racket-queen-canon-partners-nora-awolowo-on-new-short/?share=linkedin) - **Categories:** Nollywood News **Tags:** Abdul Tijani-Ahmed, AMVCA, film, Kayode Jnr Ojuolape, nollywood, Nollywood 2025, Nora awolowo, Pamilerin Ayodeji --- ### [AMAA 2025: See The Complete List of Award Winers](https://nollycritic.com/amaa-2025-see-the-complete-list-of-award-winers/) **Published:** November 10, 2025 **Author:** Michael Arowoselu **Excerpt:** The Winners for the 21st Africa Movies Academy Awards (AMAA 2025), AMAA have been announced on Sunday, November 9, 2025 at the Balmoral Convention Centre Ikeja **Content:** The Winners for the 21st [Africa Movies Academy Awards](https://ama-awards.com/) (AMAA 2025), AMAA have been announced on Sunday, November 9, 2025 at the Balmoral Convention Centre Ikeja, Lagos, Nigeria. The Night ended with *Katanga: Dance of The Scorpions* and *The Heart is a Muscle* claiming the biggest awards. **EFERE OZAKO AMAA 2025 AWARD FOR BEST SHORT FILM** - The Missing Piece – Kenya - Vandals – Mozambique - Echoes From The Past- Nigeria/UK - Abu Judy -Egypt - Chikha-Queen – Morrocco - MIA – Burkina Faso - Stigma – Tunisia - **LEES WAXUL – Senegal – Winner** - The last Harvest – Cape Verde **JUBRIL MALAFIA AMAA 2025 AWARD FOR BEST ANIMATION** - Dawn – Cameroun - **My Brother, My Brother- Egypt/France/Germany – Winner** - The Travails of Ajadi – Nigeria - Nkizzi’s First Day – Uganda - Amara and the Spirit of Nyamagunda – Uganda - Monologue – Nigeria/UK **AMAA 2025 AWARD FOR BEST DOCUMENTARY** - The Journey East – DRC - Double Minority – Nigeria - The Empty Grave – Tanzania/UK - **Khartoum – Sudan/UK – Winner** - Ancestral Visions of the Future -Lesotho/France/Germany **OUSMANE SEMBENE AMAA 2025 AWARD FOR BEST FILM IN AN AFRICAN LANGUAGE** - **Katanga: Dance of The Scorpions -B/Faso – Winner** - Small Gods – Uganda/UK - Lukas: Namibia - Lobola Man – South Africa - Lisabi: The Uprising - The Heart is a Muscle: South Africa **MICHAEL ANYIAM OSIGWE AMAA 2025 AWARD FOR BEST FILM BY AN AFRICAN LIVING ABROAD** - **Lemohang Jeremiah – Ancestral Visions of the – Winnner** - Future – Lesotho/France/Germany - Katanga: Dance of The Scorpions – Dany Kouyate (B/Faso) – Winner - Khartoum – Ibrahim Snoopy – Sudan **AMAA 2025 AWARD FOR BEST DIASPORA SHORT** - Cartes – USA - **Superman Doesn’t steal – USA – Winner** - Harvest – USA **AMAA 2025 AWARD FOR BEST DIASPORA DOCUMENTARY** - The Billy Preston Story – USA - Carnival: ‘They Cant Steal Our Joy – Canada - Missing Rio Doce – Brazil/France - **Rediscovering Fenon – USA/Algeria/Martinique – Winner** **AMAA 2025 AWARD FOR BEST DIASPORA NARRATIVE FEATURE** - Sisters Maid – Brazil - **Romeo N Juliet 4EVA – Jamaica – Winner** - The Model, The Mannequin and Me – USA **AMAA 2025 AWARD FOR ACHIEVEMENT IN PRODUCTION DESIGN** - Katanga: Dance of The Scorpions - The Heart is a Muscle - **3 Cold Dishes – Winner** - Last Stop - Red Circle **AMAA 2025 ACHIEVEMENT IN COSTUME DESIGN** - **Katanga: Dance of The Scorpions – Winner** - The Lost Days - The Masked King - The Serpent Gift - Hunting Jessica Brok **AMAA 2025 AWARD FOR ACHIEVEMENT IN MAKEUP** - Spelonk - **Lisabi: The Uprising – Winner** - Amanayanbo - The Masked King - The Heart is a Muscle **AMAA 2025 AWARD FOR ACHIEVEMENT IN SOUNDTRACK** - Recall - Freedom Way - **Old Righteous Blues – Winner** - Kites - Le Point- The Bridge **AMAA 2025 AWARD FOR ACHIEVEMENT IN VISUAL EFFECT** - **For Land, For Love, For Power – Winner** - Lisabi - Spelonk - Hunting Jessica Brok - Amanayanbo: The Eagle King **AMAA 2025 AWARD FOR ACHIEVEMENT IN SOUND** - **Algiers – Winner** - Old Righteous Blues - Le Point – The Bridge - Hunting Jessica Brok - Katanga: Dance of The Scorpions -B/Faso **AMAA 2025 AWARD FOR ACHIEVEMENT IN CINEMATOGRAPHY** - 3 Cold dishes - Old Righteous Blues - Spelonk - Small gods - For love, for land, for power - **The Heart is a muscle – Winner** - Katanga: Dance of The Scorpions -B/Faso **AMAA 2025 AWARD FOR ACHIEVEMENT IN EDITING** - For Love, For Land, For power - Spelonk - **The Heart is a Muscle – Winner** - 3 Cold Dishes - Algiers **AMAA 2025 AWARD FOR ACHIEVEMENT IN SCREEN PLAY** - Old Righteous Blues - Le Point – The Bridge - For Love, For Land, For Power - Small Gods - Red circle - **Katanga: Dance of The Scorpions -B/Faso – Winner** **AMAA 2025 – NATIONAL FILM AND VIDEO CENSORS BOARD (NFVCB) AWARD FOR BEST NIGERIAN FILM** - Lisabi: The Uprising - Recall - Freedom Way - The Serpent Gift - Amanayanbo - **3 Cold Dishes – Winner** - Red Circle - The Masked King **AMAA 2025 AWARD FOR BEST YOUNG/ PROMISING ACTOR** - Alejandro Cooper- Lukas - Turinayo Jatham – Small gods - Tiwalola Adebola-Walter – Freedom Way - Kisi Ogborueche – Kill Boro - **Ruby Akubueze – 3 Cold Dishes – Winner** **AMAA 2025 AWARD FOR BEST ACTOR IN A SUPPORTING ROLE** - Kojo Boakye – Two of a Kind - Femi Jacobs – Freedom Way - **Clemento Ashietey – Last Stop – Winner** - Abdulai Saidu Kamara – Code of Honor **AMAA 2025 AWARD FOR BEST ACTRESS IN A SUPPORTING ROLE** - Zohra Chetioui – Le Point- The Bridge - **Tina Mba – The Serpent Gift – Winner** - Fadela Brown – Old Righteous Blues - Bukky Wright – Red Circle **AMAA 2025 AWARD FOR BEST ACTOR IN A LEADING ROLE** - Keenan Arrison – The Heart is a Muscle - Debebe Eshetu – For love, for land, for power - Adjetey Anang – Last Stop - **Lateef Adedimeji – Lisabi: The Uprising – Winner** - Ayden Croy- Old Righteous Blues - Bizimana Hussain – Small Gods - Mahamadi Nana – Katanga: Dance of The Scorpions -B/Faso - Nabil Asli – Algiers **AMAA 2025 AWARD FOR BEST ACTRESS IN A LEADING ROLE** - Linda Ejiofor-Suleiman – The Serpent Gift - Analisa Munyana – Mucoma: The Battle of the Couple - Shaffy Bello – The Masked King - Danica De La Ray Jones- Hunting Jessica Brok - Getahun Hailu – For Love, For Land, For Power - **Florence Mariserena – Small gods – Winner** - Meriem Medjkane – Algiers - Osas Ighodaro, Fat Toure and Maud Guerard – 3 Cold Dishes **AMAA 2025 AWARD FOR BEST DEBUT FEATURE FILM BY A DIRECTOR** - The Lost Days – Wingonia Ikpi - Small Gods- Asher Rosen - Algiers- Chakib Taleb-Bendiab - Kill Boro- Obayuwana Courage - **The Heart is a Muscle – Imran Hamdulay – Winner** - Freedom Way – Afolabi Olalekan **AMAA 2025 AWARD FOR BEST DIRECTOR** - Niyi Akinmolayan- Lisabi: The Uprising (Nigeria) - **The Heart is a Muscle – Imran Hamdulay (South Africa)** - Asurf Oluseyi – 3 Cold Dishes (Nigeria) - Asher Rosen- Small Gods – (Uganda) - Theodros Teshome -For Love, For Land, For Power (Ethiopia) - Dany Kouyate – Katanga: – Winner - Dance of The Scorpions -B/Faso - Kwabena Gwansah – Last Stop (Ghana) - Chakib Taleb-Bendiab – Algiers (Algeria) **AMAA 2025 AWARD FOR BEST FILM** Online movie streaming services - Algiers – Algeria - 3 Cold Dishes – Nigeria - **The Heart is a Muscle – South Africa – Winner** - Small Gods – Uganda - For Love, For Land, For Power -Ethiopia - Katanga: Dance of The Scorpions -B/Faso - Last Stop – Ghana - Lisabi: The Uprising (Nigeria) ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/amaa-2025-see-the-complete-list-of-award-winers/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/amaa-2025-see-the-complete-list-of-award-winers/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/amaa-2025-see-the-complete-list-of-award-winers/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/amaa-2025-see-the-complete-list-of-award-winers/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/amaa-2025-see-the-complete-list-of-award-winers/?share=linkedin) - **Categories:** Nollywood News **Tags:** 3 Cold Dishes, AMAA 2025, Amanayanabo, Freedom Way, Lisabi The Uprising, recall, The Lost Days, The Masked King, The Serpent's Gift --- ### [AMAA 2025: How Nollywood Fared Among Africa’s Best](https://nollycritic.com/amaa-2025-how-nollywood-fared-among-africas-best/) **Published:** November 10, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The Africa Movie Academy Awards have long served as the reflection of the continent’s evolving cinema landscape. AMAA 2025, held... **Content:** The[ Africa Movie Academy Award](https://ama-awards.com/ " Africa Movie Academy Award")s have long served as the reflection of the continent’s evolving cinema landscape. AMAA 2025, held at the Balmoral Convention Centre in Lagos, confirmed that Nollywood remains a powerful presence across Africa, even as other national industries continue to sharpen their craft and command more space. It was a competitive year, one defined by technical ambition and cultural storytelling that stretched from Nigeria and South Africa to Burkina Faso, Uganda, and Algeria. For Nollywood, the results mark both consolidation and transition. *3 Cold Dishes* led Nigeria’s charge, claiming Best Nigerian Film and Best Achievement in Production Design, while also producing a win for Ruby Akubueze in the Promising Actor category. The film’s ensemble and visual precision reinforced Asurf Oluseyi’s reputation for marrying craft with emotional truth. *Lisabi: The Uprising* also delivered a major moment with Lateef Adedimeji’s Best Actor win and an award for Makeup Achievement. Together, these victories highlight how Nigerian cinema continues to balance star-driven storytelling with large-scale production design and expressive cultural narratives Elsewhere, *The Serpent Gift* earned Tina Mba a richly deserved Best Supporting Actress award, while Niyi Akinmolayan’s direction on *Lisabi* was recognised among the continent’s strongest. What these wins underline is Nollywood’s continued dominance in acting categories and its steady improvement in technical areas that were once seen as its weak spots. Still, AMAA 2025 revealed a more balanced African field than in previous years. South Africa’s *The Heart is a Muscle* emerged as Best Film, sweeping both Editing and Cinematography, while Burkina Faso’s *Katanga: Dance of the Scorpions* claimed Best Film in an African Language, Best Costume Design, and Best Director for Dany Kouyate. Uganda’s *Small Gods* confirmed the East African industry’s growing energy, taking home Best Actress for Florence Mariserena. Ethiopia, Algeria, and Lesotho also maintained strong showings across technical and diaspora categories, emphasising that African cinema is not only diversifying but also collaborating across borders. ##### [See the full List of AMAA 2025 Nominees and Winners here](https://nollycritic.com/amaa-2025-see-the-complete-list-of-award-winers/ "See the full List of AMAA 2025 Nominees and Winners here") ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/amaa-2025-how-nollywood-fared-among-africas-best/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/amaa-2025-how-nollywood-fared-among-africas-best/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/amaa-2025-how-nollywood-fared-among-africas-best/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/amaa-2025-how-nollywood-fared-among-africas-best/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/amaa-2025-how-nollywood-fared-among-africas-best/?share=linkedin) - **Categories:** Articles **Tags:** 3 Cold Dishes, AMAA 2025, Asurf Oluseyi, Dany Kouyate, Florence Mariserena., Imran Hamdulay, Katanga: Dance of The Scorpions, Lateef Adedimeji, lisabi: The Uprising, Niyi Akinmolayan, Ruby Akubueze, Small Gods, The Heart is a Muscle, Tina Mba --- ### [CJ Obasi, Orire Nwani and Cheta Chukwu to Set for the 2025 Red Sea Film Festival](https://nollycritic.com/cj-obasi-orire-nwani-and-cheta-chukwu-to-set-for-the-2025-red-sea-film-festival/) **Published:** November 10, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nigeria’s creative footprint continues to expand on the global stage. As three filmmakers prepare to attend the Red Sea Souk Project Market... **Content:** Nigeria’s creative footprint continues to expand on the global stage. As three filmmakers prepare to attend the Red Sea Souk Project Market, the co-production platform of the [Red Sea International Film Festival](https://redseafilmfest.com/en/ "Red Sea International Film Festival"). Which will take place from December 6 to 10 in Jeddah, Saudi Arabia. This year, the industry once again steps into the prestigious Souk. A meeting ground for filmmakers from Asia, Africa, and the Arab world to secure investments and build international collaborations. The market covers three main areas. The projects in development and production, works-in-progress titles, and series developed through the Red Sea Labs Series Lab. Nigeria’s participation spans across all these categories. In the Series Lab, writer Tomi Folowosele and producer Orire Nwani will present *Till Death Do Us Part*. A supernatural psychological thriller rooted in Nigerian culture and mythology. The project has entered a key development stage as it evolves into a globally pitch-ready TV series. In the Projects-in-Development and Production section, filmmaker Cheta Chukwu will showcase *To Catch A Falling Sky*. A Nigerian-UK co-production produced by Sheila Nortley. The film explores complex human themes while bridging creative collaboration between both countries. In April, Cheta was selected for the Red Sea Lodge 2025 by the Red Sea Labs. For his war drama *Love Is a Deeper Shade of Red*. Meanwhile, filmmaker[ CJ ‘Fiery’ Obasi ](https://nollycritic.com/la-pyramide-cj-obasis-bold-exploration-of-dark-bodies-and-global-cinema/ " CJ ‘Fiery’ Obasi ")will present *[La Pyramide](https://www.imdb.com/title/tt30582118/ "La Pyramide")* in the Works-in-Progress section. A co-production between Nigeria, the United Kingdom, Senegal, and the United States. In *La Pyramide*, he celebrates the beauty and complexity of dark-skinned bodies, exploring identity and representation within global cinema. > [View this post on Instagram](https://www.instagram.com/p/DP1sl2yDVIB/?utm_source=ig_embed&utm_campaign=loading) These selections show the continuous growth of Nigerian filmmakers and Nigerian films continue to enjoy across the globe. As the Red Sea Funding gives African’s as well as other continents the opportunity for guidance, funding and promotion from start to finish. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/cj-obasi-orire-nwani-and-cheta-chukwu-to-set-for-the-2025-red-sea-film-festival/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/cj-obasi-orire-nwani-and-cheta-chukwu-to-set-for-the-2025-red-sea-film-festival/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/cj-obasi-orire-nwani-and-cheta-chukwu-to-set-for-the-2025-red-sea-film-festival/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/cj-obasi-orire-nwani-and-cheta-chukwu-to-set-for-the-2025-red-sea-film-festival/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/cj-obasi-orire-nwani-and-cheta-chukwu-to-set-for-the-2025-red-sea-film-festival/?share=linkedin) - **Categories:** Nollywood News **Tags:** Cheta Chukwu, CJ Obasi, La Pyramide, Orire Nwani, Red Sea Souk Project Marke, Till Death Do Us Part, To Catch A Falling Sky --- ### [AMAA 2024: See The Complete List of Award Winners](https://nollycritic.com/amaa-2024-see-the-full-list-of-winners-live-updates/) **Published:** November 2, 2024 **Author:** Michael Arowoselu **Excerpt:** The 20th edition of the Africa Movie Academy Awards (AMAA 2004) is upon us, celebrating African creativity and innovation. With this year’s theme, Celebrating African Creativity **Content:** The 20th edition of the[ Africa Movie Academy Awards (AMAA 2024) ](https://ama-awards.com " Africa Movie Academy Awards (AMAA 2004) ")is upon us, celebrating African creativity and innovation. With this year’s theme, Celebrating African Creativity, the event, scheduled for November 2, 2024, at the Balmoral Center in Ikeja, Lagos, promises to showcase the continent’s finest talents in film. Daniel Oriahi’s *[The Weekend](https://nollycritic.com/the-weekend-finally-a-thriller-that-checks-the-right-boxes/)* sweeps AMAA 2024 awards list, with nods in achievement in cinematography and screenplay, best film and many others. See the AMAA 2024 full list of winners below; ##### Best Film *Under the Hanging Tree* ***The Weekend* (Winner))** *This is Lagos* *A Smile, A Wink, and A Tear* *Orah* *Letters to Goddo* *The Queenstown Kings* ##### Best Actor in a Leading Role **Zolixa Xaluva – *The Queenstown Kings* (Winner)** Gabriel Afolayan – *This is Lagos* Duncan Murunyu Mungai – *Boda Love* Nenesenor Abloso – *Letters to Goddo* Bucci Franklyn – *The Weekend* Femi Jacobs – *Anjola* Chidi Mokeme – *Out of Breath* ##### Best Actress in a Leading Role Girley Jazama – *Under the Hanging Tree* Oyin Oladejo – *Orah* Unati Faku – *The Queenstown Kings* Uzoamaka Aniunoh – *The Weekend* Laura Pepple – *This is Lagos* **Jackie Appiah – *Red Carpet* (Winner)** Ife Irele – *A Smile, A Wink, and A Tear* ##### Best Actor in a Supporting Role Sandile Mahlangu – *The Queenstown Kings* Ochungo Benson – *Nawi* Keppy Ekpeyong Bassey – *The Weekend* Ikechukwu Onunaku – *This is Lagos* Lucky Ejim – *Orah* Solomon Fixon Owoo – *Letters to Goddo* **Femi Adebayo – *Jagun Jagun* (Winner)** ##### Best Actress in a Supporting Role Meg Otanwa – *The Weekend* Enhle Mbali Mlotshwa – *The Queenstown Kings* **Elsie Chidera Abang – *Kipkemboi* (Winner)** Tessa Twala – *The Queenstown Kings* Bukunmi Oluwashina – *White and Black* Somkele Iyamah-Dhalamah – *Orah* Chioma Akpotha – *Mojisola* ##### Best Debut Feature Film by a Director ***Letters to Goddo* – Harry Bentil (Winner)** *Rising Up at Night* – Nelson Makengo *She* – Seun Richards ##### Achievement in Cinematography ***The Weekend* (Winner)** *Nawi* *Kipkemboi* *Letters to Goddo* *This is Lagos* *The Queenstown Kings* *A Smile, A Wink and A Tear* ##### Achievement in Screenplay *Under the Hanging Tree* ***The Weekend* (Winner)** *Letter to Goddo* *This is Lagos* *Boda Love* *The Queenstown Kings* *Out of Breath* ##### Achievement in Production Design *Orah* *The Queenstown Kings* *The Weekend* *Jagun Jagun* *Kipkemboi* *Makula* ***Out of Breath* (Winner)** ##### Achievement in Sound *A Smile, A Wink, and A Tear* *The Weekend* *Under the Hanging Tree* ***The Queenstown Kings* (Winner)** *Boda Love* *Kipkemboi* ##### Achievement in Editing ***Under the Hanging Tree* (Winner)** *The Weekend* *This is Lagos* *Nawi* *Kipkemboi* *The Beads* *Anjola* ##### Achievement in Soundtrack *The Weekend* *Under the Hanging Tree* *The Queenstown Kings* *Orah* ***Boda Love (Winner)*** *Mojisola* *Red Carpet* ##### Achievement in Visual Effects *Kipkemboi* ***Jagun Jagun* (Winner)** *Under the Hanging Tree* *The Weekend* *Bokwagter* *Out of Breath* ##### Achievement in Costume Design *The Beads* *The Weekend* *White and Black* *Jagun Jagun* *The Queenstown Kings* ***Mai Martaba*** **(Winner)** *Out of Breath* ##### Achievement in Make-Up *The Weekend* *Nawi* *Letters to Goddo* *Out of Breath* ***Jagun Jagun* (Winner)** *Anjola* *White and Black* ##### National Film and Video Censors Board (NFVCB) Award for Best Nigerian Film ***The Weekend*** **(Winner)** *This is Lagos* *Afamefuna Jagun Jagun Mai Martaba A Smile, A Wink, and A Tear* *Out of Breath* ##### Efere Ozako Award for Best Short Film ***The Last Shoemaker* – Uganda (Winner)** *Seben* – Mali *Dear Future Wife* – South Africa *Isolated* – Nigeria *Jolie* – Angola *Strike a Blow and Die* – Malawi *Don’t Call Me Beautiful* – Ghana *Sins of a Father* – Zimbabwe/USA ##### Best Diaspora Narrative Feature ***Outlaw Posse – USA (Winner)*** *Mickey Hardaway* – USA *Love After Holidays* – USA ##### Jubril Malafia Award for Best Animation *Heavy Crown* – Libya ***Counter Punch – Kenya (Winner)*** *Journey of the Legend* – Cameroon *Hadu* – Nigeria *Between Paya and Koulou* – Senegal *Oya (The Goddess of Gods)* – Nigeria *Set Pieces* – Sudan ##### Best Diaspora Short ***The Neighbourhood Alert – USA (Winner)*** *Bottled Up* – Jamaica *The Golden Boy* – USA ##### Best Diaspora Documentary ***The Wu Tang Clan: Live at Red Rocks Amphitheatre* – USA (Winner)** *A Rising Tide* – USA *Colour* – USA ##### Best Documentary *A Quand L’Afrique* – Congo Brazzaville ***The Night Still Smells of Gunpowder* – Mozambique (Winner)** *The Return Train* – Mali *Gateway to Dreams* – Cameroon *Rainbow Nation* – South Africa *Dela* – The Making of El-Anatsui – Nigeria *Donga* – Libya *Rising Up at Night* – Democratic Republic of Congo ##### Best Young/Promising Actor **Michell Lemuya – *Nawi* (Winner)** Likhona Mgali – *The Queenstown Kings* Agape Mngomezulu – *Orah* William Dias – *Bokwagter* Kofi Adu-Gyamfi – *Tejiri* Ruby Akubueze – *She* Fatima Muhammed – *Mai Martaba* ##### Ousmane Sembene Award For Best Film in an African Language *Makula* – Uganda *Jagun Jagun* – Nigeria ***The Queenstown Kings* – South Africa (Winner)** *Kaka* – Nigeria ESKHALEMI SIKANTOMBELLA – South Africa *Unheard* – Uganda *Out of Breath* – Nigeria The AMAA 2024 awards list will be updated as the event progresses. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/amaa-2024-see-the-full-list-of-winners-live-updates/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/amaa-2024-see-the-full-list-of-winners-live-updates/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/amaa-2024-see-the-full-list-of-winners-live-updates/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/amaa-2024-see-the-full-list-of-winners-live-updates/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/amaa-2024-see-the-full-list-of-winners-live-updates/?share=linkedin) - **Categories:** Nollywood News **Tags:** afamefuna, Amaa, AMAA 2024, film, Jagun Jagu, Mai Martaba, nollycritic, nollywood, The Weekend --- ### [OGWA Studios to Screen Four Short Films at Games Night: Big Screen Edition](https://nollycritic.com/ogwa-studios-to-screen-four-short-films-at-games-night-big-screen-edition/) **Published:** November 8, 2025 **Author:** Shalom O. Obisesan **Excerpt:** OGWA Studios has announced the Games Night with Prosper Light: Big Screen Edition, a hybrid cultural showcase and film premiere event scheduled for Friday... **Content:** OGWA Studios has announced the Games Night with [Prosper Light](https://nollycritic.com/till-death-do-us-part-noise-emotion-and-a-quiet-message/ "Prosper Light"): Big Screen Edition, a hybrid cultural showcase and film premiere event scheduled for Friday, 12 December 2025, at the British Council, Ikoyi, Lagos. The evening will feature the world premieres of three new short films: *Aladi*, *Zoe*, and *A Rainbow for Christmas*, alongside a special return screening of *The Sun’s Glory*. The screenings form part of the studio’s ongoing creative programme focusing on African storytelling through short-form cinema. The event will also include filmmaker discussions, brand showcases and interactive sessions. ### A Platform for Young Filmmakers Organised by OGWA Studios in collaboration with the British Council, Games Night with Prosper Light: Big Screen Edition expands the studio’s mission of nurturing creative talent and connecting young audiences to African stories. According to the organisers, the event will include interactive filmmaker sessions, brand showcases, games activities, and networking opportunities, all structured to foster cultural exchange and industry collaboration. The showcase follows earlier Games Night editions, known for blending entertainment with mentorship and audience engagement. This “Big Screen” version marks the initiative’s evolution into a film-centred experience spotlighting cinematic storytelling. ### Short Films Premiering ***Zoe*** *Zoe* is an intimate short film from writer-director Prosper Light, produced by OGWA Studios. The story follows a young girl whose battle with a terminal illness tests the strength of her family and their faith. Set around Easter, the film uses its timing to explore ideas of rebirth, love, and hope beyond suffering. ***A Rainbow for Christmas*** *A Rainbow for Christmas* features Prosper Light and Raphael Niyi in leading roles. The short drama follows Ezra, a young man who chooses Christmas Eve to come out to his family. Written and directed under OGWA Studios, the five-minute film examines identity, truth and family relationships within the context of seasonal celebrations. According to Prosper Light, who also serves as creative producer, the film focuses on the emotional intersection between fear, freedom and acceptance. ***Aladi*** Written by Prosper Light and Queen Adakole Stephen, *Aladi* addresses domestic violence and the effects of silence in abusive situations. The film centres on a woman’s struggle to protect her children while confronting the consequences of fear and inaction. The story is dedicated to women who have experienced violence in their homes and aims to highlight the importance of speaking out against abuse. ***The Sun’s Glory*** Written by Omokehinde Olateju and Prosper Light, returns for a special screening following its earlier release. The film follows Tope Willem, a young boy with albinism who faces social rejection while developing a passion for writing. The narrative focuses on the Willem family and examines issues of prejudice, acceptance and visibility. Prosper Light, Damilola Ogunsi and EyiyemiOlivia Rogbinyin feature in principal roles. ### A Growing Creative Community The Games Night platform has become a regular meeting point for filmmakers, producers, and audiences interested in authentic African cinema. Past editions have attracted more than 300 live attendees and over 20,000 online viewers, making it one of the fastest-growing grassroots film events in Nigeria. Through the [British Council](https://www.britishcouncil.org.ng/ "British Council")’s partnership, this edition reinforces cross-cultural collaboration and the development of Nigeria’s short film ecosystem, an area increasingly recognised at international festivals and streaming platforms. ### Event Details Games Night with Prosper Light: Big Screen Edition will take place at 4:00 p.m. on Friday, 12 December 2025, at the British Council, Ikoyi, Lagos. The screenings will be accompanied by creative discussions and networking opportunities for emerging filmmakers and audiences. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ogwa-studios-to-screen-four-short-films-at-games-night-big-screen-edition/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ogwa-studios-to-screen-four-short-films-at-games-night-big-screen-edition/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ogwa-studios-to-screen-four-short-films-at-games-night-big-screen-edition/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ogwa-studios-to-screen-four-short-films-at-games-night-big-screen-edition/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ogwa-studios-to-screen-four-short-films-at-games-night-big-screen-edition/?share=linkedin) - **Categories:** Nollywood News **Tags:** A Rainbow for Christmas, African filmmakers, Aladi, British Council, Games Night, Lagos Events, Nigerian Short Films, Nollycritic News, Nollywood Shorts, OGWA Studios, The Sun’s Glory, Zoe --- ### [Does Nollywood Know When to be Quiet?](https://nollycritic.com/does-nollywood-know-when-to-be-quiet/) **Published:** November 8, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Does Nollywood know when to be quiet? Does it know when to let scenes breathe? Is silence a foreign unused language in Nollywood? **Content:** Does [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") know when to be quiet? Does it know when to let scenes breathe? Is silence a foreign unused language in Nollywood? Or, Nollywood is simply a reflection of its society. ### The Noise We’re Known For Nigeria moves to the rhythm of noise. It fills our streets, our markets, our buses, our gatherings. We talk over one another, we shout from across rooms, we argue even when we agree. Noise is our punctuation, the way we announce life. It is not disorder; it is our texture, our identity. So when Nollywood speaks in the same tone, it feels natural. Every scene is alive with movement, sound, laughter, quarrels, or tears. Even silence is rarely silent. But somewhere within that familiarity, something gets lost. The talk, the drama, the constant need to fill space with sound, leaves little room for breath. It is as if Nollywood has inherited our cultural volume but misplaced its cinematic voice. If cinema is partly the art of restraint, of what is not said, of how emotion lingers in the pause, then has our industry mistaken noise for presence? Or are we simply watching ourselves as we truly are, a people who find comfort in commotion? ### The Habit of Noise Somewhere along the way, Nollywood decided that silence was a sign of emptiness. Scenes are packed tight with dialogue, as if a quiet moment might break the spell of entertainment. We have built an industry that fears stillness. The result is films that rarely breathe, where words chase meaning until both collapse from exhaustion. Even when stories promise action, conversation swallows the tension before it can rise. Take *Raji and The Beast*, a film that should pulse with raw energy. Instead, every chase is slowed by talk, every emotional beat diluted by commentary. The script does not trust its own rhythm; it keeps explaining what we can already see. And this is not an isolated habit. From thrillers to romance to melodrama, Nollywood often feels like a conversation that never ends. Characters do not speak to reveal truth, they speak because silence feels wrong. Comedy has taken this to its extreme. Since *The Wedding Party*, our screens have become crowded with the same noisy template: extravagant scenes, celebrity cameos, overlapping chatter, and the ritual of chaos that passes for humour. It is cultural theatre, the same kind of commotion that marks Nigerian celebrations in real life. There is a beauty to it, yes, but also fatigue. When every film is a festival of volume, laughter loses its sharpness, and chaos becomes predictable. Let’s not even talk of *Everybody Loves Jenifa*. In this habit of noise, Nollywood mirrors the Nigerian instinct for liveliness: our need to fill every gap with sound, with action, with strong activity. Yet what makes us so full of life may also be what keeps our cinema from discovering its quieter power. ### When Silence Becomes Cinema Silence in film is not emptiness; it is attention. The quiet allows emotion to echo. It lets an actor’s face speak, lets the city hum in the background, lets the viewer feel the weight of what is unsaid. Few Nigerian films understand this language, but the ones that do linger long after the credits roll. In [*Eyimofe* (*This is My Desire*)](https://www.imdb.com/title/tt10365870/ "Eyimofe (This is My Desire)"), Lagos, the setting, is noisy. Yet the film itself is calm. It watches life unfold without forcing it. The camera follows its characters through the city’s frenzy, but never tries to match it. Amidst the chaos, people live quietly — thinking, hoping, waiting. It is a rare Lagos film that trusts the stillness of ordinary life. *The Milkmaid* does the same with pain. Its silence is not peaceful but heavy, filled with what cannot be voiced. The pauses between scenes stretch like breath held too long. In *My Father’s Shadow*, silence becomes memory, a bridge between the living and the dead. *With Difficulty Comes Ease* uses quiet to mirror restraint and pain, showing how silence can shape identity and pride in a society that rewards loudness. Then there is *Over the Bridge*, where silence surrounds guilt, and *Mami Wata*, where it becomes ritual. These films speak in whispers, but they are more articulate than many shouting ones. They remind us that cinema, at its best, is visual thought. Their directors trust the viewer enough to listen; not to dialogue, but to the world itself. ### A Country That Fears Quiet? Silence unsettles us. It feels unnatural, almost suspicious. In most cultures in Nigeria, silence is often mistaken for weakness or boredom. We fill every space with noise: music, laughter, sermons, traffic, arguments, joy. Even our mourning is loud. It is how we prove we are alive, how we show presence. So when our films talk too much, perhaps they are only doing what we all do. Nollywood inherited this rhythm from the streets it films. The energy, the chatter, the improvisation. They all come from real life. Yet cinema is not real life; it is **reflection**. What works on the street can drain a story on screen. When every film screams to be heard, none of them truly listen. The culture of noise has become an aesthetic, and the camera rarely dares to hold still long enough for silence to mean something. Still, it is difficult to blame the industry alone. Our audiences, too, resist quiet. A long pause in dialogue can feel like a mistake. A slow scene feels like delay. We demand that the screen move as fast as our cities, that our stories never stop talking. And so, even in fiction, we perform our restlessness. But what if silence is not absence? What if it is our most honest sound? The space where we actually confront ourselves? ### The Silence We Avoid Perhaps silence frightens us because it reveals too much. Dialogue can hide confusion; chaos can mask emptiness. But silence leaves a film bare. It forces truth to the surface. The truth of a performance, of a moment, of a country still learning to sit with itself. Nollywood does not have to abandon its noise. Noise is part of our essence. But cinema can choose when to breathe, when to let a pause hold the room, when to let the hum Lagos, or the sound of the wind in Kaduna speak more than any monologue ever could. The power of stillness is not foreign to us. It lives in the eyes of actors like Temi Ami-Williams in *Eyimofe*, in the heavy pauses between scenes in *[With Difficulty Comes Ease](https://nollycritic.com/with-difficulty-comes-ease-a-strong-tale-of-loss-and-faith/ "With Difficulty Comes Ease")*, in the lingering frames of *Mami Wata*. These are not empty moments. They are moments of listening to silence, to space, to meaning. If silence is cinematic truth, then maybe our noise says something too. Maybe it says we fear what stillness might reveal. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/does-nollywood-know-when-to-be-quiet/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/does-nollywood-know-when-to-be-quiet/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/does-nollywood-know-when-to-be-quiet/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/does-nollywood-know-when-to-be-quiet/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/does-nollywood-know-when-to-be-quiet/?share=linkedin) - **Categories:** Articles **Tags:** Arie Esiri, C.J. Obasi, Chuko Esiri, Desmond Ovbiagele, Eyimofe, mami wata, My Father’s Shadow, nigerian cinema, nollywood, OVER THE BRIDGE, Raji and the Beast, Temi Ami-Williams, The Milkmaid, The Wedding Party, Tolu Ajayi, Ummi A. Yakubu, With Difficulty Comes Ease --- ### [Almost Perfect: A Heartfelt Tale of Dreams, Family, and Redemption](https://nollycritic.com/almost-perfect-a-heartfelt-tale-of-dreams-family-and-redemption/) **Published:** November 7, 2025 **Author:** Faith Oloruntoyin **Excerpt:** In Almost Perfect, the pursuit of passion collides with the realities of family, love, and sacrifice. Directed by Imoh Umoren... **Content:** In *[Almost Perfect](https://www.imdb.com/title/tt38683482/ "Almost Perfect")*, the pursuit of passion collides with the realities of family, love, and sacrifice. Directed by Imoh Umoren, who returns to the big screen after a prolonged hiatus. ## *Almost Perfect* Directed by: Imoh Umoren Written by: Kelvin Ukhurebor Genre: Drama Released on: October 10, 2025 (Cinemas) Language: English ### ***A Familiar Storyline*** *[Almost Perfect](https://nollycritic.com/see-the-cast-for-almost-perfect-set-for-october-release/ "Almost Perfect")* follows Eme, a young woman determined to pursue her dreams of becoming a fashion designer despite her mother’s disapproval. In a bid to live out her passion, she drops out of medical school and moves in with her elder sister in Lagos. However, things take a different turn as she finds herself thrown into the chaotic world of business, where opportunities are fleeting, and success takes much longer than expected. As Eme tries to find her footing, she falls in love, only to later face loneliness when the pressures of life and repeated failures begin to crush her resolve. Alongside Eme’s journey, we meet Shola (Toke Makinwa), a veteran in the fashion industry who has lost her former glory while struggling with her desire to have more children. There’s also Eme’s sister (Omowunmi Dada), who abandoned her own dreams for a career in real estate because of its financial security. Pressured to settle down, she overlooks true love from her loyal friend (Eso Dike). Eme’s mother, Sandy (Kate Henshaw), still bears scars from her own unfulfilled fashion dreams. The plot takes an emotional turn when it is revealed that Shola was the very woman who stole Sandy’s designs years ago, derailing her career. In the end, Eme’s journey comes full circle as she reconciles with her mother and receives her blessing—alongside her love interest’s return. ### A Very Safe Ending *Almost Perfect* tells a well-structured story with clear emotional arcs and compelling female relationships. However, its familiarity becomes its biggest flaw. The film feels reminiscent of other fashion-themed dramas, playing it safe rather than embracing deeper conflict or chaos. This restraint makes some resolutions feel underwhelming and less impactful. While the story has heart, it avoids exploring its darker or more complex edges, which could have elevated it from “almost perfect” to something truly memorable. ### Amazing Performance All-Round Kate Henshaw once again delivers a stellar performance, embodying Sandy with intensity and nuance. Her presence gives emotional gravity to the story. Detola Jones, who plays Eme, shines as the film’s emotional core. Her performance captures Eme’s grit, vulnerability, and determination, while her chemistry with Obinna Okenwa adds warmth and authenticity to their scenes together. Liquorose and Toke Makinwa show notable improvement in their acting. Liquorose brings charm and balance to her role, while Toke’s portrayal of Shola, though still somewhat personality-driven, demonstrates growth. With more focus on character immersion, she could deliver even stronger performances in future projects. ### Technical Aspects Technically, Almost Perfect excels in its production design and cinematography. The choice of locations and the stylish set designs beautifully reflect the world of fashion and creativity. The visual storytelling is enhanced by clever artistic touches, such as the scribbling effect used to represent Eme’s sketches—adding depth and texture to her creative process. The cinematography also deserves praise for its intimate angles and carefully composed shots that draw viewers closer to the characters’ emotions. These choices give the story a polished, professional feel that complements its themes of ambition, artistry, and self-discovery. ### Final Thoughts While Toke Makinwa’s portrayal still needs some refinement in terms of character depth, she manages a decent performance overall. Almost Perfect could have benefitted from a stronger emotional arc and a more daring approach to conflict. For instance, Eme’s reconciliation with her boyfriend feels unnecessary given how minor his absence turned out to be. It also would have been satisfying to see a clearer resolution to Omowunmi Dada and Eso Dike’s subplot, especially as their budding romance hinted at something meaningful. ### Verdict Despite its familiar storyline, Almost Perfect stands out for its strong performances, tight writing, and impressive visual delivery. It’s a heartfelt, visually rich film that celebrates ambition, family, and the cost of dreams—even if it stops just short of perfection. **Rating**: 3.25/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/almost-perfect-a-heartfelt-tale-of-dreams-family-and-redemption/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/almost-perfect-a-heartfelt-tale-of-dreams-family-and-redemption/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/almost-perfect-a-heartfelt-tale-of-dreams-family-and-redemption/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/almost-perfect-a-heartfelt-tale-of-dreams-family-and-redemption/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/almost-perfect-a-heartfelt-tale-of-dreams-family-and-redemption/?share=linkedin) - **Categories:** Reviews **Tags:** Bimbo Manuel, Detola Jones, Eso Dike, film, Kate Henshaw, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Omowunmi Dada, Reviews, toke makinwa --- ### [The Exco: A Reel of Endless Flaws](https://nollycritic.com/the-exco-a-reel-of-endless-flaws/) **Published:** November 7, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Hanged on the premise of political power play, The Exco only succeeds in imbibing the same chaos it portrays. **Content:** Hanged on the premise of political power play, *The Exco* only succeeds in imbibing the same chaos it portrays. What started as an intriguing thriller on politics and corruption slowly spirals out of control. But where did it go wrong? ## *The Exco* Directed by: Emmanuel Chidiebere Nwosu Produced by: Emmanuel Chidiebere Nwosu Genre: Political Drama/Thriller Released on: October 17, 2025 (Cinema) Language: English/Yoruba **A Convoluted Story Choice** *[The Exco ](https://www.imdb.com/title/tt38354921/ "The Exco ")*highlights themes of corruption, power tussle, integrity, and the woes of governance. The film follows a linear storytelling pattern, which makes it easy to follow. It centers on Bode Santos ([Deyemi Okanlawon](https://nollycritic.com/?s=deyemi+okanlawon "Deyemi Okanlawon")), the newly elected governor of Adun State, and his executive council as they navigate the treacherous realities of leadership. The Exco board includes the Deputy Governor, Baba Seun; Hon. Coker (Olarotimi Fakunle); Hon. Badmus (Jide Kosoko); Hon. Kosoko (Femi Branch); Funmi Oduwole (Bimbo Akintola); and Hon. Seun (Omololu Sodiya). Each of them becomes entangled in a controversial road construction bid — a test of personal ethics and political allegiance. While Hon. Seun wants to act in the interest of the people, Funmi struggles with an abusive husband pressuring her to vote in favour of his ally. The rest of the board members, already compromised by bribes, are more concerned with self-gain than public service. Things take a twist when Governor Santos unexpectedly awards the contract to an unlisted bidder, acting on what he believes to be a spiritual revelation from his wife — unaware that she has manipulated the outcome for her own business interest. ### Struggling Sub-Plots Despite its promising premise, *The Exco* struggles to build a cohesive narrative. The film often feels like a prolonged introduction rather than a full-fledged story. While it attempts to explore the private lives of each board member, the numerous subplots compete for attention, diluting the overall impact. For instance, the subplot surrounding Funmi’s domestic abuse starts strong but ends abruptly without resolution or meaningful commentary. Similarly, the supernatural elements — like Hon. Seun being hypnotised by a charmed spray — appear suddenly and vanish without consequence. These inconsistencies make the story feel disorganised and uneven, leaving the audience unsure of what the central conflict truly is. ### Bare Minimum performance The performances suffer largely because of the weak script and uneven direction. Deyemi Okanlawon stands out as Governor Santos, embodying a believable mix of charisma and moral conflict. His chemistry with Scarlet Gomez, who plays his manipulative wife, adds some emotional depth. However, most of the supporting cast feel underutilised. Bimbo Akintola’s talent is wasted on a storyline that never truly develops, while veterans like Jide Kosoko and Femi Branch seem constrained by shallow character arcs. ### Overly Flogged AI Usage Technically, The Exco offers little innovation. The cinematography, sound, and editing are functional but uninspired. The film sticks to conventional mid-shots and wide frames without visual flair. A particular low point comes in a scene where the filmmakers use AI-generated special effects to simulate a cheering crowd. Rather than enhancing the experience, it becomes distracting — the digital crowd is noticeably artificial, creating a visual lag that disrupts the film’s flow. ### Final Thoughts By the time the end credits rolled, *The Exco* will leave you more confused than fulfilled. It feels like a film that never fully decides what story it wants to tell — part political satire, part spiritual thriller, and part domestic drama. Unfortunately, none of these threads find satisfying resolution. The only moments of levity come from Olarotimi Fakunle’s character, whose comic reluctance to be intimate with his wife on his prophetess’s orders provides rare laughter amid the confusion. Beyond that, *The Exco* falls short of its cinematic potential — a film that starts with promise but ends as a muddled collection of ideas searching for direction. ### Verdict *The Exco* aims at showing the realities of governance in a society like ours, but it stumbles along the way. An unsatisfying experience. **Rating** : 1.2/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-exco-a-reel-of-endless-flaws/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-exco-a-reel-of-endless-flaws/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-exco-a-reel-of-endless-flaws/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-exco-a-reel-of-endless-flaws/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-exco-a-reel-of-endless-flaws/?share=linkedin) - **Categories:** Reviews **Tags:** Deyemi Okanlawon, Femi Adebayo, film, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Reviews, Scarlet Gomez --- ### [AFRIFF 2025: Here's All You Need To Know](https://nollycritic.com/afriff-2025-heres-all-you-need-to-know/) **Published:** October 27, 2025 **Author:** Faith Oloruntoyin **Excerpt:** The 14th edition of the African International Film Festival (AFRIFF) is set to run from November 2 to 8, 2025, promising a richer... **Content:** The 14th edition of the [African International Film Festival](https://nollycritic.com/?s=afriff "African International Film Festival") (AFRIFF) is set to run from November 2 to 8, 2025, promising a richer and more dynamic experience. A major highlight this year is the introduction of the [AFRIFF](https://www.afriff.com/ "AFRIFF") Film and Content Market (AFCM), scheduled to hold between November 3 and 6, expanding opportunities for collaboration and business within Africa’s creative ecosystem. Themed “Rhythms of the Content: The Afrobeat’s Film Movement,” this edition celebrates the synergy between Africa’s music and film cultures. As always, AFRIFF will feature film screenings, masterclasses, workshops, and pitch sessions—creating a vibrant space for industry professionals, students, and enthusiasts to connect, learn, and showcase their craft. So far, details on what to expect as regards the masterclasses, selection and even jury members have been revealed. So here are the jury members as well as their various categories: **AFRIFF** **Feature Film Jury** \* Andrea Voges – Head of Programming, Durban International Film Festival (DIFF), recognised for shaping Africa’s film showcase landscape. \* Kayode Jegede – Founding Director, SOOP Africa, known for promoting authentic African narratives with international appeal. \* Jackie Lyanga – Director of Film Programming, Berlinale, bringing extensive experience in connecting African cinema with global audiences. \* Tim McNeal – SVP, Creative Talent Development & Inclusion, Disney, dedicated to fostering diversity and mentorship in entertainment. **AFRIFF** **Documentary Jury** \* Stephen Love – Acclaimed producer behind globally recognised projects that celebrate Black storytelling and diversity. \* Ranada Shepard – Showrunner and producer committed to authentic representation and narrative depth. \* Carl Rumbaugh – Manager/Producer at 23 Management Group, known for his keen talent discovery and strategic film development. ****AFRIFF**** **Shorts, Animation & Student Film Jury** \* Ahmad Al-Othman – Representative of the Oman Film Society, broadcaster, and scriptwriter promoting Arab-African cinematic collaboration. \* Victor Sanchez Aghahowa – Head of Production, MultiChoice West Africa, award-winning creator dedicated to nurturing emerging filmmakers. This year, 93 films from across Africa have been selected, divided into competitive and non-competitive categories. However, a total of 33 Nigerian films made the final selections. Here’s a breakdown of the Nigerian films to look out for at the festival: **Feature Category**: In Competition ***3 Cold Dishes*** Kicking off the festival screenings on the opening night is *3 Cold Dishes.* The revenge thriller is set across Nigeria, Côte d’Ivoire, Mauritania, and the Benin Republic. Making is a vibrant and rich story that blends common tales across these African countries. The film promises a visually rich, emotionally charged journey, blending drama, suspense, and action. *3 Cold Dishes* tells the story of Esosa, Fatouma, and Giselle, three women trafficked as teenagers who formed a deep bond in captivity. Two decades later, hardened by trauma but united by purpose, they reunite to launch a meticulously planned mission against the men who once owned their lives. The cast features a powerful mix of Nigerian talent—Osas Ighodaro, Wale Ojo, Femi Jacobs, Ruby Akubueze and Brutus Mfon—alongside actors from across Francophone and Anglophone Africa. Ivorian actors Fat Toure and Maud Guérard bring diverse perspectives, while Senegalese stars Amelie Mbaye and Mentor Ba deepen the film’s continental authenticity, underscoring its truly Pan-African scope. The film is bilingual, delivered in both English and French. *3 Cold Dishes* is expected to commence screening across cinemas nationwide on November 7, 2025. ***Aljana*** Directed and executive produced by Grace Yakubu, with production by Gold One Studios, One Films Production, and Cave Stories. The story takes place in a remote northern village dominated by religious terror, a young girl risks everything to save a boy condemned by the community as cursed. Her defiance sparks a rebellion against the beliefs that hold her people captive; a story of courage, compassion, and freedom. Key Cast include Nadia Dutch, Paul Sambo, Rekiya Atta, Bala Bamaiyi, Umar Gombe, Ella Balat, Richard Bmabaiye. ***Fractured*** Directed by Kayode Kasum, written by Dare Olaitan, and produced by Tolu Babs Omish and Kasum. The Story follows Tosin Aigo, a successful businesswoman and adopted heiress to Nigeria’s largest snack empire, who seems to have it all. But after a violent robbery at her home, her world begins to spiral. Haunted by visions of her double, Tosin uncovers betrayal, hidden trauma, and dark secrets that threaten her sanity. Her fractured identity may hold the key to her downfall, or her redemption. Key cast include Atlanta Bridget Johnson, Uzor Arukwe, Tope Tedela, Etim Effiong, Shaffy Bello and Toke Makinwa. > [View this post on Instagram](https://www.instagram.com/reel/DQgRoBvjOuA/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Kayode Kasum (@kayodekasum)](https://www.instagram.com/reel/DQgRoBvjOuA/?utm_source=ig_embed&utm_campaign=loading) ***The Boy Who Gave*** Directed by Allison Precious Emmanuel. The cast includes Allison Nuel, Tina Mba, Blossom Chukwujekwu, Chuks Jospeh, Delight Abbey, Hart Andrew and Somieari LongJohn. > [View this post on Instagram](https://www.instagram.com/p/DPn3e6aCBpC/?utm_source=ig_embed&utm_campaign=loading)[A post shared by THE BOY WHO GAVE (Movie) (@theboywhogave.movie)](https://www.instagram.com/p/DPn3e6aCBpC/?utm_source=ig_embed&utm_campaign=loading) ***To Adaego With Love*** Directed by Nwamaka Priscilla Chikezie, written and produced by Brenda Ogbukaa-Garub. A touching romantic drama set in post-war Nigeria, *To Adaego With Love* uses music to tell a story of healing and unity. With Nwamaka Chikezie at the helm, this film promises beauty, nostalgia, and emotional depth. After the Nigerian civil war, a forbidden love blooms between a soldier and a schoolteacher. Through music, they find a way to heal themselves and a nation still scarred by conflict. The cast include Chisom Agoawuike, Adam Garba, Bob-Manuel Odogwu, Chioma Chukwuka, Demi Banwo, Riyo David, Sydney Diala, Onyeka Onwenu. **Feature Films:** Out of Competition ***Njem*** Directed by Uche Chukwu, The story follows a young hustler who dreams of migrating to a better life. But when fate ties his escape to a painful moral choice, he must decide between love and survival. *Njem* is a story of ambition, sacrifice, and what it means to be free. The cast include Chimezie Imo, Goodness Emmanuel, Rotimi Salami, Kelechi Udegbe, Tina Mba, Tana Adelana, Toyin Oshinaike, Tomi Ojo, Abayomi Olukanmi ***Safari*** Directed by Obi Emelonye, written by Tunde Babalola, and produced by Obi Emelonye and Reuben Odanga from Kenya. Eight years in the making, *Safari* unites Nollywood and Kenyan cinema in a breathtaking story of self-discovery. Directed by Obi Emelonye and co-produced with the Kenyan Tourism Board, it’s a cinematic love letter to Africa’s landscapes and emotional depths. The story folows A senator’s wife, who worn down by her husband’s presidential campaign and their crumbling marriage, seeks peace on a safari in Kenya. But instead of escape, she finds herself in the middle of new drama and self-realization. Key Cast includes Osas Ighodaro, Ali Nuhu, Anthony Monjaro, Jidekene Achufusi, Kenneth Ambani, Helen Keli. *Safari* will afterwards premiere across cinemas nationwide on November 21, 2025. ***The Good Gift*** A second screening slate for Kayode Kasum who is the director of this project. Produced by Chris Odeh,*The Good Gift is* a deeply emotional story that celebrates one of life’s most enduring bonds , the love between a father and his daughter. Poignant and heartfelt, it captures the tenderness, sacrifice, and beauty of love in its purest form. It stars; Williams Uchemba, Lateef Adedimeji, Uzor Arukwe, Hild Dokubo > [View this post on Instagram](https://www.instagram.com/reel/DQG-vtUCEcr/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Williams Uchemba (@williamsuchemba)](https://www.instagram.com/reel/DQG-vtUCEcr/?utm_source=ig_embed&utm_campaign=loading) ***Three Tramps and the Law*** Directed and produced by Yibo Koko the story follows four strangers who chase wealth in Port Harcourt. Only to uncover greed, lies, and deceit within themselves. Their adventures show that sometimes, the biggest battles are not with others , but within. The castincludes Nse Ikpe-Etim, Kayla Eva, Femi Jacobs, Nkem Owoh, Ada Ameh, Charles Inojie, Tamara Eteimo, Bethel Njoku, Oyetoro Hafiz, Daniel Nnwoka ***Son of the Soil*** Directed by Chee Keong Cheung, written by and starring Raz Adoti, and produced by Action Xtreme. *Son of the Soil* blends Nigeria’s grit with global action filmmaking, the movie promises thrilling storytelling and deep emotion. The story follows Nigerian soldier Zion Ladejo, returns home after his sister’s tragic death. Haunted by his past, his search for justice turns into a violent quest for redemption, forcing him to confront the demons within. The cast includes Raz Adoti, Iretiola Doyle, Sunshine Rosman, Philip Asaya, Damilola Ogunsi, Taye Arimoro, Emeka Golden, Sharon Rotimi, James “BlacQ” ***Mother’s Love*** According to an exclusive report by Shock Ng, *Mother’s Love* by Nollywood star actress Omotola Jalade-Ekeinde is also to screen at the festival. The story is said to be inspired by Omotola Jalade’s inspiring and deeply personal story. Following its world premiere at the 50th Toronto International Film Festival, it marks a powerful new chapter in her career. The Story follows a young woman from a privileged background who breaks free to find her purpose during her NYSC year. Along the way, she discovers strength, family, and the limitless love of a mother. The cast included Omotola Jalade-Ekeinde, Ifeanyi Kalu, Noray Nehita, Lilian Afegbai, Nosa Rex, Olumide Oworu. **Shorts**: In competition ***Choices*** Directed by Nwamaka Priscilia Chikezie ***Ẹlẹ́ da Àyànmọ́*** Directed by Stanley Obi Arinze ***Mr*** ***Rogers*** Directed by Daniel Aigbokhaivbo ***Seed*** Directed by Chawuko Enakadia, ***Telephone*** Directed by Fimisinuola Adejonwo ***The Day The Heart Died*** Directed by Russell Oru **Shorts:** Out of Competition ***Ak******oko*** Directed by S.I. Abrams ***Irin*** ***Ajo*** (The Journey) Directed by Myde Glover ***Isekonu*** Directed by Emmanuel “Story Priest” Adejo ***On Our Skin*** Directed by Abiodun Udom, Emmanuel Adejo ***Steal***. ***Kill***. **Destroy** Directed by Joy Isi Bewaji ***The Girl Who Cannot Love*** Directed by Oluwafemi Peter Atoyebi ***The Moral High Court*** Directed by Chisom Valerie Ifeakandu ***What Emma Wants*** Directed by Samuel Kehinde Njoku ***Idia*** Directed by Winifred Iguwa **Documentary:** In Competition ***The Good, The Bad and The Ugly of Afrobeat*** Directed by Louis Ejiofor Out of Competition ***Shades of Survival*** Directed by David Ayeni **Animation:** In Competition ***Hadu*** Directed by Damilola Solesi ***Leon and the Professor*** Directed by Chekwube Okonkwo ***Melon Street*** Directed by Adeoye Adetunji ***No One Hears Us*** Directed by Esther Kemi Gbadamosi **Student Shorts:** In competition ***The Labyrinth*** Directed by Toluwalope Okunade Ebiseni **Student Shorts:** Out Of Competition ***Angel In The Stone*** Directed by Doyinsola Ajayi ***Brushed Dreams*** Directed by Itorobong Joan Asanga More details on AFRIFF 2025 will be shared as the start date of the festival draws near. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/afriff-2025-heres-all-you-need-to-know/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/afriff-2025-heres-all-you-need-to-know/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/afriff-2025-heres-all-you-need-to-know/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/afriff-2025-heres-all-you-need-to-know/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/afriff-2025-heres-all-you-need-to-know/?share=linkedin) - **Categories:** Nollywood News **Tags:** 3 Cold Dishes, afriff, film, nigerian cinema, nollycritic, nollywood --- ### [Nollywood Couples Who Made Us Believe in Love](https://nollycritic.com/nollywood-couples-who-made-us-believe-in-love/) **Published:** November 2, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nollywood Love stories come alive not just through clever dialogue or stunning cinematography, but through that rare chemistry that makes viewers forget... **Content:** [Nollywood Love](https://nollycritic.com/see-our-5-most-adorable-nollywood-couples/ "Nollywood Love") stories come alive not just through clever dialogue or stunning cinematography, but through that rare chemistry that makes viewers forget they’re watching fiction. Recently, Omoni Oboli’s *Love in Every Word 2* reminded us of that magic with Obiora and Chioma, played by Uzor Arukwe and Bam Bam, whose Odogwu-and-Achalugo dynamic had everyone deeply engrossed. Their mix of tenderness and teasing created a love story that felt authentic and alive. But they’re far from the only ones who’ve made audiences fall in love with love again. Over the years, Nollywood has given us pairings whose performances made social media buzz, and fans deeply invested. From romantic dramas to web series, these couples didn’t just act out affection; they embodied it. Here are some of the on-screen pairings that kept audiences hooked and reminded us why good chemistry is the heartbeat of great storytelling. **Uzor Arukwe and Bam Bam** – *Love In Every Word* Uzor Arukwe and Bam Bam breathed life into Obiora and Chioma’s love story in *[Love in Every Word](https://nollycritic.com/love-in-every-word-a-youtube-hit-or-just-the-hype/ "Love in Every Word") 2*. What started as playful banter evolved into a deeply emotional journey, rooted in the dynamic between Odogwu and Achalugo, strength meeting softness, pride meeting vulnerability. Their chemistry was undeniable; every teasing smile and longing glance pulled viewers deeper into their world. Together, they showed how love can be equal parts laughter, resistance, and surrender. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/11/maxresdefault.jpg?resize=640%2C360&ssl=1)**Mimi Chaka and Ayoola Ayolola** – *The Men’s Club* and *A Heart on The Line* When *The Men’s Club* debuted, it became more than just a story about Lagos men navigating ambition and relationships. It became a conversation starter. At the heart of that conversation were Mimi Chaka and Ayoola Ayolola as Teni and Aminu. Their relationship was layered with intensity, trust, and heartbreak, unfolding with a rhythm that felt disarmingly real. Each shared glance and disagreement between them drew viewers deeper in, making their love story one of the series’ most memorable highlights. **Timini Egbuson and Bimbo Ademoye** – *Big Love* *[Big Love](https://www.imdb.com/title/tt28216213/ "Big Love")* brought together two of Nollywood’s most charismatic stars, Timini Egbuson and Bimbo Ademoye, in a story that explored love’s complexities in a modern Nigerian setting. As Adil and Adina, their chemistry was immediate , effortless yet emotionally charged. They captured the push and pull between vulnerability and pride, creating a love story that was both contemporary and deeply relatable. Their performances reminded audiences that love can be messy, imperfect, and still utterly beautiful. **Banky W and Adesua Etomi** – *The Wedding Party* No list of unforgettable Nollywood couples would be complete without Dozie and Dunni from *The Wedding Party*. Played by Banky W and Adesua Etomi, their on-screen chemistry was so natural that audiences felt the connection long before they became a real-life couple. Their dynamic, equal parts nervous, playful, and tender, gave the film its emotional center. Together, they redefined romantic comedy in Nollywood and proved that sometimes, fiction really can predict reality. **Efa Iwara and Adebukola Oladipupo** – *The Men’s Club* As Tayo and Tiara, Efa Iwara and Adebukola Oladipupo brought youthful energy and emotional honesty to *The Men’s Club*. Their relationship wasn’t perfect. It was passionate, uncertain, and achingly real. They embodied the rollercoaster of young love, from excitement to frustration, capturing the fragility of affection in a world filled with distractions. Their chemistry made fans not just watch, but feel every moment. **Genoveva Umeh and Chimezie Imo** – *Breath of Life* In *Breath of Life*, Genoveva Umeh and Chimezie Imo delivered a quiet, soul-stirring connection that stayed with audiences long after the credits rolled. Their portrayals of Anna and Elijah were tender and deeply spiritual, rooted in faith, loss, and hope. Without grand gestures, they conveyed love through glances, silences, and shared pain. Proving that chemistry doesn’t always have to be loud to be powerful. Their bond felt pure, intimate, and transcendent, reminding viewers of love’s healing power in the face of grief and redemption. From Obiora and Chioma’s playful Odogwu-and-Achalugo energy to Anna and Elijah’s quiet devotion, these pairings have delivered romance in various realities. They made audiences laugh, cry, fantasize and remember what it feels like to care deeply for someone, even if only through a screen. As Nollywood continues to evolve, one thing remains timeless: love stories told with honesty will always find their way into our hearts. These couples didn’t just entertain us; they reminded us why we believe in love in the first place. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-couples-who-made-us-believe-in-love/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-couples-who-made-us-believe-in-love/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-couples-who-made-us-believe-in-love/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-couples-who-made-us-believe-in-love/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-couples-who-made-us-believe-in-love/?share=linkedin) - **Categories:** Articles **Tags:** Ayoola Ayolola, Bibo Ademoye, Big Love, Breath of Life, Chimezie Imo, film, Genoveva Umeh, Love in Every Word, Men's Club, Mimi Chaka, Netflix, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Omoni Oboli, Prime Video --- ### [Nigeria Cinema Day 2025: What to Watch This Saturday](https://nollycritic.com/nigeria-cinema-day-2025-what-to-watch-this-saturday/) **Published:** October 31, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Nigeria Cinema Day returns this year on Saturday, 1 November 2025, with all cinema tickets set at a flat rate of ₦2,000... **Content:** [Nigeria Cinema Day ](https://nollycritic.com/world-cinema-day-nigerian-cinemas-set-to-slash-ticket-prices/ "Nigeria Cinema Day ")returns this year on Saturday, 1 November 2025, with all cinema tickets set at a flat rate of ₦2,000. The annual event, organised by the Cinema Exhibitors Association of Nigeria (CEAN), gives audiences across the country affordable access to the big-screen experience. For many film lovers, it is a chance to catch films they might have missed, now more affordable. ### Date Change & What You Should Know Originally announced for September, the celebration has now been moved to 1 November. Cinema goers are advised to check local listings early, as participating cinemas such as [Silverbird Cinemas](https://silverbirdcinemas.com/ "Silverbird Cinemas"), Genesis Deluxe Cinemas and Filmhouse Cinemas are expected to offer the discounted tickets nationwide. The move to a November date positions Nigeria Cinema Day within the ember month season when cinema attendance typically rises, offering distribution teams a strategic window to maximise reach and visibility. ### Spotlight Films Nollywood with Available Info ***Idia*** Released nationwide on 24 October 2025, Idia draws from Edo mythology to tell a dark and psychological tale of power, vengeance, and spirituality. Directed by Jide “JBlaze” Oyegbile and Ese Ariremu, the film stars Mercy Aigbe, Linda Osifo, and Tope Tedela. The narrative blends cultural heritage with contemporary storytelling, continuing the recent trend of myth-inspired Nigerian cinema. ***Men’s Code*** A drama about brotherhood, loyalty, and the unwritten rules that bind friendships and relationships. Trailers and early promotions tease a mix of romance and emotional conflict. The film joins the growing wave of male-centered ensemble dramas in Nollywood, exploring masculinity, ego, and vulnerability in urban settings. ***Gingerrr*** Directed by Yemi Morafa and written by Xavier Ighorodje, *Gingerrr* is a stylish heist drama following four individuals entangled in a risky deal gone wrong. As secrets unravel, alliances collapse under pressure. The film has been praised for its genre experimentation and cast performances. ***The Herd*** The directorial debut of acclaimed actor Daniel Etim-Effiong, The Herd was released on 17 October 2025 and co-produced by FilmOne Studios, ToriTori Films, Serendipity HHC, and Airscape. It tells a personal story of tradition, faith, and leadership through the eyes of a rural community leader. The film also marks another milestone for Nollywood’s expanding range of director-led projects. ***Osamede*** Released nationwide from 17 October 2025, Osamede explores family legacy, moral struggle, and personal destiny. The film blends melodrama and traditional storytelling, contributing to the ongoing interest in culturally grounded narratives that highlight regional identity and values. ***Almost Perfect*** Almost Perfect follows a young woman who relocates to Lagos to chase her dream of becoming a fashion designer, only to discover that ambition comes with sacrifice. It’s a romantic drama that spotlights themes of aspiration and self-discovery. ### Why This Day Matters Nigeria Cinema Day gives people across the country access to cinema at a lower cost. It is also an opportunity for films that may have limited release to reach broader audiences. For filmmakers, the day is a chance to increase visibility and revenue. It also creates a unified weekend for marketing and visibility across cinema chains; an opportunity for studios, distributors, and independent filmmakers to test audience appeal and build word-of-mouth momentum. ### What to Watch Out For Plan your visit by checking local cinema chains for showtimes and participating locations (FilmHouse, Genesis, Silverbird, Ozone, and Kaduna Filmhouse), because not every title will appear at every venue. Nigeria Cinema Day is an opportunity to see a wide range of Nollywood filmmaking on the big screen, from family animation to festival-bound art films and mainstream drama. It also gives distribution teams a concentrated weekend to reach larger and more diverse audiences. Nollycritic will publish Cinema Day reviews and quick takes after Saturday screenings, and readers who want informed, film-first coverage should look out for those pieces. Which Nollywood movie would you be seeing this weekend? ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nigeria-cinema-day-2025-what-to-watch-this-saturday/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nigeria-cinema-day-2025-what-to-watch-this-saturday/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nigeria-cinema-day-2025-what-to-watch-this-saturday/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nigeria-cinema-day-2025-what-to-watch-this-saturday/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nigeria-cinema-day-2025-what-to-watch-this-saturday/?share=linkedin) - **Categories:** Articles, Nollywood News **Tags:** Affordable Cinema, Airscape, Akinola Davies Jr., Almost Perfect, CEAN, Cinema Day 2025, Cinema Exhibitors Association of Nigeria, Daniel Etim-Effiong, Ember Months, Ensemble Drama, Ese Ariremu, Faith Oloruntoyin, Family Legacy, Film Distribution, Film Releases, Filmhouse Cinemas, Filmone Studios, Genesis Deluxe Cinemas, Gingerrr, Heist Drama, Idia, Jide “JBlaze” Oyegbile, Linda Osifo, Men’s Code, Mercy Aigbe, Mythology Drama, Naira Ticket, Nigeria Cinema Day, nigerian cinema, nollycritic, nollywood, Osamede, Romantic Drama, Serendipity HHC, Silverbird Cinemas, Somi B, The Herd, Tope Tedela, ToriTori Films, Xavier Ighorodje, Yemi Morafa --- ### [Ebele Okaro: The Art of Quiet Power](https://nollycritic.com/ebele-okaro-the-subtle-art-of-quiet-power/) **Published:** November 1, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Few actors have maintained both relevance and reverence the way Ebele Okaro has. She has embodied the emotional spine of Nollywood, the calm within its chaos. **Content:** In an industry constantly reinventing itself, where new faces emerge by the month and trends change by the season. Few actors have maintained both relevance and reverence the way [Ebele Okaro](http://imdb.com/name/nm2116750/ "Ebele Okaro") has. For over three decades, she has embodied the emotional spine of Nollywood, the calm within its chaos, the authority within its storytelling. Her performances often unfold like a slow-burning fire: steady, deliberate, and deeply human. At a time when the industry celebrates spectacle and star power, Okaro reminds audiences of something more essential: truth. Whether she is playing the soft-spoken mother holding her family together or, more recently, the mysterious “Young Mama” in [*Men’s Code*](https://nollycritic.com/mens-code-barely-delivers-a-different-lagos-love-story/). Her work has always leaned toward emotional honesty over theatrics. With every role, she reinforces the idea that great acting isn’t about saying the most; it’s about feeling the most and making the audience feel it too. In 2017, Okaro won the African Magic Viewers’ Choice Awards for Best Supporting Actress for her role in *4-1 Love*. And then, in 2019, she won the Best of Nollywood Award for Best Supporting Actress for her role in *Black Rose.* Although the majority of these wins and nominations have been for supporting roles, it echoes loudly how she solidifies her presence no matter the role. Nollywood has grown, shifted, and redefined itself many times over, but Ebele Okaro has remained a constant. As she evolves with grace, adapting without losing her essence. She stands as both a witness and a participant in the transformation of Nigerian cinema, her performances serving as quiet markers of how far the industry has come. **Early Beginnings: From Stage to Screen** Before Nollywood became a global brand, before streaming platforms turned Nigerian actors into international names, Ebele Okaro was already honing her craft. Not as a celebrity-in-waiting, but as an artist devoted to the discipline of performance. Trained in theatre and television, she brought a sense of preparation and professionalism to a young film industry still finding its rhythm. Her early career choices revealed an understanding of storytelling as service, not self-promotion. This commitment to depth over fame became her signature. As Nollywood matured and its audience grew more discerning, Ebele Okaro’s approach began to feel even more timeless. Her theatre roots gave her an emotional fluency that many of her peers admired but few could replicate. **The Heart of the Family: Perfecting the Matriarch Archetype** If Nollywood were to crown a queen of maternal grace, it would be Ebele Okaro. Across hundreds of films, she has shaped the image of the Nigerian mother into something layered, equal parts nurturing, resilient, and morally unshakeable. Yet what makes her portrayals remarkable is how she avoids predictability. In her hands, motherhood isn’t a stereotype; it’s an evolving character study. Sometimes she’s the forgiving matriarch, other times the fiercely protective one. But beneath each role lies emotional precision, the flicker of fear behind the discipline, the humor beneath the stern face, the love buried in silence. Her portrayals often mirror the complex realities of Nigerian womanhood, strength without spectacle, sacrifice without bitterness. Through her work, Okaro has helped define what “emotional realism” means in Nollywood. She doesn’t force empathy; she earns it. Her characters linger long after the credits roll, not because they are loud or flashy, but because they remind us of someone we know, a mother, an aunt, a teacher, a guardian. **The Award-winning role** *4-1-Love* (2018), directed by Kenneth Okonkwo delivered Ebele Okaro’s very first AMVCA award for best supporting actress. Critics described her performance as “outstanding and classy. The romantic comedy featured Kenneth Okonkwo, comedian Bovi Ugboma, Alexx Ekubo, Lilian Esoro, Deyemi Okanlawon and Anthony Monjaro. Making Ebele Okaro’s win even more remarkable considering the fact that at the time she was already considered a veteran in the acting space. However, we see that even seven years later, she still maintains the track record. #### A Masterclass in Emotional Precision In *Black Rose*, Ebele Okaro delivers a performance defined by depth and emotional honesty. As Rose’s mother, she brings quiet strength to the screen, portraying a woman weighed down by hardship yet driven by love and resilience. Her delivery is subtle but powerful, using expression and silence to communicate more than dialogue ever could. What makes her performance remarkable is its authenticity. Okaro avoids overacting, instead grounding every emotion in reality. Her gestures, pauses, and controlled tone reflect the lived experience of a mother struggling to protect her child in an unforgiving world. Each scene she appears in feels believable and affecting, drawing the audience into her character’s pain and perseverance. Beyond technique, Okaro’s screen presence gives *Black Rose* its emotional anchor. She balances vulnerability with dignity, embodying the film’s heart and moral centre. Her performance not only elevates the narrative but also reminds viewers why she remains one of Nollywood’s most consistent and compelling actors. **Firm Presence in *A Tribe Called Judah*** In *A Tribe Called Judah*, Ebele Okaro delivers a performance that anchors the film’s emotional core with quiet strength and authenticity. As the family’s matriarch, she balances resilience and tenderness, her every gesture carrying the weight of lived experience. While some critics found the film’s plot uneven, many noted Okaro’s consistency and emotional depth. A nurturing yet firm matriarch, a familiar role she has often embodied with effortless conviction, reaffirming her place among Nollywood’s most dependable performers. ### A Commanding Force in *Men’s Code* Ebele Okaro delivers yet another captivating performance in *Men’s Code*, fully embodying the role of Young Mama with a blend of emotional depth and striking physical transformation. From her first scene, she establishes a strong presence, using her posture, movement, and voice to distinguish the character’s age and experience. Her deliberate hunch and deeper tone lend authenticity, making Young Mama feel lived-in and believable, a woman shaped by time, wisdom, and the weight of her past. What truly elevates Okaro’s delivery is the quiet authority she brings to her interactions with the younger characters. Her scenes unfold like lessons from a seasoned storyteller, measured, compassionate, and laced with hard-earned truth. Through her calm demeanor and expressive pauses, she commands attention without force, drawing the viewer in as if they, too, are part of her intimate circle of counsel. In *Men’s Code*, Okaro’s performance does more than complement the story, it amplifies its emotional resonance. She bridges generations, grounding the film’s themes of love, self-discovery, and betrayal with her signature poise and precision. It’s a portrayal that reminds audiences why Ebelle Okaro remains one of Nollywood’s most enduring and masterful performers. **Conclusion** Ebele Okaro’s legacy is defined by her quiet power, a rare ability to command the screen through restraint, authenticity, and emotional depth. From *Black Rose* to *Men’s Code*, she continues to prove that true acting lies not in excess but in truth. With every measured gesture and heartfelt delivery, she bridges generations and reminds audiences that timeless performances are built on grace, discipline, and sincerity. In an industry that often chases noise, Okaro remains its calm center, the enduring embodiment of emotional honesty in Nollywood. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ebele-okaro-the-subtle-art-of-quiet-power/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ebele-okaro-the-subtle-art-of-quiet-power/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ebele-okaro-the-subtle-art-of-quiet-power/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ebele-okaro-the-subtle-art-of-quiet-power/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ebele-okaro-the-subtle-art-of-quiet-power/?share=linkedin) - **Categories:** Articles, Blog **Tags:** A Tribe Called Judah, Black Rose, Ebele Okaro, film, Men's Code, nigerian cinema, nollycritic, nollywood --- ### [The New Nollywood: Genoveva Umeh's Remarkable Range](https://nollycritic.com/genoveva-umeh-from-blood-sisters-to-the-herd/) **Published:** October 24, 2025 **Author:** Faith Oloruntoyin **Excerpt:** In the past three years, Genoveva Umeh has quietly but firmly positioned herself as one of Nollywood’s most versatile new... **Content:** In the past three years, [Genoveva Umeh](https://www.imdb.com/name/nm11869960/ "Genoveva Umeh") has quietly but firmly positioned herself as one of Nollywood’s most versatile new actors. Still early in her career, she has managed to avoid the risk of being boxed into one type of role, a trap that often limits young actors. This often raises questions about the depth and true definition of acting. Instead, Umeh has demonstrated an impressive willingness to stretch across genres, accents, and character profiles. Her filmography includes a troubled heiress (*Blood Sisters*), a free-spirited Zina (*Far From Home*), a spiritually rooted performance in *Breath of Life*, a physically transformative turn (*[Baby Farm](https://nollycritic.com/mo-abudus-baby-farm-to-premiere-on-netflix-this-march/)*). And most recently, a young bride was made a widow (*The Herd*). Each has showcased her depth, range, and ability to connect with the selected characters across different storytelling landscapes. ##### **Breaking Out in *Blood Sisters*** For many viewers, Genoveva Umeh’s first major introduction came with Netflix’s 2022 crime thriller *Blood Sisters*. Playing Timeyin Ademola, the youngest daughter of a wealthy family, Umeh delivered a performance that combined fragility with rebellion. Addiction dramas often slip into melodrama or stereotype, but Umeh resisted those pitfalls. She portrayed Timeyin as a young woman searching for validation in the cracks of a dysfunctional family. The result was a nuanced character arc that stood out in a cast dominated by Nollywood veterans. Critics noted how she held her ground in a production that demanded intensity from every actor. The role also hinted at one of Genoveva Umeh’s strengths: her ability to layer vulnerability with defiance. Timeyin was not merely a victim of circumstance but a character fighting, sometimes recklessly, for a sense of self. That mix of strength and brokenness became a thread in her subsequent performances. ##### **Switching Gears in *Far From Home*** Later in 2022, Genoveva Umeh took on Zina in *Far From Home*, Netflix’s first Nigerian young-adult drama. The contrast with Timeyin could not have been sharper. Where Timeyin was delicate and wounded, Zina was sharp, resilient, and free-spirited, which made her romance with Reggie even more adorable. Her body language shifted dramatically: Zina walked faster, spoke quicker, and constantly scanned her environment with wary intelligence. The transformation was startling. ##### **Holding Ground in *A Tribe Called Judah*** In 2023, Genoveva Umeh joined the star-studded cast of Funke Akindele’s *A Tribe Called Judah*, a family drama that went on to become Nigeria’s highest-grossing film at the time. For a younger actor, stepping into a film with such heavyweights could have been intimidating. Instead, Umeh stood out. Her occasional love deluded whining made way for some comical relief. She grounded her character in understated gestures and quiet authenticity, resisting the temptation to overplay her role in a crowded ensemble. Thereby still making her presence felt even with short scene time in comparison to other acts. The decision worked. While other characters drove the film’s central conflicts, Umeh’s performance added texture and balance. It demonstrated her understanding of ensemble storytelling, knowing when to step forward and when to pull back. In doing so, she proved she could thrive not only in lead roles but also in shared storytelling spaces. ##### **Emotional Depth in *Breath of Life*** Later that year, Umeh appeared in Amazon Prime’s *Breath of Life*, a drama that demanded a different set of skills. Here, her character Anna required emotional stillness and spiritual grounding. Umeh leaned into silence, pauses, and subtle expressions, communicating volumes without excessive dialogue. The performance highlighted her ability to carry weight through restraint, proving she could deliver as much impact with quiet presence as with fiery energy. We also saw a subtle love chemistry between her and co-star Chimezie Imo. Their love expression became a drawing part for the story being told and left everyone eager for more Umeh and Imo coupling. For Umeh, it wasn’t just a lover girl role, but we could see and even fall in love alongside her character. This is a very rare experience that an actor can emanate for the audience watching. This kind of performance is rare among younger actors, who often feel pressure to overstate emotion. Umeh’s maturity in *Breath of Life* signalled her growth into an actor capable of handling layered narratives with patience and empathy. ##### **Transformation in *Baby Farm*** Earlier this year, in *Baby Farm*, she delivered what might be her most transformative yet. The film tackles sensitive social issues, requiring Umeh to physically inhabit a character shaped by trauma. She adjusted her posture, facial expressions, and even her pace of movement to reflect the scars of her character’s journey. This was not performance through words alone; it was storytelling through the body. Yet again, her character may have had psychological issues which often make the audience disconnected but this time we weren’t. Rather, we were even more intrigued to see how she eventually leaves that hellhole because she had become a puppet for the evil being done, and yet masked the pain to remain loyal. Reviews poured in, on the authenticity, describing her character as hauntingly real. With *Baby Farm*, Umeh showed that she is not afraid of difficult subject matter, nor of the physical demands of roles that require complete transformation. ##### **Solidifies Presence With Silence in *The Herd*** In her most recent role as Derin, a young bride who becomes a widow in the hands of kidnappers, she transitions from living her happiest moment with the love of her life to facing the horrifying prospect of becoming her captor’s bride. What makes this performance remarkable is that her character barely speaks, there are few lines of dialogue, and no monologue. Yet we can feel her pain and sense the turmoil in her mind throughout the ordeal. When she finally regains the strength to speak, the shift from anger to sorrow and eventual fear is both subtle and powerful. One of her standout scenes comes when a fellow captive asks about her well-being, and she responds by singing the last song she and her late husband shared in their final moments together. It’s a deeply emotional moment that brings tears to the eyes of anyone watching. Through this performance, we witness not a physical transformation, but an emotional and psychological one, making it one of her most resonant portrayals yet. ##### **A Portrait of Range and Intention** Taken together, these performances map out a career defined by range and intentionality. Umeh’s command of accents, shifting from polished English to Lagos street inflections, her adaptability in physical transformation, and her consistent grounding of characters in emotional truth distinguish her from many of her peers. Her trajectory also mirrors Nollywood’s evolution. With streaming platforms like Netflix and Amazon Prime investing in Nigerian content, actors now have the opportunity to reach global audiences more quickly than in the past. But global reach also demands global skill, and Umeh’s versatility positions her as one of the faces Nollywood can present to the world. At just the beginning of her career, she has shown she can thrive in thrillers, young-adult dramas, ensemble blockbusters, spiritual dramas, and social-issue films. Each project has tested a different dimension of her craft, and each has revealed her commitment to authenticity. ##### **The Road Ahead** As Nollywood deepens its relationship with international platforms, the demand for actors who can embody multiple worlds, local and global, commercial and artistic, will only grow. Genoveva Umeh stands at the forefront of this shift. Her performances so far have proven that she is not only a rising star but also a transformative talent capable of shaping the industry’s next chapter. With every new project, Umeh is building a filmography that speaks not only to her talent but also to her vision. She is a chameleon on screen, yet one whose presence is always recognisable. And as Nollywood reaches for greater heights, Genoveva Umeh looks poised to rise with it. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/genoveva-umeh-from-blood-sisters-to-the-herd/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/genoveva-umeh-from-blood-sisters-to-the-herd/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/genoveva-umeh-from-blood-sisters-to-the-herd/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/genoveva-umeh-from-blood-sisters-to-the-herd/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/genoveva-umeh-from-blood-sisters-to-the-herd/?share=linkedin) - **Categories:** Articles, The New Nollywood **Tags:** A Tribe Called Judah, baby farm, blood sisters, Breathe Of Life, Far From Home, film, Netflix, nigerian cinema, nollycritic, nollywood, Prime Video --- ### [Idia: An Eerie Horror That Teases More Than It Explains](https://nollycritic.com/idia-a-eerie-horror-that-teases-more-than-it-explains/) **Published:** October 31, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Idia is an Edo-language horror film that follows an orphan's desperate search for family and uncovers something far darker. Directed with a focus... **Content:** *[Idia](https://www.imdb.com/title/tt38591800/ "Idia")* is an Edo-language horror film that follows an orphan’s desperate search for family and uncovers something far darker. Directed with a focus on unease rather than jumps, it stars Gbugbemi Ejeye as the vulnerable yet resilient Idia, Linda Osifo as the unsettling Rose Osifo, Tope Tedela as her husband Efosa Osifo, and Temitope Aje in a brief but memorable turn as Sister Dorcas. The story draws on the concept of “Ehimwem”, restless spirits who linger because their life’s purpose remains unfulfilled. What begins as a tale of adoption quickly spirals into eerie discomfort, gore, and lingering questions. The film excels in atmosphere and performances but falters in clarity, leaving viewers intrigued yet frustrated by its unresolved mysteries. ## *Idia* Directed by: Ese Ariremu, Jide Jblaze Oyegbile Written by: Ese Ariremu, Jasper Aziegbemhin Genre: Horror Released on: October 24, 2025 (Cinemas) Language: Edo, English ### A Tone of Unease from the First Frame The film opens with rapid, shocking losses that strip Idia of her world. These early scenes aim for emotional pull but move too quickly to allow genuine grief to settle. Instead, they deliver raw shock value, establishing a foundation of horror through eeriness, creepiness, and subtle dread rather than traditional scares. Lightning flashes illuminate tense moments, thunder provides ominous punctuation, music pulling at nostalgia, and careful framing hints at future unease, such as lingering shots on picture frames or mirrors that later tie into the story’s discomfort. The dark palette dominates, with occasional colour pops that never disrupt the moody tone. Production quality supports this effectively, though viewing in a subpar cinema (like one with a dim projector) can obscure details and diminish the visual impact. ### Plot: A Search for Family Turns Sinister Idia has endured profound loss: her mother, then her father (revealed later to have been poisoned), leaving her an orphan. Soon, she looses what she didn’t consider a family as well. The Catholic church becomes her refuge from childhood into adulthood. The main story begins during her prayers, not just for a child, but for the family she has never known. Sister Dorcas interrupts with ironic reassurance: “You are blessed and highly favoured.” A couple, Rose and Efosa Osifo, wishes to adopt her, even as an adult. Idia questions the unusual offer, but Dorcas insists. She meets the Osifos, who promise the “perfect family.” What Idia does not realise is that this family comes with hidden motives tied to the Ehimwem, spirits who roam unfulfilled, and Idia is the key to completing theirs by providing a child. A lavish party scene at the Osifos’ home heightens the weirdness. Guests stare at Idia with unsettling intensity, coveting something she does not yet understand. This sequence echoes Jordan Peele’s *Get Out*, building discomfort through social awkwardness rather than gore. One guest asks, “What will happen to us when you get what you want?”, a line that lingers as the true nature of the gathering emerges: are all attendees are ehimwem? The narrative thrives on horror beats executed with restraint. Gore appears moderately, toned down to avoid overwhelming sensitivity while remaining effective. The focus stays on psychological tension, making it accessible for audiences who prefer atmosphere over graphic violence. ### Performances That Elevate the Creeps Linda Osifo owns the role of Rose. Every line, glance, and step feels deliberate, contributing to the film’s pervasive eeriness. The shared surname with her character raises curiosity but does not detract from her calculated menace. Tope Tedela matches her as Efosa, layering quiet intensity that amplifies the couple’s unsettling dynamic. Their performances transform ordinary domestic scenes into sources of dread. Gbugbemi Ejeye shines as Idia. Following her lead in *Farmer’s Bride*, she fully displays her range, vulnerable in isolation, determined in confrontation. Nothing flashy stands out, but her consistent emotional authenticity anchors the film. The young actress portraying child Idia also delivers a strong performance, deserving recognition (though credits rolled too quickly in some screenings to note her name). Temitope Aje makes limited screen time as Sister Dorcas. Her repeated “You are highly favoured” echoes hauntingly, hinting at deception from the start and serving the story’s subversive tone. ### Technical Craft and Atmospheric Execution Production elements align well with the horror genre. Lighting, sound, and framing create subtle foreshadowing, mirrors and photos that seem innocuous at first gain sinister weight. The restrained gore ensures effectiveness without excess, suiting viewers wary of intense visuals. The Edo mythology underpinning the Ehimwem adds cultural depth, though ties to figures like Queen Idia or related statues remain unexplored on screen. Idia’s childhood doll, a gift from her father, appears potentially symbolic (protection? spiritual link?) but serves no clear purpose, adding to the film’s enigmatic quality. ### Final Thoughts *Idia* is a horror film built on unanswered questions, which works both for and against it. Revelations about Idia’s father (poisoned prematurely) raise inconsistencies: if unfulfilled death creates Ehimwem, why is he not one? A character’s multiple “deaths” further muddles the rules. Encounters with the Osifos blur lines, was it trance, dream, or reality? These ambiguities intrigue and invite rewatches, but for a single cinema viewing, they can distract and frustrate. The film provides hints at its world-building but stumbles in connecting them cohesively. Clearer foundations for the ehimwem lore and resolved threads (like the doll) could have made it exceptional. As is, it delivers solid creepiness, strong acting, and cultural flavour, proving Edo stories can thrive in horror, while leaving viewers pondering more than satisfied. ### Verdict *Idia* suits horror fans who enjoy psychological unease and cultural twists over straightforward jump scares. It rewards patient viewers open to ambiguity and a second watch. Atmospheric and well-performed, it hints at greater potential in Nollywood’s horror genre filmmaking. **Rating**: 3.05/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/idia-a-eerie-horror-that-teases-more-than-it-explains/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/idia-a-eerie-horror-that-teases-more-than-it-explains/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/idia-a-eerie-horror-that-teases-more-than-it-explains/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/idia-a-eerie-horror-that-teases-more-than-it-explains/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/idia-a-eerie-horror-that-teases-more-than-it-explains/?share=linkedin) - **Categories:** Reviews **Tags:** adoption horror, Cinema, creepiness, critique, cultural mythology, Edo horror, Ehimwem, Gbugbemi Ejeye, Halloween, Idia, Linda Osifo, Nollywood horror, psychological thriller, Review, Temitope Aje, Tope Tedela, unease --- ### [Osamede: An Intriguing Bini Epic that Lifts Language](https://nollycritic.com/osamede-an-intriguing-bini-epic-that-lifts-language/) **Published:** October 31, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Osamede unfolds in 1897 Benin Kingdom at the edge of colonial collapse. Directed by James Omokwe, it adapts Lilian Olubi.. **Content:** *[Osamede](https://osamede.net/ "Osamede")* unfolds in 1897 Benin Kingdom at the edge of colonial collapse. Directed by James Omokwe, it adapts Lilian Olubi’s stage play into a daring mythic lens on the Benin Punitive Expedition. Ivie Okujaye embodies the stone-born saviour, William Benson the treacherous Iyase, Tosin Adeyemi the sacrificial priestess Adaze. Told entirely in Bini and Edo languages, the premise weaves political betrayal, colonial violence, indigenous spirituality, and supernatural creation. From the sacred Igue festival’s tension, it interrogates history: did resistance or complicity truly destroy the kingdom? Conceptually rich, culturally rooted, it reaffirms Nollywood’s imagination and scale. ## *Osamede* Directed by: James Omokwe Written by: Lolo Eremie Genre: Epic, Fantasy Released on: October 17, 2025 (Cinema) Language: Bini, English #### A Kingdom’s Fall Long ago in Idu town, there is a bad drought. A man named Okhuaihe gives his life. Fire comes from the sky. The Arousa stone (Eyes of Osanobua) is born with special power. Years later, during the sacred annual Igue festival, a British expedition arrives. Iyase, one of the Oba’s generals, sees the intrusion as an affront. Wary of the Oba’s welcoming stance, he demands the stone from Adaze and her temple kin. She argues it belongs to the people, not his coup. With her husband Edugie, she flees. Adaze uses forbidden magic to exhume the stone’s power and give it life as a child, fulfilling prophecy. She somehow births Osamede and after her death the baby is entrusted to blacksmith Agbokhai, who keeps the secret. The raid claims Adaze and her family. The powerless stone falls to Iyase. The invasion occurs. Iyase is arrested for sedition. Two decades pass. British rule forces citizens into mining fields. Osamede grows restless under Agbokhai’s care. She jumps into domestic violence cases, defends friends being flogged senseless, rallies against slavery. Her rebellious nature puts her at odds with slavedriver employers and local lackeys. Discontent grows in the mines. Osamede rallies workers. This triggers an attack against her. Unaware of her gift, her reaction sets the officer ablaze. Her fiery power awakens. Iyase’s loyalists free him. He raises an army to reclaim the stone’s power and complete his plan. Osamede becomes hunted by British Major Roger Wild and the freed Iyase. She flees with Nosa, a British-trained translator she initially dismisses as collaborator. He proves his worth by taking her side. They head to Iyamu to learn what it means to be the chosen one, pursued by both armies. The opening plot of the film is unclear at first. Subtitles that don’t follow the Edo narration aggravate the issue. They retell the raid in flashback, ending with a scene already shown. This repetition feels necessary for clarity but theatrical and unnecessary. Mythology arrives quickly with little background, assuming familiarity with gods and folklore. Those not familiar with the story are left scrambling. #### Hearts Bound by Blood and Prophecy The heart of the story is family duty and standing up for others. Adaze puts the stone’s power into her baby to save it. That is a mother’s love at its strongest. When she dies in the raid, the pain stays with Osamede. Iyase wants the stone to take the throne. He uses the British problem to hide his own plan. This makes the outside fight start a fight inside the kingdom. Osamede’s core tension is destiny against choice. She insists to Adaze’s spirit, “I’m not special. I only fight for others.” The answer rings clear: “It is a special thing to fight for others.” Her bravery exists long before any gift surfaces. The mining fields shift focus from palace to people, rebellion echoing identity struggle. Spectacle and emotion balance well in early acts, fiction staying emotionally true. #### Voices That Hold and Waver Ivie Okujaye is perfect as [Osamede](https://nollycritic.com/osamede-see-the-trailer-for-nollywoods-mythical-epic/ "Osamede"). She shows anger, fear, strength, and fate all at once. She is small but her eyes and body say everything. When she is quiet with pain or suddenly uses power, you believe her. This is her big comeback and she owns the screen. William Benson makes Iyase scary and real. His helper Edokpolor feels creepy. Iyase is the opposite of Osamede, he wants power for himself. He caused Adaze’s death, so the fight feels personal. Lexan Aisosa Peters is okay as Nosa but not exciting. The suggested romance stays tame, just hand contact, no words of heart. You don’t feel the connection. The link never lands. White actors speak badly and sound funny by mistake. Extras look nervous, shift awkwardly, and they look like extras. #### A Lens That Lifts Language, Trips on Picture James Omokwe keeps a steady speed. Scenes have time to feel real. He cares about culture and story type. Speaking only Bini is the best choice. It shows how far apart the British and Bini are. Hearing Bini in a big film is new and strong. The costume, hair, and places look careful but don’t feel grandeur. Very purposeful and effective. The sound choices make rites and fights feel magical. CGI is not perfect but effective. Everything looks small when it should feel big. The kingdom does not feel alive. The AI generated videos when Aigbangbe talks look cheap and wrong. Although it captures the grandeur the film aimed for, they tried to match the colour grading which was intelligent, but still stand out bad. #### Final Thoughts *Osamede* takes a sad real event and adds myth. It is one of the deepest Nollywood history films. The stone means taking back what was stolen. Can a kingdom live when its own people sell it? Bini words say our stories are enough. But the film needed better movie tools. Osamede’s change feels fast. Talks explain too much instead of showing feelings. First parts are good, later parts hurry. More time on the British side and the Oba could make it great. Still, it shows Nollywood can dream big with our own voice. #### Verdict Watch *Osamede* if you love culture and don’t mind rough parts.Best for people who speak Bini or like slow myths. It may have it’s flaws but it makes you proud and hopeful for more films like this. **Rating**: 3.1/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/osamede-an-intriguing-bini-epic-that-lifts-language/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/osamede-an-intriguing-bini-epic-that-lifts-language/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/osamede-an-intriguing-bini-epic-that-lifts-language/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/osamede-an-intriguing-bini-epic-that-lifts-language/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/osamede-an-intriguing-bini-epic-that-lifts-language/?share=linkedin) - **Categories:** Reviews **Tags:** African mythology, Alex Bud, Alex Kristen, Arousa stone, Benin Punitive Expedition, Binin epic, colonial resistance, critique, cultural restitution, Debbie Ohiri, Etinosa Idemudia, James Omokwe, Lancelot Oduwa Imasuen, Lexan Aisosa Peters, nollywood, Osagie Elegbe, Osamede, Paul Obazele, stage-to-screen, Tosin Adeyemi, vie Okujaye, William Benson --- ### [Kayode Kasum and Nollywood Romance: A Genre-Bending Love Affair](https://nollycritic.com/kayode-kasum-and-the-new-nollywood-romance-a-genre-bending-love-affair/) **Published:** February 21, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Kayode Kasum is not your typical romance director. Sure, love is at the heart of many of his films. but is he making classic romance films **Content:** [Kayode Kasum](https://nollycritic.com/?s=kayode+kasum) is not your typical romance director. Sure, love is at the heart of many of his films, but is he making classic romance films, or is he shaking things up? If there’s one thing that stands out about his work, it’s that he rarely sticks to just one genre. Instead, he blends romance with comedy, drama, and even fantasy, giving Nollywood love stories a fresh twist. More importantly, his work reflects how Nollywood’s approach to romance has evolved whether in storytelling, casting, or aesthetics. So, does Kayode Kasum make pure romance films, or does he use love as a gateway to something bigger? Let’s take a look at some of his standout projects to see what his take on love really looks like. #### *Reel Love* (2025) – Romance Meets Digital Culture In *[Reel Love](https://www.imdb.com/title/tt35381095/ "Reel Love")*, Kasum takes romance into the world of social media, where love plays out in Instagram captions, DMs, and TikTok trends. The film critiques the performative nature of modern relationships, exploring how technology shapes love and connection in today’s world. With its playful yet sharp take on curated couple goals, *Reel Love* is the mirror held up to the digital age. #### *Tarella: Princess of the Nile* (2025) – Fantasy Romance A Cinderella story, but make it African. *Tarella: Princess of the Nile* is Kasum’s boldest attempt at blending romance with fantasy. Inspired by the ancient Egyptian tale of Rhodopis (one of the earliest versions of Cinderella) the film reimagines classic fairytale elements through an African lens. While it doesn’t fully embrace its historical roots, it pushes Nollywood romance into a new space, proving that love stories don’t always have to be set in urban Lagos or Abuja. #### *Something Like Gold* (2023) – Romantic Drama with Personal Growth [Kayode Kasum ](https://nollycritic.com/?s=kayode+kasum)doesn’t just serve romance on a silver platter. He mixes it into a bigger dish, refusing to settle into a single direction. *Something Like Gold* shifts between love, loss, and self-discovery, blending romance with comedy while exploring personal reinvention. It’s a film that doesn’t just ask if love is enough. It asks if love can survive when life forces change. #### *All Is Fair in Love* – A Love Triangle of Romance and Rivalry *All Is Fair in Love* brings a fresh spin to Nollywood romance by exploring love through the lens of competition and ambition. Set in Lagos’s fashion industry, the film follows best friends and business partners, Demi and Kanla, whose bond is tested when they both fall for the same woman, Mbali. What starts as harmless flirtation spirals into a high-stakes game of love, where friendship, ego, and professional ambitions collide. Rather than presenting a straightforward love story, Kayode Kasum injects rivalry and ambition, turning romance into an emotional battlefield. The film plays with the tension between love and loyalty, proving that in love, as in life, nothing is ever truly fair. ##### *Kambili: The Whole 30 Yards* (2020) – Romantic Comedy with Social Commentary At first glance, *Kambili: The Whole 30 Yards* seems like a lighthearted rom-com, but beneath the humour, it critiques societal expectations placed on women. The protagonist, desperate to marry before turning 30, embarks on a journey that challenges the notion that marriage is life’s ultimate goal. By blending comedy with cultural critique, the film delivers both entertainment and insight—a perfect example of Nollywood romance evolving beyond predictable narratives. #### *Ajosepo* (2024) – Romantic Comedy Meets Family Drama *Ajosepo* merges romance with family drama, using love as a lens to explore generational conflicts and community expectations. The film takes the chaos of Nigerian “pre-weddings” and turns it into a battleground for clashing traditions and modern ideals. By blending comedy, romance, and family dynamics, it highlights how relationships are often influenced by external pressures, making love as much a struggle as it is a joy. #### *Love, Lust & Other Things* (2023) – Romance Meets Sexual and Financial Independence This film blends romance with themes of desire, self-discovery, and autonomy. F Following a recently divorced woman navigating love, sex, and financial independence, *Love, Lust & Other Things* challenges conventional Nollywood narratives. Romance isn’t just about finding a partner here—it’s about rediscovering oneself after a major life change. In this narrative, Kasum delves into the fleeting dance between love and desire. While the pacing may feel slow in places, the deliberate unfolding of the story allows the audience to connect deeply with the characters’ emotional journeys. #### *Love Is Yellow* (2023) – Romance Meets Real-Life Hustle *Love Is Yellow* intertwines romance with the struggles of urban life. The film follows characters juggling career ambitions, personal dreams, and Lagos’s daily chaos, making love just one of many challenges they face. By grounding romance in the realities of work, ambition, and societal pressure, the film offers a more realistic portrayal of love. One that isn’t always the main priority. https://www.youtube.com/watch?v=t_cK7YBzYXw #### *This Lady Called Life* (2020) – Romance Meets Personal Ambition While *This Lady Called Life* is often described as a love story, its strongest theme is personal growth. Aiye, a single mother with aspirations of becoming a renowned chef, navigates love alongside her professional ambitions. Romance plays a role, but the heart of the story is about resilience, self-love, and breaking societal expectations. In this film, love isn’t just about finding a partner, it’s about building a life worth loving. https://www.youtube.com/watch?v=hGNGTHKbDmU&t=42s #### *What About Us?* (2024) – Romance, Faith, and Marriage Struggles Exploring the strains of modern marriage, *What About Us?* delves into themes of love, commitment, and communication. *What About Us?* blends romance with faith-based drama, exploring how love and relationships evolve over time. The film follows a couple navigating the complexities of marriage, faith, and personal growth, raising questions about commitment and individual fulfillment. By intertwining romance with existential dilemmas, the film presents a layered look at love beyond its honeymoon phase. Kayode Kasum’s films prove that he is not just a romance filmmaker, he is a genre-blender. Whether it’s fantasy, comedy, or self-discovery, he uses romance as a foundation to explore deeper themes and unconventional storytelling. His approach moves Nollywood romance beyond formulaic love stories, introducing new tones and themes that reflect contemporary realities. His work suggests that romance doesn’t have to be predictable. It can be suspenseful, thought-provoking, humorous, or even fantastical. While some films lean more successfully into genre fusion than others, his willingness to experiment signals a shift in how Nollywood approaches love stories. If the future of Nollywood romance involves more genre-bending narratives, then Kasum is certainly at the forefront of that change. What are your thoughts on Kayode Kasum’s approach to romance films? Do you have a favourite among his works? Share your views in the comments below! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kayode-kasum-and-the-new-nollywood-romance-a-genre-bending-love-affair/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kayode-kasum-and-the-new-nollywood-romance-a-genre-bending-love-affair/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kayode-kasum-and-the-new-nollywood-romance-a-genre-bending-love-affair/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kayode-kasum-and-the-new-nollywood-romance-a-genre-bending-love-affair/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kayode-kasum-and-the-new-nollywood-romance-a-genre-bending-love-affair/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** african cinema, Ajosepo, All is fair in love, contemporary Nigerian films, fantasy romance, Film Analysis, genre-blending, Kambili: The Whole 30 Yards, Kayode Kasum, love, Love Is Yellow, Lust & Other Things, modern Nollywood, nigerian cinema, Nigerian film industry, Nigerian romantic films, Nigerian storytelling, nollywood, Nollywood aesthetics, Nollywood casting, Nollywood directors, Nollywood evolution, Nollywood film critique, Nollywood filmmakers, Nollywood filmmaking, Nollywood genre fusion, Nollywood industry insights, Nollywood love stories, Nollywood movie review, Nollywood movie trends, Nollywood Romance, Nollywood storytelling, Reel Love, romance films, romantic comedy, Romantic Drama, Something Like Gold, Tarella: Princess of the Nile, This Lady Called Life --- ### [Akinola Davies Jr.’s My Father’s Shadow Lands Two Gotham Nominations](https://nollycritic.com/akinola-davies-jr-s-my-fathers-shadow-lands-gotham-breakthrough-director-nomination/) **Published:** October 29, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Akinola Davies Jr. has secured a nomination in the Breakthrough Director category at the 2025 Gotham Film Awards for his feature debut My Father’s Shadow... **Content:** British-Nigerian filmmaker Akinola Davies Jr. has secured two nominations at the [2025 Gotham Film Awards](https://awards.thegotham.org/ "2025 Gotham Film Awards") for his feature debut *[My Father’s Shadow](https://www.imdb.com/title/tt35695538/ "My Father’s Shadow")*. The acclaimed drama earned nods for Breakthrough Director (Akinola Davies Jr.) and Outstanding Lead Performance (Ṣọpẹ́ Dìrísù), marking another major recognition in its remarkable festival journey. The recognition follows a series of significant milestones for the film, reinforcing its position as one of the standout Nigerian cinema achievements of the year. #### Cannes Groundbreaker & Firsts for Nigerian Cinema *[My Father’s Shadow](https://nollycritic.com/my-fathers-shadow-set-to-represent-the-uk-at-the-oscars/ "My Father’s Shadow")* premiered in the Un Certain Regard section of the Cannes Film Festival in May 2025, becoming the first Nigerian-backed feature film to be selected for the festival’s official lineup. At Cannes it also received a Special Mention for the Caméra d’Or, the prize awarded for first features by the festival jury. In addition, the film’s international trajectory continued as the United Kingdom selected it as its official submission for the Best International Feature Film category at the Academy Awards (Oscars) – a strategic move that underscores its cross-national production and British-Nigerian identity. #### The Film: Story, Production & Distribution *My Father’s Shadow* is set in Nigeria during the 1993 presidential election crisis and follows two young brothers who spend a pivotal day in Lagos with their estranged father. The screenplay is co-written by Akinola Davies Jr. and his brother Wale Davies. The film stars Ṣọpẹ́ Dìrísù as Folarin, the father, with Godwin Chimerie Egbo and Chibuike Marvellous Egbo as the young brothers. Production credits include Element Pictures, Fatherland Productions, BBC Film, BFI and Crybaby, with distribution in Nigeria handled by FilmOne Entertainment and in territories such as the UK and North America via MUBI. In our earlier review, we stated that the film “rewards viewers who cherish introspective dramas, its sub-text and atmosphere offering emotional depth.” #### Gotham Nomination: The Latest Recognition The Gotham Film Awards have nominated Akinola Davies Jr. for Breakthrough Director and Ṣọpẹ́ Dìrísù for Outstanding Lead Performance, adding to the film’s growing list of international accolades. The nomination is significant not just for the director and lead actor, but for the broader Nigerian film industry, as it showcases a home-grown story resonating in international award circles. The Gotham Awards — one of the most prestigious platforms spotlighting independent cinema — place Davies and Dìrísù alongside some of the most celebrated emerging talents in world film. The winners will be announced at the 35th Gotham Film Awards ceremony scheduled for **1 December 2025** in New York City. #### Why This Matters for Nollywood & African Cinema The steady accumulation of festival selections, awards nominations, and global submissions positions *My Father’s Shadow* as a landmark achievement for Nigerian cinema. From its Cannes selection and Oscars submission to its latest recognition at the Gothams, the film illustrates how Nigerian storytellers are expanding their reach on global platforms. This trajectory highlights the growing importance of festival strategy, international co-production, and auteur-driven narratives in elevating African cinema on the world stage. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/akinola-davies-jr-s-my-fathers-shadow-lands-gotham-breakthrough-director-nomination/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/akinola-davies-jr-s-my-fathers-shadow-lands-gotham-breakthrough-director-nomination/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/akinola-davies-jr-s-my-fathers-shadow-lands-gotham-breakthrough-director-nomination/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/akinola-davies-jr-s-my-fathers-shadow-lands-gotham-breakthrough-director-nomination/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/akinola-davies-jr-s-my-fathers-shadow-lands-gotham-breakthrough-director-nomination/?share=linkedin) - **Categories:** Nollywood News **Tags:** Akinola Davies Jr., Breakthrough Director nomination, British-Nigerian film, Cannes Film Festival 2025, family drama Nigeria 1993, Filmone entertainment, Gotham Film Awards 2025, MUBI, My Father’s Shadow, nigerian cinema, Nigerian film first at Cannes, nollywood --- ### [Love In Every Word 2 Hits 10.5 Million on YouTube in Four Days](https://nollycritic.com/love-in-every-word-2-hits-10-million-on-youtube-in-four-days/) **Published:** October 29, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Romantic drama, Love in Every Word 2, has garnered over 10.5 million views on YouTube just four days after its release. The sequel... **Content:** Nollywood actress, filmmaker, and producer [Omoni Oboli](https://nollycritic.com/nicapro-omoni-oboli-patricia-bebia-launch-new-platform/) has achieved another milestone with her latest romantic drama, *[Love in Every Word 2](https://www.instagram.com/omonioboli/p/DQUPNIMjD2y/)*, which garnered over 10.5 million views on YouTube just four days after its release. The sequel, which continues the emotional story of love, heartbreak, and second chances introduced in the first installment, premiered on YouTube under Oboli’s channel, attracting massive engagement from fans across Nigeria and beyond. *Love in Every Word 2* continues the love story of Obiora and Chioma from the first[ installment](https://nollycritic.com/love-in-every-word-a-youtube-hit-or-just-the-hype/ " installment"). This time, they intend to take things further by sealing it with a wedding. However, their love gets tested when oppositions begin to arise and old love surfaces. The film stars Uzor Arukwe and Bamike Olawunmi as the odogwu and achalugo pair. Alongside Patience Ozokwor, Thelma Chukwunwem, Chris Attoh and Osereme Inegbenebor. Social media reactions have also been largely positive, with many fans who have waited eagerly for the release. This achievement further cements Oboli’s growing influence in Nigeria’s digital film space, where she has consistently delivered content that resonates with the YouTube audience. With the success of *Love in Every Word 2*, the filmmaker reinforces the rising trend of Nollywood productions finding large audiences on streaming platforms like YouTube, bypassing traditional theatrical releases while still achieving impressive numbers. > [View this post on Instagram](https://www.instagram.com/reel/DQXn6cijO2x/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Omoni Oboli (@omonioboli)](https://www.instagram.com/reel/DQXn6cijO2x/?utm_source=ig_embed&utm_campaign=loading) ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/love-in-every-word-2-hits-10-million-on-youtube-in-four-days/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/love-in-every-word-2-hits-10-million-on-youtube-in-four-days/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/love-in-every-word-2-hits-10-million-on-youtube-in-four-days/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/love-in-every-word-2-hits-10-million-on-youtube-in-four-days/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/love-in-every-word-2-hits-10-million-on-youtube-in-four-days/?share=linkedin) - **Categories:** Nollywood News **Tags:** Bam Bam, film, nollycritic, nollywood, Omoni Oboli, Uzor Arukwe, Youtube --- ### [Grandpa Must Obey: See the Teaser For the New Family Comedy](https://nollycritic.com/grandpa-must-obey-see-the-teaser-for-the-new-family-comedy/) **Published:** October 29, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Trino Motion Pictures has announced a new feature film titled Grandpa Must Obey, a family comedy set for theatrical release later this year. **Content:** [Trino Motion Pictures ](https://trinomp.com/ "Trino Motion Pictures ")has announced a new feature film titled *Grandpa Must Obey*, a family comedy set for theatrical release later this year. The studio made the announcement via social media today, teasing audiences with first-look visuals and confirming that the film is currently in post-production. #### Synopsis *Grandpa Must Obey* follows the story of a grumpy grandfather who suddenly finds himself responsible for babysitting his unruly grandchildren. What starts as a reluctant arrangement quickly spirals into a chaotic but comedic sequence of events that tests the patience of an old man and the mischief capacity of modern-day kids. Described as lighthearted and universally relatable, the film leans into intergenerational conflict, humour, and the unexpected bonds that form when discipline meets defiance. #### Cast and Production At the centre of the film is veteran actor Kanayo O. Kanayo, cast in the lead role as the titular grandpa. He is joined by Yvonne Jegede, Darasimi Nadi, Fiyinfoluwa Asenuga, and Bimbo Akintola, forming a cast that blends star power with emerging talent. Also listed among the cast are Elvina Ibru and Brutus Richard. The film is directed by Chibuzor Afurobi and produced by Uche Okocha under the Trino Motion Pictures banner. Production details indicate a runtime of approximately 90 minutes, with English as the primary language. The budget falls within a modest range, reported to be under US $300,000. #### A Strategic Move for Trino Motion Pictures With *Grandpa Must Obey*, Trino Motion Pictures pivots into accessible, family-oriented storytelling. The studio, which has previously worked across genres including drama and thriller, appears to be targeting a broader demographic: families, older audiences, and fans of character-driven comedy. By placing a household name like Kanayo O. Kanayo in the centre of a comedic, family-friendly role, the project offers something familiar yet fresh. *Grandpa Must Obey* is coming to Cinemas near you from November 21st, 20225. See the teaser below! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/grandpa-must-obey-see-the-teaser-for-the-new-family-comedy/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/grandpa-must-obey-see-the-teaser-for-the-new-family-comedy/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/grandpa-must-obey-see-the-teaser-for-the-new-family-comedy/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/grandpa-must-obey-see-the-teaser-for-the-new-family-comedy/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/grandpa-must-obey-see-the-teaser-for-the-new-family-comedy/?share=linkedin) - **Categories:** Nollywood News **Tags:** anayo O. Kanayo, Chibuzor Afurobi, Darasimi Nadi, Fiyinfoluwa Asenuga, nollywood, Trino Motion Pictures, Yvonne Jegede --- ### [Gingerrr Becomes the 10th Highest Grossing Nollywood Movie of all Time](https://nollycritic.com/gingerrr-becomes-the-10th-highest-grossing-nollywood-movies-ever/) **Published:** October 29, 2025 **Author:** Faith Oloruntoyin **Excerpt:** The feature film Gingerrr has secured the tenth position among the top 10 highest-grossing Nigerian movies of all time. This comes after... **Content:** Yemi Morafa’s *Gingerrr* has secured the tenth position among the [top 10 highest-grossing Nigerian movies of all time](https://en.wikipedia.org/wiki/List_of_highest-grossing_Nigerian_films). This comes after it hits yet another milestone of being number one at the Nigerian box office for five weekends consecutively. *Gingerrr* opened with ₦79,154,225, placing it in the seventh position among the top 10 highest-grossing opening weekends ever for Nollywood films. Then a total of ₦185.8 million for its second week, ₦266.8 million for its third week. ₦322.7 million for its fourth week. And now a total of ₦378,600,067 for its fifth week run, which lands it a seat on the highest-grossing chart. Directed by Yemi “Filmboy” Morafa, the story follows a childhood gang known as ‘Gingerrr,’ with the spotlight on Lala Goldy’s life. The narrative traces Lala’s journey as her world becomes entangled in both supernatural and criminal chaos following the deaths of her father and mother. [*Gingerrr* ](https://nollycritic.com/gingerrr-extends-theatrical-run-to-the-uk/)will also screen at Odeon Cinemas in Greenwich, Manchester, Milton Keynes, Birmingham, Braehead, Coventry, and Streatham. It will also show at Vue Cinemas in Croydon Grants, Nottingham, Shepherd’s Bush, Thurrock, Westfield Stratford, Dagenham, Leeds Light, and Watford. Screenings are scheduled to commence on October 31, 2025. The feature has an ensemble cast that combines established Nollywood heavyweights with rising stars. Alongside the four lead actors, the film stars Shaffy Bello, Odunlade Adekola, Adedimeji Lateef, Timini Egbuson, Blossom Chukwujekwu, Shammah Agah, Adebowale Adedayo, Kamo, and Emeka Okoye. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/gingerrr-becomes-the-10th-highest-grossing-nollywood-movies-ever/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/gingerrr-becomes-the-10th-highest-grossing-nollywood-movies-ever/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/gingerrr-becomes-the-10th-highest-grossing-nollywood-movies-ever/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/gingerrr-becomes-the-10th-highest-grossing-nollywood-movies-ever/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/gingerrr-becomes-the-10th-highest-grossing-nollywood-movies-ever/?share=linkedin) - **Categories:** Nollywood News **Tags:** Adebowale Adedayo, Adedimeji Lateef, Blossom Chukwujekwu, film, haffy Bello, Kamo, Netflix, nigerian cinema, nollycritic, nollywood, Odunlade Adekola, Shammah Agah, Timini Egbuson --- ### [Nollywood Movies And Series To See in September 2024](https://nollycritic.com/nollywood-movies-and-series-to-see-in-september-2024/) **Published:** September 2, 2024 **Author:** Michael Arowoselu **Excerpt:** Happy new month Nollywood fam! Our new month greetings do not come complete without our monthly calender of Nollywood titles on our radar this month. **Content:** Happy new month Nollywood fam! Our new month greetings are not complete without our monthly calendar of Nollywood titles on our radar this month. Promising blockbusters, *Lisabi: The Uprising, Farmer’s Bride,* and *Queen Lateefah* arrive on the same day while acclaimed film director, Adeoluwa Owu debuts two new movies. With no further ado, let’s get to it! ##### *Life and Dirt* – TBD Bovi Ugboma’s crime thriller, Love and Dirt kicks off the Month of September. The James Alabi-directed flick follows two men who plot a get-rich-quick scheme, but there are obstacles on the way. The film stars; ChidiMokeme, Bovi Ugboma, Shaffy Bello, Dorcas Shola-Fapson, Idia Aisen, Uzor Arukwe, Kanayo O. Kanayo, and many others. Life and Dirt premieres on Prime Video this September. ##### *Ajaga* *(The Yoke)* – September 6 Remi Ibinola’s *Ajaga*. A faith-based movie, that lifts the veil on the shocking truths hidden beneath the surface of modern-day church leadership, revealing a web of manipulation, abuse, and exploitation. The cast includes; Femi Jacobs, Tope Olowoniyan, Carol King, Jaiye Kuti, Tomiwa Sage, and Lola Smart. Ajaga will premiere in cinemas on September 6, 2024 ##### Last Year Single – September 6 Three inseparable friends who, unhappy with their love lives, navigate the ups and downs of romance and finances while supporting each other. The cast includes; Omoni Oboli, Bimbo Ademoye, Toni Tones. Ajaga will premiere on Netflix on September 6, 2024 ##### *Blackmail* – September 12 Written and produced by Obi Emelonye, it tells the story of a struggling actor’s career and family being put in jeopardy when cyber-criminals attempt to blackmail him over his internet history. Starring in the movie are O. C Ukeje, Allessandro Babalola, Julia Holden, Natalia N, Ivan Papovec, Frances Walker, Jelena Borovskaja, Judy Akuta, Raquel Appiah, Hannah B, Samantha Bailey, Emma Fletcher, Anthony Crockett, and many others. *Blackmail* by Obi Emelonye is coming to Prime Video on 12th September. ##### *When Love Strikes* – September 13 Adeoluwa Owu’s *When Love Strikes* is another football-fueled drama that will be gracing our screens this year. A rising football star at Remo Stars Football Club with dreams of going pro abroad is faced with a life-changing decision -Pursue his passion for football or focus on his studies, hoping to win a scholarship that could secure his family’s future. It features stand-out performances from an ensemble cast, including Osas Ighodaro, Natse Jemide, Bimbo Akintola, Zubby Michael, Sunshine Rosman, Jimmie Akinsola, Vine Olugu, Chuks Joseph, Demola Adedoyin, Taye Arimoro, and Suo Chapele. Coming to Cinemas, September 13, 2024 ##### *Wura Season 3* – September 23 *Wura*, returns to Showmax for a third and final season, kicking off with Iperindo buzzing in preparation for Tumi and Jeje’s wedding. But unexpected challenges emerge from their past threatening their future. At the same time, Wura’s once-solid empire faces a collapse as her enemies close in, ready to strike. *Wura* stars Scarlet Gomez, Yomi Fash-Lanso, Martha Ehinome, Ray Adeka, Ego Ihenacho, Lanre Adediwura, Iremide Adeoye. ##### *Offshoot* – September 26 *Offshoot* was produced by Oluwatoyin Adewumi and Benjami Adeniran and directed by Ugandan filmmaker Ayeny T. Steve. Kehinde Bankole plays the lead role with supporting cast such as Ibrahim Suleiman, Kelechi Udegbe, Greg ‘Teddy Bear’ Ojefua, Bimbo Manuel, David Jones David, Tomiwa Sage, Vera Ephraim, Nonso Odogwu, Fausat Balogun ‘Madam Saje’, Salisu Danjuma Gezawa, Princess Kossi, and others. *Offshoot* was initially released to cinemas nationwide on 14th June and it heads over to the streaming platform on 26th September 2024. ##### *Lisabi: The Uprising* – September 27 This highly anticipated two-part film will debut on Netflix in September, with its sequel slated for release in January 2025. An Egba farmer ignites a rebellion against the oppressive Oyo Empire, leveraging the collective power of his fellow farmers and enigmatic abilities. His defiance, culminating in the defeat of over 6,000 Oyo soldiers, secures Egba’s independence after centuries of subjugation, marking a pivotal moment in Yoruba history. The film is executive produced by Adedimeji Lateef, produced by Adebimpe Lateef, and directed by Niyi Akinmolayan. It features a star-studded cast that includes Femi Adebayo Salami, Odunlade Adekola, Ibrahim Itele Yekini, Ibrahim Chattah, Odunlade Adekola, Ibrahim Itele Yekini, Ibrahim Chattah, Mr Macaroni, Mo Bimpe, Eniola Ajao, Liquorose Afije, and Lateef Adedimeji. ##### *Farmer’s Bride* – September 27 *Farmer’s Bride* is a poignant tale set in 1980s Ibadan. Odun, a wealthy, lonely farmer, seeks solace in marriage with a young bride, Funmi. However, their union is fraught with challenges as Funmi struggles to find happiness and eventually embarks on a forbidden affair with Odun’s nephew. The consequences of their actions lead to a haunting tale of love, betrayal, and the supernatural. Adebayo Tijani and Jack’enneth Opukeme direct *Farmer’s Bride*. The film boasts a stellar cast, including Tobi Bakre (*Gangs of Lagos*), Gbubemi Ejeye (*Far From Home*), Femi Branch (*House of Gaa*), and Mercy Aigbe (*Ada Omo Mummy*), Efe Irele (*L.I.F.E*), Wumi Toriola (*Aburo*). This captivating supernatural drama is set to hit cinemas nationwide on September 27th. ##### Queen Lateefah – September 27 Wunmi Toriola’s Queen Lateefah is a tale of secrets and lies. The film is directed by Adeoluwa Owu and s stars Kunle Remi, Nancy Isime, Femi Adebayo, Elvina Ibru, Gbugbemi Ejeye, Enioluwa, Bimbo Manuel, Broda Shaggi, Lateef Adedimeji, KieKie, and more. Coming to cinemas on September 27, 2024. Which of these Nollywood movies do you anticipate the most? Stay updated as we’ll add more Nollywood movies to this list. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-movies-and-series-to-see-in-september-2024/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-movies-and-series-to-see-in-september-2024/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-movies-and-series-to-see-in-september-2024/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-movies-and-series-to-see-in-september-2024/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-movies-and-series-to-see-in-september-2024/?share=linkedin) - **Categories:** Movies **Tags:** Ajaga, Blackmail, Farmers bride, Last Year Single, Lisabi, Netflix, nollycritic, nollywood, Obi Melonye, Offshoot, Queen Lateefah, September, When Love Strikes, Wura Season 3 --- ### [Is Timini Egbuson the Ultimate Nollywood Golden Boy?](https://nollycritic.com/is-timini-egbuson-the-ultimate-nollywood-golden-boy/) **Published:** February 9, 2024 **Author:** admin **Excerpt:** Timini Egbuson, a talented and sought-after Nollywood actor, is increasingly typecast into repetitive roles, which could be limiting his potential. **Content:** It’s not just about boyish good looks; Timini acts excellently, but is Nollywood stifling his potential? Timini has starred in many good films in Nollywood. In fact, one of the busiest actors in Nollywood is Timini Egbuson. Just last year, he acted in several Nollywood big-budget films like *Big Love, A Tribe Called Judah, Honey Money, The Kujus Again*, and many more. He is definitely in high demand in Nollywood, and he’s clearly talented. The first time I saw Timini, it was in the 2015 movie Fifty, where he acted as the long-lost child of Dakore Egbuson (his real-life sister). Such a display of emotion was rare. After that movie, he appeared in several others, playing Mohammed in *Skinny Girl in Transit* and Tobi in *MTV Shuga*. In 2019, he won the Future Awards for acting, and in 2020, he won the AMVCA for Elevator Baby, a movie about a rich young man stuck in an elevator with a pregnant woman. Whenever Timini acts, we feel the depth of his emotions, and we can boldly declare that he’s a good actor capable of showing emotional range, but he has fallen into the trap of being typecast. It feels like he plays the same character in most of his roles: a rich young playboy who may seem mean but really has a good heart and comes to the realisation of his folly at the end of the movie. Nollywood directors aren’t doing him any favours by making him play the same character over and over again. For example, can you imagine Timini playing Chiemieze Obi’s character in *Breathe of Life*? We know bills have to be paid, but maybe Timini himself should take the reins on his career and produce and star in a movie that shows he’s more than a lover boy or star in more independent movies that have deeper stories. Timini is undoubtedly a delight to watch on screen, but enough of the shallow roles; go into the deep end and reach for the stars! ## Author - ![admin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/535a20b173d6fdd1f61720c335dd2bb9.jpg?resize=80%2C80&ssl=1) [admin](https://nollycritic.com/author/nollycritic-com/ "admin") [ ](mailto:gbengamichael2014@gmail.com)[ ](http://nollycritic.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/is-timini-egbuson-the-ultimate-nollywood-golden-boy/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/is-timini-egbuson-the-ultimate-nollywood-golden-boy/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/is-timini-egbuson-the-ultimate-nollywood-golden-boy/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/is-timini-egbuson-the-ultimate-nollywood-golden-boy/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/is-timini-egbuson-the-ultimate-nollywood-golden-boy/?share=linkedin) - **Categories:** Articles, Nollywood **Tags:** All is fair in love, Meeting Funmi's Parents, nollycritic, nollywood, Timini, Timini Egbuson --- ### [Onye Egwu: A Football Tale With Heart And Humour](https://nollycritic.com/onye-egwu-a-football-tale-with-heart-and-humour/) **Published:** July 23, 2024 **Author:** Uju Okosieme **Excerpt:** Uche Jombo's latest movie, Onye Egwu, recently debuted on Prime Video. With a promising premise that follows a young football player striving to be discovered **Content:** [Uche Jombo](https://en.wikipedia.org/wiki/Uche_Jombo "Uche Jombo")‘s latest movie, *[Onye Egwu](https://www.imdb.com/title/tt20446364/ "Onye Egwu")*, recently debuted on Prime Video. With a promising premise that follows a young football player striving to be discovered and a football star nearing the end of his career, our curiosity was piqued. This film offers a fresh perspective for Nollywood, and it’s always intriguing to see something new. Here’s our take on it. ## *Onye Egwu* (2024) Directed by: Uche Jombo, Jerome Weber Written by: Victor Alabi Genre: Comedy Drama Released on: July 19, 2024 (Prime Video) Language: English, Pidgin English, Igbo #### Plot The plot is well-crafted, exploring football through two different lenses: a player nearing the end of his career and another trying to start his own. The story is balanced and follows a natural flow. However, towards the end, when Nedu’s mother quickly switches from opposing his playing to supporting him after discovering he snuck out to join the game, it feels rushed and undermines the buildup of her opposition. #### Story We appreciate that football serves as the connecting thread of this story. It’s a passion for many Nigerians, yet we don’t see many movies about it. Even though we followed two separate lives, the narrative was easy to track, and while the ending was predictable, the journey was engaging enough to maintain our interest. However, the film fell short of fully exploring Alex’s struggle with a career-ending injury. In one of the final scenes, he gets emotional while talking to the press about the end of his career, but nothing in his story before that made this emotional display meaningful. #### Performances With an ensemble cast, the performances in *Onye Egwu* were a mixed bag. Many actors stuck to their usual typecasts, but there were some standouts. Broda Shaggi played a prominent role as Kabiru, but his performance felt repetitive and overplayed. Debo Adebayo (Mr. Macaroni) and Tolulope ‘Remote’ Olayiwola had minor comedic appearances that felt overdone. Eric Emeka, who played Uduak, was unconvincing in his role, and Lateef Adedimeji’s Segun was the same character he had portrayed several times before. Ini Edo’s role as Eno was not new territory, but we enjoyed her performance nonetheless. Zubby Micheal’s portrayal of Alex was refreshing as it departed from his usual roles. Emeka Nwagbaraocha delivered a great performance as Ahanna, and Kayode Ojuolape did a good job as Nedu. We also enjoyed Uche Jombo’s portrayal of Ngozika. While Tacha Akide gives a sub-par performance as Tina. #### Technical Aspects The audio was disappointingly low, often making it difficult to hear the dialogue over the louder background music. On a positive note, the overall film look matches the genre, and the film was nicely shot. The visual effect of Onyeegwu’s picture in a bottle during a prayer at the beach appeared amateur. #### Final Thoughts The film effectively draws parallels between Uduak and Nedu’s upbringings—one mother is supportive, the other isn’t. Being a Uche Jombo film, the usual suspects filled the cast, but this did not detract from the story. The film effectively portrayed the parallel between Alex and Nedu, representing the beginning and end of their respective careers For a film about football, we would have loved to see more football. #### Verdict ‘Onye Egwu’ may caters to the typical Nigerian audience with its comedy, However, the film fell short on the emotional side; many scenes meant to tug at heartstrings missed the mark. Nevertheless, it was an enjoyable watch, earning a 2.5/5 rating from us. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/onye-egwu-a-football-tale-with-heart-and-humour/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/onye-egwu-a-football-tale-with-heart-and-humour/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/onye-egwu-a-football-tale-with-heart-and-humour/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/onye-egwu-a-football-tale-with-heart-and-humour/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/onye-egwu-a-football-tale-with-heart-and-humour/?share=linkedin) - **Categories:** Popular reviews, Reviews **Tags:** film, nollywood, Onye Egwu, Prime Video, Uche Jombo --- ### [Nollywood Movies and Series You Should See This March](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-march/) **Published:** March 1, 2024 **Author:** Michael Arowoselu **Excerpt:** February gave us memorable romantic movies, but it's time to move on. Here is a preview of new Nollywood movies and TV shows available in Nigeria this March. **Content:** February gave us memorable romantic movies, but it’s time to move on. Here is a preview of new Nollywood movies and TV shows available in Nigeria this March. ***Two Aishas*** *The Two Aishas* is a 2023 film starring Rahama Sadau and Maryam Booth as the titular Aishas. They aren’t your typical friends, they share the same faith and social status but have diverse behaviors. They come to loggerheads when their husbands contest for the same gubernatorial seat. *The Two Aishas* will be available on Prime Video from March 1st. ***Anikulapo*** [Anikulapo: Rise of the Spectre](https://nollycritic.com/anikulapo-rise-of-the-spectre-what-to-expect/ "Anikulapo: Rise of the Spectre") is a spinoff series from Kunle Afolayan’s Anikulapo. The series picks up the event from where the movie left off, following the life of Saro and his wife. Akala, the mysterious bird that resurrected Saro (Kunle Remi) in the first installment, is also back but not as friendly as the people would have liked. The six-part series will explore the themes of betrayal, revenge, and the fight for ultimate power. The series will premiere on Netflix on March 1st. ***Insecure*** When a devoted wife helps her husband build a thriving art gallery, their seemingly perfect life is disrupted by a captivating woman. As she grapples with heartbreak and betrayal, she must also confront her insecurities and embark on a desperate quest for justice. It heads to cinemas, on the 8th of March, 2024. ***Rush Hour*** After her long-time boyfriend is thrust into a life of fame, Ronke is torn between a love she has always known and the life she has always wanted. Coming to Prime Video from March 1st. ***Beast of Two Words (Ajakaju)*** Eniola Ajao’s*[ Beast of Two Worlds](https://nollycritic.com/eniola-ajao-set-to-release-new-yoruba-epic/ " Beast of Two Worlds")* is about a desperate king facing banishment due to his three wives’ inability to produce a son, he takes a new wife from another world who promises him an heir but her arrival brings unforeseen chaos to the kingdom forcing the king to confront his fears and fight to secure his dynasty future. Coming to cinemas on March 29, 2024. ***The Kuju’s Again*** The sequel to the 2020’s *Introducing The Kujus*, The Kuju family is back again; this time they have gathered at a hotel resort for the traditional wedding of Mauyon and Lily; but things quickly take a turn for the worse when underlying tension meets unfortunate incidents as money as well as people go missing. The sequel heads to Prime Video on March 22. ***Afamefuna*** Kayode Kasum’s *Afamefuna* was one of our favourite movies last year. “Áfàméfùnà: The Nwa Boi Story is the first feature-length film on the Igbo apprenticeship system. This Nollywood movie portrays how it revitalized the community’s economy by allowing successful Igbo men to pass on their knowledge and blessings to apprentices, perpetuating the cycle of wealth creation. The film heads to Netflix on March 29. ***Different Stokes*** Director Biodun Stephen heads to Prime Video with another 2023 film. This time, it’s *Different Strokes,* produced by Mosun Filani. The film follows the story of four friends who share one goal and an unwavering commitment to achieve it. However, they realize their aspiration requires more than just a shared goal. The film heads to Prime Video on March 29. Japa! [Isioma Osaje](https://www.instagram.com/explore/tags/isiomaosaje/)’s directorial debut, Japa! Will premiere on Prime Video, on March 8. The film follows Mezu, a disillusioned Teacher, whose attempts to relocate from Nigeria to the United States in search of greener pastures are obstructed by forces beyond his comprehension. Starring JideKene Achufusi, Adesua Etomi Wellington, Blossom Chukwujekwu, Seun Ajayi, Layi Wasabi & Mofe Duncan. ***Casa De Novia*** Uyoyou Adia’s *[Casa De Novia](https://twitter.com/hashtag/CasaDeNovia?src=hashtag_click),* an Anthill production starring Taye Arimoro and Anee Icha, will premiere on Prime Video on March, 29. > [View this post on Instagram](https://www.instagram.com/reel/CzwM9eUoXhR/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Anthill Studios (@\_anthillstudios)](https://www.instagram.com/reel/CzwM9eUoXhR/?utm_source=ig_embed&utm_campaign=loading) Which of these Nollywood movies do you anticipate the most? Be sure to stay updated as we’ll add more Nollywood movies to this list. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-march/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-march/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-march/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-march/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-march/?share=linkedin) - **Categories:** Movies **Tags:** afamefuna, Anikulapo, different strokes, Insecure, nollywood, rush hour, the jujus again, two aishas --- ### [See the Nominees For the 10th Edition of the AMVCA](https://nollycritic.com/see-the-nominees-for-the-10th-edition-of-the-amvca/) **Published:** March 24, 2024 **Author:** Michael Arowoselu **Excerpt:** The AMVCA is an award show presented by MultiChoice recognizing outstanding performances in television, film, entertainment, **Content:** The nominees for the 10th edition of the AMVCA are in! AMVCA is an award show presented by [MultiChoice](https://www.dstv.com/africamagic/en-ng/show/amvca "MultiChoice") recognizing outstanding performances in television, [film](https://nollycritic.com/the-best-10-nollywood-films-of-2023/ "film"), entertainment, and now in digital content creation throughout Nollywood and the entire African content. This year, the AMVCA Best Actor, Best Actress, Best Supporting Actor, and Best Supporting Actress categories will be determined by a jury, rather than public votes. The Jury will be led by Femi Odugbemi. Here’s the full list: **Best Director** 1\. Adebayo Tijani & Tope Adebayo (*Jagun Jagun*) 2\. BB Sasore (*Breath of Life*) 3\. Johnscott Enah (*Half Heaven*) 4\. C. J. Fiery Obasi (*Mami Wata*) 5\. Kayode Kasum (*Afamefuna*) 6\. Tolu Ajayi (*Over The Bridge*) 7\. Moses Inwang (*Blood Vessel*) **Best Movie** 1\. *A Tribe Called Judah* 2\. *Mami Wata* 3*. Jagun Jagun* (Adebayo Tijani) 4\. *Breath of Life* (BB Sasore) 5\. *Over The Bridge* (Tosin Otudeko) 6\. *Funmilayo Ransome-Kuti* (Tunde Babalola) 7\. *The Black Book* **Best Screenplay (Movie):** 1\. *A Tribe Called Judah* (Olufunke Ayotunde Akindele, Collins Okoh and Akinlabi Ishola) 2\. *Mami Wata* (CJ Fiery Obasi) 3*. Jagun Jagun* (Adebayo Tijani) 4\. *Breath of Life* (BB Sasore) 5\. *Over The Bridge* (Tosin Otudeko) 6\. *Funmilayo Ransome-Kuti* (Tunde Babalola) 7\. *Afamefuna* (Anyanwu Sandra Adaora) **Best Documentary:** 1\. *Ormoilaa Ogol (The Strong One*) 2\. *Lobola, A Bride’s True Price?* 3\. *Empalikino (Forgiveness)* 4\. *The Water Manifesto: Osun (Water for Gold)* 5\. *Sowing Hope* **Best MultiChoice Talent Factory:** 1\. *Grown* 2\. *Her Dark Past* 3\. *Somewhere In Kole* 4\. *Full-Time Husband* 5\. *The 11th Commandment* 6\. *Mfumukazi* **Best Scripted M-Net Original:** *1. The Slum King* 2\. Half Open Window 3\. *Itura* *4. The Passenger* *5. Magic Room* **Best Digital Content:** 1\. Layi Wasabi (Medical Negligence and Copyright Infringement) 2\. Taooma (The Boyfriend) 3\. Lizzy Jay (National Treasure) 4\. Elozonam, Jemima Osunde & Angelina Idoko (Hello Neighbour) **Best Unscripted M-Net Original:** *1. What Will People Say* *2. Date My Family Zambia* *3. Nwuyee Bekee (Foreign Wives)* *4. Royal Qlique (Season 2)* *5. The Irabors’ Forever After* **Best Indigenous Language (West Africa):** 1\. *Mami Wata* (CJ Fiery Obasi) 2\. *Jagun Jagun* (Femi Adebayo) *3. Ijogbon (Kunle Afolayan)* 4\. *Orisa* (Odunlade Adekola 5\. *Nana Akoto* (Kwabana Gyansah) **Best Indigenous Language (East Africa):** *1. Where The River Divides* *2. Wandongwa* 3\. *Nakupenda* *4. Itifaki* 5\. *Ormoilaa Ogol (The Strong One)* **Best Indigenous Language (Southern Africa):** *1. Service to Heart* *2. Uncle Limbani* *3. Motshameko O Kotsi* **Best Costume Design:** 1\. Daniel Obasi 2\. Demola Adeyemi 3\. Bolanle Austin Peters, Ituen Basi, Folake Coker and Clement Effanga 4\. Lola Awe 5\. Bunmi Demilola Fashina **Best Indigenous M-Net Original:** 1*. The Passenger* *2. Nana Akoto* 3\. *Apo* *4. Irora Iya* *5. Love Transfusion (Kiapo Cha Damu)* **Best Short Film:** *1. Broken Mask* *2. Eighteenth Year* *3. Man and Masquerades* *4. A Place Called Forward* *5. T’egbon T’aburo* **Best Supporting Actress:** 1\. Joke Silva (*Over The Bridge*) 2\. Bimbo Akintola (*The Black Book*) 3\. Fathia Williams (*Jagun Jagun*) 4\. Genovevah Umeh (*Breath of Life*) 5\. Tana Egbo-Adelana (*Ijogbon*) 6\. Ejiro Onajaife (*Madam Koikoi*) 7\. Eliane Umuhire (*Omen*) **Best Lead Actor:** 1\. Richard Mofe-Damijo (*The Black Book*) 2\. Wale Ojo (*Breath of Life*) 3\. Stan Nze (*Afamefuna*) 4\. Marc Zinga (*Omen*) 5\. Lateef Adedimeji (*Jagun Jagun*) 6\. Gabriel Afolayan (*This is Life*) 7\. David Ezekiel (*Blood Vessel*) 8\. Gideon Okeke (*Egun*) **Best Lead Actress:** 1\. Funke Akindele (*A Tribe Called Judah*) 2\. Adaobi Dibor (*Blood Vessel*) 3\. Ireti Doyle (*The Origin: Madam Koi Koi*) 4\. [Kehinde Bankole](https://nollycritic.com/owambe-new-film-starring-kehinde-bankole-begins-principal-photography/ "Kehinde Bankole") (*Adire*) 5\. Evelyne IIy (*Mami Wata*) 6\. Omowumi Dada (*Asiri Ade*) 7\. Segilola Ogidan (*Over The Bridge*) 8\. Lucie Debay (*Omen*) **Best Supporting Actor:** 1\. [Timini Egbuson](https://nollycritic.com/is-timini-egbuson-the-ultimate-nollywood-golden-boy/ "Timini Egbuson") (*A Tribe Called Judah*) 2\. Alexx Ekubo (*Afamefuna*) 3\. Demola Adedoyin (*Breath of Life*) 4\. Itele D Icon (*Jagun Jagun*) 5\. Gregory Ojefua (*This is Life*) 6\. Levi Chikere (*Blood Vessel*) 7\. Ropo Ewenla (*Over The Bridge*) **Best Cinematography:** 1\. *Mami Wata* *2. Jagun Jagun* 3\. *Ijogbon* *4. Blood Vessel* *5. Breath of Life* *6. Over The Bridge* 7\. *Omen* **Best Editing:** 1\. Chuka Ejorh and Onyekachi Banjo 2\. Holmes Awa 3\. Alex Kamau and Victor Obok 4\. Dayo Nathaniel 5\. Antonio Ribeiro 6\. Nathan Delannoy **Best Sound Design:** 1\. Ava Momoh (*Over the Bridge*) 2\. Daniel Pellerin and Amin Bhatia (*Kipkemboi*) 3\. Grey Jones Ossai (*Breathe of Life and Blood Vessel*) 4\. Samy Bardet (*Mami Wata*) **Best Art Direction:** 1\. *Mami Wata* (C.J Fiery Obasi) 2\. *Blood Vessel* (Victor Akpan) 3\. *Over The Bridge* (Abisola Omolade) 4\. *Breath of Life* (Okechukwu Frost Nwankwo, Kelechi Odu) 5\. *The Black Book* (Pat Nebo and Chima Temple) 6\. *Jagun Jagun: The Warrior* (Tunji Afolayan) 7\. *Omen* (Eve Martin) **Best Makeup:** 1\. Feyisayo Oyebisi (*A Tribe Called Judah*) 2\. Francesca Otaigbe (*Over the Bridge*) 3\. Campbell Precious (*Mami Wata*) 4\. Hadizat Gambo (*Mojisola*) 5\. Hakeem Onilogbo (*Jagun Jagun*) **Best Screenplay TV Series:** *1. Skinny Girls in Transit (s7)* Bunmi Ajakaiye Ifeanyi Barbara Chidi Abdul Tijani- Ahmed 2\. *Wura (s2)* Jeffery David Musa Olumide Kuti Esther Oyiza Kokori *3. Visa On Arrival* Bovi Ugboma 4\. *MTV Shuga Naija* The MTV Staying Alive Foundation *5. Volume* Mona Ombogo 6\. *Masquerades of Aniedo* Timendo Aghahowa Motunde Akiode 7\. *Slum King* Donald Tombia Ifeanyi Barbara Chidi Fatimah Binta Gimsay Xavier Ighordje Fullscreen Tolu Ajayi’s *Over the Bridge* leads with 12 nominations including; Best Movie, Best Director, and Best Lead Actress is the most nominated film this year, followed by CJ Fiery Obasi’s *Mami Wata* snagged 11 AMVCA nominations. *Breath of Life* and *Jagun Jagun* got 10 nominations each. The annual AMVCA ceremony for 2024 will be held in Lagos, Nigeria in May and broadcast live on all Africa Magic channels. Watch the video below to find out how to vote. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-nominees-for-the-10th-edition-of-the-amvca/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-nominees-for-the-10th-edition-of-the-amvca/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-nominees-for-the-10th-edition-of-the-amvca/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-nominees-for-the-10th-edition-of-the-amvca/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-nominees-for-the-10th-edition-of-the-amvca/?share=linkedin) - **Categories:** Nollywood News **Tags:** .Breath of Life, A Tribe Called Judah, AMVCA, bb sasore, Blood Vessel, CJ Obasi, Jagun Jagun, Jagun Jagunn, mami wata, nollywood, Omenn, the black book --- ### [Nollywood Movies And Series You Should See This May](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-may/) **Published:** April 30, 2024 **Author:** Michael Arowoselu **Excerpt:** it is that time of the month again when we release our Nollywood Movies and Series calendar. There's loads of fresh Nollywood content... **Content:** Hello Nolly Gang! It is that time of the month again when we release our[ Nollywood Movies and Series calendar](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-april/ " Nollywood Movies and Series calendar"). There’s loads of fresh Nollywood content this month, May 2024. All Nollywood movies and TV series on this list will be available via streaming platforms and cinemas. Let’s go! ***Aburo* – May 1** Yemi Morafa kickstarts the Nollywood film experience for May with his coming-of-age drama, *[Aburo](https://nollycritic.com/aburo-see-the-official-trailer-for-yemi-morafas-new-film/ "Aburo")*. When Aburo’s lightning-fast skills catch the eye of Mide, a former athlete, a journey of determination and destiny unfolds. The film stars; Efa Iwara, Toni Tones, Maleek of ikorodu bois, Yemi Cregx, Charles Inojie, Wunmi Toriola, Peju Ogunmola, Gbemi Akinlade, Buchi Kings and Darasimi Nadi *Aburo* is set for a cinema debut on the 1st of May, 2024. See the official trailer below **Postcards – May 3** This Nigerian/India crossover is directed by Hamisha Daryani Ahuja. The feel-good drama is about a Nigerian single mother who travels to India for a medical checkup, her journey will end up touching the lives of everyone she meets. The upcoming series will star Sola Sobowale, Richard Mofe-Damijo, Rajniesh Duggall, Rahama Sadau, Nancy Isime, and Tobi Bakre. The show heads to Netflix on May 3, 2024. ***Maia* – May 8** Ego Nwosu stars opposite Mofe Duncan in ‘Maia’, a faith-based romantic drama that follows Maia’s quest to break a childhood curse and find love. Directed by Bem Pever, ‘Maia’ premieres on Prime Video on May 8. ***Water and Garri* – May 10** Tiwa Savage’s highly anticipated feature film debut will grace our screens this month. The film follows Aisha (Tiwa Savage), an ambitious fashion designer who returns home after a decade of working in the elite fashion industry in the US. Aisha finds herself returning to a home drastically changed by time and chance. As she reconnects with family, old friends, and her past love, she must learn to live with her scars and confront the guilt she left behind. Alongside [Tiwa Savage](https://en.wikipedia.org/wiki/Tiwa_Savage), the drama also stars Mike Afolarin (“Far From Home”), Andrew Bunting (“Dynamite”), and Jemima Osunde (“New Money”). *Water and Garri* will premiere on Prime Video on May 10. ***Funmilayo Ransom-Kuti* – May 17** Bolanle Austen-Peters drops her highly anticipated biopic this month. A fearless female leader sparks a revolution against colonialism and patriarchy in Nigeria. Discover the untold story of Funmilayo Ransome-Kuti, mother of the legendary Fela Anikulapo-Kuti, who forever changed the course of history. *Funmilayo Ransome-Kuti* heads to cinemas on May 17, 2024. **UNO The F in Family – May 17** Emeka Njoku’s family drama is next on our list. A young reunites with his estranged family after 10 years and rocks his entire dysfunctional family with his return. Starring: Nkem Owoh, Jennifer Eliogu, Alvin Abayomi, Tomi Ojo, Keezyto, Sophia Chisom and DJ Capello. Coming to cinemas on May 17, 2024. ***Kill Boro* – May 30** Courage Obayuwana’s directorial debut is one of the Nollywood movies we look forward to this month. *[Kill Boro ](https://nollycritic.com/kill-boro-see-the-official-trailer-for-courage-obayuwanas-thriller/)*tells the harrowing story of Elijah (Kosisochukwu Ogboruche), a young boy burdened by his father Boro’s (Philip Asaya) relentless brutality. Driven by desperation in the unforgiving streets of Azuama, Elijah seeks an unthinkable solution from a notorious gang leader (Gregory Ojefua). *Kill Boro* heads to Prime Video on May 30. ***Criminal* – May 31** This crime drama follows a criminal gang’s plight to get urgent health care for their fallen gang member. *Criminal* is directed by Dolapo Adigun and written by Niyi Akinmolayan and stars Funlola Aofiyebi-Raimi, Uzor Arukwe, Gbugbemi Ejeye, Chuks Joseph and Segun Arinze. *Criminal* is coming to cinemas on May 31st. Which of these Nollywood movies do you anticipate the most? Be sure to stay updated as we’ll add more Nollywood movies to this list. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-may/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-may/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-may/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-may/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-may/?share=linkedin) - **Categories:** Movies **Tags:** Aburo, Criminal, Funmilayo Ransome-Kuti, Kill Boro, nollycritic, nollywood, nollywood movies, Postcards, UNOThe F in Family, water and garri --- ### [Nollywood Movies And Series You Should See This April](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-april/) **Published:** April 4, 2024 **Author:** Michael Arowoselu **Excerpt:** Happy new month nolly gang! You know the month doesn't officially begin until we present the Nollywood movies to be released this April. **Content:** Happy new month nolly gang! You know the month doesn’t officially begin till we present the Nollywood movies to be released this April. Last month saw the release of Nollywood movies and series that exceeded our expectations and we certainly hope this month lives up to the expectations. Shall we begin? ***Saving Onome*** *Shanty Town* director, Dimeji Ajibola drops his well-anticipated feature,*[ Saving Onome](https://nollycritic.com/nancy-isime-stars-in-new-drama-saving-onome/ " Saving Onome")*. The film follows two devoted parents fighting tirelessly for their chronically ill daughter, Onome. With time running out for a life-saving surgery, the story explores the depths of love and the lengths people go to for their loved ones. It features Keppy Ekpeyong, Femi Jacobs, and Ashionye Michelle Raccah joining the production alongside Olumide Oworu, Mary Lazarus, Kelechi Udegbe, Nas Boi, and many others. Saving Onome heads to cinemas on April 5, 2024. ***Head Over Bills*** *Head Over Bills* by Dabby Chimere is the story of three privileged and spoiled sisters who find love in pursuit of their mother’s approval, lose it, and rediscover themselves. Starring Shaffy Bello, Bimbo Ademoye, Uzor Arukwe, Anita Joseph, Mofe Duncan, Alex Cross, Ego Nwosu, Emeka Nwagbaraocha, Rachael Okonkwo, and Jessica Tse. *Head Over Bill* heads for release on Prime Video on April 5th. ***Ajosepo*** Kayode Kasum will be banking on the success of *Afamefuna* to gain the right traction for his new film, *[Ajosepo](https://nollycritic.com/ajosepo-highly-anticipated-comedy-set-to-premiere-this-april/ "Ajospeo")*. Two estranged brothers, Jide and Dapo are compelled to unite when their father becomes embroiled in a compromising situation with the bride’s aunt, endangering the wedding. The film features a stellar cast including [Timini Egbuson](https://nollycritic.com/is-timini-egbuson-the-ultimate-nollywood-golden-boy/), Bisola Aiyeola, Tomike Adeoye, Mercy Aigbe, and Mike Afolarin, alongside Nollywood veterans Yemi Solade, Ronke Ojo, and Muyiwa Ademola. *Ajosepo* is set to hit theatres on April 12th, 2024. See the trailer below. ***Ch3mistry*** The romantic drama *Ch3mistry* was directed by Adenike Esho and produced by Imagine Media. Starring Daniel Etim Effiong, Eby Eno, Bolaji Ogunmola, Michael Ejoor, Biodun Stephen, and Jayonair. *Chemistry* is a romantic drama that tells the story of a newlywed couple who look forward to having sex for the first time. However, things don’t go as planned because different issues and problems keep arising. *Chemistry* will grace our screens via Netflix on 19th April 2024. ***Kill Boro*** Courage Obayuwana’s directorial debut is one of the Nollywood movies that we look forward to this month. *[Kill Boro ](https://nollycritic.com/kill-boro-see-the-official-trailer-for-courage-obayuwanas-thriller/ "Kill Boro ")*tells the harrowing story of Elijah (Kosisochukwu Ogboruche), a young boy burdened by his father Boro’s (Philip Asaya) relentless brutality. Driven by desperation in the unforgiving streets of Azuama, Elijah seeks an unthinkable solution from a notorious gang leader (Gregory Ojefua). *Kill Boro* heads to Prime Video on March 30th. ***Strained*** After several years of separation, Ebere painfully reconnects with her estranged mother as she comes to help out in taking care of her newborn but is suddenly diagnosed with Sickle Cell Disease and now the family struggles to keep their peace and unity. Starring Queen Nwokoye, Tracey George, Samuel Nnabuike, and Adaeze Onuigbo. Fresh off its cinema release, Okey Oku’s *Strained* heads to [Netflix](https://www.netflix.com/browse "Netflix") on the 26th of April. ***Blacksmith (Alagbede)*** A hustling Blacksmith is pressured to make decisions that may haunt him in the future. The movie is directed by Usman “Blackky” Ogunlade. The cast includes Jaiye Kuti, Femi Adebayo, Bimbo Oshin, Gabriel Olasubomi Afolayan, Kehinde Bankole, Mr. Macaroni, Adebowale Adebayo, and Taiwo Ibikunle amongst others. *Blacksmith* opens in cinemas on April 19th. Which of these Nollywood movies do you anticipate the most? Be sure to stay updated as we’ll add more Nollywood movies to this list. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-april/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-april/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-april/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-april/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-april/?share=linkedin) - **Categories:** Movies **Tags:** Ajosepo, Ch3mistry, head over bills, Kill Boro, nollycritic, nollywood, Saving Onome --- ### [AMVCA 2024: See The Full List of Winners For The 10th Edition](https://nollycritic.com/amvca-2024-full-winners-list-live-annoucements/) **Published:** May 10, 2024 **Author:** Michael Arowoselu **Excerpt:** Following the conclusion of voting for nominees for the 10th AMVCA on Sunday, April 28th, 2024, here is the complete list of all Winners: **Content:** The Africa Magic Viewers’ Choice Awards ([AMVCA](https://nollycritic.com/?p=2944&preview=true&_thumbnail_id=2968 "AMVCA")), an annual celebration by MultiChoice, honors remarkable performances and creative endeavors in television, film, and entertainment. Leading the nominations at this year’s event are *Over the Bridge*: 12, *Mami Wata*: 11, *Breath of Life*, *Jagun Jagun*: 10, *Blood Vessel*: 8, *A Tribe Called Judah*: 5, *Afamefuna*: 4, *The Black Book*: 5, *Funmilayo Ransome-Kuti*: 3 Following the conclusion of voting for nominees for the 10th AMVCA on Sunday, April 28th, 2024, here is the complete list of all Winners: #### Best Lead Actor 1\. David Ezekiel – “Blood Vessel” 2\. Gabriel Afolayan – “This Is Lagos” 3\. Gideon Okeke – “Egun” 4\. Lateef Adedimeji – “Jagun Jagun (The Warrior)” 5\. Marc Zinga – “Omen” 6\. Richard Mofe-Damijo – “The Black Book” 7\. Stan Nze – “Afamefuna” **8. Wale Ojo – “Breath of Life” (WINNER)** #### Best Lead Actress 1\. Adoabi Dibor – “Blood Vessel” 2\. Evelyne Ily – “Mami Wata” 3\. Funke Akindele – “A Tribe Called Judah” 4\. Ireti Doyle – “The Origin: Madam Koi Koi” **5. Kehinde Bankole – “Adire” (WINNER)** 6\. Lucie Debay – “Omen” 7\. Omowunmi Dada – “Asiri Ade” 8\. Segilola Ogidan – “Over The Bridge” #### Best Supporting Actor **1. Ademola Adedoyin – “Breath of Life”** **(WINNER)** 2\. Alexx Ekubo – “Afamefuna” 3\. Greg Ojefua – “This Is Lagos” 4\. Ibrahim Yekini – “Jagun Jagun (The Warrior)” 5\. Levi Chikere – “Blood Vessel” 6\. Ropo Ewenla – “Over The Bridge” 7\. Timini Egbuson – “A Tribe Called Judah” #### Best Supporting Actress 1\. Ajoke Silva – “Over The Bridge” 2\. Bimbo Akintola – “The Black Book” 3\. Ejiro Onojaife – “The Origin: Madam Koi Koi” 4\. Eliane Umuhire – “Omen” 5\. Fathia Balogun – “Jagun Jagun (The Warrior)” **6. Genoveva Umeh – “Breath of Life”** **(WINNER)** 7\. Tana Adelana – “Ijogbon (Chaos)” #### Best Director 1\. Adebayo Tijani and Tope Adebayo – “Jagun Jagun (The Warrior)” **2. BB Sasore – “Breath of Life” (WINNER)** 3\. CJ Fiery Obasi – “Mami Wata” 4\. Johnscott Enah – “Half Heaven” 5\. Kayode Kasum – “Afamefuna” 6\. Moses Inwang – “Blood Vessel” 7\. Tolu Ajayi – “Over The Bridge” #### Best Digital Content 1\. “National Treasure” – Adebola Adeyela (Lizzy Jay) 2\. “Hello Neighbor” – Elozonam Ogbolu, Lina Idoko, and Jemima Osunde 3\. “Medical Negligence” – Isaac Ayomide Olayiwola (Layi Wasabi) **4. “Copyright Infringement” – Isaac Ayomide Olayiwola (Layi Wasabi)** **(WINNER)** 5\. “The Boyfriend” – Maryam Apaokagi-Greene #### Best Scripted M-Net Original **1. “Slum King” – Chinenye Nworah** **(WINNER)** 2\. “Itura” – James Kalu Omokwe 3\. “Half Open Window” – Margaret Hamza Wacera 4\. “Magic Room” – Thomas Yustin Wikesi 5\. “The Passenger” – Usama Mukwaya, Meddy Sserwadda, and Hadijah Nakanjako #### Best Unscripted M-Net Original **1. “Nwuyee Bekee (Foreign Wives)” – Adaora Nneka Nnodim** **(WINNER)** 2\. “The Irabors’ Forever After” – Hadizat Ibrahim 3\. “Royal Qlique (Season 2)” – Maurice Raydo Malowa 4\. “Date My Family Zambia” – Nancy Handabile 5\. “What Will People Say” – Uche Ikejimba-Halloway #### Best Series (Scripted) 1\. “Slum King” – Chinenye Nworah 2\. “Itura” – James Kalu Omokwe 3\. “Wura (Season 2)” – Rogers Ofime 4\. “Chronicles” – Rogers Ofime **5. “Volume” – Tosh David Gitonga, Joe Mahinda, and Barbara Maina** **(WINNER)** #### Best Series (Unscripted) ###### **1. “GH Queens (Season 2)” – Ayebaea ‘BZ’ Darko** **(WINNER)** 2. “LOL Naija (Season 1)” – Deola Art Alade and Dare Art Alade 3. “The Real Housewives of Lagos (Season 2)” – Deola Art Alade and Dare Art Alade 4. “Mutale Mwanza Unscripted (Season 1)” – Mutale Melissa Mwanza 5. “Nightlife in Lasgidi” – Ojulari Olasunkanmi (Sunky O) #### Best Costume Design **1. “Funmilayo Ransome-Kuti” – Bolanle Austin Peters, Ituen Basi, Folake Coker, and Clement Effanga** **(WINNER)** 2\. “Mami Wata” – Bunmi Demilola Fashina 3\. “Over The Bridge” – Damola Adeyemi 4\. “Breath of Life” – Daniel Obasi 5\. “Jagun Jagun (The Warrior)” – Lola Awe #### Best Cinematography 1\. “Ijogbon (Chaos)” – Adekunle Nodash Adejuyigbe 2\. “Jagun Jagun (The Warrior)” – Adeoluwa Owu (Degzy) 3\. “Blood Vessel” – Gideon Chukwu 4\. “Omen” – Joachim Philippe **5. “Over The Bridge” – KC Obiajulu** **(WINNER)** 6\. “Mami Wata” – Lilis Soares 7\. “Breath of Life” – Ola Cardoso #### Best Sound Design 1\. “Over The Bridge” – Ava Momoh, Kolade Morakinyo 2\. “Kipkemboi” – Daniel Pellerin, Amin Bhatia, Scott Tremblay, Geoff Raf **3. “Blood Vessel” – Gray Jones Ossai and Fisayo Adefolaju** **(WINNER)** 4\. “Breath of Life” – Kaline Akinkugbe and Gray Jones Ossai 5\. “Mami Wata” – Samy Bardet #### Best Editing 1\. “Volume” – Alex Kamau and Victor Obok **2. “The Black Book” – Antonio Ribeiro** **(WINNER)** 3\. “Over The Bridge” – Chuka Ejorh and Onyekachi Banjo 4\. “Breath of Life” – Holmes Awa 5\. “Mami Wata” – Nathan Delannoy 6\. “Ogeere (Earth)” – Shola Ayorinde #### Best Documentary 1\. “The Water Manifesto: Osun (Water for Gold)” – Anuoluwapo Adelakun 2\. “Empalikino (Forgiveness)” – Charlie Khisa and Mark Wambui 3\. “Sowing Hope” – Kenneth Gyang 4\. “Ormooilaa Ogol (The Strong One)” – Lavera Ndanunga **5. “Lobola, A Bride’s True Price?” – Sihle Hlophe (WINNER)** #### Best Indigenous Language (West Africa) 1\. “Mami Wata” – CJ Fiery Obasi **2. “Jagun Jagun (The Warrior)” – Femi Adebayo (WINNER)** 3\. “Ijogbon (Chaos)” – Kunle Afolayan 4\. “Nana Akoto” – Kwabena Gyansah 5\. “Orisa” – Odunlade Adekola #### Best Indigenous Language (East Africa) 1\. “Wandongwa” – John Kokolo 2\. “Nakupenda” – Juma Saada **3. “Ormooilaa Ogol (The Strong One)” – Lavera Ndanunga (WINNER)** 4\. “Where the River Divides” – Matrid Nyagah and MD Neely 5\. “Itifaki” – Omar Hamza #### Best Indigenous Language (South Africa) **1. “Motshameko O Kotsi” – Molebogeng Mapotlakele Mamakoko and Joseph Merlin Tafo Wambo (WINNER)** 2\. “Uncle Limbani” – Mulenga Mbulo Phiri 3\. “Service to Heart” – Paul S. Wilo #### Best Short Film 1\. “Man and Masquerades” – Adekunle Blue **2. “Broken Mask” – Kagho Idhebor** **(WINNER)** 3\. “Eighteenth Year” – Mohamed Beder Hasaan 4\. “T’egbon T’aburo” – Nwani Orire and Josh Olaolu 5\. “A Place Called Forward (Climate Change)” – Umanu Elijah #### Best Multichoice Talent Factory Movie 1\. Full Time Husband 2\. Grown **3. Her Dark Past** **(WINNER)** 4\. Mfumukazi 5\. Somewhere in Kole 6\. The 11th Commandment #### Best Writing in a Movie Breath of Life (BB Sasore) Over The Bridge (Tosin Otudeko) **Funmilayo Ransome-Kuti (Tunde Babalola) – WINNER** Jagun Jagun: The Warrior (Adebayo Tijani) Afamefuna (Anyanwu Sandra Adaora) A Tribe Called Judah (Olufunke Ayotunde Akindele, Collins Okoh and Akinlabi Ishola) Mami Wata (C.J. ‘Fiery’ Obasi) #### Best Movie 1\. “Blood Vessel” 2\. “A Tribe Called Judah” 3\. “Over the Bridge)” 4\. “The Black Book” 5\. “Afamefuna” **6. “Breath of Life” (WINNER)** Written and directed by BB Sasore and produced by Eku Edewor, Breath of Life portrays the story of a former clergyman who loses everything he holds dear including his faith, and goes on a journey of self-transformation when his Christian houseboy takes over his life. Breath of Life has emerged as the biggest winner of the night, winning 5 AMVCA awards, including Best Movie, Director, Supporting Actress, Supporting Actor and Lead Actor, Share your thoughts and join the conversation on[ Twitter (X)](https://twitter.com/nollycritic " Twitter (X)") ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/amvca-2024-full-winners-list-live-annoucements/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/amvca-2024-full-winners-list-live-annoucements/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/amvca-2024-full-winners-list-live-annoucements/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/amvca-2024-full-winners-list-live-annoucements/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/amvca-2024-full-winners-list-live-annoucements/?share=linkedin) - **Categories:** Nollywood News **Tags:** AMVCA, Blood Vessel, mami wata, nollywood, OVER THE BRIDGE --- ### [Kill Boro: A Powerful Tale of Love, Family and Redemption](https://nollycritic.com/kill-boro-a-powerful-tale-of-family-and-redemption/) **Published:** May 31, 2024 **Author:** Uju Okosieme **Excerpt:** Who wouldn’t want to discover why Boro must be killed and how he meets his demise, if at all when a film is titled 'Kill Boro'? **Content:** Who wouldn’t want to discover why Boro must be killed and how he meets his demise, if at all when a film is titled ‘Kill Boro’? The title and trailer intrigued us from the minute they dropped, and although there were some delays with the release, we’re happy to have ‘Kill Boro’ streaming on Prime Video finally. And it’s safe to say that it might have been worth the wait! ## *Kill Boro* Directed by: Courage Obayuwana Written by: Priye Diri Genre: Drama Released on: May 30, 2024 (Prime Video) Language: English, Pidgin English, Izon #### Plot ‘[Kill Boro](https://nollycritic.com/kill-boro-see-the-official-trailer-for-courage-obayuwanas-thriller/ "Kill Boro")‘ tells the harrowing story of Elijah, a young boy burdened by his father Boro’s relentless brutality against him and his mother. Driven by desperation, Elijah seeks an unthinkable solution from a notorious gang leader. This premise is intriguing and offers many potential directions for the story. However, Boro’s change of character felt a little premature. Based on the premise, we expected to see more of his abusive behaviour toward his family. Although the film had only one major scene portraying this, it was powerful enough to set the tone. #### Story At its core, ‘Kill Boro’ is a story about family and redemption. While these themes are common in Nollywood, the film offers a refreshing and unique take. The gripping dialogue effectively builds tension, enhancing the story’s impact. The well-constructed narrative features a balanced buildup that engages the audience throughout. Elijah’s attempt to have his father killed serves as a powerful teachable moment, adding depth to the story. However, it’s puzzling why Elijah would go to Jaguar’s camp alone or why Jaguar, a well-revered gangster is easily accessible and easily killed.. Despite hints at a major turning point, the plot remains unpredictable, keeping us intrigued until the twist serves its purpose. #### Performances [Kosisochukwu Ogboruche](https://nollycritic.com/nollywood-child-actors-a-new-generation-with-great-potentials/ "Kosisochukwu Ogboruche") delivers a solid performance as Elijah, though his strength varies across scenes.[ Ini Dima-Okojie](https://en.wikipedia.org/wiki/Ini_Dima-Okojie " Ini Dima-Okojie") steps into the role of Boma, and once we moved past our initial typecasting of her, her nuanced performance became evident. Philip Asaya’s portrayal of Boro is particularly noteworthy, as he fully embodies the character’s complex nature. One scene that truly stands out, highlighting the exceptional performances of Ini Dima-Okojie and Phillip Asaya, is when they celebrate Boro’s successful sale of his watch, resulting in a substantial sum of money. Dima-Okojie’s infectious child-like joy is palpable as she jubilantly jumps for joy. The cinematographer’s skillful panning to her feet captures this moment, effectively conveying the euphoria of the characters. Dima-Okojie’s portrayal is remarkably authentic and cute to watch. Yibokoko, playing Jaguar, is convincing from the start, immediately establishing his character’s menace. Gregory Ojefua adds depth to the story with his compelling portrayal of Bossman. Despite her brief screen time, Hilda Dokubo makes a significant impact as Madam Fanta. The cast also features several new faces, all of whom hold their own admirably. #### Technical Aspects In every film, after the story, the visuals are what leave a lasting impression. In “Kill Boro,” the cinematographer, Motheo Moeng, crafts stunning compositions that enhance the narrative. His use of handheld techniques effectively conveys uneasiness, creating a tense atmosphere that deepens the film’s suspense. Moeng’s beautiful and deliberate visual work significantly complements and elevates the storytelling. The visuals are as rusty and rustic as the film’s setting, enhanced by a colour scheme that predominantly uses teal, orange, and blue adding a gritty texture. Another standout aspect of this film is the authenticity of its setting and location adding believability to the story. Much like Dimeji Ajibola’s series “Slum King,” which depicts the crime and grime of some areas in Nigeria, “Kill Boro” vividly portrays the harsh realities of life in an oil-rich state. This setting provides a compelling backdrop, adding depth to the narrative and highlighting the prevalence of crime in such regions. The film’s realistic portrayal of its environment enriches the story, grounding it in a tangible and relatable context. The soundtrack and score were used effectively to build suspense and complement the narrative. #### Final Thoughts From the first scene, the film employs a beautiful visual and sound motif to communicate the passage of time for Boro. The ticking sound of the watch sets the tone for the crime drama, emphasizing its significance to Boro’s character. This auditory cue immediately signals the watch’s importance, foreshadowing the life-or-death stakes surrounding Boro. Every step he takes is fraught with the timely cost of his life. This theme is artfully reinforced through the ticking sound, which is not so constant, but adds depth to the narrative. The presence of the tick-tock motif at the start of the film highlights the crucial role of time, while the unfolding events reveal the watch’s importance. Though a small detail, it demonstrates the director’s meticulous attention to detail. The clever use of Boro’s name, given his reputation as a borrower, adds a layer of irony and depth to the story. Credit must be given to the casting director for selecting Angel Unigwe as young Boma whose resemblance to the adult character, is believable. The use of a quick fade editing further accentuates their similarities, enhancing believability and the audience’s connection to the storyline. Both the meticulous casting decision and the innovative editing technique are pivotal in improving the film’s authenticity and storytelling, a rarity in many Nollywood productions. However, some scenes, such as the one with Angel Unigwe’s young Boma giving Philip Asaya’s Boro a forehead kiss, felt slightly off-putting. However, the scene was likely intended to underscore the significant age gap in their relationship from the start. The second act dragged for too long and the third act is, however, quite questionable and feels rushed. Much could have been done at the conclusion to make it better. We were disappointed to see Angel Unigwe, who played Young Boma, omitted from the credits, along with errors in the names of other actors. While these may seem like minor mistakes, accuracy, and recognition are crucial in the movie industry. #### Verdict ‘Kill Boro’ captivates from start to finish, keeping viewers engrossed in its well-crafted narrative. With its engaging characters and compelling depth, the film effortlessly draws us into their stories, making it easy to connect with the themes of family and redemption. Despite its strengths, “Kill Boro” suffers in the plot. The convenient and rushed ending leaves some loose ends and may have benefitted from further development to provide a more satisfying conclusion. The film showcases the talent of its first-time director, Courage Obayuwana, and represents a promising addition to the Nollywood landscape. “Kill Boro” demonstrates the emergence of quality filmmakers in the industry, warranting attention from audiences seeking fresh and engaging cinema experiences. “Kill Boro” is currently streaming on Prime. What are your thoughts? **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kill-boro-a-powerful-tale-of-family-and-redemption/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kill-boro-a-powerful-tale-of-family-and-redemption/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kill-boro-a-powerful-tale-of-family-and-redemption/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kill-boro-a-powerful-tale-of-family-and-redemption/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kill-boro-a-powerful-tale-of-family-and-redemption/?share=linkedin) - **Categories:** Popular reviews, Reviews **Tags:** Courage Obayuwana, Ini Dima-Okojie, Kill Boro, Philip Asaya, Prime Video, Reviews --- ### [Oloture: The Journey - Another Dull Sequel That Never Arrives](https://nollycritic.com/oloture-the-journey-another-dull-sequel-that-never-arrives/) **Published:** July 3, 2024 **Author:** Uju Okosieme **Excerpt:** After much anticipation, the sequel to the 2020 Ebony Life Studios and Netflix collaboration, 'Oloture,' finally hit Netflix. **Content:** After much anticipation, the sequel to the 2020 Ebony Life Studios and Netflix collaboration, ‘[Oloture](https://www.imdb.com/title/tt31691317/ "Oloture"),’ finally hit Netflix. Expectations were high following the success of its predecessor and the cliffhanger ending. However, after watching ‘Oloture: The Journey,’ a limited series comprising three thirty-minute episodes, the verdict on whether it was worth our time remains uncertain. Let’s dive into it. ## *Oloture: The Journey* Directed by: Kenneth Gyang Produced by: Mo Abudu Genre: Crime Drama Released on: June 30, 2024 (Netflix) Language: English, Pidgin English, #### Plot The series picks up where the movie left off, with Ehi en route to Europe after narrowly escaping human traffickers. Her journey, however, takes unexpected turns as she fights for survival. Meanwhile, back in Lagos, pressure mounts on the human trafficking network from various fronts. This plot is a natural progression from the prequel, highlighting the ripple effects of Ehi’s actions. Unfortunately, the execution falls short. Character motivations are unclear, events seem to occur randomly, and the storyline lacks coherence. The plotline that suffered the most was Beauty’s; she managed to escape from the human trafficking ring, returned home, and yet still decided that another journey to Europe was her best course of action. #### Story The story introduced numerous unresolved situations, leaving us with more questions than answers. Tony faces pressure from Antonio, his human trafficking contact, for being short two girls. He also received threats from a rival trafficking network that attempted to kill Ehi and Peju, who managed to survive the incident. Alero is threatened by Sir Phillip who somehow killed Ehi’s colleague Emeka and got his hands on her notebook which has the entire story including the fact that he had raped her. By the series’ end, we know that Ehi and her traveling companions made it to the sea through the desert, but their journey to Europe remains uncertain. Tony appears to have resolved his immediate issues, yet this is just one piece of a larger puzzle. Additionally, Alero is now in direct contact with Antonio. None of the events at the end of the series feel like a resolution of any sort and there was also no climax, the story could have been better written. #### Performances Despite the shortcomings of the story, some actors deliver commendable performances. [Sharon Ooja](https://nollycritic.com/sabinus-and-sharon-ooja-star-in-moses-inwangs-dead-serious/ "Sharon Ooja") and Beverly Osu stand out as Ehi and Peju, respectively. Sharon Ooja’s portrayal of Ehi captures a constant look of fear, while Beverly Osu’s Peju exudes a confident yet scared demeanor. Both actresses convey deep emotion through their acting, making their suffering palpable even in moments of silence. Daniel Etim-Effiong convincingly portrays Tony, while Omoni Oboli’s performance as Alero is lackluster and arguably her weakest role. Stan Nze and Amara Onoh playing Ghanaians was an interesting choice. Stan Nze’s performance as Ben was unconvincing; it was unclear whether he was to portray a character of mixed Nigerian and Ghanaian heritage, and his established prominence as an actor did not contribute positively to his portrayal; casting an actual Ghanaian might have been more effective. On the other hand, Amara Onoh’s portrayal of Andrew was believable and well-executed. Bucci Franklin’s role as Silver Blade felt repetitive, eliciting no strong emotions. It was a performance we’ve seen from him multiple times, offering nothing new. Bukola Oladipupo’s portrayal of Beauty felt boring, likely due to the story rather than her acting abilities. #### Technical Aspects The location was impressive, offering spectacular views. The scene with the bus being shot at looked great, particularly the car flip and explosion after Ehi and Peju escaped. However, there were noticeable continuity errors. While revisiting a story years later can be challenging, the discrepancies in Ehi and Beauty’s hair in the first episode were too obvious to ignore. Despite these issues, it remains a nicely shot series. #### Final Thoughts When a character as pivotal as Emeka from the prequel dies, it’s crucial to provide viewers with clarity. Unfortunately, this plot point was handled poorly. By the end of episode two, it was evident the story was going nowhere, which was highly disappointing. After everything Ehi experienced in the previous movie, one would expect her to show more wisdom, but she remained surprisingly naive. While it’s understandable that she was thrust into a volatile situation, some character growth was expected given all she had seen and endured. Finally, we’re uncertain about the rationale behind releasing this sequel as a series, but we believe it would have fared better as a movie. #### Verdict The series ends on a cliffhanger, leaving room for a possible continuation, but it would be best if they just left it alone. It could have ended with the original movie. We give this 2 out of 5. ‘Oloture: The Journey’ is currently streaming on Netflix if you want to check it out. Rating: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/oloture-the-journey-another-dull-sequel-that-never-arrives/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/oloture-the-journey-another-dull-sequel-that-never-arrives/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/oloture-the-journey-another-dull-sequel-that-never-arrives/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/oloture-the-journey-another-dull-sequel-that-never-arrives/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/oloture-the-journey-another-dull-sequel-that-never-arrives/?share=linkedin) - **Categories:** Popular reviews, Reviews **Tags:** Beverly Osu, Mo Abudu, Netflix, Oloture, Oloture 2, oloture: The Journey, Reviews, Sharon Ooja --- ### [Nollywood Movies And Series To See This August](https://nollycritic.com/nollywood-movies-and-series-to-see-this-august/) **Published:** July 31, 2024 **Author:** Michael Arowoselu **Excerpt:** Summer is officially is officially here and so are the hottest Nollywood movies. Here are the Nollywood movies and series set to be released this August **Content:** Summer is officially is officially here and so are the hottest Nollywood movies. Brace up for Nollywood’s busiest month. From the highly anticipated Enioluwa Adeoluwa series, “All Of Us” to the Inkblot produced thriller, “The Betrayed,” here are the Nollywood movies and series set to be released this August. Oya, Let’s go! ##### *With Difficulty Comes Ease* – August 1 Nemsia Films opens up the month of August with Korede Azeez’s Social Drama, *With Difficulty Comes Ease*. The movie takes us on the compelling journey of Zainab, a resilient woman navigating the complexities of loss, tradition, and new beginnings. Uzoamaka Anuinoh plays the lead role as Zainab, supported by Michelle Dede, Caleb Richards and Many others. The film heads to Prime Video on August 1. ##### *The Betrayed* – August 2 Zulummoke Oyibo’s whodunit thriller, *The Betrayed* follows a woman whose husband’s alleged crime threatens to unravel their marriage. As trust is broken, who will she believe? The film stars Uche Montana, Gabriel Afolayan, Jemima Osunde, Ibrahim Suleiman, Adunni Ade, and Vine Olga. *The Betrayed* will be released in cinemas soon August 2, 2024. ##### *Criminal* – August 2 This crime drama follows a criminal gang’s plight to get urgent health care for their fallen gang member. *[Criminal](https://nollycritic.com/criminal-desperation-and-ethical-dilemmas-who-exactly-is-the-criminal/ "Criminal")* is directed by Dolapo Adigun and written by Niyi Akinmolayan and stars Funlola Aofiyebi-Raimi, Uzor Arukwe, Gbugbemi Ejeye, Chuks Joseph and Segun Arinze. *Criminal* is coming to Prime Video on August 2nd. ##### *Move Like A Boss* – August 9 To save her father’s company from the hands of his greedy siblings, Joko is left with no option but to become him and move like a boss! This film is directed by Ekene Mekwunye and stars Nancy Isime, Yemi Solade, Moyo Lawal, Denrele Edun, IK Ogbonna and many others. *Move Like A Boss* heads to cinemas on August 9. ##### *Something Like Gold* – August 16 Kayode Kasum’s 2023 comedy will grace our screens via Netflix after a healthy theatrical run. A woman finds herself rediscovering love after her life is turned upside down when she is left at the altar. As she faces the challenges of rebuilding her life, she must also cope with the seizure of her father’s wealth. Starring Sandra Okunzuwa, Kunle Remi, Teniola Aladese and Mercy Johnson-Okojie. The film heads to Netflix on August 16, 2024. ##### Chains – August 16 A Gospel Music Artist sets out on a journey to balance his Music Ministry and the Realities of the Music Industry, putting at risk all he’s built over the years while battling with a moral disease common to all humanity, but determined to live no longer a slave. Directed by Bright Wonder Obasi featuring Solomon Lange, Apst Tayo Christian, Chioma David, Anne Ekwueme, Naomi Mac, Flora Lange, Henry Ned, Apst Anslem Madubuko, Onos Ariyo and Jayclef Adewale. The film is set for cinemas across Nigeria from the 16th of August. ##### *Force Empire* – August 23 Uduakobong Patrick’s crime drama, Force Empire is oe of the most anticipated Nollywood movies set to be released this month. DCP Mfon is resolute in unmasking the perpetrator who raped and humiliated her protégé, ASP Halima, now traumatized and fearful. Despite fierce resistance from the top brass, she is determined to expose him and other corrupt officers tarnishing the force’s reputation. The film has an ensemble cast led by Nse Ikpe Etim and Richard Mofe-Damijo. Coming to cinemas across Nigeria and Ghana on August 23, 2024 ##### *All Of Us* – August 30 *[All of Us](https://nollycritic.com/?s=enioluwa)* begins streaming on YouTube this August. [Enioluwa Adeoluwa](https://www.imdb.com/name/nm9953093/bio/) making his producing debut, explores the intricate dynamics of secondary school life. The title will delve into themes like friendship, sexual assault, and the myriad challenges and victories of adolescence. The film features an ensemble cast of emerging talents and seasoned actors including Enioluwa Adeoluwa, Pricilla Ojo, Chioma Chukwuka, Shaffy Bello, Iyabo Ojo, Yemi Solade, Kate Henshaw, and Jemima Osunde, among others. The series *[All of Us](https://nollycritic.com/all-of-us-set-to-premiere-on-youtube-this-august/ "All of Us")* is written by Emmanuel ‘Mannie’ Oiseomaye and helmed by director Orire Nwani with Oluchi Nwofor. ##### *Tokunbo* – August 23 [Netflix](https://www.netflix.com/browse) has secured the distribution rights for *[Tokunbo](https://nollycritic.com/the-most-anticipated-nollywood-movies-of-2024/)*, an upcoming crime thriller directed by Ramsey Nouah. The film marks Nouah’s third directorial project, following his successful works *Rattlesnake: The Ahanna Story* (2020) and *Living in Bondage: Breaking Free* (2019). *[Tokunbo](https://nollycritic.com/ramsey-nouahs-tokunbo-to-premiere-on-netflix/ "Tokunbo")* centers on the intense journey of an ex-car smuggler who must race against time to save a kidnapped girl. The narrative delves into critical issues in Nigeria, such as kidnapping, political corruption, and the fight for survival, presenting a gritty portrayal of the nation’s darker side. The film boasts an impressive cast, including Gideon Okeke in the lead role, alongside Adunni Ade, Tosin Adeyemi, child actress Darasimi Nnadi, and Funlola Aofiyebi-Raimi. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/07/wp-1722438071056805134293301626595.jpg?resize=640%2C270&ssl=1)##### *Break of Dawn* – August 23 Under the cover of night, two masterminds get entangled in a dangerous game of survival where every choice is a gamble Who will outsmart the other before the “Break Of Dawn”? This crime drama is directed by Umanu Elijah and stars Kanayo O. Kanayo, Eve Irele, Jidekene Achufusi, Mike Ezerounye, Stan Nze and many others. Premieres in cinemas on August 23, 2024. ##### *The Weekend* – August 30 Daniel Oriahi’s Psychological Thriller, *The Weekend* drops the curtain for Nollywood’s August releases. The film delves into the complexities of in-law relationships while addressing political, social, and cultural trauma. The film features Bucci Franklin, Uzoamaka Aniunoh, Gloria Anozie, James Gardiner, Meg Otanwa, and Brutus Richards. *The Weekend* premieres in cinemas on August 30. Which of these Nollywood movies do you anticipate the most? Be sure to stay updated as we’ll add more Nollywood movies to this list. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-movies-and-series-to-see-this-august/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-movies-and-series-to-see-this-august/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-movies-and-series-to-see-this-august/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-movies-and-series-to-see-this-august/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-movies-and-series-to-see-this-august/?share=linkedin) - **Categories:** Movies **Tags:** August, Force Empire, Move Like A Boss, nollywood, nollywood movies, Something Like Gold, The betrayed, With Difficulty Comes Ease --- ### ["House of Ga'a": A Stately Drama Dressed as an Epic](https://nollycritic.com/house-of-gaa-a-brilliant-biopic-with-stellar-performances/) **Published:** July 30, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Following the success of Funmilayo Ransome-Kuti, Bolanle Austen-Peters' House of Ga'a, promised to elevate the genre with its grand historical backdrop. **Content:** Following the success of the biopic*[ Funmilayo Ransome-Kuti](https://nollycritic.com/funmilayo-ransome-kuti-o-god-of-israel-this-is-cinema/ " Funmilayo Ransome-Kuti")*, [Bolanle Austen-Peters](https://www.imdb.com/name/nm7480173/ "Bolanle Austen-Peters")‘ latest offering, *House of Ga’a*, promised to elevate the genre with its grand historical backdrop. Of course, we expected a new ride. A new ride on a higher horse. Anticipations were high for a film that would not only evoke profound emotions but also set a new benchmark in historical drama. However, while *House of Ga’a* engages with historical themes and storyline, it falls short of delivering the inspirational and immersive experience expected from such a promising premise. ## *House of Ga’a* Directed by: Bolanle Austen-Peters Written by: Tunde Babalola Genre: Historical Drama Released on: July 26, 2024 (Netflix) Language: Yoruba ##### Story In this historical action drama, *House of Ga’a* explores the turbulent reign of a ruthless kingmaker who ultimately faces downfall at the hands of his son. The film takes a distinctive approach by delving into the personal and familial aspects of Ga’a’s life. It uniquely centers on the “house” of Ga’a, offering a fresh narrative perspective that emphasizes the internal family dynamics as a central element contributing to his fall. This novel focus provides an intriguing and unconventional lens through which to view the historical figure’s story. ##### Plot Set in the ancient Oyo Empire, *House of Ga’a* chronicles the rise of Bashorun Ga’a, who gains prominence after a crucial military victory over the Nupe army. Appointed as Prime Minister by the Alaafin, Ga’a’s ascent seems unstoppable. However, his pursuit of power is complicated by his ambition and internal conflicts. As he strives to cement his authority, he encounters increasing resistance from the Oyo Mesi council and faces personal turmoil within his own family. The plot unfolds chronologically and fluidly, with a twist that, while somewhat predictable, does not significantly detract from the overall potential of the story. The motivation of the protagonist is later revealed which initially posed questions which was established in flashback. The narrative’s smooth progression maintains engagement despite the familiar turn of events. ##### Technical Aspects The film excels in crafting a believable setting and accurately depicting the period, showcasing the substantial investment in its production particularly with the location, set design and costumes. However, certain aspects, like the semi-realistic CGI, graphics choices, and visual effects for violence—such as blood and scarring—are less convincing. Despite the film’s portrayal of violence, it lacks the expected visual intensity and gore. Some of the props used in the film also appear very unrealistic and inconsistent with the setting of the film. However, a notable moment involves a spiritual encounter scene where the masquerade’s movements are intentionally lagged in post-production. This bit of creativity fuels the audience’s sense of the “spiritual” era the film is set in. It seemed like the most visually enticing part of the film. However, this choice, while creative, affects the scene’s overall impact and highlights questionable decisions in the visual effects, as the transition of Ga’a to an elephant and other CGI effects later appear unrealistic. ##### Performances The film is quite star-studded. It features the likes of Femi Branch in the lead role, Bimbo Manuel, Toyin Abraham, Femi Adebayo, Funke Akindele, Kevin Atobiloye, Tosin Adeyemi, Bridget Nkem, Muyiwa Ademola, Temilolu Fosudo, Bambam Olawunmi-Adenibuyan, Lateef Adedimeji, Olayode Juliana, William Benson, Adeniyi Johnson, Ibrahim Chatta, Jide JBlaze Oyegbile, Mike Afolarin, Toyin Oshinaike, Yemi Blaq, Kunle Coker, Seun Akindele, Ali Nuhu, Teddy A, Stanley ‘Stan Nze’ Nzediegwu, Gbenga Titiloye, Dele Odule, and Peju Ogunmola. Femi Branch delivers a standout performance as Bashorun Ga’a, embodying the character with intensity and depth. His portrayal is marked by a convincing display of physicality and emotional weight, particularly in scenes where his character is vulnerable and reliant on others. Branch’s dedication to making Ga’a’s predicament feel authentic is impressive. His background and experience in theatre add layers to his performance, making it multi-faceted and compelling. Tosin Adeyemi as Zeinab performs excellently, her experience in theatre clearly shining through. Her knowledge and expertise are evident in her nuanced and expressive performance. Funke Akindele’s performance(as Ayinba) is noteworthy as she breaks away from her usual comedic roles. The inclusion of both Toyin Abraham (as Edan Asiko, Ga’a’s sister) and Funke Akindele, in one film is interesting to look at. Especially given their well-known off-screen dynamics. While some audiences might have anticipated some on-screen tension or drama between them, the film strategically avoids this, which could be seen as a clever move by the casting team to manage expectations. Both actresses deliver solid performances, though a noticeable moment occurs when Toyin Abraham’s character is abruptly cut off mid-speech—a decision that seems to address her tendency for lengthy dialogues that slightly disrupts the flow. The rest of the cast delivers performances that meet expectations. Each actor demonstrates a solid understanding of their character and fulfills their roles competently. Lateef Adedimeji, in particular, provides a commendable performance. However, he is once again typecast as a comedic relief, albeit in a less exaggerated manner than in his previous roles. Despite this, the intention behind his character was to be unpredictable, but with the drama, his motivation is exposed. ##### Final Thoughts *House of Ga’a* attempts to reframe the historical tale of Bashorun Ga’a as an intimate drama rather than a traditional epic. This fresh angle offers an interesting perspective but the implementation does not fully capitalize on the potential for grandeur. While the film includes the historical downfall of Ga’a, its focus on personal and familial dynamics, which are not deeply explored, shifts it away from the expected epic narrative. The film’s approach is expansive and it doesn’t fully utilize it. It offers entertainment but lacks the emotional resonance one might expect from the perspective it even comes from. Despite incorporating essential dramatic elements, the film fails to engage on a profound emotional level. The familial and personal conflicts, while present, are not deeply felt or sufficiently explored. Some plot points appear underdeveloped or confusing, and certain conflicts could have been resolved through simple dialogue. On the good side, it was quite interesting to see women in a fight sequence, which is not commonly portrayed. However, despite the numerous fight scenes, they were unconvincing. The film’s portrayal of violence was not as impactful as expected. The believability of the violence was lacking. The swords used in the fight sequences appeared rigid and lacked the natural flow, making it evident that they were props typically used for theater. The actors tried to compensate by adding believability to the action, but the visual effect of the film is mostly unconvincing. This significantly detracted from the overall impact of the fight scenes and the film’s depiction of violence. ##### Verdict Ultimately, *House of Ga’a* delivers a moderate viewing experience. While it may captivate viewers with its historical context and dramatic moments, it falls short of creating a compelling emotional journey. The film’s focus on personal dynamics with epic background was a good opportunity that wasn’t well explored for intensity. *[House of Ga’a](https://nollycritic.com/house-of-gaa-new-yoruba-epic-gets-netflix-release-date/ "House of Ga'a")* is available on [Netflix](https://www.netflix.com "Netflix"). **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/house-of-gaa-a-brilliant-biopic-with-stellar-performances/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/house-of-gaa-a-brilliant-biopic-with-stellar-performances/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/house-of-gaa-a-brilliant-biopic-with-stellar-performances/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/house-of-gaa-a-brilliant-biopic-with-stellar-performances/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/house-of-gaa-a-brilliant-biopic-with-stellar-performances/?share=linkedin) - **Categories:** Movies, Popular reviews, Reviews **Tags:** Adeniyi Johnson, Ali Nuhu, Bambam Olawunmi-Adenibuyan, Bimbo Manuel, Bolanle-Austen Peters, Bridget Nkem, Dele Odule, Femi Adebayo, Femi Branch, Funke Akindele, Gbenga Titiloye, House of Gaa, Ibrahim Chatta, Jide ‘JBlaze’ Oyegbile, Kevin Atobiloye, Kunle Coker, Lateef Adedimeji, Mike Afolarin, Muyiwa Ademola, nollycritic, nollywood, Olayode Juliana, Seun Akindele, Stanley 'Stan Nze' Nzediegwu, Teddy A, Temilolu Fosudo, Tosin Adeyemi, Toyin Abraham, Toyin Oshinaike, William Benson, Yemi Blaq --- ### [Story So Far: Funke Akindele - Nollywood's Most Bankable Filmmaker](https://nollycritic.com/story-so-far-funke-akindele-nollywoods-most-bankable-filmmaker/) **Published:** August 23, 2024 **Author:** Shalom O. Obisesan **Excerpt:** What sets Funke Akindele apart is not just her on-screen charisma but her astute business acumen and fearless approach to filmmaking. **Content:** [Funke Akindele](https://en.wikipedia.org/wiki/Funke_Akindele "Funke Akindele"), often fondly referred to as “Jenifa,” is one of Nigeria’s most celebrated actresses and filmmakers. Her journey in the entertainment industry has been one of remarkable growth, resilience, and innovation. From her early days on television to becoming a dominant force in Nollywood, Funke’s story is one of dedication and passion. What sets Funke Akindele apart is not just her on-screen charisma but her astute business acumen and passion for filmmaking. As the creative mind behind some of Nollywood’s highest-grossing films, she has transformed from the beloved “Jenifa” into one of Africa’s most bankable filmmakers. Her evolution from actress to an industry titan is a story of embracing innovation and redefining what it means to succeed in Nollywood. Every project she touches turns into a cultural phenomenon, making her a true trailblazer in African cinema. ##### Early Beginnings: A Star in the Making Born on August 24, 1977, in Ikorodu, Lagos State, Funke Akindele began her career in the mid-1990s, making her mark in the popular United Nations Population Fund (UNFPA) sponsored TV series *I Need to Know* (1998-2002). This educational series aimed at promoting sexual health awareness among Nigerian youth, and Funke played the role of Bisi, a curious and intelligent teenager. The show was a success, and Funke’s performance as Bisi endeared her to many viewers, laying the foundation for her future career. ##### Rising to Prominence: The Jenifa Phenomenon Funke’s breakthrough came with the 2008 movie *Jenifa*, a comedy-drama that she both wrote and starred in. *Jenifa* tells the story of a village girl with big dreams who relocates to the city in pursuit of higher education, only to face challenges that reshape her life. The film’s success was unprecedented, earning Funke widespread acclaim and leading to a sequel, *Jenifa 2*, and eventually the hugely popular TV series *Jenifa’s Diary* (2015- present). *Jenifa* not only cemented her status as a leading actress but also showcased her talent as a writer and producer. ##### Expanding Horizons: Directing and Producing Building on her success with *Jenifa*, Funke Akindele began to explore other facets of filmmaking. She transitioned from acting to directing and producing, becoming a multi-talented powerhouse in the industry. Some of her notable works include *Omo Ghetto: The Saga* (2020), a sequel to her earlier hit *Omo Ghetto*, which became the highest-grossing Nigerian movie of all time. Other works include *Your Excellency* (2019), *Battle on Buka Street* (2022), and *She Must Be Obeyed* (2023), each of which showcases her versatility and ability to tell diverse stories. ##### Not Just an Actress: Funke as a Writer and Director [Funke Akindele](https://nollycritic.com "Funke Akindele")‘s skills go beyond acting. She has written and directed several films and TV series, further establishing her as a creative force. Her writing credits include *A Tribe Called Judah* (2023), *Battle on Buka Street* (2022), and *Omo Ghetto: The Saga* (2020). These works highlight her ability to create compelling narratives that resonate with a wide audience. As a director, she has also helmed projects like *A Tribe Called Judah* (2023), *She Must Be Obeyed* (2023), and *Omo Ghetto: The Saga* (2020). Each of these projects has been well-received, further proving her mettle behind the camera. ##### A Producer with a Vision In addition to writing and directing, Funke Akindele has also made a significant impact as a producer. Her first production company, ***SceneOne Productions***, which she co-founded with her estranged husband, Abdulrasheed Bello (JJC Skillz), has been behind several successful projects. The production house brought to life iconic projects like *Jenifa’s Diary*, which solidified Akindele’s status as a household name in Nollywood; including *Aiyetoro Town* (2019), and *Industreet* (2017). She also produced films like *The Return of Jenifa* (2011), and *Omo Ghetto* (2010) under this same company name. SceneOne Productions was pivotal in her early success. Through SceneOne Productions, Funke provided opportunities for upcoming talents, further contributing to the growth of Nollywood. However, the dissolution of her marriage in 2022 led to significant disruptions at SceneOne Productions. The company’s operations were temporarily halted, affecting the online airing of *Jenifa’s Diary* and leaving many subscribers dissatisfied. The shift to another platform without resolving issues with existing subscribers sparked controversy, and for a while, it seemed like the challenges might overshadow her contributions to the industry. Despite those setbacks, Akindele has proven her resilience. In 2023, she launched the *Funke* (Ayotunde) *Akindele Network (FAAN)*. Through FAAN, Akindele aims to redefine filmmaking and production in Nigeria, embracing a holistic approach that includes not only film production but also public relations and media strategy. FAAN has already produced notable projects, including *Battle on Buka Street* (2022), and *A Tribe Called Judah* (2023). Funke Akindele’s resilience and vision have paid off remarkably. And she has been breaking her streaks. According to a report from the International Centre for Investigative Reporting (ICIR), she dominated the Nigerian box office for three consecutive years. *Omo Ghetto the Saga*, released in 2020, grossed ₦636 million, followed by *Battle on Buka Street*, which grossed ₦668 million in 2022. Her latest win, *A Tribe Called Judah*, released in December 2023, broke the record for the highest-grossing Nollywood film ever, with a staggering ₦780 million at the box office. The film also set a new benchmark, earning over ₦113 million in its first opening weekend. ##### Acting Career: A Diverse Portfolio While Funke has expanded her horizons, she has never strayed far from her roots as an actress. Over the years, she has appeared in a wide range of films and TV series. Her roles have ranged from comedic to dramatic, and she has proven time and again that she can handle any character with ease. Some of her most memorable performances include roles in *Maami* (2011), where she played the titular role of a mother, *Chief Daddy* (2018), *Moms at War* (2018), and *Far From Home* (2022). Her recent performances in *A Tribe Called Judah* (2023), *No Way Through* (2023), and *House of Ga’a* (2024) further demonstrate her ability to evolve and adapt to new character spectrums in the industry. ##### Awards and Recognition Funke Akindele, one of Nigeria’s most prominent actresses and filmmakers, has received numerous awards and recognitions throughout her career, solidifying her status as a leading figure in the Nollywood industry. Some of her notable accolades include: - **Africa Magic Viewers’ Choice Awards (AMVCA)**: Funke Akindele holds the record for the most wins at the AMVCA, a testament to her exceptional contributions to television and film. She has won awards in categories such as Best Actress in a Comedy. - **Special Achievement Award (2023)**: At the Silverbird Man of the Year Awards, she was honored with a Special Achievement Award, recognizing her significant impact on the Nigerian entertainment industry. - **Hollywood Reporter’s List of 40 Most Powerful Women in International Film (2024)**: Funke was recognized by The Hollywood Reporter as one of the most powerful women in international film, celebrating her influence in bringing African stories to a global audience. - **Africa International Film Festival (2023)**: She was named a Globe Award Honoree at this prestigious event. - **Nigeria Entertainment Awards** Best Actress of the Year (2009): Funke won this award for her performance in *Jenifa*. Best Lead Actress in an Indigenous Language (2012): She was recognized for her role in *Maami*. - **African Movie Academy Awards (AMAA)** Best Actress in a Leading Role (2009): Funke received this award for her performance in *Jenifa*. Akindele has also been honoured with the Nigeria Entertainment Awards, Best of Nollywood Awards, and the Africa Movie Academy Awards (AMAA). Notably, she won Best Actress in a Leading Role at the 2020 AMAA for *Omo Ghetto: The Saga*. Additionally, her work earned her the Africa International Film Festival (AFRIFF) award for Best Producer in 2021 and the Nigerian Women Achievement Award in 2022. In addition to these awards, her movies consistently break box office records in Nigeria. For instance, her film *A Tribe Called Judah* became the highest-grossing Nollywood movie of all time, grossing over $1.2 million. In addition to her awards in acting, Funke has been celebrated for her contributions as a producer and director. Her ability to bring stories to life, whether through her writing, acting, or directing, has earned her a special place in the hearts of many fans and colleagues. ##### A Legacy in the Making Funke Akindele’s journey in Nollywood is far from over. With each new project, she continues to push the boundaries of Nigerian cinema, creating content that is both entertaining and impactful. Her work has inspired a new generation of filmmakers and actors, and her influence on the industry is undeniable. As she continues to expand her repertoire, there is no doubt that Funke Akindele’s legacy will endure. From her early days as Bisi in *I Need to Know* to her current status as one of Nollywood’s most influential figures, Funke’s journey so far is a testament to her talent, determination, and vision. Her story is a beacon of hope and a source of inspiration for aspiring actors, writers, and filmmakers, proving that with passion and perseverance, the sky is truly the limit. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/story-so-far-funke-akindele-nollywoods-most-bankable-filmmaker/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/story-so-far-funke-akindele-nollywoods-most-bankable-filmmaker/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/story-so-far-funke-akindele-nollywoods-most-bankable-filmmaker/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/story-so-far-funke-akindele-nollywoods-most-bankable-filmmaker/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/story-so-far-funke-akindele-nollywoods-most-bankable-filmmaker/?share=linkedin) - **Categories:** Articles, Blog, Story So Far **Tags:** Funke Akindele, nollycritic, nollywood, Story So Far --- ### [Tokunbo: Another Crime Thriller That is Far From Thrilling](https://nollycritic.com/tokunbo-a-low-stakes-crime-thriller-with-predictable-twists/) **Published:** August 26, 2024 **Author:** Uju Okosieme **Excerpt:** When Tokunbo, the third directorial venture from Ramsey Nouah, came onto our radar, the gripping poster instantly captured our attention. **Content:** When *[Tokunbo](https://www.imdb.com/title/tt32324146/?ref_=ttexr_ov "Tokunbo")*, the third directorial venture from Ramsey Nouah, came onto our radar, the gripping poster instantly captured our attention. It’s been a while since we’ve seen a movie from Ramsey Nouah, and given the success of his last two films—propelled by nostalgia—we were eager to see what he would deliver with an entirely original story. ## *Tokunbo* Directed by: Ramsey Nouah Written by: Todimu Adegoke/Thelca Uzozie Genre: Crime Thriller/Road Drama Released on: August 23, 2024 (Netflix) Language: English ##### Plot The film follows an ex-car smuggler (Tokunbo) who has just three hours to deliver a government official’s daughter to her captor, or else his family will face dire consequences. The plot is straightforward, with the main threads revolving around Nike’s kidnapping, Tokunbo’s son’s health crisis, Shade’s cryptocurrency bill that’s stirring up trouble, and the connection between Raymond and Aziba. ##### Story Based on its premise, *[Tokunbo](https://nollycritic.com/tokunbo-see-the-teaser-for-ramsey-nouahs-crime-thriller/ "Tokunbo")* ticks all the boxes for a high-stakes crime thriller. The opening scene was quite intriguing. Unfortunately, as soon as the story pulls you in, it doesn’t take long to figure out the major twists. Despite a runtime of an hour and fifty-two minutes, the film drags at certain points, possibly due to its predictability and plotholes., weak script, and poor dialogue. The plot gave room for so many inconveniences. And we are left with numerous questions. For example, If Iya Mulika had the balls to kill Gaza why didn’t she wait till the big fight to do so? She had multiple opportunities to get rid of him after she was sexually assaulted but she chose to do it to save Tokunbo. What’s her real connection to Tokunbo? Why can’t Shade postpone her announcement to save her daughter? What exactly was Raymond up to? Where did the police get a studio picture of Tokunbo clad in his current clothes from? How Is Shade comfortable with Tokunbo as her driver, especially after endangering her life multiple times? and so many more. ##### Performances [Gideon Okeke ](https://nollycritic.com/big-brother-naija-stars-from-reality-tv-to-nollywood/ "Gideon Okeke ")delivers the best performance of his career so far as Tokunbo. Child actor, Darasimi Nadi excels as Nike. Funlola Aofiyebi as Shade performs as the “Iron Lady” that we’ve come to expect from her. While her estranged husband, Bankole appeared out of place. It was also a treat to see Ivie Okujaiye and Majid Michel back on screen as Aziba and Raymond, respectively but their characters are just another means to fill up some of the film’s loopholes. Furthermore, Chidi Mokeme’s portrayal of Gaza, whilst commendable, is just a scar away from reprising the character of Scar in Shanty Town. Adunni Ade appeared way too posh for her character of Iya Mulika, her appearance (even with the makeup) and diction are a strong contrast to her character – “My restaurant day here” What kind of local Yoruba street food seller uses this diction? Nobert Young seemed very uninterested in his role as the officer in charge of the investigation. Other extras do little or nothing to help the film ##### Technical Aspects Kudos to the D.0.P and Editor for a well-executed film look that matches the film’s tone. The dark, gritty, and sweaty images also accentuate the film’s genre. The stunts and vfx employed in the film are apt. We also appreciated the thoughtful integration of music, such as the song “Living in Bondage” by Prettyboy D-O, which enhanced the montage scene following Tokunbo’s unsuccessful visit to Gaza. However, there were too many quick cuts and jump cuts, especially in dialogue-driven scenes. The continuity in the film is extremely poor – from crew members taking bts pictures/videos to production equipment being visible on screen. This is not what we expect to see in a film of this scale. The film had a large number of outdoor scenes and it is quite surprising that there were little or no sound bites, background sound, and sound effects. The Baritone voice-over for Raymond felt a bit cringy and off-putting, while we understand the intention, it doesn’t seem well executed. The scene in which Shade announces her plans with her a cabinet is a letdown, as it appears visually and dramatically unrealistic – The practical lights appear to be off and the key light is from the open window (sun), this is abnormal for a Nigerian setting. There was no need for camera movement as it distracts the viewers from the dialogue. and the jump cut to other scenes made it seem like a montage. ##### Final Thoughts For a thriller, *Tokunbo* makes a boring watch. It is riddled with continuity problems, bad acting, and unrealistic situations. Tokunbo as a character lacks a strong emotional connection with his family, and it was hard to root for him. There is nothing substantial about the conflict between Shade and Raymond. Tokunbo is by far one of the most audacious Nollywood films we have seen this year. The film producers pushed so many interesting boundaries but they neglected the basic aspects of filmmaking. It is a shame that all the good work is tainted by avoidable rookie mistakes. On a side note, We couldn’t help but notice that *Tokunbo* felt like a merged gritty version of the earlier-released 2024 movies [*Muri and Ko*](https://nollycritic.com/muri-and-ko-biodun-stephens-satirical-comedy-offers-a-much-needed-comic-relief/ "Muri and Ko: A Satirical Comedy Full of Good Laughs") and *[Saving Onome](https://nollycritic.com/saving-onome-a-tale-of-love-and-sacrifice-marred-by-fall-flat-narrative/ "Saving Onome")*. ##### Verdict The film lacked the action and thrill needed for the genre. The death of Tokunbo’s son left us feeling like everything in the film was for nothing, which is never a good takeaway. The ending was too convenient, though it wasn’t surprising—Nollywood does love a happy ending. Overall, you will find this film enjoyable if you choose to ignore its flaws. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/tokunbo-a-low-stakes-crime-thriller-with-predictable-twists/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/tokunbo-a-low-stakes-crime-thriller-with-predictable-twists/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/tokunbo-a-low-stakes-crime-thriller-with-predictable-twists/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/tokunbo-a-low-stakes-crime-thriller-with-predictable-twists/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/tokunbo-a-low-stakes-crime-thriller-with-predictable-twists/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Popular reviews, Reviews **Tags:** Chidi Mokeme, Gideon Okeke, Movie Review, Netflix, nollycritic, nollywood, Ramsey Nouah, Tokunbo --- ### [Nollywood Movies And Series To See This October 2024](https://nollycritic.com/nollywood-movies-and-series-to-see-this-october-2024/) **Published:** October 1, 2024 **Author:** Michael Arowoselu **Excerpt:** I know we are still basking in the euphoria of the last three Nollywood movies that September left behind but Nollywood has so much more to offer this October! **Content:** Happy new month Nollywood fam! I know we are still basking in the euphoria of the last three Nollywood movies that September left behind but Nollywood has so much more to offer this October! Rom-coms, thrillers, dramas, comedy, horror, October has them all! Without further ado, here is a monthly calendar of Nollywood titles on our radar this October. Oya now, let’s go! ##### *Life and Dirt* – October 3 Bovi Ugboma’s *Life and Dir*t officially kicks off the Month of October. The crime thriller was initially scheduled to. It was released in September but was pushed to this month at the last minute. The James Alabi-directed flick follows two men who plot a get-rich-quick scheme, but there are obstacles. The film stars; Chidi Mokeme, Bovi Ugboma, Shaffy Bello, Dorcas Shola-Fapson, Idia Aisen, Uzor Arukwe, Kanayo O. Kanayo, and many others. *Life and Dirt* premieres on October 3 via Prime Video this October. ##### *The Smart Money Woman* – October 10 Created by Arese Ugwu, the series follows a group of stylish, ambitious best friends in Lagos as they navigate life, love, careers, finances, scandals, and dreams of success. The second season, directed by Bunmi Ajakaiye and Wande Thomas, is co-produced by Kemi Lala Akindoju, Akintunde ‘MARINE’ Marinho, and Isoken Ogiemwonyi. The script was co-written by Arese Ugwu, Mannie Oiseomaye, and Eyo Emmanuel. In this new season, Zuri is on a journey of financial discipline but struggles to stay on course. Adesuwa deals with the fallout of a bitter divorce while trying to co-parent with her unreliable ex, Soji. Lara’s life spirals, with both work and family falling apart, and Tami faces the challenge of balancing her blossoming business and love life. Season two also stars Timini Egbuson, Eso Dike, Seun Ajayi, Tania Omotayo, Enyinna Nwigwe, Eku Edewor, Tobi Bakre, Bolanle Olukanni, Jesse Suntele, Tania Omotayo, Oshuwa Tunde Imoyo, Bobby Ekpe, and Femi Branch. It introduces fresh faces like NicoleIkot, Oladozie Olawaiye, Shamz Garuba, and Adunolaoluwa Osilowo. *The Smart Money Woman* premieres on October 10 via YouTube. ##### *A Night in 2005* – October 11 Temidayo Abudu Makanjuola will make her big screen debut with the drama, *A Night in 2005*. Set in 2005, the story unravels one fateful night when everything changes in the blink of an eye. It’s a gripping drama that explores themes of love, friendship, and family. The film cast Ini-Dima Okojie, Teniola Aladese, Efa Iwara, Ireti Doyle, Bimbo Akintola, Uzoamaka Aniunoh, Taye Arimoro, Demi Banwo, Shamz Garuba, Susan Pwajok and more. The film will be in the cinemas on the 11th of October. ##### *Inside Life* – October 11 Created by Award-winning music director, Clarence A Peters and Written by AMVCA nominee, Olumide Kuti alongside Tonia Chukwurah Set against the stark backdrop of incarceration, *Inside Life* delves deep into the lives of individuals navigating the harsh realities of prison existence. Through a series of compelling narratives, the show explores the complexities of human nature, offering an unflinching portrayal of the diverse personalities from hardened criminals to those wrongfully accused. With a powerful ensemble; Gabriel Afolayan, Meg Otanwa, Scarlet Gomez, Zack Orji, and Jide Kosoko, among others, *Inside Life* will stream on Netflix from the 11th of October, 2024. ##### The Uprising: *Wives on Strike* – October 18 Omoni Oboli’s *Wives on Strik*e returns to the big screen in a third installment, *The Uprising: Wives On Strike.* The film follows an honor graduate, who is kidnapped upon returning home. Driven by vengeance, his mother embarks on a bloody quest to rescue him, plunging into a violent and horrible ordeal. The film brings back the original cast – Omoni Oboli, Uche Jombo, Ufuoma McDermott and Chioma Akpotha, alongside veteran actress Hilda Dokubo, Tomiwa Tegbe, Segun Arinze, Kalu Ikeagwu, Julius Agwu, Emeka Okoye, Bukunmi “Kie Kie” Adeaga and Okey Bakassi. *The Uprising: Wives On Strike.* will premiere in cinemas on October 18, 2024 ##### *3 Working Days* – October 18 Jerry Ossai joins Omoni Oboli with *3 Working Days* for a double release date. *3 Working Days* follows a father’s quest to provide for his family while dealing with Nigeria’s cash scarcity crisis. Ossai dives into this film with a story about a father who makes the ultimate sacrifice for his son. Directed by Ossai and distributed by Filmone Entertainment, the film features Detola Jones, Linda Osifo, Tobi Makinde, Deyemi Okanlawon, Nancy Isime, Uzor Arukwe, Romeo WJ, Tobi Makinde, Mike Afolarin, Femi Adebayo, Victor Osuagwu, Bolaji Ogunmola, Seun Kentebe, Odunaro Emmanuel, Mike Ezeruonye, and Gbugbemi Ejeye. *3 Working Days* will premiere in cinemas on October 18, 2024. ##### *Hijack 93* – October 25 Based on the actual event, “[Hijack ‘93](https://en.wikipedia.org/wiki/1993_Nigerian_Airways_hijack "Hijack ‘93")” will depict the story of a plane hijack carried out by four Nigerian teenagers under the banner of “Movement for the Actualisation of Democracy” (MAD). These teenagers allegedly hijacked an airplane in transit to Abuja from Lagos. The plane hijackers had demanded that MKO Abiola be reinstated as the President of Nigeria as Nigeria was in talks of transforming into a civilian rule after decades of military rule. The boys were caught, imprisoned, and later released. Directed by Robert O. Peters, *Hijack ‘93* stars Jemima Osunde, Nancy Isime, Efa Iwara, Sharon Ooja, Ego Nwosu, John Dumelo, Nnamdi Agbo, Allison Emmanuel, Yakubu Muhammed, and Sani Muazu. *Hijack 93* will stream on Netflix from the 25th of October, 2024. ##### *Soft Love* – October 25 Holmes Awa’s romantic comedy, *Soft Love* is produced by Nemsia Studios. “Soft Love” is a romantic comedy film starring Zandi Jele, a South African relationship expert, who regains hope after being dumped and discovering her gay fiancé’s identity. The film stars; Efa Iwara, Dorcas Shola-Fapson, Genoveva Umeh, Carol King, Rosemary Zimu, and many others. *Soft Love* will stream on Prime Video from the 25th of October, 2024. ##### The Men’s Club: Next-Gen – October 30 *The Men’s Club* is a Nigerian web series created and directed by Tola Odunsi. The series follows the lives of four male friends—Aminu Garba, Louis Okafor, Tayo Oladapo, and Lanre Taiwo—as they navigate the intricacies of relationships, careers, and personal growth in contemporary Nigerian society. This web series with four instalments began the debut of its first series in 2018. *The Men’s Club Season* 5 features the likes of Etim Effiong, Efa Iwara, Tope Olowoniyen, Pere Egbi, Baaj Adebule, Adebukola Oladipupo, Folu Storms, Chuks Joseph, Detola Jones, Sag Adeolu, Tracey George, Chiamaka Obi and many others. *The Men’s Club* is set to release its fifth series this 30th October on Prime Video Naija. Which of these Nollywood movies do you anticipate the most? Stay updated as we’ll add more Nollywood movies to this list. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-movies-and-series-to-see-this-october-2024/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-movies-and-series-to-see-this-october-2024/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-movies-and-series-to-see-this-october-2024/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-movies-and-series-to-see-this-october-2024/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-movies-and-series-to-see-this-october-2024/?share=linkedin) - **Categories:** Articles, Movies, Nollywood **Tags:** 3 Working Days, A Night in 2005, film, Hijack 93, Inside Life, Life and Dirt, Netflix, nollycritic, nollywood, nollywood movies, Prime Video, The Uprising: Wives on Strike --- ### [Lisabi The Uprising: An Ambitious Epic Weighed Down by CGI](https://nollycritic.com/lisabi-the-uprising-an-ambitious-epic-weighed-down-by-cgi/) **Published:** September 28, 2024 **Author:** Shalom O. Obisesan **Excerpt:** lisabi The Uprising, directed by Niyi Akinmolayan is a historical epic that depicts the struggle of Lisabi Agbongbo-Akala, a resourceful Egba farmer **Content:** Anticipation loomed over *[Lisabi: The Uprising](https://www.imdb.com/title/tt33255000/ "Lisabi: The Uprising")*, the inaugural installment of a two-part release. While the film triumphs in delivering a narrative steeped in cultural authenticity, commendable performances, and striking cinematography, it falters due to uneven pacing, heavy reliance on disappointing CGI, and a lack of emotional resonance in pivotal moments. Given these shortcomings, our enthusiasm for the sequel remains tempered; we question whether the follow-up can transcend the narrative and technical missteps that marred its predecessor. ## *Lisabi: The Uprising* Directed by: Niyi Akinmolayan Written by: Niyi Akinmolayan/Yinka Olaoye Genre: Epic Drama Released on: September 27, 2024 (Netflix) Language: Yoruba ##### Story *Lisabi: The Uprising*, directed by Niyi Akinmolayan, is a historical epic that depicts the struggle of Lisabi Agbongbo-Akala, a resourceful Egba farmer. The film, steeped in rich cultural narratives, portrays the power dynamics between rulers and the ruled while attempting to portray themes of unity, courage, and resistance against tyranny. The narrative deftly explores themes of injustice, resilience, and the fight for freedom, showcasing Lisabi’s journey as he navigates personal and communal struggles. As an adaptation of a historical event, *Lisabi: The Uprising* seeks to capture the essence of the resistance led by Lisabi against the injustices of the time. However, while the film pays homage to the events surrounding the Egba people’s fight for independence, it takes considerable creative liberties that occasionally blur the lines between historical fact and dramatization; a narrative that is more symbolic than factual. This approach, as producer Lateef Adedimeji suggested in a [VON article](https://von.gov.ng/nigerian-filmmaker-to-embark-on-multimillion-naira-movie-project/ "VON article"); “is less about strict historical accuracy and more about conveying the essence of resistance and cultural pride”. While engaging, this approach may detract from the authentic representation of Lisabi’s legacy, though not necessarily to the film’s detriment. ##### Plot The film opens with King Olodan being brutally punished for refusing to pay exorbitant tributes to the Alaafin, a clear representation of the tyrannical regime that terrorizes the Egba. As the tribute collectors, led by the merciless Sangodeyi, inflict cruelty and fear upon the Egba community, Lisabi witnesses the suffering of his people and feels compelled to act. With a blend of courage and strategic acumen, he rallies his fellow farmers, to face and fight the oppression. However, the plot is marred by a fundamental issue in the script, where characters lack depth and are not adequately developed. The theme of an uprising, which should evoke strong emotions, falls flat, particularly in Lisabi’s character arc. His transformation from a concerned witness to a leader of rebellion is poorly fleshed out. Osokenu, in himself, presents a more compelling case for a lead, given his overt rage against the oppressive tribute warriors. Yet, even his character falls into disbelief; suddenly becoming capable of single-handedly killing ten of Sangodeyi’s men, despite being portrayed as a lazy farmer. There is no clear progression or explanation for this shift, making it hard to suspend disbelief or accept this narrative arc. The film’s structure suffers further from uneven pacing, poor sense of time, and an excessive use of slow-motion scenes, creating an experience that drags. This results in key moments lacking the urgency they need, while repetitive sequences contribute to a sense of monotony. As a result, audiences may find themselves disengaged and tempted to fast-forward through parts of the film. ##### Performances The cast is undeniably star-studded, featuring a lineup of some of Nollywood’s finest. However, despite the stellar cast, the familiarity of the actors presents a recurring issue in Yoruba epics. We often see the same faces in these films, creating a sense of repetition that can dull the impact of their performances. One could almost feel as though they’ve seen the film before simply due to the repetitive casting. Veteran actress Margaret Bandela Olayinka (Iya Gbonkan) delivers a memorable performance in a role that resonates with her well-known screen persona, evoking an almost humorous yet unsettling portrayal of spiritual wickedness infused with evil. Adebowale “Debo” Adedayo (Mr. Macaroni) and Roseline Afij (Liquorose), both showcase their versatility in this film. Mr. Macaroni has proven to be a talent to be reckoned with. As a content creator known for his skits, he has added to his repertoire of titles, actor. His nuanced performance as Osokenu, especially, stands out, creating a character whose emotional journey resonates with the audience. Liquorose also, despite not being Yoruba, impresses as Abebi, showcasing her versatility. From a dancer, and social media personality, to an actress. She convincingly inhabited the role. [Lateef Adedimeji](https://nollycritic.com/lateef-adedimeji-unveils-two-part-netflix-epic-biopic-lisabi-celebrating-yoruba-heroism/ "Lateef Adedimeji")’s performance as the titular character, whilst brilliant, suffers from the script’s shortcomings. His portrayal of Lisabi, though earnest, fails to resonate emotionally with the audience due to weak character development. The script doesn’t fully allow us to experience the gradual build-up of his anger and resolve, leaving a disconnect between the audience and his character’s motivations. Although Adedimeji brings the necessary strength to the role, the emotional essence of Lisabi’s leadership feels underdeveloped and fails to engage viewers as deeply as intended. Ibrahim Chatta, as the ruthless tribute collector Songodeyi, is simply unmatched. His energy radiates pure intensity, delivering a gripping portrayal that immerses the audience in the character’s malevolence. Chatta infuses the role with such life, suspense, and power that he leaves no room for improvement—he completely owns the character. He surpasses expectations, offering a chilling depiction of oppression. Odunlade Adekola, Adebimpe Oyebade Adedimeji, Jide Awobona, Muyiwa Ademola, Gabriel Afolayan, Olumide Oworu, Jide Kosoko, Femi Adebayo, and Boma Akpore round out the ensemble with commendable performances that enhance the film’s impact. It’s a cast stacked with talent, each actor contributing to the film’s emotional and narrative complexity. The film’s focus on the Yoruba language and traditions is commendable, but the delivery of the Egba Yoruba language by some actors lacks accurate authenticity. This disparity in language fluency detracts from the character’s authenticity, making it difficult for viewers to immerse themselves in the world fully the film aims to portray. ##### Technical Aspects In terms of production scale, the film is a commendable feat for Nollywood. With a budget surpassing 200 million naira and a cast of over 3,000 [(Business Day NG](https://businessday.ng/uncategorized/article/all-nigerian-crew-on-lisabi-challenges-nollywoods-reliance-on-foreign-expertise/ "(Business Day NG")), *Lisabi: The Uprising* aspires to set a new benchmark in the industry. The sound design and score/music are commendable, enhancing emotional moments with traditional Yoruba instruments and songs. The production design is another commendable aspect. The filmmakers excel in crafting an immersive world through well-chosen locations, authentic sets, costumes, and props, except for the shortcomings in CGI. Notably, the setting was built entirely from scratch, showcasing the team’s dedication to authenticity. Every detail reflects an effort to portray the historical period convincingly, contributing to a believable film world. The composition of scenes, reminiscent of Niyi Akinmolayan’s style, mirrors what we see in *Anikulapo: Rise of the Sceptre*, with careful attention to blocking and mise-en-scène of extras. This thoughtful arrangement of cast and crew enhances the film’s visual authenticity, grounding the environment in a way that feels real and tangible. The Directors of Photography: Barnabas Emordi and Nora Awolowo; and Niyi Akinmolayan’s team, deserve credit for managing to create a visually compelling film, particularly with impressive costume choices that outshine those in [*House of Ga’a*.](https://nollycritic.com/house-of-gaa-a-brilliant-biopic-with-stellar-performances/ "House of Ga'a.") Yet, the execution falters in areas such as CGI, which is quite underwhelming and disappointing for a project of this scale. The excessive use of slow motion further detracts from the pacing, leaving viewers yearning for more dynamic storytelling. The excessive use of CGI especially in the third act of the film takes away much of the authenticity and realism built up in the first and second acts. Despite these visual shortcomings, the cinematography stands out, capturing the vibrant landscapes and intense battle sequences with a keen eye for detail. ##### Final Thoughts *Lisabi: The Uprising* is a commendably ambitious film that attempts to merge cultural authenticity with a global appeal, yet its heavy reliance on CGI exposes a gap between its lofty aspirations and technical execution. The CGI, particularly in key scenes incorporating *jùjú* and spirituality appeared disproportionate and out of place, undermining the visual impact despite the wealth of CGI talent available in Nigeria. Large-scale productions often face technical challenges, and Lisabi is no exception. While it is difficult to determine the exact influence Netflix had on the film, it is reasonable to assume that the pressure to meet international standards may have affected the storytelling. Released on Netflix, a platform known for high international standards, the inconsistencies in the CGI are more apparent, suggesting that pressures to meet these expectations may have influenced both the technical and narrative aspects of the film. As Nollywood continues to expand globally, finding a balance between creative integrity and the commercial demands of platforms like Netflix will be crucial. The film’s emotional impact falters in key moments, such as Lisabi’s rallying speech, which fails to resonate due to both cinematographic choices and Lateef Adedimeji’s portrayal. Scenes that should evoke a strong emotional response, like the struggles of Osokenu and Abebi, are less impactful than intended, leading to an overall emotional disconnect. This is more of a story development problem. Additionally, while the film heavily focuses on Yoruba culture, language, and traditions, the delivery of the Ẹgba-Yoruba language by some actors lacked authenticity, which slightly detracted from the film’s cultural representation the film attempted to offer. In the end, *Lisabi: The Uprising* is a film that showcases immense ambition that aims to honour a historical legacy while appealing to global viewers (although for some reason, the film was not accessible to the diaspora audience as of the day of its release). Despite technical flaws and moments of emotional disconnect, it remains an important film for Nollywood, signaling both the promise and the challenges of creating culturally authentic epics for a Nigerian and global audience. ##### Verdict *Lisabi: The Uprising* is an attempt to push the boundaries of Nollywood filmmaking, but it ultimately falls short. Given Anthill Studios’ reputation for technological advancement, especially in CGI, high expectations were set. But, the film fails to deliver on this front. Technical and narrative inconsistencies severely undermine the film’s grand ambitions. While its bold vision in incorporating CGI merits some recognition, it is evident that Nollywood has the talent already available to achieve more. There is, however, room for growth in crafting a more cohesive and polished cinematic experience. And for that reason alone, we look forward to the sequel series. Will they be able to right their wrongs? **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/lisabi-the-uprising-an-ambitious-epic-weighed-down-by-cgi/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/lisabi-the-uprising-an-ambitious-epic-weighed-down-by-cgi/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/lisabi-the-uprising-an-ambitious-epic-weighed-down-by-cgi/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/lisabi-the-uprising-an-ambitious-epic-weighed-down-by-cgi/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/lisabi-the-uprising-an-ambitious-epic-weighed-down-by-cgi/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Adebimpe Oyebade Adedimeji, Adebowale "Debo" Adedayo, Femi Adebayo, Gabriel Afolayan, Ibrahim Chatta, Jide Awobona, Jide Kosoko, Lateef Adedimeji, Liquorose, Lisabi, Margaret Bandela Olayinka, mr maccaroni, Muyiwa Ademola, Netflix, Niyi Akinmolayan, nollycritic, nollywood, Odunlade Adekola, Olumide Oworu --- ### [Story So Far: Mo Abudu – Africa's Most Influential Media Mogul](https://nollycritic.com/story-so-far-mo-abudu-africas-most-influential-media-mogul/) **Published:** September 5, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Mo Abudu. Her story is one of unparalleled vision, tenacity, and an unrelenting drive to redefine narratives an entire African continent. **Content:** Mo Abudu. Her story is one of unparalleled vision, tenacity, and an unrelenting drive to redefine narratives—not just for herself but for an entire African continent. Born on September 11, 1964, in London, England, Abudu’s journey is marked by her ability to transform challenges into opportunities, ultimately emerging as one of Africa’s most influential media moguls. ##### Early Life and Education [Mo Abudu](https://www.imdb.com/name/nm5801801/ "Mo Abudu")’s early years were spent primarily in the United Kingdom, where she attended Ridgeway School, Mid Kent College, and West Kent College. Even as a student, she displayed a remarkable work ethic, juggling various jobs to support her education. This early experience instilled in her the values of perseverance and self-reliance, qualities that would later become hallmarks of her career. Abudu went on to earn a Master’s degree in Human Resources Development from the University of Westminster in London. This academic foundation set the stage for her initial career in the corporate world, where she excelled as a recruitment consultant before transitioning into a leadership role at ExxonMobil Nigeria. By the time she left ExxonMobil in 2000, she had already established herself as a force to be reckoned with in the corporate sphere. ##### The Visionary Behind EbonyLife Mo Abudu launched her media career with Inspire Africa, an edutainment company designed to inspire, educate, motivate, and entertain. The company’s anchor project was Africa’s first syndicated talk show, Moments with Mo, presented and produced by Mo. The show started airing in 2006. ![mo abudu](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/09/Moments-with-Mo-2.jpg.webp?resize=640%2C427&ssl=1)Mo Abudu had the vision to create a Pan-African platform, EbonyLife TV, as a way to connect all of Africa with a shared identity. EbonyLife TV, on the DStv platform, was Africa’s first global black entertainment and lifestyle network, launched in July 2013. Her foray into filmmaking was a natural extension of her mission to reshape Africa’s narrative. In 2014, she founded [EbonyLife Films/Studios](https://nollycritic.com/idris-elba-will-direct-dust-to-dreams-for-mo-abudus-ebonylife-studios/ "EbonyLife Films/Studios"), and her first major project, *Fifty*, directed by Biyi Bandele, was a resounding success. The film, which featured an all-star cast including Nse Ikpe-Etim and Ireti Doyle, was Nigeria’s highest-grossing drama in 2015 and was also the only Nigerian film selected for the prestigious BFI London Film Festival that year. Its success on Netflix began a new era for [Nollywood](https://nollycritic.com/an-overview-of-the-astronomical-rise-of-women-in-nollywood/ "Nollywood"), with African stories reaching global audiences like never before. Under her leadership, EbonyLife TV quickly became a powerhouse, producing a string of inspirational series such as *The Governor*, *Desperate Housewives Africa*, *Sons of the Caliphate*, and *Castle & Castle*. ##### Breaking Box Office Records In 2016, Mo Abudu co-executive produced *The Wedding Party. This film* not only premiered at the Toronto International Film Festival but also became the highest-grossing title of all time at the Nigerian box office. The success of *The Wedding Party* was followed by its sequel, *The Wedding Party 2: Destination Dubai* (2017), which surpassed the original’s box office records. Her ability to consistently produce commercially successful and culturally impactful films is a testament to her keen understanding of the industry and her unwavering commitment to excellence. ##### Expanding Her Influence Abudu’s impact extends beyond television and film. In 2018, she struck a groundbreaking three-year deal with Sony Pictures Television to co-produce *The Dahomey Warriors*, a series about the legendary female warriors of West Africa who took on French colonialists in the 19th century. This collaboration signaled a new era of cross-cultural storytelling, with African narratives being developed for a global audience. Abudu developed EbonyLife Place in 2019, Nigeria’s first luxury entertainment resort, in the heart of Lagos, comprising an array of restaurants, an events hall, meeting rooms, a boutique hotel, and luxury cinemas, all set in a designer and artful haven. In 2021, to accelerate filmmaking skills, the EbonyLife Group partnered with the Lagos State Government; the 5th largest economy in Africa; to launch the EbonyLife Creative Academy (ELCA). The Academy offers free practical short courses covering all aspects of filmmaking and media content production. Her influence has not gone unnoticed. Forbes has described her as “Africa’s Most Successful Woman,” and CNN has dubbed her “Africa’s Queen of Media who conquered the continent.” Abudu’s impact has not gone unnoticed. In 2018, she was named one of the 25 Most Powerful Women in Global Television by The Hollywood Reporter, a recognition that highlighted her growing influence on the world stage. Abudu’s achievements have earned her numerous accolades, including an Honorary Doctorate from Babcock University, and an honorary degree of Doctor of Arts from the University of Westminster in recognition of her outstanding services to broadcasting and enterprise in Nigeria. Abudu is also a sought-after speaker, having shared her insights at prestigious institutions such as the Wharton School of Business, Cambridge University Judge School of Business, and Harvard University. Her contributions to the global creative industry have cemented her place among the most powerful women in global television. ##### The Filmography: A Testament to Her Legacy Mo Abudu’s filmography is a testament to her prolific career and her dedication to African storytelling. As an executive producer, creative producer, and casting director, she has overseen the creation of numerous films and television series that have captivated audiences around the world. Some of her most notable works include: Each project under her belt not only reflects her knack for identifying stories with mass appeal but also her commitment to maintaining the integrity of African narratives. ##### Recent Endeavors and Future Aspirations Films like *Chief Daddy* (2018), *Oloture* (2019), *Elesin Oba* (2022), the Netflix series *Blood Sisters* (2022), and * (2024)* showcase her commitment to telling authentic African stories while addressing pressing social issues. Mo Abudu’s recent projects continue to push creative boundaries. Her latest ventures, including *The Last Sane Man in Lagos* (2023) and *Endless Loop* (2023), reflect her ongoing dedication to innovation and excellence in filmmaking. As CEO of EbonyLife Media, Abudu oversees all five divisions of the company, which include EbonyLife TV, EbonyLife Films, EbonyLife ON, EbonyLife Studios, and EbonyLife Productions Limited (UK). Her leadership has been instrumental in making EbonyLife a powerhouse in African entertainment, with its content reaching millions of viewers worldwide. ##### A Legacy of Inspiration [Mo Abudu’s story](https://themoabudu.com "Mo Abudu’s story") is far from over, but what she has achieved so far is nothing short of extraordinary. Her journey from a recruitment consultant in the UK to becoming one of Africa’s most influential media executives is a testament to the power of vision, hard work, and unwavering determination. Abudu has been invited to join the Academy of Motion Arts and Sciences, popularly known as ‘THE OSCARS’ in the Producer membership category, making her the first Sub-Saharan African woman to join the Oscars. That same year, Abudu was named one of the World’s 100 Most Powerful Women by Forbes magazine for her work in the media sphere. Her favorite mantra, “If you can think it, you can do it!” encapsulates the spirit with which she has approached every challenge. For Abudu, dreams are not just aspirations; they are blueprints for action. She has consistently proven that with the right mindset and a relentless pursuit of excellence, it is possible to reshape not just your destiny, but also the destiny of a continent. In a world where African stories are often misunderstood or underrepresented, Mo Abudu stands as a beacon of hope and inspiration. She has shown that it is possible to change perceptions, challenge stereotypes, and create a new narrative—one that celebrates the beauty, diversity, and potential of Africa. Her story so far is not just a success story; it is a call to action for anyone who dares to dream big. In her own words, “If your dreams don’t scare you, they’re not big enough.” ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/story-so-far-mo-abudu-africas-most-influential-media-mogul/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/story-so-far-mo-abudu-africas-most-influential-media-mogul/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/story-so-far-mo-abudu-africas-most-influential-media-mogul/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/story-so-far-mo-abudu-africas-most-influential-media-mogul/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/story-so-far-mo-abudu-africas-most-influential-media-mogul/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Story So Far **Tags:** Ebonylife films, Ebonylife TV, Mo Abudu, Moments With Mo, Story So Far, The Wedding Party --- ### [Nollywood Movies And Series To See This November 2024](https://nollycritic.com/nollywood-movies-and-series-to-see-in-november-2024/) **Published:** November 2, 2024 **Author:** Michael Arowoselu **Excerpt:** November promises entertainment and thought-provoking Nollywood Titles. From the Kunle Afolayan thriller “Recall,” to the Igbo epic, “Out of Breath,” and the **Content:** November promises entertainment and thought-provoking Nollywood Titles. From the Kunle Afolayan thriller “Recall,” to the Igbo epic, “Out of Breath,” and the historical resonance of “The Man Died,” this month’s lineup is set to captivate audiences with diverse storylines. Here are the Nollywood titles set to be released this November. ##### *Headless* (2024) – November 3 *Headless*, a feature film and thriller directed by Michael Ndiomu, which will premiere on November 3. Set in the morally complex world of Nollywood, *Headless* follows the chilling discovery of a decapitated head in the boot of a car belonging to a Nollywood film producer. As investigations unfold, hidden links between crime, politics, and the Nigerian film industry come to light, painting a gritty picture of ambition and corruption. Starring Gideon Okeke, Uzoamaka Anuinoh, and Baaj Adebule, this action-packed film promises an intense look at the dark intersections of fame and power. Premieres at [AFRIFF 2024](https://www.afriff.com "AFRIFF 2024") on November 3 ##### *Phoenix Fury* (2024) – TBD One of the anticipated films this year, *Phoenix Fury*, directed by Ifeoma Chukwuogo for Fizzy K Pictures, promises a unique journey across different periods. Though details about the plot remain under wraps, the film’s settings in Nigeria and Ghana hint at an immersive and culturally rich backdrop. The film features an impressive cast, including Uzoamaka Aniunoh, Richard Mofe-Damijo (RMD), Fadekemi Olumide-Aluko, Onyinye Odokoro, Shalewa Ashafa, and Joseph Momodu. This stellar lineup, combined with the film’s multi-era narrative, sets high expectations for *Phoenix Fury* at AFRIFF 2024. Premieres at AFRIFF 2024. ##### *Recall* (2024) – November 7 *Recall*, the latest psychological feature thriller by Kunle Afolayan, which is set to premiere on November 7. *Recall* follows the emotional journey of Goke and Anita as their seemingly perfect love story takes a mysterious turn. Starring Sharon Ooja, the film promises to captivate viewers with its suspenseful narrative and complex character arcs. The story comes to life through a talented cast featuring both Nigerian and international actors, incuding Sharon Ooja, Olarotimi Michael Fakunle, Bolaji Ogunmola, Jimmy Jean-Louis, Tina Mba, Ekpenyong Bassey Inyang, Shan George, Bimbo Akintola, Mama Rainbow, Muyiwa Ademola, Patience Ozokwor, and Abiola Ogunmowo, with a special appearance by Tosin Martins. Premieres at AFRIFF 2024. ##### *Princess on a Hill* (2024) – November 7 Produced by Folashayo Oke Sobo/Chuka Ejorh, and directed by Abiola Sobo/Tolu Ajayi. Zara Ozara is thrust into the dangerous high stakes world of business and makes her debut at the head of the most powerful boardroom in the country after winning the Lawson Group’s Leading Ladies reality show. She must now save the company from further decline while resisting the dark influence of its enigmatic tyrant who is pulling her strings. The show stars Mimi Chaka, Andrew Bunting, Eva Iwara, Ireti Doyle, Onyinye Nnenna Odokoro, Femi Jacobs, Bimbo Manuel and may others. Premieres via Showmax on November 7. ##### *Out of Breath* (2024) – November 8 *Out of Breath*, directed by Obi Emelonye, has been selected as the closing film for AFRIFF 2024. This Igbo-language epic, written by Ngozi Ideh, unfolds in a 1940s Igbo village steeped in tradition, where the revered elder “Nna Obioha” challenges a cruel custom that mandates the sacrifice of a servant upon an elder’s death. Starring; Kanayo O. Kanayo, Chidi Mokeme, Jide Kene Achufusi, Ebele Okaro, and Queen Nwokoye, *Out of Breath* is inspired by true events and delves into themes of defiance and resilience against entrenched societal norms. ##### Domitilla – November 8 Trailer for the remake of Chico Ejiro’s 90’s Blockbuster movie, Domitilla. Four prostitutes at a crossroads must join forces in this tale of survival. Cast: Teniola Aladese, Uzoamaka Doris Auiunoh, Elvina Ibru, Deyemi Okanlawon, Stan Nze, Ejiro Onojaife and Onyinye Odokoro. Streaming on Netflix from November 8. ##### *Family Gbese* – November 8 “Family Gbese,” a family dramedy directed by Michelle Bello and written by Chinaza Onuzo. The film explores the complexities of loyalty, family, and ambition as the protagonist, Nnamdi (portrayed by Arukwe), faces a life-altering request from his mentor. “Family Gbese” tackles themes deeply rooted in Nigerian culture and society, promising a fun and emotional cinematic experience. The film boasts a stellar cast, including Teniola Aladese, Lillian Afegbai, Mike Ezuruonye,and veteran actors like Ireti Doyle and Muyiwa Ademola. Coming to cinemas nationwide on the 8th of November. ##### *Ekpebiwo M* – November 8 Set in pre-colonial Eastern Nigeria, Ekpebiwo M follows the powerful story of a village chief, portrayed by Nollywood veteran Chidi Mokeme, who turns his back on tradition to embrace Christianity and begin a new journey as an evangelist. His decision is met with fierce resistance from the community, testing the limits of his newfound faith. His wife- played by Ini Edo, also struggles with his new beliefs, afraid that they will be met with dire consequences. The film highlights the themes of faith, faith, determination, cultural values, and resilience. Other cast members include Alex Osifo, Jide Kosoko, Ini Edo, Chidi Mokeme, Mary Uche, Chucks Chyk, Patrick Ifeanyi Onyeochatawrycki, and Justice Slik Coming to cinemas across Nigeria on November 8, 2024. ##### *Miss PJ* – November 15 A young lady on a National Youth Service assignment becomes the saviour of a little town at the mercy of a mysterious killer. This drama is directed by *Life and Dirt* director, James Abinibi. The film stars; Charles Okocha, Sola Sobowale, Bimbo Ademoye and many others. Streaming on Prime Video from November 15. ##### *A Ghetto Love Story* – November 22 A Ghetto Love Story explores the complexities of love, relationships, and survival in a bustling, lower-income neighborhood. Through a mix of comedic moments and emotional depth, the film captures the essence of finding love in unexpected places while navigating the challenges of daily life. The film is directed by[ Daniel Oriahi](https://nollycritic.com/daniel-oriahis-the-weekend-selected-for-the-2024-bfi-festival/ " Daniel Oriahi") and features; Chioma Akpotha, Efe Irele, Beverly Osu, Comedian Senato, Wole Ojo, Akah Nnani and many others. Coming to cinemas, on November 22, 2024. ##### *Suspicion* – November 28 A young man ventures into the dark depths of black magic after witnessing the ruthless murder of his best friend and his daughter. Consumed by a thirst for vengeance, he faces moral dilemmas and shocking betrayals that threaten to destroy the bonds he holds dear. In this gripping tale of friendship, love, and revenge, he must wrestle with newfound powers and confront the ultimate question: How far will he go to seek justice? *Suspicion* boasts an ensemble cast including Stan Nze, Omowunmi Dada, Kalu Ikeagwu, Uzor Arukwe, Shaffy Bello, Tina Mba, Ashafa ‘Small Mummy’ Salamot, Francis Sule, Boma Akpore, Tony Akposheri, and Esegine Orezi Allen. Streaming on Prime Video from November 28. ##### *Ogbedun* – November 29 Directed by Farouk Abisoye (TAMPAN), *Ogbedun* promises a gripping story of an unacknowledged son, Ogbedun, born to the late Oba Agana through a secret affair with a palace maid. After years spent in exile, Ogbedun returns to his homeland, only to find himself caught in a fierce battle for the throne following the death of a young monarch. The ensuing power struggle between rival families leads to chaos, betrayal, riots, and an unyielding fight for justice. In the lead role is [Nollywood](https://nollycritic.com/the-versatile-faces-of-nollywood-celebrating-range-and-talent/) star, Jide Awobona, and is supported by an impressive cast that includes Nollywood icons Jide Kosoko, Antar Laniyan, Akin Lewis, Joke Muyiwa, Miriam Peters, and Babaseun Faseru. *[Ogbedun](https://nollycritic.com/ogbedun-set-to-premiere-in-cinemas-this-november/ "Ogbedun")* arrives in cinemas nationwide on November 29. Which of these Nollywood movies do you anticipate the most? Be sure to stay updated as we’ll add more Nollywood movies to this list. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-movies-and-series-to-see-in-november-2024/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-movies-and-series-to-see-in-november-2024/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-movies-and-series-to-see-in-november-2024/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-movies-and-series-to-see-in-november-2024/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-movies-and-series-to-see-in-november-2024/?share=linkedin) - **Categories:** Articles, Movies, Nollywood **Tags:** 2024, A ghetto love story, afriff, Family Gbese, Headless, Miss PJ, Netflix, nollywood, nollywood movies, November, Ogbedun, Out of Breath, Phoenix Fury, Prime Video, recall --- ### [Hijack '93: Where is the Story? Where is The Film?](https://nollycritic.com/hijack-93-a-timely-attempt-at-retelling-nigerian-history/) **Published:** October 27, 2024 **Author:** Uju Okosieme **Excerpt:** Play Network Studios' 'Hijack ‘93' dramatizes the 1993 Nigerian Airways hijacking in a fictionalized retelling. This release feels particularly timely.. **Content:** Play Network Studios’ ‘[Hijack ‘93](https://www.imdb.com/title/tt33540966/ "Hijack ‘93")‘ dramatizes the 1993 Nigerian Airways hijacking in a fictionalized retelling. This release feels particularly timely, given [Nollywood’s](https://nollycritic.com/nollywood-movies-and-series-to-see-this-october-2024/ "Nollywood’s") recent criticism for not delving into Nigerian history. Let’s dive into what works—and what doesn’t—in this reimagined thriller. ## *Hijack ’93* Directed by: Robert Peters Written by: Musa Jeffery David Genre: Thriller Released on: October 25, 2024 (Netflix) Language: English ##### Plot To dismantle their military-backed government, four men hijack an airplane, leveraging passengers onboard in the name of social change. The hijackers’ demand for political change escalates as they threaten to set the plane ablaze within 72 hours if their pleas are not acknowledged Unfortunately, the pacing is inconsistent, speeding up and then stalling entirely, which weakens the tension. At the 38-minute, the story still felt like it hadn’t taken off, creating an overall disjointed viewing experience. ##### Story Hijack ’93 is a fictional retelling, the film fills in gaps with unconvincing character backstories for the hijackers, but these additions don’t create much connection or insight into their motivations. The real-life hijacking demanded Moshood Abiola be named president after the annulment of the 1993 election, a historical context that could have lent depth to the plot. While we acknowledge the risks of addressing sensitive topics, a deeper dive into the political backdrop could have strengthened the story’s impact. ##### Performances The acting is either subpar or barely passable, even from some well-known cast members. Jessica Lorraine’s portrayal of Marie falls flat, and Allison Precious Emmanuel, who plays Ben/Owiwi, struggles to convey a clear motivation, making his actions appear erratic. The hijacking scene lacks tension; the hijackers’ lack of authority and passive passenger reactions detract from the film’s intensity. Nnamdi Agbo as Omar/Skipper and Adam Garba as Kayode/Eruku manage to give somewhat believable performances, while Sani Mu’azu delivered in a brief scene as Judge Tanko, offering Omar a bribe. Generally, there’s a striking absence of a compelling performance. Most of the actors had soulless and emotionless characters. ##### Technical Aspects While the cinematography, set design, and props in Hijack ’93 are palpable, the film fails to capture the early 90s era convincingly. There are notable anachronisms—soldiers in camouflage (a uniform introduced in 2014) and costumes that don’t quite reflect the period. Though efforts to convey the era through makeup, such as the classic lip lining, show attention to detail, it isn’t consistent. The score is a bore. Hijack 93’s lack of tension is highlighted by the underwhelming score. ##### Final Thoughts Some elements feel out of place. For example, Ben’s dramatic line, “Avenge me,” feels out of place for the setting. Character names are confusing, with real and code names used interchangeably, making it hard to track. While a tribal argument mid-hijack is very Nigerian and plausible, it felt unnecessary. Also, the soldiers’ quick trust in Ada’s accusation of Temitope without evidence strains credibility. That said, the twist that one of the flight attendants was in on the hijack was an interesting touch. If you are wondering why this film feels empty, it’s because there is no story here. The screenplay is weak, the film feels like an underdeveloped idea and lacks key elements of the thriller genre. There is little or no presence of tension and suspense. ##### Verdict ‘Hijack ‘93’ misses key opportunities to deliver a coherent narrative. Trying to juggle action, history, and drama sacrifices pacing, character depth, and historical authenticity. Ultimately, with inconsistent storytelling, poor pacing, and unremarkable acting, the film earns a 1.5/5 rating. ‘Hijack ‘93’ is now streaming on Netflix. **Rating**: 1.5/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/hijack-93-a-timely-attempt-at-retelling-nigerian-history/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/hijack-93-a-timely-attempt-at-retelling-nigerian-history/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/hijack-93-a-timely-attempt-at-retelling-nigerian-history/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/hijack-93-a-timely-attempt-at-retelling-nigerian-history/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/hijack-93-a-timely-attempt-at-retelling-nigerian-history/?share=linkedin) - **Categories:** Articles, Nollywood, Popular reviews, Reviews **Tags:** efa Iwara, Hijack 93, Jemima Osunde, Netflix, nollycritic, nollywood, Reviews, Sharon Ooja --- ### [A Ghetto Love Story: Love, Drama, And a Truckload of Shit](https://nollycritic.com/a-ghetto-love-story-love-drama-and-a-truckload-of-shit/) **Published:** November 25, 2024 **Author:** Shalom O. Obisesan **Excerpt:** A Ghetto Love Story delves into the complexities of love, survival, and ambition in the underbelly of society. Partially inspired by true events **Content:** [*A Ghetto Love Story* ](https://nollycritic.com/a-ghetto-love-story-see-the-trailer-for-basketmouths-new-film/ "A Ghetto Love Story ")delves into the complexities of love, survival, and ambition in the underbelly of society. Partially inspired by true events, the film masterfully combines authenticity and cultural resonance, delivering a gripping narrative that engages both the heart and the mind. Here’s our review of the film: ## *A Ghetto Love Story* Directed by: Daniel Oriahi Written by: Victoria Eze Genre: Drama/Comedy Released on: November 22, 2024 (Cinemas) Language: English ##### Story *A Ghetto Love Story* is a tale of love tested by the unrelenting trials of life. It examines how love can be strained and shaped by factors such as environment, society, background, and upbringing, all symbolized by the ghetto. The ghetto in this context transcends its physical setting to represent the challenges and obstacles that the characters must confront, highlighting the resilience and vulnerability of their bond. Far from your typical love story, the film intertwines romance, drama, and light-hearted humour to craft a romantic drama that feels raw and authentic. Inspired by real events—though not a direct retelling—it uses a fictionalized narrative to reimagine the emotional weight and sequence of actual experiences. Through this lens, *A Ghetto Love Story* captures the bittersweet realities of love, making it both a deeply personal and universally relatable experience. ##### Plot > “Love conquers all.” Or, does it? *A Ghetto Love Story* follows childhood friends turned lovers, Obinna (Akah Nnani) and Stella (Beverly Osu), as societal expectations, family conflicts, and personal aspirations test their bond. Their journey offers a look at the complexity of relationships and the consequences of decisions. The plot begins in media res, plunging viewers into the thick of events without much explanation. It then rewinds to show how we got there in the narrative. This structure fuses seamlessly with the rest of the story, enhancing the suspense and setting the stage for a well-executed plot twist. The story’s construction is deliberate, with every character, event, and situation serving a purpose and driving the narrative forward. Nothing feels out of place, and the writing remains consistently solid. The film drops hints early on that later come together, prompting viewers to realize, “Oh, that’s why that’s there.” While this enhances the sense of cohesion, it slightly reduces the surprise factor by making certain twists feel a little expected. To ensure the narrative remains free of inconsistencies, the filmmakers often rely on dialogue to clarify plot points, sometimes compensating for the lack of visual cues. For example, the passage of time isn’t visually signaled but is instead conveyed through characters’ statements. While this approach effectively avoids plot holes, it can occasionally detract from the authenticity of dialogue. This technique is consistently applied throughout the film, ensuring that every detail—such as the seemingly incidental septic cleaners in the opening scene—ultimately serves a purpose and ties into the unfolding story. Ultimately, the plot is filled with emotional depth, engaging, and well-thought-out, fusing a narrative that keeps viewers invested, even if it doesn’t always deliver the unexpected. ##### Technical Aspects Starting with the production design. Subtle elements like the septic cleaners’ vacuum/suction truck, emblazoned with the cheeky slogan, “Your sh\*t is our business”—a humorous touch likely influenced by Basketmouth’s comedic flair. Similarly, Folake’s (Dorathy Bachor) salon features a makeshift, ghetto-style banner that seamlessly fits the world being portrayed. These details reflect an intentional effort to craft a realistic environment that doesn’t merely serve as a backdrop but actively supports and enriches the narrative. The ghetto setting is almost a character in itself, subtly influencing the lives and decisions of the protagonists. This layered use of the environment hints at its symbolic role within the story. The cinematographic choices reinforce this. The lens selection cleverly conveys a semi-distorted, cramped world, immersing viewers in the characters’ confined reality. This is especially effective in visually portraying the claustrophobic and challenging conditions typical of such environments. The lighting, particularly in the night scenes, is noteworthy for its effectiveness. Combined with the colour grading, which subtly emphasizes the characters’ greasy appearances, these choices create an authentic sense of heat and tension, making the setting feel both tangible and visceral. The colour palette accentuates the gritty, cramped atmosphere. The soundtrack also deserves mention. It’s a simple, understated score that avoids overpowering the visuals or dialogue. Instead, it complements the narrative with a sober and evocative tone, enhancing emotional resonance. Together, these technical aspects contribute to a visually and aurally immersive experience. ##### Performances In *[A Ghetto Love Story](https://www.imdb.com/title/tt34475601/ "A Ghetto Love Story")*, the performances are central to the film’s emotional weight, with the lead actors, Akah Nnani and Beverly Osu, delivering compelling portrayals that breathe life into their respective characters. Akah Nnani as Obinna, captures his internal conflict with sensitivity. As a man caught between the harsh realities of ghetto life and his dreams for a better future, Nnani’s performance brings a rawness to Obinna’s ambition. His transitions between vulnerability, charm, and frustration are seamless, making Obinna a multi-dimensional character that the audience can relate to. Although, he initially doesn’t come off as a “ghetto” guy, seeing him constantly in the role makes you warm up to him. Beverly Osu, as Stella, offers a compelling performance marked by emotional honesty. She masterfully portrays the complexities of a young woman grappling with her desires for freedom, identity, and love. Osu’s performance is especially powerful in conveying the internal struggles Stella faces as she navigates her role in a relationship that pulls her in multiple directions. The emotional nuances she brings to her portrayal of Stella’s growth—from an understanding girlfriend to an ambitious dreamer, and a more grounded individual—are moving and give the film its heart. Osu’s chemistry with Nnani enhances their relationship’s believability, as the audience can sense the genuine connection between them. Supporting roles also elevate the film’s performances. Dorathy Bachor delivers a standout performance as Folake, who begins as a secondary love interest but grows into a significant emotional support for Obinna. Her portrayal is enhanced by her believable fluency in Yoruba, one she exhibited previously in *Ijogbon* (2023) as Bisi. Bachor’s portrayal of Folake shifts from a seemingly one-dimensional character to a more layered figure, showing strength, vulnerability, and empathy. Her ability to transition from a side character to an integral part of Obinna’s emotional journey speaks to Bachor’s skill in capturing her character’s evolution. Patience Ozokwor, as Mama Stella, adds a grounded and relatable performance as the overprotective mother. Her portrayal of a matriarch with both love and control is delicate and authentic. Ozokwor injects Mama Stella with a palpable sense of concern for her daughter’s well-being, even as her actions unintentionally stifle Stella’s growth. The tension between love and control in Mama Stella’s character is beautifully conveyed by Ozokwor, making her a complex figure whose intentions are not always aligned with the outcomes. The film also includes notable performances from Efe Irele, Chimezie Imo, Chioma Chukwuka Akpota, Romeo Horsfall, Vandora Vandora, Basketmouth, Jude Chukwuka, Wale Ojo, and Bethel ‘Senator’ Njoku. ##### Final Thoughts *A Ghetto Love Story* brings an intriguing and fresh approach to Nollywood’s romantic drama landscape, offering an engaging narrative that blends love with social commentary. Directed by Daniel Oriah, the film’s strength lies in its compelling storytelling. However, the overuse of dialogue to clarify plot points can feel heavy-handed, especially when characters’ actions require constant verbal explanations, leaving little room for natural storytelling. Additionally, the film’s probably unintentional foreshadowing, while initially intriguing, becomes a bit too predictable, and by the final act, the emotional impact diminishes. The intended suspenseful ending feels underwhelming, and the unresolved final scene doesn’t land as effectively as hoped. ##### Verdict Overall, *A Ghetto Love Story* is an engaging watch that offers a compelling narrative that blends love with social commentary. While the plot’s almost predictable twists and heavy reliance on dialogue slightly hinder its emotional impact, the technical aspects and production design create a vivid and immersive experience. Overall, it’s an engaging watch, earning a 4 out of 5 rating. Daniel Oriahi ends the year with yet another exceptional film. **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-ghetto-love-story-love-drama-and-a-truckload-of-shit/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-ghetto-love-story-love-drama-and-a-truckload-of-shit/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-ghetto-love-story-love-drama-and-a-truckload-of-shit/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-ghetto-love-story-love-drama-and-a-truckload-of-shit/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-ghetto-love-story-love-drama-and-a-truckload-of-shit/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** A ghetto love story, Akah Nnani, Basket Mouth, Beverly Osu, Daniel Oriahi, nollycritic, nollywood, Patience Ozokwor, Victoria Eze --- ### [Children of Blood and Bone: See The Full Cast List](https://nollycritic.com/children-of-blood-and-bone-see-the-full-cast-list/) **Published:** January 24, 2025 **Author:** Fisayo Adekoya **Excerpt:** The long-awaited cast for Children of Blood and Bone has finally been revealed. Gina Prince-Bythewood, known for The Woman King, is directing the adaptation… **Content:** The long-awaited cast for *[Children of Blood and Bone](https://www.amazon.co.uk/Children-Blood-Bone-Orisha-Legacy/dp/1509871357 "Children of Blood and Bone")* has finally been revealed. Gina Prince-Bythewood, known for *The Woman King*, is directing the adaptation of Tomi Adeyemi’s bestselling novel. Fans are thrilled to see the story come to life, but the announcement has also sparked controversy online. [Thuso Mbedu](https://www.imdb.com/name/nm9096847/ "Thuso Mbedu") will star as Zélie, the story’s courageous protagonist. Mbedu, a South African actress, rose to prominence in *The Woman King*. Joining her are Tosin Cole as Tzain, Amandla Stenberg as Princess Amari, and Damson Idris as Prince Inan. The supporting cast includes Chiwetel Ejiofor, Viola Davis,[ Idris Elba](https://nollycritic.com/things-fall-apart-idris-elba-to-lead-a24-tv-adaptation/ " Idris Elba"), Cynthia Erivo, and Lashana Lynch. Despite the excitement, some fans are disappointed. The lack of Nigerian actors in key roles has raised questions. While an open casting call for Nigerian actors was announced, the lead cast features performers from the U.S., U.K., and South Africa. The production has promised more casting announcements in the future, leaving room for hope. Discussions about skin tone have also surfaced. In the book, characters like Zélie and Inan are described as having dark complexions. Some fans feel the casting choices do not reflect this accurately. They believe it undermines the book’s themes, which explore colourism. Another concern is the authenticity of accents. Many fear that Hollywood will fail to portray Nigerian accents and Yoruba words correctly. This has been a recurring issue in past projects with African settings. Fans are also divided over the age of the cast. The main characters in the book are teenagers, but the lead actors are in their 30s. While their talent is undeniable, some worry this will affect how younger audiences connect with the story. Despite these concerns, excitement for *Children of Blood and Bone* remains high. The adaptation is set to release in January 2027. As production begins, fans eagerly await updates, hoping the film stays true to Adeyemi’s vision. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/children-of-blood-and-bone-see-the-full-cast-list/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/children-of-blood-and-bone-see-the-full-cast-list/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/children-of-blood-and-bone-see-the-full-cast-list/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/children-of-blood-and-bone-see-the-full-cast-list/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/children-of-blood-and-bone-see-the-full-cast-list/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood News **Tags:** Children of Blood and Bone, Children of Blood and Bone Cast, Cynthia Erivo, Damson Idris, film, Gina Prince-Bythewood, Hollywood News, nollycritic, nollywood, Thuso Mbedu, Tomi Adeyemi, Viola Davis --- ### [Nollywood Movies And Series To See This December 2024](https://nollycritic.com/detty-december-nollywood-movies-to-see-this-christmas/) **Published:** December 2, 2024 **Author:** Fisayo Adekoya **Excerpt:** This December, exciting Nollywood movies are heading to the big and small screens. Whether you’re a fan of heartfelt comedies or dramatic thriller... **Content:** It’s the most beautiful time of the year! [This December, exciting Nollywood movies are heading to the big and small screens. ](https://youtu.be/58idYmU6fvw?si=kwHSW7UDd9lDfncC)Whether you’re a fan of heartfelt comedies or dramatic thrillers, there’s something for everyone to enjoy. Here’s a detailed look at the most anticipated movies and series coming this month. Here are the Nollywood titles set to be released this December. ##### *The Men’s Club: Season 5* (2024) — December 4 The long-awaited fifth season of The Men’s Club returns, bringing back the captivating stories of friendship, love, and ambition. Louis, Tayo, Aminu, and Lanre face new challenges in their personal and professional lives, ensuring a season filled with drama and unexpected twists. Fans can expect engaging storylines and unforgettable moments. Produced by RedTV and UBA, this season will premiere on December 4, 2024, and will be available for streaming on Prime Video. ##### *When Love Strikes* – December 5 Adeoluwa Owu’s *When Love Strikes* is another football-fueled drama that will be gracing our screens this year. A rising football star at Remo Stars Football Club with dreams of going pro abroad is faced with a life-changing decision -Pursue his passion for football or focus on his studies, hoping to win a scholarship that could secure his family’s future. It features stand-out performances from an ensemble cast, including Osas Ighodaro, Natse Jemide, Bimbo Akintola, Zubby Michael, Sunshine Rosman, Jimmie Akinsola, Vine Olugu, Chuks Joseph, Demola Adedoyin, Taye Arimoro, and Suo Chapele. Coming to Prime Video, December 5, 2024 ##### ***Seven Doors* (2024) — December 1**3 A cultural drama that explores the relationship between a Yoruba king and his Igbo wife, Seven Doors weaves a story of love, tradition, and sacrifice. The film highlights the richness of Nigerian culture while tackling universal themes of resilience and understanding. Produced and directed by Femi Adebayo, the cast includes celebrated actors such as Chioma Akpotha, Adebayo Salami, Afeez Oyetoro, and many others. This movie will be released on Netflix on December 13. ##### ***Everybody Loves Jenifa* (2024) — December 1**3 Jenifa is back with her hilarious antics and unfiltered personality in *Everybody Loves Jenifa.* This comedy takes viewers on another rollercoaster ride as Jenifa faces new challenges while chasing her dreams. The film promises to be a festive treat with its laugh-out-loud moments and heartfelt lessons. The franchise began in 2008 with the first installment and a sequel, “Return of Jenifa,” in 2011. It also spawned spin-offs like “Aiyetoro Town” (2019, 18 episodes), set in Jenifa’s village, and “Jenifa on Lockdown” (2021). Returning cast members Folarin “Falz” Falana, Olayode Juliana, and Tobi Makinde join Akindele. New additions to the cast include Nollywood heavyweights Patience Ozokwor, Adedimeji Lateef, Nancy Isime, Bisola Aiyeola, and Ghanaian star Jackie Appiah. This movie will premiere in cinemas nationwide on December 13. ##### ***Thin Line* (2024) — December** 13 This mystery drama is a gripping exploration of trust, betrayal, and the secrets that threaten to tear relationships apart. With its suspenseful storyline and emotionally charged scenes, Thin Line promises to keep audiences guessing until the end. Directed by Mercy Aigbe, the movie boasts an ensemble cast of talented Nollywood actors. This movie will be released in cinemas on December 13. ##### Roses and Ivy (2024) — December 13 *Roses and Ivy* tells the intense and emotional story of a devoted sister whose unconventional methods to support her only sibling led to unforeseen consequences. The film explores themes of love, loyalty, and betrayal as their once unbreakable bond unravels, leaving behind pain and shattered relationships. The film boasts a talented cast, with Sharon Ooja, Mawuli Gavor, and Linda Osifo taking on key roles. It is directed by Samuel Olatunji, who is known for his knack for crafting stories that resonate deeply with viewers. *Roses and Ivy* will premiere on Prime Video on December 13, 2024, adding to the platform’s growing collection of riveting Nigerian films. ##### A Danfo Christmas (2024) — December 14 *A Danfo Christmas* is a festive Nigerian film that captures the essence of Lagos life during the holiday season. Set against the bustling backdrop of the city, the movie promises a vibrant mix of humor, local culture, and family-centric storytelling, making it a must-watch for lovers of feel-good holiday cinema. While the plot details remain under wraps, the title hints at the iconic Lagos danfo buses playing a central role in this heartwarming tale. This Christmas-themed movie promises to showcase the energy and warmth of the city during the festive season. The cast includes both seasoned and rising Nollywood stars, ensuring a delightful mix of performances to brighten up the holiday spirit. *A Danfo Christmas* will premiere on Prime Video on December 14, 2024. ##### ***Alakada: Bad and Boujee* (2024) — December** 20 This satirical comedy dives into the world of social media influencers and the “soft life” culture. Following the journey of a young woman who fabricates a lavish lifestyle to gain online fame, the movie humorously portrays the consequences of living a lie. Directed and produced by Toyin Abraham, the film features a stellar cast, including Bimbo Ademoye, IK Ogbonna, and Kolawole Ajeyemi. This movie will be released in cinemas on December 20. ##### ***A Christmas in Lagos* (2024) — December 20** This romantic comedy captures the festive spirit of Lagos with its bustling streets, colorful decorations, and heartfelt moments. The story revolves around a group of strangers whose lives become interconnected during the chaos of the Christmas season, offering a mix of humor and emotional depth. Directed by Jade Osiberu, *[A Christmas in Lagos](https://nollycritic.com/christmas-in-lagos-see-the-trailer-for-jade-osiberus-film/ "A Christmas in Lagos")* features a stellar cast, including Ayra Starr, Adekunle Gold, Shaffy Bello, Richard Mofe-Damijo, and Ladipoe. This movie will premiere on Prime Video on December 20. ##### ***The Waiter* (2024) — December** 20 A young man’s struggle to maintain his integrity while facing Nigeria’s socio-political challenges takes center stage in The Waiter. This socially conscious drama provides a thought-provoking narrative about resilience, courage, and hope. Produced by AY Makun, the film stars Deyemi Okanlawon, Shaffy Bello, and Rahama Sadau, delivering compelling performances. This movie will premiere in cinemas on December 20. ##### ***One Night Guests* (2024) — December** 25 From the visionary Ghanaian filmmaker Peter Sedufia comes*[ One Night Guests](https://nollycritic.com/peter-sefudias-one-night-guest-wraps-up-production/ " One Night Guests,")*; a thrilling Christmas movie packed with humor, suspense, and unexpected twists. The story explores chance encounters and their life-changing consequences, making it a heartwarming yet gripping watch. The film unites top talents from Ghana and Nigeria, including Majid Michel, Real Warri Pikin, Ini Edo, Chidi Mokeme, Lasisi Elenu, and Yvonne Okoro, showcasing the best of both industries. One Night Guests will premiere simultaneously in cinemas across Ghana and Nigeria on December 25, 2024. As the year comes to a close, these Nollywood movies offer something special for everyone. Which of these Nollywood movies are you most excited to watch? Be sure to stay updated as we’ll add more Nollywood movies to this list! *For more stories and updates, follow us on all our social media platforms:* - [Instagram](https://www.instagram.com/nolly.critic/profilecard/?igsh=MWg5NWFuaTRicWdlcw==) - [TikTok](https://www.tiktok.com/@nollycritic?_t=8rAUppnRQkK&_r=1) - [X](https://x.com/nollycritic) - [YouTube](https://youtube.com/@nollycritic?si=LS-FL0J7x1IDybWo) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/detty-december-nollywood-movies-to-see-this-christmas/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/detty-december-nollywood-movies-to-see-this-christmas/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/detty-december-nollywood-movies-to-see-this-christmas/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/detty-december-nollywood-movies-to-see-this-christmas/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/detty-december-nollywood-movies-to-see-this-christmas/?share=linkedin) - **Categories:** Articles, Blog, Drama, Movies, Nollywood **Tags:** 2024 nollywood movies, alakada, christmas nollywood movies, December movie releases, Femi Adebayo, film, Funke Akindele, Jade Osiberu, nollycritic, nollywood, Prime Video --- ### [Seven Doors: A Cultural Metaphor Marred by a Weak Plot](https://nollycritic.com/seven-doors-an-aesthetically-pleasing-cultural-metaphor/) **Published:** December 16, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Femi Adebayo’s Seven Doors is a bold attempt to merge the grandeur of Yoruba traditions with the modern storytelling demands of film. **Content:** [Femi Adebayo](https://nollycritic.com/femi-adebayos-new-win-a-legal-triumph-for-nollywood/ "Femi Adebayo")’s [*Seven Doors* ](https://www.imdb.com/title/tt35048672/?ref_=nm_flmg_job_1_cdt_c_1 "Seven Doors ")is a bold attempt to merge the grandeur of Yoruba traditions with the modern storytelling demands of film. With a narrative steeped in symbolism, it explores themes of love, leadership, and generational consequences through the lens of Ilara Kingdom’s struggles. While its ambition shines in its technical execution and performances, the series occasionally stumbles under the weight of its theatrical roots, pacing issues, and cultural nuances that may alienate some viewers. ## Seven Doors Directed by: Femi Adebayo,Tope Adebayo, Adebayo Tijani Written by: Adebayo Tijani, Yinka Laoye and Oluyombo Soyombo Genre: Supernatural Crime Drama Released on: December 13, 2024 (Netflix) Language: English and Yoruba ##### Story The story revolves around the existential weight of choices and their ripple effects on individuals and society. *Seven Doors* merges royal drama with a fresh exploration of love, tradition, and leadership. Set in the hauntingly beautiful Ilara Kingdom, the narrative follows a ruler grappling with the demands of his throne, the trials of marriage, and a haunting generational curse tied to ancient rituals. The story of *Seven Doors* is built around a cultural metaphor tied to Yoruba traditions. The narrative uses the symbolism of doors to explore themes of tradition, accountability, and generational consequences. The seven symbolic doors represent key ideas like choices, accountability, and the impact of past decisions on the future. In Yoruba culture, symbols like this often carry deep meaning, connecting personal struggles to larger societal issues. This makes the story more than just a royal drama; it’s also a reflection on leadership, love, and legacy. The fate of a people hinges on the choices of their king and the haunting presence of an exiled antagonist. His choices, rooted in love, duty, and survival, set off a chain of events that threaten his kingdom’s survival and force him to confront the sins of the past. By focusing on rituals, curses, and leadership, *Seven Doors* takes themes rooted in Yoruba culture and makes them relatable to everyone. For instance, the generational curse shows how unresolved problems from the past can haunt future generations. The king’s struggle to balance love and responsibility is something leaders in all societies deal with. These themes, though drawn from Yoruba tradition, speak to universal human experiences. *Seven Doors* is a story that examines humanity’s struggle between duty, desire, and the enduring cost of past transgressions. It’s a story of love, sacrifice, and what it truly means to lead. ##### Plot The plot of *Seven Doors* unfolds in Ilara Kingdom, where King Adedunjoye’s failure to perform an ancient ritual involving seven symbolic doors unleash a series of catastrophic events. As unrest and mysterious tragedies plague the land, the exiled and vengeful Esusu returns for vengeance, unearthing a dark generational curse tied to the king’s lineage. The king must navigate palace conspiracies, betrayal, and the demands of love while confronting the devastating consequences of his forebears’ actions. The narrative builds towards a climactic confrontation where loyalty, betrayal, and redemption shape the kingdom’s future. The plot includes several subplots that, while ultimately tied to the main narrative, sometimes feel excessive and unnecessarily drawn out. Though meaningful in hindsight, these backstories, like the subplot of Chief Otun’s daughter, Mayowa, contribute to pacing issues that can diminish the tension and engagement. The slow unraveling of the king’s challenges, especially when solutions seem deliberately delayed, occasionally hamper the suspense rather than building it. While the interconnected subplots tie together by the end, the lack of consistent forward momentum in each episode weakens the narrative drive. The plot succeeds in maintaining thematic cohesion, even if it requires patience to appreciate its intricacies. The seven doors in the story symbolize important life choices. Each door represents a decision with consequences, showing how leadership is about navigating tough situations. When the king fails to perform the ancient ritual (even in ignorance), it’s not only about tradition, it’s a warning about what happens when leaders neglect their responsibilities. ##### Technical Aspects The film’s production design—including cinematography, set design, location, costumes, and props—clearly shows that a lot of effort and resources were invested in creating an authentic look. *Seven Doors* undeniably boasts high production value, making its visuals a major highlight. From the breathtaking scene of seven women falling off a waterfall to the seamless magical transformation of a statue and a chicken, the effects are ambitious and mostly well-executed. Similarly, practical effects, like the destruction of a fence, were impactful and tangible, adding authenticity to the film’s setting. However, some visual effects felt slightly overdone or misplaced, which detracted from the otherwise immersive experience. Still, there are some issues, particularly with costume choices. A recurring flaw in Yoruba Nollywood productions is the use of oversized, unrealistic afro wigs to depict a historical setting, as seen here and in films like *Crossroads* and *Blacksmith* *(Alágbède)*. Additionally, the king’s beads in one scene felt historically inaccurate, mixing traditional and machine-made elements that lacked authenticity. Transitions between shots happened too quickly, as the film employed a jump cuts making it difficult to fully absorb the visuals. While the cinematography was generally commendable, especially in the spiritual fight scene in Episode 6, some choices didn’t always serve the story. And a few poor shots, like those in Episode 4, stood out. The sound quality was inconsistent, fluctuating between good and bad in a few instances, though this occurred sparingly. The soundtrack deserves praise for enhancing the emotional intensity of key moments, but for someone unconvinced by the narrative, it might feel less impactful. On the bright side, the VFX, CGI, and SFX were convincing and moderately used, delivering an impressive result for the most part despite minor imperfections. ##### Performances As the Onilara of Ilara, Femi Adebayo portrays a deeply conflicted king navigating the burdens of leadership and the weight of tradition. While his performance captures the character’s vulnerability and internal conflict, especially in moments of confrontation with his treacherous chiefs and the menacing Esusu, it often leans too heavily into theatricality. This style of acting, more suited to stage performances, results in exaggerated gestures and expressions that feel performative rather than authentic. Adebayo’s portrayal, though layered, struggles with believability in certain scenes, making it harder for viewers to connect with the character. emotionally. Chioma Akpotha shines as Queen Amaka, delivering a performance that is both nuanced and emotionally resonant. Her ability to embody a loyal and resourceful queen navigating palace politics adds depth to the character. Despite being of Igbo origin, Akpotha’s mastery of Yoruba adds authenticity and gravitas to her portrayal, further solidifying her as one of the film’s strongest performers. However, her crying scene in Episode 4, seemingly directed at the audience rather than stirring drama within the story’s world, detracts from the overall immersion, revealing a disconnect between theatrical and cinematic storytelling (a directing issue) Afeez ‘Saka’ Oyetoro’s performance as Agbaakin provides comic relief. Aliu Gafar delivers a standout performance as the antagonist, Esusu, bringing an intense, menacing energy to the role. His portrayal of psychological and physical terror is chilling and memorable, elevating the narrative with his commanding presence. Gafar’s ability to embody Esusu’s ruthlessness and vendetta against the royal family ensures he remains a compelling and unforgettable villain throughout the series. The supporting actors, portraying the king’s chiefs and court members, deliver strong performances that highlight the film’s themes of loyalty, betrayal, and political tension. However, their performances occasionally fall into the realm of theatrical exaggeration, which, while engaging, sometimes detracts from the realism expected in film. Overall, the performances in *Seven Doors* are palpable but often marred by an over-reliance on stage-like dramatization, which occasionally disrupts the immersive quality of the cinematic experience. ##### Final Thoughts *Seven Doors* represents an ambitious step forward for Yoruba Nollywood’s foray into high-budget filmmaking. The series exhibits a clear investment in production quality, from its breathtaking visuals to its use of intricate VFX and set designs, marking a departure from the more modest productions that traditionally defined the genre. While the final episode sufficiently ties the story together, the lack of consistent tension or compelling cliffhangers between episodes diminishes the sense of urgency that a serialized story requires. Despite its flaws, *Seven Doors* is a bold project reflecting Nigerian cinema’s evolving landscape. It combines cultural storytelling with modern filmmaking techniques, offering a glimpse of the heights Nollywood can reach with more experience and refined execution. As Adebayo grows as a filmmaker, *Seven Doors* serves as both an achievement and a learning curve in the quest to elevate Yoruba Nollywood to global standards. This story has a compelling premise rooted in the richness of Yoruba culture and tradition, but it doesn’t fully resonate with every viewer. The plot is laden with several inconsistencies. For example, why are the chiefs conspicously absent from the king’s wedding? Why do new queen mourn the fact that the king will be marrying 6 wives than the loss of their daughter? Did the cheifs turn good all of a sudden? Did Prince Adeeyo’s crown ambitions ever end? Also, while the story’s theme is powerful, its presentation makes it hard for viewers to emotionally connect with it, leaving parts of the narrative difficult to relate to. At its heart, *Seven Doors* is about more than just a king and his kingdom. It’s a story about how cultural traditions shape our lives and how the choices we make today affect the future. The seven doors remind us that tradition and responsibility are still relevant in modern life. This series is a step forward for Yoruba Nollywood, blending culture with modern storytelling. It shows how Nigerian filmmakers can share local stories with a global audience. While not perfect, *Seven Doors* proves that stories like this can have a big impact when done right. ##### Verdict *Seven Doors* offers a visually stunning and culturally rich film that showcases Nollywood’s ambition, but its uneven storytelling and theatrical tendencies hold it back from true excellence. While not perfect, it remains a bold and commendable effort in high-budget Nigerian cinema. This is a must-watch for its cultural depiction and technical achievements. Seven Doors is currently streaming on Netflix. **Rating**: 3.5 Stars ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/seven-doors-an-aesthetically-pleasing-cultural-metaphor/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/seven-doors-an-aesthetically-pleasing-cultural-metaphor/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/seven-doors-an-aesthetically-pleasing-cultural-metaphor/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/seven-doors-an-aesthetically-pleasing-cultural-metaphor/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/seven-doors-an-aesthetically-pleasing-cultural-metaphor/?share=linkedin) - **Categories:** Articles, Blog, Drama, Nollywood, Popular reviews, Reviews, TV **Tags:** Chioma Akpotha, Femi Adebayo, Netflix, nollycritic, nollywood, seven doors --- ### [Gingerrr Extends Theatrical Run to the UK](https://nollycritic.com/gingerrr-extends-theatrical-run-to-the-uk/) **Published:** October 22, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Gingerrr produced by Nollywood stars Wunmi Toriola, Bisola Aiyeola, Bolaji Ogunmola and Kie Kie, is set to screen across select UK cinemas this October. **Content:** Executively produced by some of Nollywood’s leading star actresses, *Gingerrr* is set to continue its theatrical journey with screenings across the United Kingdom. According to Cinemax, the film’s official distributor, *Gingerrr* will screen at Odeon Cinemas in Greenwich, Manchester, Milton Keynes, Birmingham, Braehead, Coventry, and Streatham. It will also show at Vue Cinemas in Croydon Grants, Nottingham, Shepherd’s Bush, Thurrock, Westfield Stratford, Dagenham, Leeds Light, and Watford. Screenings are scheduled to commence on October 31, 2025. With this move, [*Gingerrr*](https://nollycritic.com/gingerrr-sets-new-nollywood-box-office-record/ "Gingerrr ")**[ ](https://nollycritic.com/gingerrr-sets-new-nollywood-box-office-record/ "Gingerrr ")**joins the ranks of other successful Nollywood titles such as *Malaika* (2023), *Ada Omo Daddy* (2023), *A Tribe Called Judah* (2023), and *Everybody Loves Jenifa* (2024), which have all enjoyed screenings across select UK cinemas. At the Nigerian box office, the film has continued to post impressive figures and set new benchmarks. It debuted with a remarkable ₦79,154,225, earning the number seven spot on the list of highest-grossing opening weekends for Nollywood films. It also held the top position as the highest-grossing film for four consecutive weekends. Now in its fifth week of a projected twelve-week cinema run, *Gingerrr* has grossed over ₦322,700,000, securing the 13th position on the all-time chart of highest-grossing Nigerian films — and steadily advancing toward the coveted top 10. Directed by Yemi “Filmboy” Morafa, the story follows a childhood gang known as ‘Gingerrr,’ with the spotlight on Lala Goldy’s life. Set as a mystery-comedy-drama set in Lagos, the narrative traces Lala’s journey as her world becomes entangled in both supernatural and criminal chaos following the deaths of her father and mother. The feature has an ensemble cast that combines established Nollywood heavyweights with rising stars. Alongside the four lead actors, the film stars Shaffy Bello, Odunlade Adekola, Adedimeji Lateef, Timini Egbuson, Blossom Chukwujekwu, Shammah Agah, Adebowale Adedayo, Kamo, and Emeka Okoye. The star power helped draw audiences in droves, contributing significantly to its record-breaking performance. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/gingerrr-extends-theatrical-run-to-the-uk/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/gingerrr-extends-theatrical-run-to-the-uk/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/gingerrr-extends-theatrical-run-to-the-uk/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/gingerrr-extends-theatrical-run-to-the-uk/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/gingerrr-extends-theatrical-run-to-the-uk/?share=linkedin) - **Categories:** Nollywood News **Tags:** Bisola Aiyeola, Bolaji Ogunmola, film, Kie-Kie, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Wunmi Totiola --- ### [Safari: See the Trailer For Obi Melonye's New Romantic Thriller](https://nollycritic.com/safari-see-the-trailer-for-obi-melonyes-new-romantic-thriller/) **Published:** October 21, 2025 **Author:** Faith Oloruntoyin **Excerpt:** A cross-continental collaboration between Nollywood and the Kenyan tourism industry is set to hit cinemas nationwide as Safari. Produced by Reuben Odanga... **Content:** A cross-continental collaboration between Nollywood and the Kenyan tourism industry is set to hit cinemas nationwide as *Safari*, Produced by Reuben Odanga and Obi Emelonye, the feature is set to deliver a nerve-wrecking drama on self-love, betrayal and justice. Safari follows the story of a disillusioned senator’s wife from Nigeria who seeks solace in a luxurious getaway to Kenya. But what begins as a peaceful retreat soon turns into a dangerous affair when she becomes entangled with a charming local tour guide accused of murder. Written by [Tunde Babalola](https://en.wikipedia.org/wiki/Tunde_Babalola "Tunde Babalola"), a BAFTA-nominated Nigerian writer recognized for his work on *The Figurine* and *October 1*. With his knack for weaving suspense and layered human emotion, Babalola delivers a narrative that explores power, desire, and moral complexity against the breathtaking backdrop of East Africa. *Safari* is no different, as it follows the story of a Nigerian politician’s wife who travels to Kenya for a luxury safari getaway. But becomes entangled in a shocking scandal after befriending a local beach boy who is accused of murdering a British tourist. And now she must prove her innocence and return home to everything she ran away from. Directed by Obi Emelonye, the cast includes [Osas Ighodaro](https://nollycritic.com/amaa-2025-see-the-full-list-of-nominees/) in the lead role alongside Jidekene Achufusi, Ali Nuhu, Kenneth Aimbani, and Emmanuel Mugo. The film marks a significant milestone in African cinema, as it became the first public film project to receive funding from the Providus ₦5 billion Creative Fund. Principal photography concluded in August 2024 after an eight-year development and production journey, with filming taking place across scenic locations in Nigeria and Kenya. Emelonye, is known for acclaimed titles such as *Last Flight to Abuja* and *The Mirror Boy*, brings his signature blend of drama and social commentary to *Safari*. Producer Reuben Odanga, a celebrated Kenyan filmmaker behind *Nairobi Half Life* and *Selina*, joins forces with Emelonye to bridge Nollywood and Kenyan storytelling. Distributed by Blue Pictures, the feature is set to premiere across cinemas nationwide on November 21, 2025. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/safari-see-the-trailer-for-obi-melonyes-new-romantic-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/safari-see-the-trailer-for-obi-melonyes-new-romantic-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/safari-see-the-trailer-for-obi-melonyes-new-romantic-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/safari-see-the-trailer-for-obi-melonyes-new-romantic-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/safari-see-the-trailer-for-obi-melonyes-new-romantic-thriller/?share=linkedin) - **Categories:** Nollywood News **Tags:** Ali Nuhu, Blue Pictures Film Distribution, film, Jidekene Achufusi, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Osas Ighodaro, Safari --- ### [Daniel Etim-Effiong’s The Herd Set for Nationwide Release](https://nollycritic.com/daniel-etim-effiongs-the-herd-set-for-nationwide-release/) **Published:** October 16, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Award-winning actor Daniel Etim-Effiong is stepping behind the camera for the first time with his directorial debut, The Herd... **Content:** Award-winning actor Daniel Etim-Effiong is stepping behind the camera for the first time with his directorial debut, *[The Herd](https://www.imdb.com/title/tt37157364/ "The Herd")*, which is set to open in cinemas nationwide on Friday, October 17, 2025. Co-produced by FilmOne Studios, ToriTori Films, Serendipity HHC, and Airscape, the film represents a significant milestone in Etim-Effiong’s career and [Nollywood’s](https://nollycritic.com/?s=nollywood "Nollywood’s") growing body of auteur-driven storytelling. ##### A Story Rooted in Family, Faith, and Tradition *The Herd* follows a community elder’s struggle to preserve his values and family in the face of shifting beliefs and generational tension. The film explores themes of legacy, faith, and leadership through the lens of a family drama set in a rural backdrop. The story centers on Eze, a respected community leader whose moral authority is tested when tragedy and betrayal threaten the unity of his household. ##### Behind the Camera and on Screen While Etim-Effiong directs, the film also features a powerful ensemble cast including Genoveva Umeh, Kunle Remi, Norbert Young, Tina Mba, Linda Ejiofor-Suleiman, Patrick Doyle, Bolaji Ogunmola, Mercy Aigbe, Deyemi Okanlawon, Emeka Nwagbarocha, Abba A. Zakky, and Lateef Adedimeji. Produced in collaboration with FilmOne Studios and distributed by FilmOne Entertainment, *The Herd* is part of Filmhouse Group’s ongoing slate aimed at elevating Nollywood’s global visibility through strong local stories with universal resonance. The production partners — ToriTori Films (founded by Etim-Effiong), Serendipity HHC, and Airscape — combine experience across film, advertising, and creative storytelling to deliver a project grounded in emotional authenticity and visual polish. ##### A Star-Studded Premiere and Industry Support Ahead of the nationwide release, *The Herd* premiered at a high-profile event in Lagos attended by Nollywood’s leading figures and industry stakeholders. Guests included Kanayo O. Kanayo, Adesua Etomi-Wellington, Linda Ejiofor-Suleiman, Kate Henshaw, Kunle Remi, and Ebuka Obi-Uchendu, alongside top filmmakers, media executives, and cultural influencers. Speaking at the event, Kene Okwuosa, Group CEO of Filmhouse Group, praised the team’s achievement: > “We are incredibly proud of Daniel and the entire team behind *The Herd*. As co-producers through FilmOne Studios and distributors through FilmOne Entertainment, Filmhouse Group remains committed to raising the standard of Nigerian cinema and ensuring exceptional stories like this reach audiences far and wide.” ##### Etim-Effiong’s Directorial Vision For Etim-Effiong, *The Herd* marks both a creative leap and a personal journey. Reflecting on the experience, he shared: > “*The Herd* is a story that’s deeply close to my heart. Stepping behind the camera for the first time has been humbling, challenging, and immensely rewarding. I’m grateful to everyone who believed in this vision — our partners, crew, and an incredible cast who brought it all to life.” The actor, best known for performances in *Fishbone*, *Glamour Girls*, and *The Men’s Club*, brings his signature emotional depth to his directorial approach, blending performance-driven storytelling with visual sophistication. ##### What to Expect Distributed by FilmOne Entertainment, *The Herd* promises audiences a cinematic experience that balances cultural heritage with contemporary filmmaking. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/daniel-etim-effiongs-the-herd-set-for-nationwide-release/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/daniel-etim-effiongs-the-herd-set-for-nationwide-release/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/daniel-etim-effiongs-the-herd-set-for-nationwide-release/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/daniel-etim-effiongs-the-herd-set-for-nationwide-release/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/daniel-etim-effiongs-the-herd-set-for-nationwide-release/?share=linkedin) - **Categories:** Nollywood News **Tags:** Adesua Etomi-Wellington, Daniel Etim-Effiong, Filmhouse Group, Filmone entertainment, Filmone Studios, Kanayo O. Kanayo, Kate Henshaw, kunle remi, nigerian cinema, Nigerian film industry, Nollycritic News, nollywood, The Herd --- ### [Here’s a Recap Of The Annual Filmone Exhibitors Showcase](https://nollycritic.com/heres-a-recap-of-the-annual-filmone-exhibitors-showcase/) **Published:** October 17, 2025 **Author:** Faith Oloruntoyin **Excerpt:** On Thursday, October 16, 2025, FilmOne Entertainment convened key stakeholders from across the Nigerian film industry, including distributors... **Content:** On Thursday, October 16, 2025, [FilmOne Entertainment](https://www.filmoneng.com/home "FilmOne Entertainment") convened key stakeholders from across the Nigerian film industry, including distributors, production houses, actors, and producers, for a press briefing. The event offered insights into the box office performance FilmOne Entertainment, Filmhouse and FilmOne Studios have achieved so far this year, alongside an exclusive preview of upcoming Nigerian film releases on the FilmOne distribution slate for the rest of 2025, as well as a first look at some major titles expected in 2026. As announced by the CEO of FilmOne, Kene Okuwosathe, the Exhibitors Showcase is set to introduce the Outstanding Achievement Award. And for the first edition, Muyiwa Ademola was awarded for delivering one of 2025’s most successful films and inspiring audiences across Africa, with his movie *[Ori: The Rebirth](The Rebirth "https://en.wikipedia.org/wiki/List_of_highest-grossing_Nigerian_films").* The feature is currently Nollywood’s highest-grossing movie for 2025, with a total of ₦419,570,525. **Nollywood movies to expect before the end of the year** ***3 Cold Dishes*** According to the director Asurf Oluseyi, the story stemmed from a desire to tell stories about bold women. In this case, *3 Cold Dishes* tells the story of Esosa, Fatouma, and Giselle, three women trafficked as teenagers who formed a deep bond in captivity. Two decades later, hardened by trauma but united by purpose, they reunite to launch a meticulously planned mission against the men who once owned their lives. Shot in 3Nigeria, Côte d’Ivoire, Mauritania, and the Benin Republic, the action-thriller sheds light on human trafficking, survival and revenge. The stunning cast features Osas Ighodaro, Wale Ojo, Femi Jacobs, Ruby Akubueze and Brutus Mfon. *3 Cold Dishes* will debut across cinemas nationwide on November 7, 2025. Following its world premiere in London earlier this month. ***War Lord: Olori Ogun*** *War Lord: Olori Ogun* is directed by Adebayo Tijani, Abe Lanre, Tope Adebayo, and Odunlade Adekola. The film presents an indigenous tale centred on a formidable warlord, portrayed by Adekola, who defies a forbidden tradition in his quest to become king. This Yoruba epic explores powerful themes of bravery, loyalty, and the pursuit of power. The clips shown teases alot of drama, blood shed and chaos. The cast includes Fathia Balogun, Toyin Abraham, Muyiwa Ademola, and Eniola Ajao. *War Lord : Olori Ogun* will debut across cinemas nationwide on November 28, 2025 > [View this post on Instagram](https://www.instagram.com/reel/DP33Y_FCFY0/?utm_source=ig_embed&utm_campaign=loading)[A post shared by FilmOne Entertainment | Africa’s Number 1 Film Distributor (@filmoneng)](https://www.instagram.com/reel/DP33Y_FCFY0/?utm_source=ig_embed&utm_campaign=loading) ***GrandPa Must Obey*** *Grandpa Must Obey* is scheduled to premiere in cinemas nationwide on November 21, 2025. Directed by Chibuzor Afurobi, the film tells the story of a grieving grandfather who spirals into despair after the death of his wife, only to find renewed purpose — and possibly love again — when his grandchildren are taken hostage, forcing him to fight back and reclaim his life. Kanayo O. Kanayo, Bimbo Akintola, Darasimi Nadi, Elvina Ibru, Yvonne Jegede, Fiyin Asenuga and Brutus Richard. ***This is not a Nollywood Movie*** *This is Not a Nollywood Movie* will premiere on December 5, 2025, as it kicks off the Nollywood December run. Directed by Wale Ojo and produced by Boma Akpofure. The movie stars Ojo, Bimbo Akintola, Olumide Owuru, Hank Anuku, Julius Agwu, Blossom Chukwujekwu, Broda Shaggi, Sunny Micheal and Shatta Bandles. > [View this post on Instagram](https://www.instagram.com/reel/DP4ORTQgkIq/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Boma Martins Akpore (@bomaakpore)](https://www.instagram.com/reel/DP4ORTQgkIq/?utm_source=ig_embed&utm_campaign=loading) ***Behind The Scenes*** Directed by Funke Akindele and Tunde Olaoye who reunit after *A Tribe Called Judah* collaboration. During the exhibition she shared that the initial production for her 2025 December run was *A Tribe Called Judah 2.* And even screened four other stories before settling on *Behind The Scenes* The synopsis reads; Aderonke Faniran also known as Ronky-Fella, a mother of two and a successful real estate mogul, is loved for her generosity. But as everyone around her groes to expect her kindness, she gives until there’s nothing left, neglecting herself in the process. > [View this post on Instagram](https://www.instagram.com/p/DP6N7J7DTrE/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Olufunke Akindele (@funkejenifaakindele)](https://www.instagram.com/p/DP6N7J7DTrE/?utm_source=ig_embed&utm_campaign=loading) The cast includes, Ex-BBNaija stars Wanni and Handi who play Aderonke’s twin daughters and Iyabo Ojo who plays Aderonke’s best friend. Others include, Tobi Bakre, Scarlet Gomez, Uzor Arukwe, Uche Montana, Destiny Etiko, Ini Dima-Okojie, Adebowale Adebayo, Dele Odule and Ibrahim Chatta. *Behind the Scene* will debut across cinemas nationwide on December 12, 2025. But will hold an advanced screening in select cinemas on December 11, 2025. And proceed to other countries in Africa and Europe. > [View this post on Instagram](https://www.instagram.com/reel/DPy_Lz-jRvu/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Olufunke Akindele (@funkejenifaakindele)](https://www.instagram.com/reel/DPy_Lz-jRvu/?utm_source=ig_embed&utm_campaign=loading) ***Oversabi Aunty*** According to Toyin Abraham, *Oversabi Aunty* was inspired by the controversial label she received during Priscilla Ojo’s wedding earlier this year. The film also marks Abraham’s directorial debut on the big screen. The story centres on a multicultural family whose daughter becomes entangled in the meddling of overzealous relatives determined to impose their customs and traditions. The official teaser promises a blend of chaos, drama, and humour. The film features Toyin Abraham, Jemima Osunde, Tana Egbo-Adelana, and Mike Ezuruonye. *Oversabi Aunty* will have an advanced screening in select cinemas on December 18, 2025, ahead of its nationwide release on December 19, 2025. > [View this post on Instagram](https://www.instagram.com/p/DPn8PiRDD1H/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Toyin Abraham Ajeyemi (@toyin\_abraham)](https://www.instagram.com/p/DPn8PiRDD1H/?utm_source=ig_embed&utm_campaign=loading) ***Colours of Fire*** Directed by Niyi Akinmolayan, under the Ant Hill production, *Colours Of Fire* promises a deeply rooted cultural story. From it teaser it holds drama, action, romance and some mystery. The FilmOne Exhibitors audience are said to be the very first people to see the official teaser before it was released on Friday, October 17. The cast includes Uzor Arukwe, Osas Ighodaro, Femi Branch, Gabriel Afolayan, Ibrahim Chatta and Mercy Aigbe. The synopsis reads; When a warrior is sent out to hunt a beast believed to be unleashed by his clan’s rivals, he uncovers a darker truth and an unexpected connection. Now he must decide to protect his clan’s honor or risk everything for a forbidden love that could unite or doom their worlds. *Colours of Fire* will debut across cinemas nationwide on December 26, 2025. As it officially closes the Nollywood box office run for 2025. **Some Nollywood Movies to expect in Q1 and Q2 of 2026** ***Everything Is New Again*** To kick start the new year, *Everything Is New Again* tells a bold story of a much older lady finding love again. The movie is sad to still in production and would feature Mercy Aigbe as the lead, Olumide Owuru, and Ngozi Nwosu. *Everything Is New Again* will premiere on January 30, 2025. ***The Call of Life*** The feature is directed by Blessing Uzi, 2025 Africa Magic Viewers Choice Award for Best Feature Film for *Freedom Way. The Call of Life* will debut on February 6, 2026. ***Love & New Notes*** With *Love & New Notes,* Timini Egbuson claims the Valentine box office season. After a good run last year with *Ree Love,* which recorded an impressive opening week of ₦95,077,149 and a total grossing of ₦356,824,175. The same team returns, with a collaboration yet again between Timini, FilmOne and Kayode Kasum. *Love & New Note*s will debut across cinemas on February 13, 2026. ***Mothers Of Chibok*** Directed by Kachi Benson, who is well know for *, Mothers Of Chibok* is said to be a documentary. A story tied on untold stories of a gruesome experience. *Mothers Of Chibok* will debut on February 27, 2026. ***A Fisherwoman’s Dream*** Laju Iren return’s to the cinemas with a bold and thought provoking story on woman. *A Fisherwoman’s Dream* will be released on March 6, 2025, being the women’s day celebration month. ***EVI*** *EVI* is a Musical that will be released on March 27, 2026. Written and directed by Uyoyou Adia, it tells the story of Evi Oghene Donalds. A talented Afrobeats star whose world comes crashing when her record label drops her without any compensation. ***Iyami*** No detail asides from its release date slated for May 29, 2026 was announced. ***The Other Side of the Bridge*** It tells the story of two boxers who come from different parts of Lagos (Island and Mainland). They battle it out in the ultimate chamionship game while being faced with other personal issues. Directed by Fiyin Gambo, the cast includes Bawo, Tobi Bakre, Olarotimi Fakunle, Mike Afolarin, Teniola Aladese, Femi Branch, William Bensonand Taye Arimoro. *The Other Side of the Bridge* will be released across cinemas on April 17, 2025. Following its world premiere at the 2024 African International Film Festival. ***A Star in Dark** (April 24, 2026)* **Other Titles For 2026; With No Date Disclosed Yet** *Prophetess 2* (Anthill and Toyin Abraham) *Ilu* (Femi Adebayo) *Lagos Big Boys* (Inkblot and FilmOne Studios) *The Smart Money woman* ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/heres-a-recap-of-the-annual-filmone-exhibitors-showcase/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/heres-a-recap-of-the-annual-filmone-exhibitors-showcase/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/heres-a-recap-of-the-annual-filmone-exhibitors-showcase/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/heres-a-recap-of-the-annual-filmone-exhibitors-showcase/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/heres-a-recap-of-the-annual-filmone-exhibitors-showcase/?share=linkedin) - **Categories:** Nollywood News **Tags:** Behind The Scnes, Colors of Fire, Femi Adebayo, film, filmhouse, FilmOne, Filmone entertainment, inkblot, Mercy Aigbe, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Odunlade Adekola, Osas Ighodaro, The Other Side of the Bridge, Timini Egbuson, Tobi Bakre, Uzor Arukwe, War Lord --- ### [NicaPro: Omoni Oboli & Patricia Bebia Launch New Platform](https://nollycritic.com/nicapro-omoni-oboli-patricia-bebia-launch-new-platform/) **Published:** October 16, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Nigerian actress-producer Omoni Oboli and Canadian-based producer Patricia Bebia have officially launched NicaPro, a new Nigeria–Canada film partnership... **Content:** Nigerian actress-producer [Omoni Oboli](https://www.imdb.com/name/nm3729477/ "Omoni Oboli") and Canadian-based producer Patricia Bebia have officially launched NicaPro, a new Nigeria–Canada film partnership uniting [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") and Canadian cinema. Announced via press releases and social media, NicaPro is designed to support collaborative production, talent development, and strategic partnerships between storytellers and financiers in both nations. ##### Strengthening Cross-Border Collaboration According to the founders, NicaPro will serve as a platform for co-productions, skill exchange, and industry networking. The partnership seeks to give Nigerian filmmakers greater access to international markets and technical expertise, while providing Canadian creatives with a pathway to engage with African stories and talent. Omoni Oboli, known for her work as an actor, director, and producer, said the goal of the partnership is to build practical links between both industries, enabling collaboration through training, joint productions, and exposure to global standards of film practice. ##### A Shared Vision for Growth Bebia added that NicaPro intends to open doors for emerging talents across both countries by connecting them with funding bodies, production partners, and streaming platforms. She emphasized the importance of creating sustainable business models that reflect the growing international demand for African content. The initiative aligns with broader efforts to boost African film exports and build international alliances that position Nollywood within the global entertainment landscape. ##### What’s Next Further details about NicaPro’s first slate of collaborative projects are expected to be announced. Early conversations, according to the organizers, are underway with select Nigerian and Canadian production studios. The launch marks another step in Nollywood’s growing international engagement and underscores the importance of cross-border partnerships in building a stronger, globally competitive African film economy. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nicapro-omoni-oboli-patricia-bebia-launch-new-platform/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nicapro-omoni-oboli-patricia-bebia-launch-new-platform/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nicapro-omoni-oboli-patricia-bebia-launch-new-platform/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nicapro-omoni-oboli-patricia-bebia-launch-new-platform/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nicapro-omoni-oboli-patricia-bebia-launch-new-platform/?share=linkedin) - **Categories:** Nollywood News **Tags:** african cinema, Film Collaboration, Global Film News, International Co-production, NicaPro, Nigeria–Canada Film Partnership, Nigerian film industry, nollywood, Omoni Oboli, Patricia Bebia --- ### [My Father's Shadow Set to Represent the UK at the Oscars](https://nollycritic.com/my-fathers-shadow-set-to-represent-the-uk-at-the-oscars/) **Published:** October 14, 2025 **Author:** Faith Oloruntoyin **Excerpt:** The United Kingdom has officially selected the Nigerian film My Father’s Shadow, for the Best International Film category at the Oscars. **Content:** The United Kingdom has officially selected the Nigerian film *My Father’s Shadow*, for the Best International Film category at the Oscars. This category caters to feature-length films produced outside the United States with predominantly non-English dialogue. Each country is to submit only one film to represent it, usually selected by a national committee. To qualify, the film must have been theatrically released in its home country within the Academy’s specified dates and run for over 40 minutes. According to [Variety](https://variety.com/2025/film/awards/oscars-uk-submits-my-fathers-shadow-1236552259/ "Variety"), *My Father’s Shadow* was selected by a special BAFTA committee. While the UK puts forward *My Father’s Shadow*, Nigeria did not submit any film for consideration in this year’s International Feature Film category. Continuing a pattern of inconsistency that has drawn concern among filmmakers and cultural commentators about the country’s engagement with global film institutions. *[My Father’s Shadow](https://nollycritic.com/my-fathers-shadow-an-intriguing-24-hour-odyssey/)* has made quite an interesting festival run, with the recent announcement of its selection at the BFI London Film Festival. Not too long ago, it premiered at the 2025 Cannes Film Festival. And became the first ever Nigerian film to be selected and win under the Un Certain Regard Section. Written by Akinola Davies Jr. and his brother Wale Davies, the feature follows two young brothers who spend a day with their estranged father, exploring themes of identity, memory, and familial bonds. Set against the politically charged backdrop of the 1993 Nigerian presidential election, it intertwines personal and historical narratives, reflecting Davies’ signature fusion of memory and modern African identity. *My Father’s Shadow* is NollyCritic’s highest rated Nigerian movie and it currently streaming in cinemas. This selection is possible because there is sufficient creative contribution from the UK and the director is a British citizen. The submission, however, raises questions on the category and the necessary requirements, which have always seemed to be a major struggle for Nigeria. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/my-fathers-shadow-set-to-represent-the-uk-at-the-oscars/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/my-fathers-shadow-set-to-represent-the-uk-at-the-oscars/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/my-fathers-shadow-set-to-represent-the-uk-at-the-oscars/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/my-fathers-shadow-set-to-represent-the-uk-at-the-oscars/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/my-fathers-shadow-set-to-represent-the-uk-at-the-oscars/?share=linkedin) - **Categories:** Nollywood News **Tags:** Akinola Davies Jr., film, nollycritic, nollywood, Nollywood 2025, oscars, Wale Davies --- ### [AMAA 2025: See The Full List of Nominees](https://nollycritic.com/amaa-2025-see-the-full-list-of-nominees/) **Published:** October 12, 2025 **Author:** Michael Arowoselu **Excerpt:** The nominations for the 21st Africa Movies Academy Awards (AMAA 2025), AMAA have been announced on Saturday evening, October 11, 2025 **Content:** The nominations for the 21st [Africa Movies Academy Awards](https://ama-awards.com/ "Africa Movies Academy Awards") (AMAA 2025), AMAA have been announced on Saturday evening, October 11, 2025 ahead of the 2025 edition. Since 2005, the AMAA’s have recognized excellence in cinematic achievements. The nominations were announced by African actors of Nigerian descent including Lilian Aluko, Emeka Ossai, Charles Inojie, and Adaora Anyanwu. Other dignitaries that announced the nominees include Nigerian media personality Chris Kehinde Nwandu, Executive Director of the National Film and Videos Censors Board, Dr Shaibu Husseini and former Lagos commissioner, Steve Ayorinde. Both Husseini and Ayorinde represented the AMAA jury at the event. Oluseyi Asurf’s *[3 Cold Dishes](https://nollycritic.com/3-cold-dishes-london-premiere-a-night-of-stars/ "3 Cold Dishes")* and Niyi Akinmolayan’s *[Lisabi: The Uprising ](https://nollycritic.com/lisabi-the-uprising-an-ambitious-epic-weighed-down-by-cgi/)*leads the nomination list for Nigeria with nods for best film and best director. The award nomination was announced to the media and the general public at the BON Hotel Ikeja Residence situated in Ikeja GRA, Lagos. Below is a list of the categories and their nominees: **EFERE OZAKO AMAA 2025 AWARD FOR BEST SHORT FILM** - The Missing Piece – Kenya - Vandals – Mozambique - Echoes From The Past- Nigeria/UK - Abu Judy -Egypt - Chikha-Queen – Morrocco - MIA – Burkina Faso - Stigma – Tunisia - LEES WAXUL – Senegal - The last Harvest – Cape Verde **JUBRIL MALAFIA AMAA 2025 AWARD FOR BEST ANIMATION** - Dawn – Cameroun - My Brother, My Brother- Egypt/France/Germany - The Travails of Ajadi – Nigeria - Nkizzi’s First Day – Uganda - Amara and the Spirit of Nyamagunda – Uganda - Monologue – Nigeria/UK **AMAA 2025 AWARD FOR BEST DOCUMENTARY** - The Journey East – DRC - Double Minority – Nigeria - The Empty Grave – Tanzania/UK - Khartoum – Sudan/UK - Ancestral Visions of the Future -Lesotho/France/Germany **OUSMANE SEMBENE AMAA 2025 AWARD FOR BEST FILM IN AN AFRICAN LANGUAGE** - Katanga: Dance of The Scorpions -B/Faso - Small Gods – Uganda/UK - Lukas: Namibia - Lobola Man – South Africa - Lisabi: The Uprising - The Heart is a Muscle: South Africa **MICHAEL ANYIAM OSIGWE AMAA 2025 AWARD FOR BEST FILM BY AN AFRICAN LIVING ABROAD** - Lemohang Jeremiah – Ancestral Visions of the - Future – Lesotho/France/Germany - Katanga: Dance of The Scorpions – Dany Kouyate (B/Faso) - Khartoum – Ibrahim Snoopy – Sudan **AMAA 2025 AWARD FOR BEST DIASPORA SHORT** - Cartes – USA - Superman Doesn’t steal – USA - Harvest – USA **AMAA 2025 AWARD FOR BEST DIASPORA DOCUMENTARY** - The Billy Preston Story – USA - Carnival: ‘They Cant Steal Our Joy – Canada - Missing Rio Doce – Brazil/France - Rediscovering Fenon – USA/Algeria/Martinique **AMAA 2025 AWARD FOR BEST DIASPORA NARRATIVE FEATURE** - Sisters Maid – Brazil - Romeo N Juliet 4EVA – Jamaica - The Model, The Mannequin and Me – USA **AMAA 2025 AWARD FOR ACHIEVEMENT IN PRODUCTION DESIGN** - Katanga: Dance of The Scorpions - The Heart is a Muscle - 3 Cold Dishes - Last Stop - Red Circle **AMAA 2025 ACHIEVEMENT IN COSTUME DESIGN** - Katanga: Dance of The Scorpions - The Lost Days - The Masked King - The Serpent Gift - Hunting Jessica Brok **AMAA 2025 AWARD FOR ACHIEVEMENT IN MAKEUP** - Spelonk - Lisabi: The Uprising - Amanayanbo - The Masked King - The Heart is a Muscle **AMAA 2025 AWARD FOR ACHIEVEMENT IN SOUNDTRACK** - Recall - Freedom Way - Old Righteous Blues - Kites - Le Point- The Bridge **AMAA 2025 AWARD FOR ACHIEVEMENT IN VISUAL EFFECT** - For Land, For Love, For Power - Lisabi - Spelonk - Hunting Jessica Brok - Amanayanbo: The Eagle King **AMAA 2025 AWARD FOR ACHIEVEMENT IN SOUND** - Algiers - Old Righteous Blues - Le Point – The Bridge - Hunting Jessica Brok - Katanga: Dance of The Scorpions -B/Faso **AMAA 2025 AWARD FOR ACHIEVEMENT IN CINEMATOGRAPHY** - 3 Cold dishes - Old Righteous Blues - Spelonk - Small gods - For love, for land, for power - The Heart is a muscle - Katanga: Dance of The Scorpions -B/Faso **AMAA 2025 AWARD FOR ACHIEVEMENT IN EDITING** - For Love, For Land, For power - Spelonk - The Heart is a Muscle - 3 Cold Dishes - Algiers **AMAA 2025 AWARD FOR ACHIEVEMENT IN SCREEN PLAY** - Old Righteous Blues - Le Point – The Bridge - For Love, For Land, For Power - Small Gods - Red circle - Katanga: Dance of The Scorpions -B/Faso **AMAA 2025 – NATIONAL FILM AND VIDEO CENSORS BOARD (NFVCB) AWARD FOR BEST NIGERIAN FILM** - Lisabi: The Uprising - Recall - Freedom Way - The Serpent Gift - Amanayanbo - 3 Cold Dishes - Red Circle - The Masked King **AMAA 2025 AWARD FOR BEST YOUNG/ PROMISING ACTOR** - Alejandro Cooper- Lukas - Turinayo Jatham – Small gods - Tiwalola Adebola-Walter – Freedom Way - Kisi Ogborueche – Kill Boro - Ruby Akubueze – 3 Cold Dishes **AMAA 2025 AWARD FOR BEST ACTOR IN A SUPPORTING ROLE** - Kojo Boakye – Two of a Kind - Femi Jacobs – Freedom Way - Clemento Ashietey – Last Stop - Abdulai Saidu Kamara – Code of Honor **AMAA 2025 AWARD FOR BEST ACTRESS IN A SUPPORTING ROLE** - Zohra Chetioui – Le Point- The Bridge - Tina Mba – The Serpent Gift - Fadela Brown – Old Righteous Blues - Bukky Wright – Red Circle **AMAA 2025 AWARD FOR BEST ACTOR IN A LEADING ROLE** - Keenan Arrison – The Heart is a Muscle - Debebe Eshetu – For love, for land, for power - Adjetey Anang – Last Stop - Lateef Adedimeji – Lisabi: The Uprising - Ayden Croy- Old Righteous Blues - Bizimana Hussain – Small Gods - Mahamadi Nana – Katanga: Dance of The Scorpions -B/Faso - Nabil Asli – Algiers **AMAA 2025 AWARD FOR BEST ACTRESS IN A LEADING ROLE** - Linda Ejiofor-Suleiman – The Serpent Gift - Analisa Munyana – Mucoma: The Battle of the Couple - Shaffy Bello – The Masked King - Danica De La Ray Jones- Hunting Jessica Brok - Getahun Hailu – For Love, For Land, For Power - Florence Mariserena – Small gods - Meriem Medjkane – Algiers - Osas Ighodaro, Fat Toure and Maud Guerard – 3 Cold Dishes **AMAA 2025 AWARD FOR BEST DEBUT FEATURE FILM BY A DIRECTOR** - The Lost Days – Wingonia Ikpi - Small Gods- Asher Rosen - Algiers- Chakib Taleb-Bendiab - Kill Boro- Obayuwana Courage - The Heart is a Muscle – Imran Hamdulay - Freedom Way – Afolabi Olalekan **AMAA 2025 AWARD FOR BEST DIRECTOR** - Niyi Akinmolayan- Lisabi: The Uprising (Nigeria) - The Heart is a Muscle – Imran Hamdulay (South Africa) - Asurf Oluseyi – 3 Cold Dishes (Nigeria) - Asher Rosen- Small Gods – (Uganda) - Theodros Teshome -For Love, For Land, For Power (Ethiopia) - Dany Kouyate – Katanga: - Dance of The Scorpions -B/Faso - Kwabena Gwansah – Last Stop (Ghana) - Chakib Taleb-Bendiab – Algiers (Algeria) **AMAA 2025 AWARD FOR BEST FILM** - Algiers – Algeria - 3 Cold Dishes – Nigeria - The Heart is a Muscle – South Africa - Small Gods – Uganda - For Love, For Land, For Power -Ethiopia - Katanga: Dance of The Scorpions -B/Faso - Last Stop – Ghana - Lisabi: The Uprising (Nigeria) The 21st Africa Movie Academy Awards will be presented on November 9 at the Balmoral Convention Centre Ikeja – Sheraton in Ikeja GRA, Lagos, Nigeria. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/amaa-2025-see-the-full-list-of-nominees/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/amaa-2025-see-the-full-list-of-nominees/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/amaa-2025-see-the-full-list-of-nominees/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/amaa-2025-see-the-full-list-of-nominees/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/amaa-2025-see-the-full-list-of-nominees/?share=linkedin) - **Categories:** Movies, Nollywood News **Tags:** 3 Cold Dishes, Amaa, AMAA 2025, Amanayanabo, Freedom Way, Lisabi The Uprising, nollycritic, nollywood, Recaal, recall, Red circle, The Masked King, The Serpent's Gift --- ### [AMAA 2024: The Weekend Bags 16 Nominations (See Full List)](https://nollycritic.com/amaa-2024-the-weekends-sweep-nominations-list-full-list/) **Published:** October 3, 2024 **Author:** Shalom O. Obisesan **Excerpt:** The 20th edition of the Africa Movie Academy Awards (AMAA) is set to be an unforgettable celebration of African creativity and innovation. **Content:** The 20th edition of the[ Africa Movie Academy Awards (AMAA 2024)](https://ama-awards.com " Africa Movie Academy Awards (AMAA)") is set to be an unforgettable celebration of African creativity and innovation. With this year’s theme, Celebrating African Creativity, the event, scheduled for November 2, 2024, at the Balmoral Center in Ikeja, Lagos, promises to showcase the continent’s finest talents in film. Daniel Oriahi’s *[The Weekend](https://nollycritic.com/the-weekend-finally-a-thriller-that-checks-the-right-boxes/ "The Weekend")* sweeps AMAA2 024 nominations, with nods in best film, directing, lead acting for Bucci Franklin & Uzoamaka Aniunoh; and supporting acting for Meg Otanwa annd Keppy Ekpenyong. On October 2nd, 2024, the AMAA nominations were across various categories, reflecting the diversity and brilliance of African cinema. Below is a list of the categories and their nominees: ###### Best Film *Under the Hanging Tree* *The Weekend* *This is Lagos* *A Smile, A Wink, and A Tear* *Orah* *Letters to Goddo* *The Queenstown Kings* ###### Best Actor in a Leading Role Zolixa Xaluva – *The Queenstown Kings* Gabriel Afolayan – *This is Lagos* Duncan Murunyu Mungai – *Boda Love* Nenesenor Abloso – *Letters to Goddo* Bucci Franklyn – *The Weekend* Femi Jacobs – *Anjola* Chidi Mokeme – *Out of Breath* ###### Best Actress in a Leading Role Girley Jazama – *Under the Hanging Tree* Oyin Oladejo – *Orah* Unati Faku – *The Queenstown Kings* Uzoamaka Aniunoh – *The Weekend* Laura Pepple – *This is Lagos* Jackie Appiah – *Red Carpet* Ife Irele – *A Smile, A Wink, and A Tear* ###### Best Actor in a Supporting Role Sandile Mahlangu – *The Queenstown Kings* Ochungo Benson – *Nawi* Keppy Ekpeyong Bassey – *The Weekend* Ikechukwu Onunaku – *Afamefuna* Lucky Ejim – *Orah* Solomon Fixon Owoo – *Letters to Goddo* Femi Adebayo – *Jagun Jagun* ###### Best Actress in a Supporting Role Meg Otanwa – *The Weekend* Enhle Mbali Mlotshwa – *The Queenstown Kings* Elsie Chidera Abang – *Kipkemboi* Tessa Twala – *The Queenstown Kings* Bukunmi Oluwashina – *White and Black* Somkele Iyamah-Dhalamah – *Orah* Chioma Akpotha – *Mojisola* ###### Best Debut Feature Film by a Director *Letters to Goddo* – Harry Bentil *Rising Up at Night* – Nelson Makengo *She* – Seun Richards ###### Achievement in Cinematography *The Weekend* *Nawi* *Kipkemboi* *Letters to Goddo* *This is Lagos* *The Queenstown Kings* *A Smile, A Wink and A Tear* ###### Achievement in Screenplay *Under the Hanging Tree* *The Weekend* *Letter to Goddo* *This is Lagos* *Boda Love* *The Queenstown Kings* *Out of Breath* ###### Achievement in Production Design *Orah* *The Queenstown Kings* *The Weekend* *Jagun Jagun* *Kipkemboi* *Makula* *Out of Breath* ###### Achievement in Sound *A Smile, A Wink, and A Tear* *The Weekend* *Under the Hanging Tree* *The Queenstown Kings* *Boda Love* *Kipkemboi* *Boda Love* ###### Achievement in Editing *Under the Hanging Tree* *The Weekend* *This is Lagos* *Nawi* *Kipkemboi* *The Beads* *Anjola* ###### Achievement in Soundtrack *The Weekend* *Under the Hanging Tree* *The Queenstown Kings* *Orah* *This is Lagos* *Mojisola* *Red Carpet* ###### Achievement in Visual Effects *Kipkemboi* *Jagun Jagun* *Under the Hanging Tree* *The Weekend* *Bokwagter* *Out of Breath* ###### Achievement in Costume Design *The Beads* *The Weekend* *White and Black* *Jagun Jagun* *The Queenstown Kings* *Mai Martaba* *Out of Breath* ###### Achievement in Make-Up *The Weekend* *Nawi* *Letters to Goddo* *Out of Breath* *Jagun Jagun* *Anjola* *White and Black* ###### National Film and Video Censors Board (NFVCB) Award for Best Nigerian Film *The Weekend* *This is Lagos* *Afamefuna Jagun Jagun Mai Martaba A Smile, A Wink, and A Tear* *Out of Breath* ###### Efere Ozako Award for Best Short Film *The Last Shoemaker* – Uganda *Seben* – Mali *Dear Future Wife* – South Africa *Isolated* – Nigeria *Jolie* – Angola *Strike a Blow and Die* – Malawi *Don’t Call Me Beautiful* – Ghana *Sins of a Father* – Zimbabwe/USA ###### Best Diaspora Narrative Feature *Outlaw Posse* – USA *Mickey Hardaway* – USA *Love After Holidays* – USA ###### Jubril Malafia Award for Best Animation *Heavy Crown* – Libya *Counter Punch* – Kenya *Journey of the Legend* – Cameroon *Hadu* – Nigeria *Between Paya and Koulou* – Senegal *Oya (The Goddess of Gods)* – Nigeria *Set Pieces* – Sudan ###### Best Diaspora Short *The Neighbourhood Alert* – USA *Bottled Up* – Jamaica *The Golden Boy* – USA ###### Best Diaspora Documentary *The Wu Tang Clan: Live at Red Rocks Amphitheatre* – USA *A Rising Tide* – USA *Colour* – USA ###### Best Documentary *A Quand L’Afrique* – Congo Brazzaville *The Night Still Smells of Gunpowder* – Mozambique *The Return Train* – Mali *Gateway to Dreams* – Cameroon *Rainbow Nation* – South Africa *Dela* – The Making of El-Anatsui – Nigeria *Donga* – Libya *Rising Up at Night* – Democratic Republic of Congo ###### Best Young/Promising Actor Michell Lemuya – *Nawi* Likhona Mgali – *The Queenstown Kings* Agape Mngomezulu – *Orah* William Dias – *Bokwagter* Kofi Adu-Gyamfi – *Tejiri* Ruby Akubueze – *She* Fatima Muhammed – *Mai Martaba* Stay tuned for the 20th AMAA ceremony on November 2, 2024, where African cinema will once again take center stage, celebrating excellence in filmmaking across the continent and beyond. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/amaa-2024-the-weekends-sweep-nominations-list-full-list/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/amaa-2024-the-weekends-sweep-nominations-list-full-list/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/amaa-2024-the-weekends-sweep-nominations-list-full-list/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/amaa-2024-the-weekends-sweep-nominations-list-full-list/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/amaa-2024-the-weekends-sweep-nominations-list-full-list/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** afamefuna, Amaa, AMAA Awards, Jagun Jagun, Out of Breath, The Weekend, This is Lagos --- ### [See the Nollywood Movies Screening 2025 London Film Festival](https://nollycritic.com/see-the-nollywood-movies-screening-2025-london-film-festival/) **Published:** October 10, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nollywood's relationship with the BFI London Film Festival has grown from a quiet introduction to a bold cinematic statement. **Content:** Nigeria’s relationship with the [BFI London Film Festival](https://whatson.bfi.org.uk/lff/Online/default.asp?BOparam::WScontent::loadArticle::permalink=20251009) has grown from a quiet introduction to a bold cinematic statement. When Nigerian films first appeared at the festival, they carried the weight of introducing our stories to audiences that were still learning to take Nollywood and African cinema seriously. Today, those same stories stand alongside films from Hollywood, Europe, and Asia, proving that Nigeria is not just part of the conversation but is helping to shape it. The BFI London Film Festival (LFF), remains one of the world’s premier film showcases, ranking alongside Cannes, Venice, Berlin, and Toronto. Every October, the festival transforms London into a global hub for cinema, drawing filmmakers, critics, and fans to red carpets, Q&As, and screenings throughout the city. This year, the 69th edition takes place from 8–19 October 2025, across venues such as BFI Southbank, BFI IMAX, and Royal Festival Hall. For Nigerian filmmakers, LFF has become more than just a festival; it has become a stage where local stories meet global conversations. It offers a bridge between arthouse creativity and Nollywood commercial ambition, giving our filmmakers both recognition abroad and momentum at home. The journey has been steady, starting with small, independent voices, then moving through glossy Nollywood dramas, and now arriving at a point where Nigerian films compete at the very highest levels of world cinema. Here are Some Nigerian films that have made their way to the BFI London Film Festival in the last few years 2010 – ***Relentless*** (Andy Amadi Okoroafor) Okoroafor opened the door in 2010 with *Relentless*. He told the haunting story of a Lagos soldier returning from war, trying to rebuild his life while carrying emotional scars. Though it had limited exposure in Nigerian cinemas, the film made festival audiences pause and rethink what Nigerian cinema could achieve artistically. Viewers today can stream *Relentless* for free on Plex. 2011 – ***Mother of George*** (Andrew Dosunmu) Andrew Dosunmu followed with *Mother of George*, a visually striking drama about a Nigerian couple in Brooklyn torn between love, tradition, and the pressure to have children. With Danai Gurira in the lead role, the film mesmerised audiences and critics alike. While it lacked a major Nigerian cinema release, it is currently available to stream on Netflix and Prime Video, making it one of the most accessible Nigerian festival classics. 2013 – ***B for Boy*** (Chika Anadu) Chika Anadu’s *B for Boy* confronted tradition head-on with its story of a pregnant woman under pressure to deliver a male heir. The film received wide praise at LFF and beyond, positioning Anadu as one of the boldest voices of her generation. Though its Nigerian box office impact was limited, it continues to live on through Apple TV and Mubi, ensuring that its feminist message still resonates today. 2015 – ***Fifty*** (Biyi Bandele) Bandele’s *Fifty* brought a Nollywood polish and commercial sensibility to LFF. Following four women in Lagos dealing with love, family, and career at midlife, it struck a chord with Nigerian audiences and went on to enjoy a full cinema release across the country. Its subsequent run on Netflix and Showmax gave it continued life with streaming audiences across Africa and beyond. 2020 – ***Eyimofe** (This Is My Desire)* (Arie & Chuko Esiri) The Esiri brothers shook international audiences with [*Eyimofe*](https://nollycritic.com/5-underrated-nollywood-films-you-can-stream-right-now/), a story of two Lagosians. Mofe and Rosa, seeking better lives abroad. The film’s realism, shot on 16mm, and its unflinching humanity made it one of Nigeria’s most critically acclaimed works. While it had limited screenings at home, *Eyimofe* is now available on Amazon Prime Video and Apple TV, making it widely accessible to global viewers. 2021 – ***Juju Stories*** (Surreal16 Collective) In *Juju Stories*, directors C.J. Obasi, Abba T. Makama, and Michael Omonua merged their talents to explore Nigerian folk magic through three supernatural tales. Their anthology redefined Nollywood genre filmmaking, proving that our filmmakers could embrace fantasy and horror with as much sophistication as any global counterpart. Though it wasn’t a multiplex hit, it continues to circulate on Amazon Prime Video, where curious viewers can still watch it. 2024 – ***The Weekend*** (Daniel Oriahi) Daniel Oriahi’s *The Weekend* made audiences shiver with its tense psychological thrills. Following a woman visiting her fiancé’s family, only to unearth dark secrets, the film stood out at the BFI and later premiered in Nigerian cinemas nationwide. It grossed over ₦18 million shortly after release, proving that a festival film could draw crowds at home too. While it hasn’t landed on a major streaming platform yet, industry insiders suggest a deal is imminent. 2024 – ***Wami Wata*** (C.J Obasi) *C.J. Obasi’s* **Mami Wata** is a visually striking Nigerian film that reimagines West African folklore through a bold, black-and-white cinematic lens. Set in the fictional village of Iyi, the story explores themes of tradition, spirituality, and resistance as the community’s devotion to the water goddess Mami Wata clashes with modern forces of power and corruption. **Nigerian Films at the 2025 Festival** By 2025, Nigeria’s presence at the BFI London Film Festival has expanded dramatically. This year, two films carry the Nigerian flag at the event, spanning shorts, documentaries, experimental projects, and feature dramas. Their inclusion signals both continuity and transformation: Nigeria no longer arrives as an outsider at the BFI, but as a cinema culture whose voice matters on the world stage. ***Dust to Dreams*** (Idris Elba with Nigerian collaborators) Idris Elba, working with Nigerian producers including Mo Abudu, directed this polished 19-minute short set in Lagos. It tells the story of a dying nightclub owner who entrusts her legacy to her shy daughter, igniting family tensions when a long-lost father reappears. With Seal among the cast, *Dust to Dreams* has already stirred conversations at Toronto and BFI. Though it has not yet reached streaming, its Lagos setting and emotional depth make it one of 2025’s most anticipated Nigerian-linked projects. ***Dreamers*** (Joy Gharoro-Akpojotor) Written and directed by Joy Gharoro-Akpojoto in her directorial debut. *Dreamers* tells the story of Isio, a Nigerian-born immigrant in the UK, who had lived undocumented for two years and was at the verge of deportation. Sent to the Hatchworth Removal Centre, with the hope of getting a fair asylum hearing, she finds love in her roommate, Farah. With its first debut at Berlinale 2025, *Dreamers* holds Akpojotor’s personal experience as an immigrant. The cast includes; Ronke Adekoluejo, Ann Akinjiri, Diana Yekinni, Aisha Hart and Harriet Webb. *Dreamers* will screen on the 10th and 11th of October 2025. ***My Father’s Shadow*** (Akinola Davies Jr.) Akinola Davies Jr., working with his brother Wale, crafted [*My Father’s Shadow*](https://nollycritic.com/my-fathers-shadow-an-intriguing-24-hour-odyssey/), a semi-autobiographical tale set during Nigeria’s 1993 elections. It follows two brothers reconnecting with their estranged father, weaving a personal story with a political context. The film made history as the first Nigerian fiction work in Cannes’ Official Selection, winning a Caméra d’Or Special Mention. FilmOne released it nationwide in September 2025, and Mubi has already picked it up for streaming in multiple countries, including the UK, US, and Ireland. Its mix of international prestige and Nigerian cinema access makes it a landmark moment for Nigerian film. *My Father’s Shadow* will screen on the 17th and 18th of October 2025. **Conclusion** From *Relentless* in 2010 to the two Nigerian films on the list in 2025, our journey at the BFI London Film Festival tells a powerful story of growth. We began with arthouse films that introduced our voice. We now stand with works that win prizes at Cannes, sell out screenings in Nigeria, and stream globally on Netflix, Prime Video, Showmax, Mubi, and Apple TV. This evolution shows that Nigerian cinema is not only part of global cinema. It is helping to define it. As six new films prepare to light up the BFI stage this October, one thing is clear: Nigeria has come far, but the journey has only just begun. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-nollywood-movies-screening-2025-london-film-festival/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-nollywood-movies-screening-2025-london-film-festival/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-nollywood-movies-screening-2025-london-film-festival/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-nollywood-movies-screening-2025-london-film-festival/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-nollywood-movies-screening-2025-london-film-festival/?share=linkedin) - **Categories:** Articles **Tags:** Another Other, Dust To Dreams, Eyimofe, film, My Father's Shadow, nigerian cinema, nollycritic, nollywood, Nollywood 2025, One Woman One Bra, Prime Video --- ### [2025 Annual Film Mischief Festival: See the Official Selections](https://nollycritic.com/2025-annual-film-mischief-festival-see-the-official-selections/) **Published:** October 10, 2025 **Author:** Faith Oloruntoyin **Excerpt:** The Annual Film Mischief Festival organizers have announced the official film selections with the theme 'Reclaiming Self'. Organized by the Film Rats Club, founded by Chukwu Martins, the festival prides itself in lending a voice and platform to indie-inclined filmmakers. **Content:** [The Annual Film Mischief](https://nollycritic.com/the-annual-film-mischief-2025-returns-with-bold-new-theme/)[ ](https://nollycritic.com/film-festivals-gateways-to-growth-for-nigerian-filmmakers/)(TAFM) organizers have announced the official film selections with the theme ‘Reclaiming Self’. Organized by the [Film Rats Club](https://filmratsclub.com/2024/06/20/the-annual-film-mischief-opens-submissions-to-all-africans/), founded by Chukwu Martins. The festival prides itself in lending a voice and platform to indie-inclined filmmakers. It’s a great start to meet fellow upcoming filmmakers and film clubs that one could learn from. Since its launch in 2022, *TAFM* has showcased a number of remarkable films. That embody its mission of celebrating bold, independent storytelling. The inaugural edition opened with Chuko and Ari Esiri’s *[Eyimofe](https://en.wikipedia.org/wiki/Eyimofe)*, while Owen Olowu’s *Songs of Ubong* won the Grand Cheese Prize. That year also featured *Yahoo+*, which went on to secure nationwide distribution. In 2023, standout projects included Kagho Idhebor’s award-winning short *Broken Mask*. Chude Jideonwo’s *Awaiting Trial*, and Allen Onyige’s *Sunset in Makoko*, which swept four major prizes. Seun Afolabi’s *Atoka* also won the Audience Choice Award. While Chukwu Martin’s *We Are Not Men Anymore* was praised for its strong performances. The 2024 edition carried the momentum forward with socially charged titles. Such as *[With Difficulty Comes Ease](https://nollycritic.com/with-difficulty-comes-ease-a-strong-tale-of-loss-and-faith/),* Chude Jideonwo’s documentary *Where is Chijioke?* And Adio Solanke and Adesuwa Omonzokpia’s family drama *Between Silence & Truth*. Reinforcing the festival’s role as a platform for daring and culturally resonant films. This year, the [Annual Film Mischief](https://nollycritic.com/the-annual-film-mischief-2025-returns-with-bold-new-theme/)[ ](https://nollycritic.com/film-festivals-gateways-to-growth-for-nigerian-filmmakers/)festival will be held in four African countries: Ghana, from October 9 to 11; Nigeria (Lagos and Abuja), from October 16 to 19; Tanzania, from October 29 to 31; and Kenya, from November 1 to 2. Following its open call for submissions across Africa, a total of 16 films was selected. This years jury list includes Nwakaego Boyo, Francis Y. Brown, Chloe Geng and Victor Sanchez Aghahowa. Here’s a list of what to expect during the festival run: *Irin Ajo (The Journey)* by Myde Glover (Nigeria) Directed and written by Myde Glover, the film follows Manuel, his wife Trish, and their daughter Chi on a road trip to reconnect with Trish’s estranged family. As they draw closer, Trish grows distant. And Manuel soon discovers unsettling truths that challenge their marriage and the life they’ve built together. Glover describes the project as a cultural excavation rooted in Yoruba mythology and spirituality, inspired by childhood stories and research that revealed similar beliefs across African traditions. “This film celebrates our heritage while inviting conversations about reality, myth, and possibility,” she says. Co-produced with Morenikeji Uka, the film stars Timilehin Ojeola, Nneoma Onyekwele, Rotimi Adelegan, and Eyiyemi Olivia Rogbinyin, and promises a rich, thought-provoking cinematic experience that honors the timeless tradition of African storytelling. > [View this post on Instagram](https://www.instagram.com/reel/DPR4nwiDHFh/?utm_source=ig_embed&utm_campaign=loading)[A post shared by The Annual Film Mischief (@theannualfilm.mischief)](https://www.instagram.com/reel/DPR4nwiDHFh/?utm_source=ig_embed&utm_campaign=loading) *Kanta: No Challengers* by Gbolahan Qudus Laniyan (Nigeria) Directed by Gbolahan Qudus Laniyan *Kanta* is set in the mind of a young man. Who continues to fight even when there is no one there. His inner monologues reveal that he has no idea why he fights in the first place, but he admits that he has no choice in the matter. However, he wonders if there might have been a different life for him. Writer, Gbolahan Qudus Olaniyan. Produced by Olakunle Laniyan and Boluwatife Adeyemo, the cast includes Kevin Zaria Laveso, Ummul Kulthum Abubakar, Emmanuel Akoji Awunor and Justin Odesola > [View this post on Instagram](https://www.instagram.com/reel/DPVshfcDPDn/?utm_source=ig_embed&utm_campaign=loading)[A post shared by The Annual Film Mischief (@theannualfilm.mischief)](https://www.instagram.com/reel/DPVshfcDPDn/?utm_source=ig_embed&utm_campaign=loading) *Fofo Means Father* by Denzel Owoo (Ghana) Directed by Denzel Owoo, the film began as a simple experiment but quickly evolved into one of his most emotional journeys. At its centre is his friend Fofo, who took a leap of faith by sharing a deeply personal story he had rarely spoken about. For Fofo, the process was cathartic; for Owoo, it was both a lesson in mental health and an opportunity to reconnect with an old friend on a deeper level. Produced by Denzel Owoo and Thomas Bundi, the film stars Fofo Gavua. > [View this post on Instagram](https://www.instagram.com/reel/DPQ885SjHjz/?utm_source=ig_embed&utm_campaign=loading)[A post shared by The Annual Film Mischief (@theannualfilm.mischief)](https://www.instagram.com/reel/DPQ885SjHjz/?utm_source=ig_embed&utm_campaign=loading) *Barely Making Much* by Ian Nnyanzi (Uganda) Written by Nnyanzi, *Barely Making Much* follows two girls through a day filled with seemingly ordinary activities, yet imbued with profound connection and care. Produced by Arlen Dilsizian, the cast includes Antonette Nasike, Ajatum Mercy and Meme Blaq Angel. According to Nnyanzi, this story draws from an interest in highlighting identity and draws from experiences. “*My work explores identity, memory, and the tension between personal and collective experience. I’m drawn to experimental forms that allow for emotion, intuition, and atmosphere to lead the story. I use film to document what often goes unnoticed—rituals, silence, fragments of daily life—and to create space for reflection rather than answers. Kampala is my grounding point; it shapes both the chaos and clarity in my visual language*“. > [View this post on Instagram](https://www.instagram.com/reel/DPI5fD7DBMM/?utm_source=ig_embed&utm_campaign=loading)[A post shared by The Annual Film Mischief (@theannualfilm.mischief)](https://www.instagram.com/reel/DPI5fD7DBMM/?utm_source=ig_embed&utm_campaign=loading) *The Grief* by Shittu Opeyemi Abdulafiz (Nigeria) Directed by Shittu Opeyemi Abdulafiz and produced by Ijehon Desmond Ehime, *The Grief* is a poignant documentary that delves into the depths of loss, capturing the raw and unfiltered experiences of people navigating sorrow while seeking healing. It reveals how, even in the darkest moments, hope continues to surface. For Shittu, the film is more than a documentary — it is a personal journey of healing. “*The Grief* is my way of processing experiences I once overlooked,” he explains. “It gave me a chance to truly understand what grief means and to let others facing similar struggles know they are not alone.” > [View this post on Instagram](https://www.instagram.com/reel/DPM1lMgDPrO/?utm_source=ig_embed&utm_campaign=loading)[A post shared by The Annual Film Mischief (@theannualfilm.mischief)](https://www.instagram.com/reel/DPM1lMgDPrO/?utm_source=ig_embed&utm_campaign=loading) *Mother* by Olamide Adio and Victor Daniel (Nigeria) Set against the slow pulse of Ibadan, *Mother* is a quiet yet devastating short film about familial duty, emotional repression, and the extremities of grief. Omowunmi, a spirited young tailor, is caught between the early stirrings of an unplanned pregnancy with her lover, Sanni, and the quiet obligation of caring for her father, still broken a year after his wife’s death. What begins as an ordinary day spirals into a haunting revelation, as the line between sacrifice and trauma dissolves. According to Adio and Daniel, their joint experience with loss helped shape this story. As well as a desire to study the living and the distorted shapes they become in trying to keep the memories from slipping away. In Adio’s words, “We made Mother as a way to examine the extremity of grief, not to glorify it, but to test how far it can twist love, duty, and memory. We weren’t interested in sentimentality. We wanted silence, suggestion, and shadow”. Produced by Sherif Oloruninu Adekunle, the cast includes Bisi Ariyo, Ropo Ewenla, Iyanuoluwa Ajibike and EyiyemiOlivia Rogbinyin. > [View this post on Instagram](https://www.instagram.com/reel/DPLOI7djCvD/?utm_source=ig_embed&utm_campaign=loading)[A post shared by The Annual Film Mischief (@theannualfilm.mischief)](https://www.instagram.com/reel/DPLOI7djCvD/?utm_source=ig_embed&utm_campaign=loading) *Critical Mass NBO* by Alex Kanyi Kanyi Maina (Kenya) Directed by Alex Kanyi Kanyi Maina and produced by Muti Gits Gitau, this documentary follows the vibrant community of cyclists in Nairobi who regularly take to the streets to champion inclusion, equity, and diversity in urban planning. United under the mantra *“Share the Road,”* these riders highlight the importance of non-motorized transport and demand the respect it deserves. The film captures their powerful show of solidarity, challenging social class myths while advocating for dignity and resilience in the face of the global climate crisis. It also underscores cycling’s vital role in the transition to green energy, its contribution to easing the global healthcare burden, and its direct link to 10 of the United Nations’ Sustainable Development Goals. > [View this post on Instagram](https://www.instagram.com/reel/DPbg6SpjHVS/?utm_source=ig_embed&utm_campaign=loading)[A post shared by The Annual Film Mischief (@theannualfilm.mischief)](https://www.instagram.com/reel/DPbg6SpjHVS/?utm_source=ig_embed&utm_campaign=loading) *Nafasi (The Chance)* by Sudi Mohamedi Masomwa (Tanzania) Directed by Sudi Mohamedi Masomwa, this film tells the story of a young mother determined to return to school after childbirth. With her mother’s support, she petitions the headteacher, only to face firm opposition rooted in prejudice — the school insists that parents and children cannot coexist in the same classroom. When hope seems lost, the daughter decides to fight for her own future. In his director’s statement, Masomwa highlights the gap between policy and practice in Tanzania. Although the government permits girls to continue their education after pregnancy, deep-seated traditional beliefs and societal stigma still block their path. This film exposes those barriers, challenging audiences to confront the urgent need for change and equal access to education. > [View this post on Instagram](https://www.instagram.com/reel/DPTcjucjKaV/?utm_source=ig_embed&utm_campaign=loading)[A post shared by The Annual Film Mischief (@theannualfilm.mischief)](https://www.instagram.com/reel/DPTcjucjKaV/?utm_source=ig_embed&utm_campaign=loading) *Zawadi Ya Mjomba* (The Uncle’s Gift) by Fadhili Meta (Tanzania) Directed by Fadhili Meta, *Zawadi Ya Mjomba* unfolds in a household where elders command absolute respect, and children Piu and Zuberi never dared refuse what was offered — especially food. Haunted by the childhood tale of their friend Shani, who was said to have turned into a crow after rejecting her grandmother’s vegetables, the siblings grow up under the weight of superstition that shapes their every choice. In his director’s statement, Meta reveals the personal roots of the story. He recalls a vivid childhood memory of receiving a pack of biscuits from his uncle. A gift he didn’t like but felt compelled to accept. Afraid of seeming ungrateful, he would secretly give the biscuits away to friends before pretending to have eaten them. Produced by Nafasi Arts Space and Fadhili Meta, the film stars Ibrahimu Mtanga, Steven Mapunda, Zainabu Juma, and Gerald Sanga. > [View this post on Instagram](https://www.instagram.com/reel/DPUBSQlDPzv/?utm_source=ig_embed&utm_campaign=loading)[A post shared by The Annual Film Mischief (@theannualfilm.mischief)](https://www.instagram.com/reel/DPUBSQlDPzv/?utm_source=ig_embed&utm_campaign=loading) *Unasemaje?* by Kelvin Kagambo (Tanzania) Written and directed by Kelvin Kagambo, the film follows a young woman in a fictional East African coastal town who becomes mysteriously pregnant just weeks before her wedding. She insists it is an immaculate conception, a claim that throws her world into turmoil. Her traditional mentor, her mother, and her fiancé — each with conflicting perspectives — are forced to confront the situation and decide what comes next. Produced by Wilson Nkya, the film stars Hidaya Boli, Daniel Faber, Ziara Shamte, and Habiba Cholage. > [View this post on Instagram](https://www.instagram.com/reel/DPZi_hjDEa4/?utm_source=ig_embed&utm_campaign=loading)[A post shared by The Annual Film Mischief (@theannualfilm.mischief)](https://www.instagram.com/reel/DPZi_hjDEa4/?utm_source=ig_embed&utm_campaign=loading) *Cause, Effect & Maybe Consequences?* by Cheyi Oluwaseun Okoaye (Nigeria) *Cause, Effect & Maybe Consequences?* is a comedic sci-fi short that throws a man’s past, present, and future selves into the same moment — with hilarious results. His future self is desperate to return and chase the life he’s always dreamed of, his past self is thrilled at the chance to rekindle old relationships, while his present self chooses to sit back and revel in the absurd chaos unfolding around him. In his director’s statement, creator Cheyi Okoaye explains that the film is, at its core, a character study. Rather than focusing on sci-fi spectacle, he wanted to use time travel as a lens to explore identity — who a man was, who he is, and who he might become. The paradox of self-reflection fascinated him and sparked the idea for the film: “Its core purpose is to provoke thought and spark curiosity about the absurdity of self-reflection and its paradoxical nature, especially when it manifests through time travel.” Written by Cheyi Okoaye, who also stars in the film, *Cause, Effect & Maybe Consequences?* is produced by Okoaye himself. > [View this post on Instagram](https://www.instagram.com/reel/DPlNt5fDMr5/?utm_source=ig_embed&utm_campaign=loading)[A post shared by The Annual Film Mischief (@theannualfilm.mischief)](https://www.instagram.com/reel/DPlNt5fDMr5/?utm_source=ig_embed&utm_campaign=loading) Behind the Smile by Hassan Tha Kreator (Nigeria) Sprouting by Lilitha Baartman and Tumiso Mokobodi (South Africa) Beyond Olympic Glory by Shedrack Salami (Nigeria) **Out of Competition** *Tell It No More* by Chukwu Martin (Nigeria) > [View this post on Instagram](https://www.instagram.com/reel/DPcS4DggKaM/?utm_source=ig_embed&utm_campaign=loading)[A post shared by The Annual Film Mischief (@theannualfilm.mischief)](https://www.instagram.com/reel/DPcS4DggKaM/?utm_source=ig_embed&utm_campaign=loading) *Wrong Way* by Nana Kofi Asihene (Ghana) Directed by Nana Kofi Asihene, the film follows Manan, a young man desperate to support his mother. Alongside his friends Fiifi and Ben, he takes part in a bus robbery — but the plan quickly unravels, with devastating consequences. Asihene explains that he was drawn to the story because of its exploration of intent versus outcome. “Every bad action may be rooted in good intentions,” he notes. “But consequences only ever tell one side of the story.” Written by Lawrencia Aphua Larbi-Amoah, the film is produced by Asihene, Larbi-Amoah, and Isaac “Skyface” Mensah. It stars Alfred Quainoo, Andrew Adote Tandoh, and Kenneth Lettu. > [View this post on Instagram](https://www.instagram.com/reel/DPQXtd4DO6Z/?utm_source=ig_embed&utm_campaign=loading)[A post shared by The Annual Film Mischief (@theannualfilm.mischief)](https://www.instagram.com/reel/DPQXtd4DO6Z/?utm_source=ig_embed&utm_campaign=loading) **Conclusion** The Annual Mischief Film Festival reinforces its reputation as a bold platform for daring storytellers and thought-provoking cinema. As just one of several [Nigerian film festivals set to hold before the year ends](https://nollycritic.com/film-festivals-gateways-to-growth-for-nigerian-filmmakers/), it highlights Nollywood’s growing commitment to celebrating diverse voices and pushing the boundaries of storytelling. Additional updates on the selections will be made available soon. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/2025-annual-film-mischief-festival-see-the-official-selections/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/2025-annual-film-mischief-festival-see-the-official-selections/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/2025-annual-film-mischief-festival-see-the-official-selections/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/2025-annual-film-mischief-festival-see-the-official-selections/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/2025-annual-film-mischief-festival-see-the-official-selections/?share=linkedin) - **Categories:** Nollywood News **Tags:** film, Film Festival, nollycritic, nollywood, The Annual Mischief --- ### [Colours of Fire: Here is What we Know So Far About the New Movie](https://nollycritic.com/colours-of-fire-here-is-what-we-know-so-far-about-the-new-movie/) **Published:** October 8, 2025 **Author:** Faith Oloruntoyin **Excerpt:** First-look images for Niyi Akinmolayan’s upcoming film Colours of Fire have been unveiled, setting the stage for one of the most anticipated... **Content:** First-look images for [Niyi Akinmolayan](https://nollycritic.com/lisabi-the-uprising-an-ambitious-epic-weighed-down-by-cgi/)’s upcoming film *Colours of Fire* have been unveiled, setting the stage for one of the most anticipated Nollywood releases. The stills, shared by Akinmolayan on Instagram, hint at a visually striking film layered with tension, intimacy, and spectacle. One image captures Ighodaro and Arukwe in an evocative pose, suggesting both vulnerability and power, while other frames highlight the use of bold colors and dramatic lighting, hallmarks of Akinmolayan’s cinematic style. ![Colours Of Fire](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/10/SaveClip.App_560135679_18534075781056908_3843093208575674710_n.jpg?resize=640%2C335&ssl=1)With the cinematography by Barny Emordi, *Colours Of Fire* juggles mythical drama and a blend of an extremely rich historical narrative. And this is hinted in the images released, which show traditional rulership, cultural elements and an impending battle. The film, stars Osas Ighodaro and Uzor Arukwe in lead roles alongside Mercy Aigbe, Femi Branch, and Gabriel Afolayan. The feature will be released in cinemas on December 24, 2025. Produced by Anthill Studios in collaboration with FilmOne Studios and distributed by FilmOne Entertainment, *Colours of Fire* joins an already packed December line-up that includes *Over Sabi Aunty*, *[Behind the Scene](https://nollycritic.com/behind-the-scenes-funke-akindele-announces-new-blockbuster/)*, and *[King of Boys 3](https://nollycritic.com/kemi-adetiba-begins-production-for-king-of-boys-3/)*. *Colours of Fire* follows a run of ambitious projects from the filmmaker. His 2021 comedy *[Prophetess](https://en.wikipedia.org/wiki/Prophetess_(film))* earned over ₦131 million at the Nigerian box office. While *My Village People*, released the same year, crossed the ₦100 million mark with its supernatural-infused comedy. More recently, Akinmolayan took a bold leap with *Mikolo* (2023). A fantasy adventure blending live action and CGI that later secured a global rollout on Amazon Prime. ![Colors of Fire](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/10/SaveClip.App_561084560_18534075763056908_8412135578704993451_n.jpg?resize=640%2C335&ssl=1)Regarded as one of Nollywood’s most versatile directors, Akinmolayan has built a reputation for experimenting across genres. And expanding the use of visual effects in Nigerian cinema. Through Anthill Studios, he has also contributed to growing the industry’s technical capacity. While his recent tech partnership to launch NollywoodFilmmaker.com underscores his commitment to building professional networks for creatives. ![Colors of Fire](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/10/SaveClip.App_559338155_18534075772056908_264934130536923999_n.jpg?resize=640%2C335&ssl=1)With *Colours of Fire*, Akinmolayan appears set to deliver another bold cinematic experience, combining star power with grand visual storytelling just in time for the festive season. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/colours-of-fire-here-is-what-we-know-so-far-about-the-new-movie/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/colours-of-fire-here-is-what-we-know-so-far-about-the-new-movie/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/colours-of-fire-here-is-what-we-know-so-far-about-the-new-movie/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/colours-of-fire-here-is-what-we-know-so-far-about-the-new-movie/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/colours-of-fire-here-is-what-we-know-so-far-about-the-new-movie/?share=linkedin) - **Categories:** Movies, Nollywood News **Tags:** Christmas Eve, December, Femi Branch, film, FilmOne, Filmone entertainment, Gabriel Afolayan, Mercy Aigbe, nigerian cinema, Niyi Akinmolayan, nollycritic, nollywood, Nollywood 2025, Osas Ighodaro, Uzor Arukwe --- ### [New Nollywood Movies to See in October 2025](https://nollycritic.com/new-nollywood-movies-to-see-in-october-2025/) **Published:** October 1, 2025 **Author:** Michael Arowoselu **Excerpt:** Happy new month Nollywood fam! This month is on track to be one of Nollywood's busiest in 2025. Rom-coms, thrillers, dramas, comedy... **Content:** Happy new month Nollywood fam! This month is on track to be one of Nollywood’s busiest in 2025. Rom-coms, thrillers, dramas, comedy, horror, October has them all! Without further ado, here is are the Nollywood titles on our radar this October. Oya now, let’s go! ##### *Her Excellency* – October 1 In this powerful political drama, a high-ranking female official navigates the murky waters of leadership, ethics, and legacy as Nigeria stands on the brink of change. Starring Femi Adebayo Salami, Sola Sobowale, Odunlade Adekola, Faithia Williams, Yemisi Solade, Bimbo Ademoye, Aisha Lawal, Kiekie, and many more, *Her Excellency* is a family affair, directed and produced by Adebayo Salami. It debuts on [Kava](https://www.kava.tv/ "Kava") on October 1, 2025. ##### *Thin Line* – October 1 Directed by Akay Mason and produced by Mercy Aigbe, *[Thin Line](https://nollycritic.com/thin-line-set-for-netflix-after-2024-box-office-run/ "Thin Line")* was first released in cinemas nationwide on December 13, 2024. The film delves into the delicate line separating righteousness from transgression, unpacking themes of morality, redemption, and the far-reaching impact of a single lapse in judgment. The cast includes Uzor Arukwe, Uche Montana, Iyabo Ojo, Yvonne Jegede, Adeniyi Johnson, Abdulgafar Abiola, Olaiya Igwe, Prisma James, Yekini Ibrahim, and Mercy Aigbe. *[Thin Line](https://www.imdb.com/title/tt34747802/)* is set to make its [Netflix](https://nollycritic.com/thin-line-set-for-netflix-after-2024-box-office-run/#) (Local) and Kava (International) debut on October 1, 2025. ##### ***Men’s Code*** – October 3 Three ladies embark on a journey to find ways to keep their men, only for one of them to slip and scatter the secret box. Starring: Ramsey Nouah, Nse Ikpe-Etim, Yvonne Okoro, and Enyinna Nwigwe. Men’s Code will premiere in cinemas on October 3, 2025. ##### *Almost Perfect* – October 10 *A small-town girl moves to Lagos* to pursue her dreams of becoming a fashion designer and must overcome significant odds to achieve her goals. The movie stars [Kate Henshaw](https://www.google.com/search?sca_esv=89fc9c58379db198&cs=1&sxsrf=AE3TifP4CcS4W68uTDdVmj828bqtC47YCg%3A1759138048473&q=Kate+Henshaw&sa=X&ved=2ahUKEwjburzz0_2PAxWMQkEAHce9GaEQxccNegQIBBAC&mstk=AUtExfCrJQPr5xeIXJqPxNHTpHqsSa7r6o3H8IJjZjmagw9jwOxk-N3uC6xK1_I2GX9k-4N-NsBfmOXs86O_P2Pnbp26rEKO2S0bXDdSaM01rAPQDNG-yaluBWnSiISPQWGXbR7jR5sGqS9M9sdw2HGF2UntVGS3b8Fkm5HGnSDABdTX_QiVKsSTApUt9EQqlr1fTpgjWQosVIO55Nx1woLXsOcQEmlnt6BBurU0lhUwzqGTS9gVNlDgFRHZHzQOzCyH00_rv9iN9HgVV9q8vbvYZp219Zcc-gIey9Mm1iN6Xsl_8Q&csui=3), [Toke Makinwa](https://www.google.com/search?sca_esv=89fc9c58379db198&cs=1&sxsrf=AE3TifP4CcS4W68uTDdVmj828bqtC47YCg%3A1759138048473&q=Toke+Makinwa&sa=X&ved=2ahUKEwjburzz0_2PAxWMQkEAHce9GaEQxccNegQIBBAD&mstk=AUtExfCrJQPr5xeIXJqPxNHTpHqsSa7r6o3H8IJjZjmagw9jwOxk-N3uC6xK1_I2GX9k-4N-NsBfmOXs86O_P2Pnbp26rEKO2S0bXDdSaM01rAPQDNG-yaluBWnSiISPQWGXbR7jR5sGqS9M9sdw2HGF2UntVGS3b8Fkm5HGnSDABdTX_QiVKsSTApUt9EQqlr1fTpgjWQosVIO55Nx1woLXsOcQEmlnt6BBurU0lhUwzqGTS9gVNlDgFRHZHzQOzCyH00_rv9iN9HgVV9q8vbvYZp219Zcc-gIey9Mm1iN6Xsl_8Q&csui=3), [Bimbo Manuel](https://www.google.com/search?sca_esv=89fc9c58379db198&cs=1&sxsrf=AE3TifP4CcS4W68uTDdVmj828bqtC47YCg%3A1759138048473&q=Bimbo+Manuel&sa=X&ved=2ahUKEwjburzz0_2PAxWMQkEAHce9GaEQxccNegQIBBAE&mstk=AUtExfCrJQPr5xeIXJqPxNHTpHqsSa7r6o3H8IJjZjmagw9jwOxk-N3uC6xK1_I2GX9k-4N-NsBfmOXs86O_P2Pnbp26rEKO2S0bXDdSaM01rAPQDNG-yaluBWnSiISPQWGXbR7jR5sGqS9M9sdw2HGF2UntVGS3b8Fkm5HGnSDABdTX_QiVKsSTApUt9EQqlr1fTpgjWQosVIO55Nx1woLXsOcQEmlnt6BBurU0lhUwzqGTS9gVNlDgFRHZHzQOzCyH00_rv9iN9HgVV9q8vbvYZp219Zcc-gIey9Mm1iN6Xsl_8Q&csui=3), and [Omowunmi Dada](https://www.google.com/search?sca_esv=89fc9c58379db198&cs=1&sxsrf=AE3TifP4CcS4W68uTDdVmj828bqtC47YCg%3A1759138048473&q=Omowunmi+Dada&sa=X&ved=2ahUKEwjburzz0_2PAxWMQkEAHce9GaEQxccNegQIBBAF&mstk=AUtExfCrJQPr5xeIXJqPxNHTpHqsSa7r6o3H8IJjZjmagw9jwOxk-N3uC6xK1_I2GX9k-4N-NsBfmOXs86O_P2Pnbp26rEKO2S0bXDdSaM01rAPQDNG-yaluBWnSiISPQWGXbR7jR5sGqS9M9sdw2HGF2UntVGS3b8Fkm5HGnSDABdTX_QiVKsSTApUt9EQqlr1fTpgjWQosVIO55Nx1woLXsOcQEmlnt6BBurU0lhUwzqGTS9gVNlDgFRHZHzQOzCyH00_rv9iN9HgVV9q8vbvYZp219Zcc-gIey9Mm1iN6Xsl_8Q&csui=3), among others. *Almost Perfect* premieres in cinemas nationwide from October 10th. ##### *Koma* – October 10 Three generations. One curse. An unyielding fight for freedom, love and survival. Starring: Bolanle Ninalowo, Eso Dike, Tomi Ojo, Emem Ufot, Omeche Oko. *Koma* will premiere in cinemas on 10 October 2025. ##### *Thicker Than Water* – October 10 *“Sometimes, the people we’re searching for are the ones who leave behind the most haunting secrets. How far would you go to find the ones you love?”* The cast features Adaobi Dibor and Bimbo Ademoye in lead roles, alongside Taye Arimoro, Damilola Ogunsi, Toyosi Benjamin, Mawuyon Ogun, Pamilerin Ayodeji, Diana Egwuatu, Jemima Adelekan, and Chikere Bright. Yomi E. Adejumo directs the project, with BB Sasore and Nineyard serving as executive producers, Joshua Enakarhire as producer, and DaAnong Dwain as cinematographer. *Almost Perfect* premieres on Prime Video from October 10th. ##### *Osamede* – October 17 A young orphan with supernatural powers as she leads a resistance against the British forces with the power of the Aruosa stone, an ancient artefact of the people of Benin Kingdom. The film stars Ivie Okujaye Egboh, Lexan Aisosa Peters, William Benson, Etinosa Idemudia, Lancelot Imasuen, Tosin Adeyemi, Alexander Bud, and Paulo Bazele. It is executive-produced by Lilian Olubi under Gold Lilies Productions and written by Lolo Eremie. In cinemas Nationwide from October 17, 2025. ##### *The Herd* – October 17 What happens when the happiest day of your life…becomes the fight for your life? A couple’s wedding day is disrupted by unforeseen dangers, forcing them to confront hidden truths and fight for survival. Written by Lani Asida and directed by Daniel Etim Effiong, the film stars: Daniel Etim, Genoveva Umeh, Kunle Remi, Norbert Young, Bolaji Ogunmola, Tina Mba, Linda Ejiofor-Suleiman, Patrick Doyle, Jaiye Kuti, Adedimeji Lateef, Deyemi Okanlawon, Mercy Aigbe, Emeka Nwagbarocha, and Abba A. Zakky. In cinemas nationwide on October 17, 2025. ##### *The Exco* – October 17 *The Exco* is a political drama about an idealistic new leader who steps into government and faces backroom deals, betrayal and pressure to compromise. The political drama features Femi Branch, Jide Kosoko, Deyemi Okanlawon, Scarlet Gomez, Ronke Oshodi Oke, Lizzy Jay, and Olarotimi Fakunle. In cinemas nationwide from October 17, 2025. > [View this post on Instagram](https://www.instagram.com/p/DOo44KfDO52/?utm_source=ig_embed&utm_campaign=loading)[A post shared by MO’ Nuel – Chimobi (@officialdirectormo)](https://www.instagram.com/p/DOo44KfDO52/?utm_source=ig_embed&utm_campaign=loading) ##### *Farmer’s Bride* – October 17 Set in 1980s Ibadan, the film follows Odun (Femi Branch), a wealthy yet reclusive farmer who finds unexpected companionship in Funmi (Gbubemi Ejeye), a young woman from a nearby village. Their bond is soon shattered when Odun’s nephew Femi (Tobi Bakre) and Funmi conspire against him, leading to his untimely death. But what begins as a calculated plot spirals into terror as the vengeful spirit of the farmer returns to haunt them. The star-studded ensemble includes Tobi Bakre, Gbubemi Ejeye, Efe Irele, Mercy Aigbe, Wunmi Toriola, and Femi Branch. Notably, Mercy Aigbe’s performance earned her the Best Supporting Actress award at the [11th Africa Magic Viewers’ Choice Awards (AMVCA](https://www.imdb.com/title/tt33305676/)). *Farmer’s Bride* heads to Netflix on October 17. ##### *Idia* – October 24 Idia a naive orphan gets adopted by a strange family as their housekeeper, but must help their lineage continue at the expense of her sanity. Starring Nollywood powerhouses Mercy Aigbe, Linda Osifo, Gbubemi Ejeye, and Tope Tedela, the film also features veteran filmmaker-turned-actor Lancelot Oduwa Imasuen Co-directed by Ese Ariremu and Jide “Jblaze” Oyegbile, *Idia* premieres in cinemas nationwide from October 24th. ##### *T*are – October 24 A Journey through pain, survival and the echoes of abandonment. A young woman abandons her children and husband because she feels her husband cant provide the kind of life she wants. In search of better life TARE moves from one man to another, hoping to find a better man to take care of her. Starring: Toyin Abraham, Tracy Brakemi Obahor, Baba Rex, Jide kene, Ibinabo Fiberesima, Elewaremi Perekeme and others Coming to cinemas in Nigeria from 24th October 2025. ##### *Son of the Soil* – October 31 Nigerian soldier Zion Ladejo, haunted by his past, returns home after his sister’s tragic death. Determined to uncover those responsible, he embarks on a vengeful path, while seeking redemption for his own actions. The film stars Razaq Adoti (B*lack Hawk Down*), Iretiola Doyle (*Fifty, Arbitration*), Sunshine Rosman (*Flawsome, Finding Messiah*), Philip Asaya (*Cake, Slum King*), Damilola Ogunsi (*The Weekend, Gangs of Lagos*), Taye Arimoro (*Casa La Novia, The House of Secrets*), Emeka Golden (*Joe, Ije Awele*), Sharon Rotimi (*Chronicles*) and James ‘BlacQ’ Damilare. *Son of the Soil* premieres in cinemas nationwide from October 31. Which of these Nollywood movies do you anticipate the most? Stay updated as we’ll add more Nollywood movies to this list. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-nollywood-movies-to-see-in-october-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-nollywood-movies-to-see-in-october-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-nollywood-movies-to-see-in-october-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-nollywood-movies-to-see-in-october-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-nollywood-movies-to-see-in-october-2025/?share=linkedin) - **Categories:** Articles, Movies, Nollywood **Tags:** Almost Perfect, Farmers bride, Idia, Koma, Men's Code, Netflix, nollycritic, nollywood, Osamede, Son of the Soil, Tare, The Herd, Thin Line --- ### [Thicker Than Water: See the Trailer For New Nemsia Movie](https://nollycritic.com/thicker-than-water-see-the-trailer-for-new-nemsia-movie/) **Published:** October 7, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nemsia Studios has released the official trailer for Thicker Than Water, its upcoming thriller that debuts on Prime Video on 10 October 2025... **Content:** [Nemsia Studios](https://nollycritic.com/finding-nina-see-the-trailer-for-new-nemsia-movie/) has released the official trailer for *Thicker Than Water*, its upcoming thriller that debuts on Prime Video on 10 October 2025. The film drops with the tagline: *“Sometimes, the people we’re searching for are the ones who leave behind the most haunting secrets. How far would you go to find the ones you love?”* The cast features Adaobi Dibor and Bimbo Ademoye in lead roles, alongside Taye Arimoro, Damilola Ogunsi, Toyosi Benjamin, Mawuyon Ogun, Pamilerin Ayodeji, Diana Egwuatu, Jemima Adelekan, and Chikere Bright. Yomi E. Adejumo directs the project, with BB Sasore and Nineyard serving as executive producers, Joshua Enakarhire as producer, and DaAnong Dwain as cinematographer. The trailer teases a suspenseful narrative layered with family secrets, emotional conflict, and moral ambiguity. Viewers catch glimpses of intense scenes, looming shadows and cryptic messages. All of which suggests a journey through the past and the present. There are also hints of a supernatural plot twist, which makes it even more intriguing. With *Thicker Than Water*, Nemsia expands a growing slate of Prime Video releases. Earlier this year, the studio premiered *[The Fire and the Moth](https://nollycritic.com/the-fire-and-the-moth-a-slow-burn-psychological-thriller/ "The Fire and the Moth")* (June 2025), a crime thriller that follows Saba, a smuggler ensnared by dangerous forces after stealing an Ife bronze head. The film blended crime, cultural stakes, betrayal, and suspense for a global audience. In May 2025, Nemsia launched *[After 30](https://www.instagram.com/nemsiastudios/p/DPf_NEJDoxn/)*, a sequel to its acclaimed 2015 series *Before 30*. The film resonated strongly with audiences, earning praise for its emotional depth and continuity with beloved characters. With Nemsia’s growing slate on Prime Video, this feature is expected to be a global release. See the trailer below! ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/thicker-than-water-see-the-trailer-for-new-nemsia-movie/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/thicker-than-water-see-the-trailer-for-new-nemsia-movie/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/thicker-than-water-see-the-trailer-for-new-nemsia-movie/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/thicker-than-water-see-the-trailer-for-new-nemsia-movie/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/thicker-than-water-see-the-trailer-for-new-nemsia-movie/?share=linkedin) - **Categories:** Movies, Nollywood News **Tags:** Bimbo Ademoye, Chikere Bright, Damilola Ogunsi, Diana Egwuatu, Jemima Adelekan, Mawuyon Ogun, Nemsia Studios, nollycritic, nollywood, Nollywood 2025, Pamilerin Ayodeji, Prime Video, Taye Arimoro, Thicker Than Water, Toyosi Benjamin --- ### [3 Cold Dishes London Premiere: A Night of Stars](https://nollycritic.com/3-cold-dishes-london-premiere-a-night-of-stars/) **Published:** October 6, 2025 **Author:** Shalom O. Obisesan **Excerpt:** African cinema took centre stage at the Indigo at The O₂ as 3 Cold Dishes premiered to a crowd of stars, filmmaker, and fans... **Content:** African cinema took centre stage at the Indigo at The O₂ as [*3 Cold Dishes* ](https://nollycritic.com/see-the-new-teaser-for-3-cold-dishes-and-cinema-release-date/ "3 Cold Dishes ")premiered to a crowd of stars, filmmakers, and fans. The thriller, executive produced by Grammy-winning artist Burna Boy, actress Osas Ighodaro, and Burna’s mother Bose Ogulu, blended red carpet glamour with urgent storytelling about human trafficking and revenge. Though the premiere happened on a Thursday, excitement from the night carried into the weekend, lighting up social media with clips, reactions, and vlogs celebrating African storytelling abroad. ##### A Film Rooted in Justice and Survival Directed by Asurf Oluseyi, [*3 Cold Dishes* ](https://www.imdb.com/title/tt36643696/ "3 Cold Dishes ")tells follows three women, who were trafficked as teenagers and forced into sex slavery. Years later, they reunite to take revenge on the men who once owned them. Their journey becomes one of courage, sisterhood, and the unrelenting will to reclaim power. The film, shot across five African countries, explores themes of exploitation, trauma, and resilience. It also marks Burna Boy’s debut as an executive producer — a move he has described as a way to use storytelling to shed light on real-world issues affecting vulnerable communities. Speaking at the premiere, he described the project as > “a film that confronts exploitation and reminds us that silence is complicity.” A trailer released around September 19 offered a first full look at the film’s dark and suspenseful tone, teasing themes of justice, survival, and retribution without giving too much away. ##### Lights, Cameras, Culture: The Red Carpet Moment The night opened with dazzling arrivals as London’s African and diaspora communities turned the Indigo into a celebration of culture and cinema. Burna Boy’s entrance was one of the most anticipated moments—fans cheered, camera flashes erupted, and the artist shared a brief wave before stepping inside. Osas Ighodaro, who both starred in and co-produced the film, lit up the carpet in a bold, elegant gown, expressing her pride. Among the familiar faces were Yvonne Jegede, Shank Comics (Natse Jeminde)—who drew laughter when he joked, “The only role I want to play is your husband”—and Ruby Akubueze, who called the evening “everything I hoped it would be.” The carpet reflected a perfect balance of entertainment and advocacy—proof that African cinema can command both glamour and gravity. ##### Screening and Q&A Following the screening, a Q&A session was held with Burna Boy, Osas Ighodaro, and director Asurf Oluseyi, alongside members of the cast and crew. Discussions focused on the film’s themes, production process, and the challenges of shooting across multiple African locations. Burna Boy described the story as one that “follows three teenagers sold into the sex trade” and encouraged audiences to engage with its message. The event concluded with applause and reflections on the importance of films that address social issues such as human trafficking. ##### Afterparty and Online Highlights An afterparty followed the *3 Cold Dishes* screening, featuring music, networking, and media interactions. In the days after the event, clips and vlogs from the night trended across social media, with fans praising the coordination, production, and symbolic significance of Burna Boy’s new creative venture. ![3 cold dishes](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/10/SnapInsta.to_559436412_18504499069066556_2462506092547451326_n.jpg?resize=640%2C853&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/10/SnapInsta.to_559426464_18504499078066556_1235076472688992433_n.jpg?resize=640%2C426&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/10/SnapInsta.to_560425704_18504499096066556_7079561027102037719_n.jpg?resize=640%2C399&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/10/SnapInsta.to_561522147_18504499087066556_1620940451777549783_n-1.jpg?resize=640%2C426&ssl=1) ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/3-cold-dishes-london-premiere-a-night-of-stars/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/3-cold-dishes-london-premiere-a-night-of-stars/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/3-cold-dishes-london-premiere-a-night-of-stars/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/3-cold-dishes-london-premiere-a-night-of-stars/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/3-cold-dishes-london-premiere-a-night-of-stars/?share=linkedin) - **Categories:** Movies, Nollywood News **Tags:** 3 Cold Dishes, Africa cinema 2025, african cinema, African film distribution, African filmmakers, Afrobeats culture, Asurf Oluseyi, Bose Ogulu, Boxonia Blueprint, Burna Boy, Burna Boy executive producer, Film Production, Folu Storms, Human trafficking, Indigo at The O2, international premieres, Lagos premiere, London premiere, Natse Jeminde, Nigerian entertainment industry, Nigerian Film, nollywood, Obiajulu Kenechukwu, Osas Ighodaro, revenge thriller, Ruby Akubueze, Shank Comics, Yvonne Jegede --- ### [How Yemi Morafa Captures the Pulse of Nigerian Life](https://nollycritic.com/how-yemi-morafa-captures-the-pulse-of-nigerian-life/) **Published:** October 2, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Yemi Morafa chases the unseen. The flickering tensions in a glance, the weight of unspoken secrets, the raw grit of Nigerian realities that simmer... **Content:** [Yemi Morafa](https://www.imdb.com/name/nm5629736/ "Yemi Morafa") chases the unseen. The flickering tensions in a glance, the weight of unspoken secrets, the raw grit of Nigerian realities that simmer just beneath the surface. His films pull you into fragmented worlds where visuals speak louder than words, where social wounds fester and heal in equal measure. At the heart of his auteur vision is a commitment to visual storytelling over chatty exposition, often drawing from Nigeria’s societal undercurrents like corruption, family fractures, and personal reinvention. We’ve curated five standout works that scream “Morafa magic.” These aren’t just films or series; they’re windows into his craft, blending psycho-dramas, thrillers, and heartfelt tales that linger long after the credits roll. ##### *Something Wicked* (2017): Layering Dread Through Intentional Camera Work Yemi Morafa’s debut thrusts us into the life of widow Hauwa, whose world unravels when her orphaned nephew Abel joins her volatile household amid Northern Nigeria’s violence. What starts as a tense domestic setup spirals into psychological suspense, testing bonds that bend but refuse to break. Yemi Morafa builds unease through deliberate camera work—efficient shots that magnify dread, intentional compositions that let the lens narrate the unraveling. It’s aspirational in its gore and blood-soaked ambition, ahead of its time for Nollywood, but its reliance on familiar thriller tropes and an obvious resolution dulls its edge. The drama thrives in the slow burn of hidden traumas, where love clashes with survival. ##### *Battleground* (2017): Heightening Ensemble Chaos Through Pacing and Visual Flair Legacies don’t endure; they explode, and *Battleground* ignites them with relentless family warfare. This telenovela follows the wealthy Bhadmus family, whose bonds shatter after a tragedy unleashes shocking secrets, power grabs, and greed-fueled conflicts, from boardroom betrayals to life-threatening showdowns. Morafa, who directed key episodes including the landmark 100th, amps up the intensity with engaging pacing and visual flair that heightens boardroom drama and emotional stakes—taut shots capturing shifting alliances and unspoken vendettas, though the multi-director format can lead to tonal inconsistencies. It holds viewers spellbound from start to finish with its plot, acting, and costumes, with Episode 100 standing out as more engaging and intense than ever, echoing Morafa’s knack for building suspense in ensemble chaos. The drama thrives in themes of greed, loyalty, and inheritance, blending high-stakes intrigue with raw human frailty. ##### *The Wait* (2021): Fragmenting Emotional Turmoil Through Visual Metaphors Waiting isn’t passive; it’s a war, and *The Wait* arms its characters with prayers that echo like unanswered cries. Co-directed with Fiyin Gambo, this faith-based tale follows couples grappling with infertility, career pulls, and crumbling relationships, all anchored by a compassionate doctor who becomes their beacon. Yemi Morafa’s signature shines in visual metaphors like cutting from hopeful words to tender shots of a husband reading to an imagined belly, and abrupt transitions that fragment the narrative, mirroring emotional disarray. Overhead angles in tense moments add claustrophobia, though the film’s didactic tone can feel heavy-handed, reducing people to moral vessels. Yet it resonates deeply, especially in regions where childbearing defines womanhood, blending heartbreak with spiritual ambiguity. The drama lingers in the silences, the doubts, the near-shatters of belief. *The Wait* is streaming on Netflix. ##### *Wura* (2023-present): Contrasting Dualities With Polished Production In this telenovela-style series, Morafa directs episodes centered on Wura Amoo-Adeleke, a CEO who’s a saint at home but a ruthless force in business, navigating corporate intrigue in Osun State’s Iperindo community. High production values steal the show—top-tier lighting, immersive sets, and camera work that pulls you into the grit beyond Lagos. Yemi Morafa emphasizes her Janus-faced duality through polished visuals that contrast domestic warmth with cutthroat deals, though weak dialogue and dragged scenes blunt the impact. The tension builds in secrets that threaten to bury her empire, exploring exploitation and moral gray zones. *Wura* is available on Showmax. ##### *The Party* (2025): Weaving Foreboding With Fractured Perspectives Parties end, but secrets crash on, and [*The Party* ](https://nollycritic.com/?s=the+party "The Party ")unspools them like red herrings in a storm. Morafa’s whodunit mini-series kicks off with a lavish bash turned deadly, as detectives probe the murder of socialite Bobo, unraveling motives among guests laced with greed, lust, and corruption. It’s a stylish whodunit that hints at deeper commentary on power, class, and performative grief, where “wealth can cloud judgment” and justice often serves convenience over truth. Flashback-driven narratives dominate, with creative POVs, lingering shots, and sound effects amplifying foreboding— nice camera angles, compositions, and transitions that reinforce tone, especially in interrogation scenes that heighten tension even as dialogue falters. (We see a similar fractured-reality approach in his 2023 drama *Silence*, where varied perspectives and recollections question memory and bias in a tale of abuse and betrayal.) Auditory cues shine, like non-verbal sounds evoking trauma, but obvious twists (hello, those two wine glasses as a “dead giveaway”) and logical gaps like overheard “private” chats that aren’t so private—undermine the subtlety, leaving an unresolved ending that falters rather than lingers mysteriously. The drama pulses in interpersonal clashes blending suspense with social satire, even if the script falters on intrigue. *The Party* is available on Netflix. So, what elevates Morafa’s vision? It’s his knack for making visuals the heartbeat, compensating for script slips with technical flair that roots stories in Nigerian truths. He stretches genres—melding thrillers with faith, mysteries with mining woes—while characters endure, deceive, and evolve amid familiar struggles like identity crises and institutional rot. His films discomfort to connect, holding up mirrors to our families, our ambitions, our unspoken pains. Which of these have you streamed? Which one gripped you most? What’s your take on Morafa’s visual-first style—genius or gimmick? Drop your thoughts in the comments and let’s unpack the ‘Filmboy’ phenomenon. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/how-yemi-morafa-captures-the-pulse-of-nigerian-life/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/how-yemi-morafa-captures-the-pulse-of-nigerian-life/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/how-yemi-morafa-captures-the-pulse-of-nigerian-life/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/how-yemi-morafa-captures-the-pulse-of-nigerian-life/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/how-yemi-morafa-captures-the-pulse-of-nigerian-life/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Aburo, Auteur Analysis, Directorial Style, Faith-Based Film, Film Guide, Fragmented Narratives, nigerian cinema, nollywood, Psycho-Drama, Social commentary, Something Wicked, Sports Drama, Telenovela, The Party, The wait, Visual Storytelling, Whodunit Mystery, Wura, Yemi Morafa --- ### [Nigeria's 2026 Oscar Skip: Everything You Need To Know](https://nollycritic.com/nigerias-2026-oscar-skip-everything-you-need-to-know/) **Published:** October 2, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The Nigerian Official Selection Committee announced on 26 September 2025 that no film would represent the country at the 2026 Oscars in the International... **Content:** The [Nigerian Official Selection Committee](https://www.thenosc.org/ "Nigerian Official Selection Committee") announced on 26 September 2025 that no film would represent the country at the[ 2026 Oscars](https://www.oscars.org/ " 2026 Oscars") in the International Feature Film category. This decision, the third in recent years, cited a lack of “creative and technical intentionality” in the six submissions received. Committee chairperson Stephanie Linus called for more deliberate filmmaking to meet global standards. This development raises key questions about the process and the state of Nollywood. ##### The Transparency Headache That’s Killing Trust The NOSC’s refusal to reveal the six submitted films or the voting details, despite using an open ballot, is baffling. How can an industry grow when the process is shrouded in mystery? This lack of transparency raises doubts about fairness and hinders learning from mistakes. Film critic Kelvin Childs described the situation as a “systemic failure” in Nollywood’s infrastructure and approach. In contrast, other African nations like Senegal and South Africa consistently submit entries, gaining international exposure regardless of outcomes. Nigeria has a history of intermittent Oscar participation, with no submissions in 2022 and 2023. Past efforts, such as the disqualification of *Lionheart* in 2019 for excessive English dialogue, highlight ongoing challenges. If the NOSC truly wants improvement, unveiling the list would let us evaluate and learn. Hiding it only fuels suspicion and stalls progress. The same secrecy extends to filmmakers who rarely disclose budgets, perpetuating a culture of opacity that drags the industry down. ##### Why Indigenous Films Are Getting the Short End of the Stick Indigenous films, which are crucial for [Oscar](https://nollycritic.com/?s=oscars "Oscar") eligibility due to the requirement for **over** **50 per cent non-English dialogue**, face significant funding barriers. Nollywood produces numerous titles annually, but many indigenous works in Yoruba, Hausa, or Igbo opt for direct-to-streaming releases on platforms like YouTube or Netflix, bypassing the necessary theatrical run from 1 October 2024 to 30 September 2025. The 2025 Africa Magic Viewers’ Choice Awards highlighted indigenous entries like *House of Ga’a* and *Lisabi*, showing promise, but resources remain scarce. The Nigeria Indigenous Language Film Showcase, launching in October 2025, aims to help, though it’s too late for this cycle. More investment could ensure films meet technical standards like quality subtitles and editing, boosting their global appeal. ##### The Real Talk on Quality: Where Nollywood’s Falling Short While 2025 featured successful Yoruba-language films that could have been eligible, reviews indicate areas for improvement in narrative and execution. These insights help explain why submissions may not have advanced. Even promising films like *Ori: Rebirth*, *Labake Olododo*, and *Iyalode*—all Yoruba-language entries released in 2025—failed to secure a spot. These could have been strong contenders, yet their shortcomings suggest why they didn’t qualify. *Ori: Rebirth* likely struggled with incoherent execution, its themes muddled by poor structure. *Labake Olododo* might have faltered due to cluttered storytelling and underdeveloped characters, undermining its potential. *[Iyalode](https://nollycritic.com/iyalode-a-warrior-legacy-weighed-down-by-technical-chaos/ "Iyalode")*, despite cultural richness, could have been held back by narrative and technical flaws like shaky editing or inadequate subtitles, failing to meet Oscar’s rigorous standards. The 50 per cent non-English dialogue rule and technical requirements are non-negotiable. Without addressing these flaws, even the best ideas fall short. ##### Moving Forward: Recommendations for Nollywood Nollywood enthusiasts and critics will find this decision unsurprising, there is simply no quality Nollywood movie that meets the Oscar requirement in the last year. However, the no-submission reflects challenges across the NOSC and the industry. Greater transparency from the committee, alongside increased funding for indigenous films and a strong focus on quality, could turn things around. Industry insights suggest 2025 resolutions include these steps for growth. Addressing these issues can position Nollywood more effectively on the global stage. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nigerias-2026-oscar-skip-everything-you-need-to-know/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nigerias-2026-oscar-skip-everything-you-need-to-know/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nigerias-2026-oscar-skip-everything-you-need-to-know/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nigerias-2026-oscar-skip-everything-you-need-to-know/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nigerias-2026-oscar-skip-everything-you-need-to-know/?share=linkedin) - **Categories:** Articles, Nollywood **Tags:** Cinema Standards, House of Gaa, Indigenous Cinema, Iyalode, labake olododo, Lionheart, Lisabi, Nigerian film industry, nollycritic, nollywood, Nollywood Oscars 2026, Nollywood Quality, Nollywood Reform, NOSC, Ori (Rebirth), Oscar Eligibility --- ### [Gingerrr Sets New Nollywood Box Office Record](https://nollycritic.com/gingerrr-sets-new-nollywood-box-office-record/) **Published:** September 30, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nollywood’s latest blockbuster, Gingerrr, has stormed the Nigerian box office with an impressive ₦82.6 million haul in its opening week... **Content:** Nollywood’s latest blockbuster, *Gingerrr*, has stormed the Nigerian box office with an impressive ₦82.6 million haul in its opening week, setting a new record for the highest-grossing non-festive [September release](https://nollycritic.com/new-nollywood-movies-and-series-to-see-this-september/) of all time. And also the top Nollywood opening weekend of September 2025 and [film of the week at the Nigerian box office](https://www.instagram.com/kie_kie__/p/DPMHsi9jIGy/). The film, which premiered in cinemas nationwide on September 25, 2025, represents a landmark project in Nollywood’s evolving collaboration model. Four of the industry’s leading actors, Wunmi Toriola, KieKie, Bolaji Ogunmola, and Bisola Aiyeola, came together not only to headline the film but also to serve as executive producers. This joint venture marks one of the most high-profile examples of actor-driven financing in Nigeria’s film sector, signaling a shift in how movies are funded and produced. The marketing strategy has also taken the internet by storm, with the producers [even holding premieres in two cities](https://www.instagram.com/kie_kie__/reel/DPJ45VJDBta/). Directed by Yemi “Filmboy” Morafa, *Gingerrr* features an ensemble cast that combines established Nollywood heavyweights with rising stars. Alongside the four lead actors, the film stars Shaffy Bello, Odunlade Adekola, Adedimeji Lateef, Timini Egbuson, Blossom Chukwujekwu, Shammah Agah, Adebowale Adedayo, Kamo, and Emeka Okoye. The star power helped draw audiences in droves, contributing significantly to its record-breaking performance. Shot at the world-class Ogidi Studios, with cinematography by Mide Omind, *Gingerrr* has been praised for its polished visuals and engaging storytelling. Distribution is handled by Cinemax. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/gingerrr-sets-new-nollywood-box-office-record/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/gingerrr-sets-new-nollywood-box-office-record/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/gingerrr-sets-new-nollywood-box-office-record/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/gingerrr-sets-new-nollywood-box-office-record/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/gingerrr-sets-new-nollywood-box-office-record/?share=linkedin) - **Categories:** Nollywood News **Tags:** Bisola Aiyeola, Blossom Chukwujekwu, Bolaji Ogunmola, CinemaxNG, film, Film boy, Kamo, Kie Kie, Mide Omind, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Odunlade Adekola, Ogidi Studios, Shaffy Bello, Shammah Agah, Timini Egbuson --- ### [7 Nollywood Movies We Can’t Wait to See on Streaming](https://nollycritic.com/7-nollywood-movies-we-cant-wait-to-see-on-streaming/) **Published:** September 25, 2025 **Author:** Faith Oloruntoyin **Excerpt:** After lighting up the cinema and pulling audiences across the country. Several Nollywood titles are now on the radar of eager... **Content:** After lighting up the cinema and pulling audiences across the country. Several Nollywood titles are now on the radar of eager fans who can’t wait to re-watch. Or finally catch these films from the comfort of their homes. With streaming platforms like Netflix, Prime Video, Kava TV and Circuits TV becoming key players in how audiences consume Nigerian stories. The journey from box office hit to digital release has become one of the most anticipated transitions in the industry. Some of these movies had a silent run at the cinemas, that is they didn’t gain as much publicity or gross income at the end of their screening. However, based on our review for you, they are indeed splendid and a must-watch for every Nollywood fan. In no particular order, here are Nigerian movies we eagerly anticipate, on streaming platforms: ***A Ghetto Love Story*** BasketMouth and Miz Vick’s very first feature debut *[A Ghetto Love Story](https://www.imdb.com/title/tt34475601/)*, caught our attention last year. It started off with a screening at the 2024 African International Film Festival and then went on to cinemas nationwide in November 2024. Directed by Daniel Oriahi, *[A Ghetto Love Story](https://nollycritic.com/a-ghetto-love-story-love-drama-and-a-truckload-of-shit/)* delivers a raw, chaotic yet intimate world of Obinna (Akah Nnani) and Stella (Beverly Osu). Whose childhood love and affection gets lunged into the harsh realities of life. And find themselves at a treacherous point, where love tilts to hate. The cast includes: Chioma Akpotha, Wale Ojo, Patience Ozokwor, Efe Irele, Femi Jacobs, Jude Chukwuka, Dorathy Bachor and Nobert Young. Following our rating last year of a four-point over five-point mark, the feature shone with the production design, which brimmed with authenticity. The cinematography and lighting immersed viewers in the turbulent yet tender world of ghetto love. The film deftly weaves romance, social commentary, and personal ambition, though at times it relies a little too much on dialogue to drive its message. Nevertheless, its emotional depth and finely crafted performances cemented it as one of the most compelling releases of 2024. At the 2025 African Magic Viewers’ Choice Awards (AMVCA), *A Ghetto Love Story* was nominated for the Best Writing category. Which gave it the nod of acceptance needed in the industry. ***Wives On Strike***: ***The Uprising*** In October 2024, Omoni Oboli brought back the [*Wives on Strike* franchise with the third instalment *The Uprising*](https://nollycritic.com/the-uprising-abstinence-to-activism-and-a-darker-reckoning/). Hilda Dokubo delivers a commanding performance as Ebiere, a mother unwavering in her pursuit of justice. The cinematography heightens the film’s emotional core, while the story probes themes of maternal love, systemic failure, and the moral ambiguities of justice. Although the occasional comedic detours disrupt the tone, the film stands out as a powerful, thought-provoking, and deeply impactful addition to the series. The feature crossed the ₦100 million mark in one month of its cinematic run and went on to show across cinemas in UK, Canada, Ireland and 10 Francophone countries. *Wives on Strike: The Uprising* wasn’t left out of the 2024 AMVCA selection as it was nominated for the Best Lead Actress and Best Supporting Actress categories. The cast includes: Chioma Akpotha, Bukunmi Adeaga-Ilori, Segun Arinze, Okey Bakassi, Folaremi Agunbiade, Elvina Ibru and Kalu Ikeagwu. *Wives on Strike 3: The Uprising* successfully balances emotional resonance and social commentary, delivering a powerful cinematic experience. ***Queen Lateefah*** Directed by Adeoluwa Owu and produced by Wumi Toriola, *[Queen Lateefah](https://nollycritic.com/wumi-toriolas-queen-lateefah-grosses-over-n300000000/)* marked Toriola’s launch into the big screen. The feature offers a lively blend of comedy and drama, fusing clever humour with heartfelt storytelling. Centred on Lateefah, a woman leading a double life in her search for acceptance and stability, the film unpacks themes of identity, deception, and social ambition. With witty dialogue and an engaging narrative, it delivers a thoroughly entertaining cinematic experience. The cast includes: Kunle Remi, Femi Adebayo, Lateef Adedimeji, Fathia Balogun, Gbubemi Ejeye, Nancy Isime, Brother Shaggi and Aisha Lawal. *Queen Latefah* started strong at the cinemas with an opening week earning of ₦57 million and closed with ₦357 million. Making it the second-highest-grossing Nollywood release for 2024. We await a streaming platform drop to have a re-watch of this thrilling project. ***Ajosepo*** Directed by award-winning filmmaker Kayode Kasum, *Ajosepo* offered a dysfunctional family rom-com. Released in the cinemas on the 10th of April, 2024, the feature captivates with its sharp writing. It also pays attention to detail in set design, costume choices, and sound design, which enriches the overall viewing experience, while the narrative flows seamlessly, keeping audiences engaged from start to finish. *Ajosepo* finished strong as the third-highest-grossing Nigerian movie for 2024 with ₦257 million. Written by Kasum, Dare Olaitan and Stephen Okonkwo, *Ajosepo* is a moving tale of forgiveness and family. The feature struck a chord with viewers for its relatable themes and emotional depth. Its powerful performances and thought-provoking narrative contributed to its impressive box office performance. The cast includes Yemi Solade, Deyemi Okanlawon, Bolaji Ogunmola, Ronke Oshodi, Muyiwa Ademola, Tomike Adeoye, Mike Afolarin, Mercy Aigbe, Bisola Aiyeola, Timini Egbuson, Lizzy Jay and Kanaga Jnr ***Thin Line*** Following Mercy Aigbe’s big screen debut in 2023 with *Ada Omo Daddy*, the filmmaker returned to the cinema in December 2024 with *Thin Line.* Directed by Akay Mason, the story takes viewers on a tense ride through guilt, morality, and the search for redemption. The film captivates with its thoughtful use of lighting and clever symbolic choices that add layers to the narrative. While its exploration of faith feels surface-level at times, the film’s pacing and emotional beats keep audiences engaged. It’s a thoughtful addition to Nollywood’s growing catalogue of suspense-driven stories, with moments that linger long after viewing. *Thin Line* features Uzor Arukwe, Nkechi Blessing, Uche Montana, Mercy Aigbe, Iyabo Ojo, Ibrahim Yekini, Adeniyi Johnson and Jaiye Kuti. The Nollywood feature is set to commence Netflix streaming on October 1, 2025. ***Farmer’s Bride*** Co-directed by Jack’enneth Opukeme and Adebayo Tijani, [*Farmer’s Bride* ](https://nollycritic.com/farmers-bride-forbidden-love-cultural-expectations-and-freedom/)blends emotional storytelling with rich cultural representation. The film explores forbidden love, societal pressure, and the battle for personal freedom with visual flair and a soundtrack that heightens every emotional beat. While its pacing has moments of inconsistency, the second act shines with a balance of tension and vulnerability. The cast includes Tobi Bakre, Gbubemi Ejeye, Efe Irele, Femi Branch, Wunmi Toriola and Mercy Aigbe. It was nominated at the AMVCA this year for Best Movie, Best Lead Actress, Best Art Direction, Best Make-up, and Best Supporting Actress which it won. *Farmer’s Bride* closed its cinematic run as the seventh highest-grossing Nollywood movie for 2024 with ₦164 million. Fans can rest easy as October 17th has been announced as its Netflix release date. ***Aburo*** Released in May 2024, *Aburo* features Efa Iwara, Peju Ogunmola, Yemi Cregx, Darasimi Nadi, Wunmi Toriola, Toni Tones and Maleek Sanni. Directed by Yemi Morafa *[Aburo](https://nollycritic.com/aburo-beyond-the-finished-line-but-not-quite/)* tells the story of an unlikely friendship between a troubled ex-athlete and a spirited street urchin, anchored by standout performances from Maleek Sani, Wumi Toriola, and Charles Inojie. The film’s cinematography and use of lighting create striking visual moments that complement its emotional narrative. While some subplots feel underdeveloped and the romantic arc lacks authenticity,. As we eagerly await the transition of these Nollywood films from the big screen to our devices, one thing is certain: the excitement isn’t over. Whether you missed them at the cinemas or simply want to relive the magic, their streaming debuts promise to keep Nigerian cinema alive in our living rooms. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/7-nollywood-movies-we-cant-wait-to-see-on-streaming/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/7-nollywood-movies-we-cant-wait-to-see-on-streaming/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/7-nollywood-movies-we-cant-wait-to-see-on-streaming/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/7-nollywood-movies-we-cant-wait-to-see-on-streaming/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/7-nollywood-movies-we-cant-wait-to-see-on-streaming/?share=linkedin) - **Categories:** Articles, Movies, Nollywood **Tags:** A Ghetto Story, Aburo, AdeoluwaOwu, Ajosepo, BasketMouth, Beverly Osu, Daniel Oriahi, film, Gbubemi Ejeye, Mercy Aigbe, Netflix, nigerian cinema, nollycritic, nollywood, Omoni Oboli, Queen Lateefah, Thinline, Timini Egbuson, Tobi Bakre, Wunmi Toriola --- ### [What Filmhouse Group Partnership with AFF Forum 2025 Means For Africa](https://nollycritic.com/what-filmhouse-group-partnership-with-aff-forum-2025-means-for-africa/) **Published:** September 25, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Filmhouse Group has partnered with the Africa Film Finance Forum (AFFF) 2025 in a landmark collaboration designed to accelerate opportunities... **Content:** [Filmhouse Group](https://filmhouseng.com/about-us "Filmhouse Group") has partnered with the Africa Film Finance Forum (AFFF) 2025 in a landmark collaboration designed to accelerate opportunities for African filmmakers. The three-day summit, held in Lagos from 16–18 September 2025, focused on building a sustainable Pan-African film economy that can compete globally while empowering local creatives. ##### A Gathering for African Film’s Future The 2025 edition of AFFF carried the theme “*Pan-African Film Economy: Building a $20 Billion Industry for 1.4 Billion People*.” The summit brought together filmmakers, investors, distributors, and cultural leaders to explore frameworks for funding, distribution, and collaboration. Ahead of the forum, on 15 September, Filmhouse hosted a pre-cocktail networking event in collaboration with the British Council. This gathering connected creatives with financiers and industry stakeholders, setting the tone for the larger discussions that followed. ##### Leaders Speak on the Partnership Speaking on the importance of the initiative, Kene Okwuosa, Group CEO of [Filmhouse](https://nollycritic.com/?s=filmhouse "Filmhouse") Group, said: > “This partnership represents an important investment in Africa’s creative sector. By collaborating with the Africa Film Finance Forum, we are helping to open new avenues for funding, distribution, and collaboration that will benefit filmmakers and audiences across the continent.” Meanwhile, Ladun Awobokun, Chief Content Officer at FilmOne Entertainment, contributed to a roundtable titled “*From Vision to Viability: What Financiers Need, What Filmmakers Must Deliver*.” She emphasised FilmOne’s mission to position African storytellers for global visibility while deepening industry connections: > “At FilmOne Entertainment, we are committed to championing African storytelling and creating opportunities that amplify our filmmakers globally. Partnering with the British Council at AFFF gives us the platform to connect local talent with investors and industry leaders to build a thriving Pan-African film economy.” ##### Financing Meets Storytelling Convener Mary Ephraim-Egbas framed the event as a turning point for aligning African creativity with capital: > “Africa’s film economy sits at a defining crossroads. For too long, our stories have carried immense cultural weight but lacked the financial frameworks to unlock their full potential. The partnership with Filmhouse Group reflects exactly the kind of synergy Africa needs: an industry leader with proven capacity joining forces with a platform that bridges filmmakers and financiers. Together, we are charting a path toward a $20 billion Pan-African film economy – one that is globally competitive, structurally sustainable, and deeply reflective of the aspirations of 1.4 billion Africans.” ##### A Milestone for the Creative Economy Over the course of the summit, discussions centred on practical models for financing films, strengthening distribution channels, and fostering cross-border collaboration. With Filmhouse Group’s involvement, the forum reinforced the importance of partnerships in driving Africa’s film ecosystem forward. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/what-filmhouse-group-partnership-with-aff-forum-2025-means-for-africa/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/what-filmhouse-group-partnership-with-aff-forum-2025-means-for-africa/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/what-filmhouse-group-partnership-with-aff-forum-2025-means-for-africa/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/what-filmhouse-group-partnership-with-aff-forum-2025-means-for-africa/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/what-filmhouse-group-partnership-with-aff-forum-2025-means-for-africa/?share=linkedin) - **Categories:** Nollywood, Nollywood News **Tags:** AFFF Lagos, Africa Film Finance Forum 2025, African film co-productions, African film economy, British Council Nigeria, Filmhouse Group, Filmone entertainment, Kene Okwuosa, Ladun Awobokun, Lagos film events, Mary Ephraim-Egbas, Nigerian film industry, Nollywood business news., Nollywood finance, Pan-African cinema --- ### [Farmer’s Bride Heads to Netflix After Successful Cinema Run](https://nollycritic.com/farmers-bride-heads-to-netflix-after-successful-cinema-run/) **Published:** September 24, 2025 **Author:** Faith Oloruntoyin **Excerpt:** FilmOne’s period thriller Farmer’s Bride is set to debut on Netflix on October 17, 2025, following its successful cinema release last year. **Content:** FilmOne’s period thriller *[Farmer’s Bride](https://nollycritic.com/farmers-bride-forbidden-love-cultural-expectations-and-freedom/)* is set to debut on Netflix on October 17, 2025, following its successful cinema release last year. Set in 1980s Ibadan, the film follows Odun (Femi Branch), a wealthy yet reclusive farmer who finds unexpected companionship in Funmi (Gbubemi Ejeye), a young woman from a nearby village. Their bond is soon shattered when Odun’s nephew Femi (Tobi Bakre) and Funmi conspire against him, leading to his untimely death. But what begins as a calculated plot spirals into terror as the vengeful spirit of the farmer returns to haunt them. *[Farmer’s Bride](https://nollycritic.com/farmers-bride-forbidden-love-cultural-expectations-and-freedom/)* first hit Nigerian cinemas on September 27, 2024, grossed ₦154 million at the box office. Its streaming release trails FilmOne’s growing presence in the production space, following its debut in original productions with *Adire*, directed by Adeoluwa Owu. *[Farmer’s Bride](https://nollycritic.com/see-the-best-20-nollywood-movies-of-2024/)* is the second project under FilmOne Studios, the company’s in-house production arm dedicated to producing fresh and innovative titles. The star-studded ensemble includes Tobi Bakre, Gbubemi Ejeye, Efe Irele, Mercy Aigbe, Wunmi Toriola, and Femi Branch. Notably, Mercy Aigbe’s performance earned her the Best Supporting Actress award at the [11th Africa Magic Viewers’ Choice Awards (AMVCA](https://www.imdb.com/title/tt33305676/)). With its gripping storyline, strong performances, and FilmOne’s ambition to expand Nollywood’s global reach, *Farmer’s Bride* is poised to attract a new wave of audiences when it lands on Netflix. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/farmers-bride-heads-to-netflix-after-successful-cinema-run/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/farmers-bride-heads-to-netflix-after-successful-cinema-run/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/farmers-bride-heads-to-netflix-after-successful-cinema-run/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/farmers-bride-heads-to-netflix-after-successful-cinema-run/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/farmers-bride-heads-to-netflix-after-successful-cinema-run/?share=linkedin) - **Categories:** Movies, Nollywood News **Tags:** Adeoluwa Owu, AMVCA, Femi Branch, film, FilmOne, Gbubemi Ejeye, Mercy Aigbe, nigerian cinema, nollycritic, nollywood, Tobi Bakre, Wunmi Toriola --- ### [Thin Line Set For Netflix After 2024 Box Office Run](https://nollycritic.com/thin-line-set-for-netflix-after-2024-box-office-run/) **Published:** September 23, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Thin Line by Nigerian filmmaker Mercy Aigbe is set to make its Netflix debut on October 1, 2025. Following an impressive... **Content:** *[Thin Line](https://www.imdb.com/title/tt34747802/ "Thin Line")* by Nigerian filmmaker Mercy Aigbe is set to make its Netflix debut on October 1, 2025. Following an impressive run at the Nigerian box office. Directed by Akay Mason and produced by Mercy Aigbe, the film was first released in cinemas nationwide on December 13, 2024. Recall that this wasn’t Mercy Aigbe’s first December blockbuster, as she had released *Ada Omo Daddy* the year before. The film concluded its run with a total of ₦218 million. Making it the [25th-highest-grossing](https://en.wikipedia.org/wiki/List_of_highest-grossing_Nigerian_films) Nigerian film. For *[Thin Line,](https://nollycritic.com/thin-line-mercy-aigbes-thriller-is-a-film-to-see/ "Thin Line,")* it opened with ₦26.07 million over its first weekend. And went on to gross a total of ₦130.10 million before exiting theatres. It’s a bold tale of self-discovery, that follows the story of a pastor entangled in a scandal with a sex worker. Offering audiences a mix of drama, controversy, and moral questioning. The film delves into the delicate line separating righteousness from transgression, unpacking themes of morality, redemption, and the far-reaching impact of a single lapse in judgment. At its core, it challenges viewers to consider whether faith can endure human imperfection. And if true redemption is attainable after profound mistakes The cast includes Uzor Arukwe, Uche Montana, Iyabo Ojo, Yvonne Jegede, Adeniyi Johnson, Abdulgafar Abiola, Olaiya Igwe, Prisma James, Yekini Ibrahim, and Mercy Aigbe. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/thin-line-set-for-netflix-after-2024-box-office-run/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/thin-line-set-for-netflix-after-2024-box-office-run/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/thin-line-set-for-netflix-after-2024-box-office-run/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/thin-line-set-for-netflix-after-2024-box-office-run/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/thin-line-set-for-netflix-after-2024-box-office-run/?share=linkedin) - **Categories:** Movies, Nollywood News **Tags:** Abdulgafar Abiola, Adeniyi Johnson, film, Iyabo Ojo, Mercy Aigbe, Netflix, nigerian cinema, nollycritic, nollywood, Olaiya Igwe, Prisma James, Uche Montana, Uzor Arukwe, Yekini Ibrahim, Yvonne Jegede --- ### [Osamede: See The Trailer For James Omokwe's Mythical Epic](https://nollycritic.com/osamede-see-the-trailer-for-nollywoods-mythical-epic/) **Published:** September 17, 2025 **Author:** Faith Oloruntoyin **Excerpt:** The highly anticipated epic Osamede is set for a nationwide cinematic release in Nigeria in the fourth quarter of 2025... **Content:** The highly anticipated historical fantasy *Osamede* is set for a nationwide cinematic release in Nigeria. The Film brings to life the mystical world of the 1897 Benin Kingdom, where ancient power and colonial resistance collide. Directed by [AMVCA](https://nollycritic.com/amvca-2025-what-are-we-really-celebrating/)-winning filmmaker [James Omokwe](https://www.imdb.com/name/nm2702418/), best known for epic Africa Magic series like *Ajoche*, *Riona*, *Diiche*, and *Cheta’M*. *Osamede* tells the story of a young orphaned girl whose life is unexpectedly intertwined with politics, mystery, and magic. Following a retaliatory British attack that brings the empire under their control against Oba Ovonramwen’s wishes, a new threat emerges. Iyase, the King’s General, schemes to seize the ancient Aruosa stone, believing it will free the empire and allow him to usurp the Oba. When mine guards attack Osamede, she mysteriously exhibits superhuman powers, a revelation that unveils her true heritage: she carries the powers of the Aruosa stone, a divine gift from Osanobua. She must now embark on a profound journey of self-discovery to uncover her origins and rise to become the hero the Benin kingdom so urgently needs. The feature film had its world premiere at the prestigious Cannes Film Market on May 17, 2025, at the Pavillon Afriques. It screened alongside *My Father’s Shadow* by acclaimed Nigerian-British filmmaker Akinola Davies Jr. This international debut served as a powerful endorsement of *Osamede*’s cinematic quality, storytelling depth, and global appeal. This move offers a glimpse into the caliber of film Nigerian audiences can expect upon its nationwide release later in the year. The film stars Ivie Okujaye Egboh, Lexan Aisosa Peters, William Benson, Etinosa Idemudia, Lancelot Imasuen, Tosin Adeyemi, Alexander Bud, and Paulo Bazele. It is executive-produced by Lilian Olubi under Gold Lilies Productions and written by Lolo Eremie. Shot in Benin City and steeped in the culture, traditions, and mythology of the ancient Benin Empire. *Osamede* explores themes of resilience, identity, female empowerment, and historical legacy. It offers a unique fusion of Nigerian history and speculative fantasy. *Osamede* premieres in cinemas nationwide on October 17, 2025. Following its Nigerian debut, *Osamede* will expand internationally across Francophone Africa and the rest of the continent on October 24, before reaching audiences in the United Kingdom and Europe on October 31. The film will be released to audiences in the USA, Canada, and the Caribbean on November 7, 2025. See the trailer below! ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/osamede-see-the-trailer-for-nollywoods-mythical-epic/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/osamede-see-the-trailer-for-nollywoods-mythical-epic/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/osamede-see-the-trailer-for-nollywoods-mythical-epic/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/osamede-see-the-trailer-for-nollywoods-mythical-epic/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/osamede-see-the-trailer-for-nollywoods-mythical-epic/?share=linkedin) - **Categories:** Movies, Nollywood News **Tags:** Alexander Bud, Etinosa Idemudia, Ivie Okujaye Egboh, Lancelot Imasuen, Lexan Aisosa Peters, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Osamede, Tosin Adeyemi, William Benson --- ### [Idia: See The Trailer For the New Edo Mythological Thriller](https://nollycritic.com/idia-see-the-trailer-for-the-new-edo-mythological-thriller/) **Published:** September 18, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nigerian audiences are set to experience a chilling tale of fate and family as Idia, a horror feature, arrives in cinemas nationwide this October. **Content:** First-time cinematic producer Jasper Aziegbemhin is set to release a chilling tale of fate and family as *Idia*. The feature is tagged as an Edo mythological thriller. Directed by Ese Ariremuu and J Blaze, the film explores the haunting question: *What are you willing to sacrifice to achieve your greatest desire?* Idia a naive orphan gets adopted by a strange family as their housekeeper, but must help their lineage continue at the expense of her sanity. Aziegbemhin is no stranger to the horror genre, having previously produced *Widow’s Mite* and *Children of the Night*. However, *Idia* marks his first cinematic release, setting the stage for a wider audience to engage with his storytelling. Blending suspense with supernatural undertones, *Idia* features a star-studded cast including Gbubemi Ejeye, Linda Osifo, Tope Tedela, Mercy Aigbe, J Blaze, Adeola Awodein, Lancelot Imasuen, and Ichie Fuego. The film’s cinematography is handled by Courage Obayuwana, a product of the *First Features Project* and director of *[Kill Boro](https://nollycritic.com/kill-boro-a-powerful-tale-of-family-and-redemption/)*, bringing his distinctive visual style to the project. The film will be distributed by[ Silverbird Film Distribution](https://silverbirdfd.com/) and will commence screening across cinemas nationwide on October 24, 2025. See the trailer below! https://www.youtube.com/watch?v=b3YJo038zvM ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/idia-see-the-trailer-for-the-new-edo-mythological-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/idia-see-the-trailer-for-the-new-edo-mythological-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/idia-see-the-trailer-for-the-new-edo-mythological-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/idia-see-the-trailer-for-the-new-edo-mythological-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/idia-see-the-trailer-for-the-new-edo-mythological-thriller/?share=linkedin) - **Categories:** Nollywood News **Tags:** Adeola Awodein, film, Ichie Fuego, Idia, JBlaze, Lancelot Imasuen, Linda Osifo, Mercy Aigbe, nollycritic, nollywood, Nollywood 2025, Silverbird, Tope Tedela --- ### [Son of the Soil: See the Trailer for Chee Keong Cheung's New Action Thriller](https://nollycritic.com/son-of-the-soil-see-the-trailer-for-chee-keong-cheungs-new-action-thriller/) **Published:** September 16, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The trailer has been released for Son of the Soil, the Nigerian-set action film from director Chee Keong Cheung, led by British-Nigerian actor Razaaq Adoti... **Content:** The trailer has been released for[ *Son of the Soil*,](https://nollycritic.com/nile-entertainment-secures-rights-to-son-of-the-soil/ " Son of the Soil,") the Nigerian-set action film from British-Chinese director Chee Keong Cheung, led by British-Nigerian actor [Razaaq Adoti,](https://www.imdb.com/name/nm0012398/ "Razaaq Adoti,") and slated to hit cinemas across Nigeria on **October 31, 2025**. The film is being distributed by Nile Entertainment. ##### A Homecoming Story with High Stakes Shot entirely in Nigeria, *Son of the Soil* follows the story of Zion Ladejo (Razaaq Adoti), a former special operations soldier wrestling with memories of a violent past. When his sister is brutally murdered by a drug cartel with protection from corrupt officials, Zion returns home to seek justice. What begins as a personal mission soon unravels into a fight for truth, survival, and redemption. ##### An Ensemble of Legends and Rising Stars The cast blends Nollywood veterans and newer talents. Confirmed names include: Ireti Doyle, Patience Ozokwor, Sharon Rotimi, Damilola Ogunsi, Taye Arimoro, Sunshine Rosman, Philip Asaya, Toyin Oshinaike, Durotimi Okutagidi. The film is produced by Andreas Roald (Sovereign Films CEO), Razaaq Adoti, Chee Keong Cheung, Ioanna Karavela, and Wingonia Ikpi of Boxonia Blueprint. ##### Behind the Production *Son of the Soil* is an Action Xtreme production, with the company’s expertise in combat choreography and practical stunt work shaping its high-intensity sequences. According to the producers, the project aims to bring a globally competitive action aesthetic while rooting its story firmly in Nigerian soil. ##### Distribution and What’s Next Nile Entertainment acquired the theatrical distribution rights across Africa and will spearhead the film’s rollout. Beyond its cinema release, the title is expected to appear at international festivals before moving to streaming platforms. The film also serves as the flagship of a new first-look partnership between Action Xtreme and Nile Entertainment, aimed at co-producing and distributing more action-genre films and series on the continent. ##### A Proudly Nigerian Spirit With its mix of local settings, Nollywood icons, and international backing, *Son of the Soil* positions itself as a story about resilience, belonging, and the enduring fight for justice. The trailer is now live, offering a first look at the film’s sequences, stakes, and Nigerian heart ahead of its October release. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/son-of-the-soil-see-the-trailer-for-chee-keong-cheungs-new-action-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/son-of-the-soil-see-the-trailer-for-chee-keong-cheungs-new-action-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/son-of-the-soil-see-the-trailer-for-chee-keong-cheungs-new-action-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/son-of-the-soil-see-the-trailer-for-chee-keong-cheungs-new-action-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/son-of-the-soil-see-the-trailer-for-chee-keong-cheungs-new-action-thriller/?share=linkedin) - **Categories:** Movies, Nollywood News **Tags:** Action Xtreme, Andreas Roald, Boxonia Blueprint, Chee Keong Cheung, Damilola Ogunsi, Durotimi Okutagidi, Ioanna Karavela, Ireti Doyle, nigerian cinema, Nigerian films 2025, Nigerian movie news, nile entertainment, nollywood 2025 releases, Nollywood action films, Nollywood industry news, Nollywood trailers 2025, October 2025 cinema releases, on of the Soil, Patience Ozokwor, Philip Asaya, Razaaq Adoti, Sharon Rotimi, Son of the Soil movie, Son of the Soil trailer, Sovereign Films, Sunshine Rosman, Taye Arimoro, Toyin Oshinaike, Wingonia Ikpi --- ### [Here’s all you need to know about AFRIFF Film and Content Market](https://nollycritic.com/heres-all-you-need-to-know-about-afriff-film-and-content-market/) **Published:** September 15, 2025 **Author:** Faith Oloruntoyin **Excerpt:** For the first time in its history, a Nigerian film festival will host a dedicated film market. The African International Film Festival (AFRIFF)... **Content:** For the first time in its history, a Nigerian film festival will host a dedicated film market. The [African International Film Festival](https://nollycritic.com/afriff-2024-a-celebration-of-african-cinema-and-culture/) (AFRIFF) has announced the launch of the AFRIFF Film & Content Market (AFCM). This official announcement took place earlier this year after the Cannes Film Festival. And was followed up with a press and stakeholder briefing early this September. AFCM aims to close the visibility, funding, and distribution gap in the Nigerian film industry. This gives various stakeholders in the industry the avenue to collaborate and welcome even international possibilities. The first edition will hold from November 3–6, 2025, simultaneously with the 14th edition of the AFRIFF festival. AFCM is a joint partnership with the Ministry of Arts, Culture and the Creative Economy. A memorandum of understanding was signed between the [AFRIFF](https://www.afriff.com/) founder Chioma Ude, Minister Hannatu Musawa, Nigerian Film Corporation Managing Director Ali Nuhu, comedian Bovi Ugboma, and other key stakeholders. Interested attendees should expect a structured accreditation system that enables filmmakers to build profiles, upload projects, and schedule meetings with potential collaborators. And a floor plan of exhibition booths for guilds, production houses, and creative collectives. As well as advertising agencies seeking branded content opportunities, streaming platforms. And international producers in search of local expertise and regional insights. **What this AFRIFF innovation means for Nollywood** The launch of AFCM signals a turning point for Nollywood. For years, Nigerian filmmakers and talents relied heavily on international festivals and markets in Europe, North America, and beyond to pitch projects, secure co-production deals, or attract distribution. This dependence created a bottleneck where only a select few with the right connections could benefit. By introducing a structured content market at home, AFRIFF is breaking down those barriers and opening access to a wider pool of creatives. With AFCM, opportunities are now within reach. Filmmakers and actors can showcase their projects without the burden of travel costs or the constant need to prove their credibility abroad. The platform itself absorbs much of the pressure, leaving creatives with one main task, showing up and pitching their work. This makes it easier to test ideas, build relationships, and establish authenticity in a familiar environment. While AFCM doesn’t promise instant success, it provides a vital learning ground. Both emerging and established filmmakers can explore what the industry currently offers, gain insights into global standards, and spark fresh ideas for future projects. In doing so, AFCM creates a space where Nollywood professionals can refine their craft and prepare to compete more effectively on the international stage. ### **Opportunities Within the Ecosystem** Nollywood’s producers, actors, writers, and other crew members will now have a marketplace within their ecosystem, an environment where they can showcase projects, negotiate deals, and connect with both local and global players without leaving Lagos. This negotiation deal could in a way help talents really bid for what they are worth as opposed to waiting on middlemen or whatever is dropped on the table. Many may see this as a win solely for actors, actresses, directors and producers. But this is also a major game change for other departments integral to the filmmaking process. That have gone unnoticed and other valued for so long. The presence of advertisers, alternative streamers, and international producers signals a diversification of funding sources, potentially reducing Nollywood’s overreliance on a few platforms and opening doors for innovative collaborations. Beyond funding and distribution, AFCM also places strong emphasis on knowledge exchange. The market will feature panel sessions, masterclasses, and roundtable discussions where stakeholders can dissect pressing issues such as intellectual property rights, film financing structures, and emerging technologies in production and post-production. By curating conversations that bridge creative and business concerns, AFCM ensures that participants leave with not just deals but also insights that can sustain long-term industry growth. ### **Repositioning Africa on the Global Cinema Map** Another significant impact lies in how AFCM can reposition Africa on the global cinema map. International buyers and producers attending the market will gain firsthand access to authentic African stories told at scale, while Nigerian creators will benefit from understanding global content trends and standards. This two-way exchange will not only elevate the quality of projects coming out of Nollywood but also strengthen Africa’s bargaining power in global film negotiations. With consistent execution, AFCM could grow into a continental benchmark, setting the stage for Nigerian cinema to shape international narratives rather than just participate in them. In essence, AFCM represents Nollywood stepping into the next phase of its global journey, shifting from being merely a content-producing hub to becoming a central player in the business of film. It positions Nigeria not just as Africa’s biggest film industry by output, but as a continental hub for film trade, networking, and knowledge exchange. **Conclusion** If AFCM is treated as a one-off experiment instead of an annual, evolving marketplace, it could lose momentum quickly. The long-term success depends on consistency, growth, and the ability to adapt to industry needs year after year. The AFRIFF team will need to double their efforts to ensure that neither the festival nor the new film market suffers. Running both events side by side requires precise coordination, especially given concerns about organisational slips reported at previous editions of AFRIFF. From scheduling to logistics, the team must raise the bar on efficiency and delivery if they are to convince stakeholders that AFCM is a credible and sustainable addition rather than an overstretch. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/heres-all-you-need-to-know-about-afriff-film-and-content-market/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/heres-all-you-need-to-know-about-afriff-film-and-content-market/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/heres-all-you-need-to-know-about-afriff-film-and-content-market/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/heres-all-you-need-to-know-about-afriff-film-and-content-market/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/heres-all-you-need-to-know-about-afriff-film-and-content-market/?share=linkedin) - **Categories:** Articles **Tags:** AFCM, afriff, Bovi, Chioma Ude, film, Miniser Hannatu Musawa, Nigerian Film Corporation, nollycritic, nollywood, Nollywood 2025 --- ### [10 Nollywood Actors Who Have Featured In Titles Outside Nigeria](https://nollycritic.com/10-nollywood-actors-who-have-featured-in-titles-outside-nigeria/) **Published:** September 12, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nollywood has grown into one of the largest film industries in the world, producing films that extend far beyond our African borders... **Content:** [Nollywood](https://nollycritic.com/7-nollywood-movies-we-cant-wait-for-nigerians-to-see/) has grown into one of the largest film industries in the world, producing films that extend far beyond our African borders. Today, Nigerian films, actors, and directors are increasingly making their presence felt in other industries like Hollywood. This cross-border interaction demonstrates both the strength and international relevance of Nigerian storytelling and Nollywood acts within global cinema. Several Nigerian actors have successfully crossed over into Hollywood, ranging from pioneering figures to bold new talents. Each of these actors carries Nollywood’s identity into foreign productions, ensuring that the spirit of Nigerian cinema resonates globally. Their individual successes are not only personal achievements but also milestones that reflect it’s overall progress on the world stage. In no particular order, here are 10 Nigerian actors/actresses featured in Hollywood: **Somkele Iyamah Idhalamah** Idhalamah stands as one of Nollywood’s most dynamic contemporary actresses. She first gained recognition through *The Arbitration* and *[93 Days](https://nollycritic.com/hijack-93-and-other-nollywood-films-inspired-by-real-events/)*, films that highlighted her emotional depth and compelling screen presence. More recently, she appeared in [*Orah*](https://en.wikipedia.org/wiki/Orah_(film)). In Hollywood, Somkele has taken roles in *Star Trek: Discovery*, *[The Expanse](https://www.imdb.com/title/tt3230854/?ref_=nm_flmg_job_1_cdt_c_7 "The Expanse")*, and *Titans*, where her adaptability and resilience as a performer shone through. Her career embodies the rise of a new generation of Nigerian actors shaping both local and international screens. **Ayoola Ayolola** Yet another Nigerian actor who has expanded into Hollywood. He first gained public attention after winning *Project Fame West Africa*, before transitioning from music into Nollywood. His breakout role in *Skinny Girl in Transit* cemented his place as a household name, and his charm, relatability, and range have made him a consistent force on Nigerian television. Recently, Ayoola reprised his role in a new season of *Skinny Girl in Transit*, reminding audiences of his staying power. His Hollywood appearance in *The Chosen* introduced him to a global audience and further demonstrated his ability to cross both cultural and industry boundaries. **Joseph Benjamin** He also represents Nollywood’s versatility on the global stage. Initially known as a co-host of *Project Fame*, he transitioned fully into acting, building a career that spans romantic comedies, thrillers, and television dramas. His work consistently blends charisma with emotional depth, as seen in his recent role in *Isoken Returns*. Beyond Nollywood, Joseph made his Hollywood debut with roles in *Stay* and *Green Leaf*, which broadened his international recognition and highlighted Nollywood’s ability to produce actors of global calibre. **Bikiya Graham-Douglas** She is another actor who blends multiple artistic strengths into her career. With strong roots in theatre, she moved into Nollywood films where her elegance, confidence, and depth became her hallmarks. She appeared in projects like *Before 30* and *Flower Girl* before re-establishing her presence with fresh television and cinema performances. Her Hollywood role in *The Ministry of Ungentlemanly Warfare* showcased her talents on a global platform and reinforced the fact that Nollywood continues to nurture world-class performers. **[Jimmy Odukoya ](https://www.imdb.com/name/nm9805459/ "Jimmy Odukoya ")** He has quickly become recognised as one of Nigeria’s rising action stars. Known for his charisma and intensity. Remarkably, he balances his pastoral duties with a flourishing acting career, a combination that sets him apart. His Hollywood appearance in *The Woman King* placed him alongside international stars, earning him positive reviews and further establishing his global presence. **Wale Ojo** A veteran who has long been celebrated for his versatility and intelligence. Whether in comedy or drama, he brings precision and nuance to his performances. His role in *Breath of Life* reaffirmed his standing as a leading actor whose emotional range continues to captivate audiences. Hollywood has also embraced his talent, featuring him in *The Guard* and *Black Earth Rising*, and many other productions that showcased his adaptability and professionalism. Ojo stands as one of the finest examples of Nollywood’s global exports. **Omotola Jalade** One of Nigeria’s most iconic figures. With a career that spans decades, she has consistently commanded attention with her star power and bold storytelling choices. Her return to Nollywood in *Alter Ego* drew attention for its fearless narrative and reaffirmed her commitment to the industry. Omotola’s Hollywood role in *Hit the Floor* marked another highlight of her career, extending her influence into the American television market while solidifying her legacy as one of Nollywood’s most significant exports. **Osas Ighodaro** Osas Ighodaro also bridges Nollywood and Hollywood with her career. She began through pageantry before transitioning into presenting, acting, and advocacy. Her beauty, talent, and versatility have made her a favourite among Nigerian audiences. Her recent role in *Merry Men 3* displayed her ability to merge glamour with strong dramatic presence, while her Hollywood appearance in *Where Children Play* expanded her global reach. Her career reflects the growing exchange of talent between Nollywood and Hollywood. **Genevieve Nnaji** Nnaji continues to be one of the most recognizable faces of Nollywood worldwide. With timeless performances that defined an era of Nigerian cinema, she remains an inspiration for younger actors. Her directorial debut *Lionheart*, Netflix’s first Nigerian acquisition, pushed Nollywood further into the global spotlight. In Hollywood, Genevieve starred in *Farming*, reaffirming her international stature and unmatched artistry. She remains an enduring symbol of Nollywood’s global influence. **Olu Jacobs** He represents a pioneering generation of Nollywood actors who broke into Hollywood decades ago. His career, which spans stage, film, and television, paved the way for today’s global Nollywood stars. In Nollywood, his performance in *The Royal Hibiscus Hotel* highlighted his wisdom and mastery, while Hollywood recognised his talents early through roles in *The Dogs of War*, *The Tomorrow People*, *The Goodies*, and *Barlow at Large*. Jacobs’ career embodies Nollywood’s long journey toward international acclaim and remains a source of inspiration for future generations. **Conclusion** Nollywood continues to expand beyond local boundaries, with its actors increasingly occupying roles in Hollywood productions. Each successful crossover strengthens the visibility of the Nigerian film industry on the global stage. From Idhalamah’s futuristic Hollywood roles to Olu Jacobs’ classic performances, these actors exemplify resilience, creativity, and excellence. They confirm that Nigerian talent belongs on the world stage, and their achievements suggest that the future will bring even greater collaborations between Nollywood and Hollywood. This ongoing exchange will only make Nollywood stronger and more relevant in global cinema. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/10-nollywood-actors-who-have-featured-in-titles-outside-nigeria/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/10-nollywood-actors-who-have-featured-in-titles-outside-nigeria/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/10-nollywood-actors-who-have-featured-in-titles-outside-nigeria/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/10-nollywood-actors-who-have-featured-in-titles-outside-nigeria/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/10-nollywood-actors-who-have-featured-in-titles-outside-nigeria/?share=linkedin) - **Categories:** Articles, Blog **Tags:** 93 Days, Ayoola Ayolola, Before 30, Bikiya Graham-Douglas, Breathe Of Life, film, Genevieve Nnaji, Isoken, Jimmy Odukoya, Lion Heart, Netflix, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Olu Jacobs, Osas Ighodaro, Somkele Iyamah, Star Trek, The Abitration, The Mens Club, Wale Ojo, Woman King --- ### [7 Nollywood Movies We Can’t Wait for Nigerians to See](https://nollycritic.com/7-nollywood-movies-we-cant-wait-for-nigerians-to-see/) **Published:** August 27, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Here are Nollywood movies that have thrilled the festival space locally and internationally, and we can't wait for Nigerians to see... **Content:** Nollywood movies continue to thrill audiences with bold storytelling, cultural richness, and an expanding global reach. Yet, many film projects, filmmakers, and actors remain in the shadows. These “silent” works—films that may have had festival runs or limited cinematic appearances—often go unnoticed, receiving little support or recognition. Unlike the high-grossing blockbusters and celebrated directors, these films tend to slip past audiences without leaving a mark. These are strong nollywood movies that stand out for their storytelling and performances; however, factors such as lesser-known casts and limited marketing often hinder their success. That’s why we’ve put together a list of movies we can’t wait for Nigerians to discover. ### *I Do Not Come to You by Chance* Adapted from Adaobi Tricia Nwaubani’s award-winning novel, *I Do Not Come to You by Chance* confronts one of Nigeria’s most controversial realities, “Yahoo Yahoo.” It has already made waves at the Toronto International Film Festival (TIFF) and the Africa International Film Festival (AFRIFF). Directed by Ishaya Bako and co-written with Chika Anadu, the film follows a young man who finds himself trapped in internet fraud as he struggles to support his family. Nigerians will experience a film that combines raw family drama with the urgent social commentary of survival in today’s economy. This is a story that demands attention because it mirrors the challenges many Nigerians face. ### Phoenix Fury Ifeoma Chukwuogo’s *Phoenix Fury* has already carved its place in Nigerian film history. Winning Best Feature Film, Best Director, and a ₦4.5 million prize at AFRIFF 2024, it represents a daring new voice in Nollywood. Critics praise its storytelling, visual strength, and fearless originality. Expected to continue its international festival tour, *Phoenix Fury* promises to offer a cinematic experience unlike anything audiences have seen. Nigerians should see it because it places the country’s filmmaking on the world stage while proving that homegrown stories can resonate universally. ### *Headless* *Headless* made a striking debut on AFRIFF’s opening night. Leaving everyone in awe and eager. The thriller follows a Nollywood film producer whose life unravels when police discover a decapitated head in his car trunk. Featuring strong performances from Gideon Okeke, Uzoamaka Aniunoh, Baaj Adebule, and Femi Branch. The film blends suspense with sharp social commentary. Nigerians should see it because it dares to blur the line between fiction and reality, exposing the dark corners of ambition, crime, and survival. A key highlight of the feature is Adebule’s portrayal, marked by the physically challenging position he maintained from start to finish. However, this didn’t stop his delivery and performance. ### The Legend of the Vagabond Queen of Lagos Directed and Written by The Agbajowo Collective—including James Tayler, Temitope Ogungbamila, Bisola Akinmuyiwa, Elijah Atinkpo, Tina Edukpo, Samuel Okechukwu, and Mathew Cerf. This stylish and energetic film captures Lagos in all its grit and glamour. The film centers on Jawu (played by Temiloluwa Ami-Williams), a single mother living in the waterfront informal settlement of Agbojedo. Her community faces imminent forced eviction. When she discovers a hidden stash of “blood money” linked to corrupt politicians, Jawu becomes an unlikely catalyst for resistance. Following the rise of a powerful female figure in the city’s underworld, it combines action, drama, and satire. Nigerians should see it because it challenges gender stereotypes while showcasing Lagos as a character in its own right—chaotic, bold, and unforgettable. The feature kick-started its festival run at the 2024 Toronto International Film Festival and then AFRIFF later that year. However, no details or news on its cinematic or streaming release as been announced so far. ### *Over the Bridge* *Over the Bridge* tells the story of an ambitious man whose life spirals after a major financial scandal. A corporate thriller at heart, it exposes the dangers of greed, corruption, and the fragile line between success and downfall. Nigerians should see it because it mirrors real events in the country’s financial world, offering both caution and reflection. The anticipation of its release has lingered on for two years now. The film premiered in the United Kingdom in October 2023, before making its Nigerian debut at the Africa International Film Festival (AFRIFF) the following month. In 2024, it travelled to the New York African Film Festival, further extending its reach into the diaspora. And then FESPACO in February 2025. The strength of *Over the Bridge* lies not only in its story but also in its performances. Ozzy Agu, in the lead role, delivers a deeply nuanced portrayal of Folarin, capturing both his outward confidence and his private vulnerability. Supporting performances by Nollywood veterans such as Joke Silva, alongside rising stars like Chimezie Imo and Elma Mbadiwe, add texture and depth to the narrative. Together, the cast bridges generations of Nigerian actors, further enriching the film’s character dynamics. Nile Entertainment recently announced September 5, 2025, as the nationwide cinematic release for *Over The Bridge.* ### *My Father’s Shadow* The film started its journey in February 2025, with a distribution rights acquisition by MUBI, a global streaming service. This spanned across North America, the UK, Ireland, and Turkey. And then an [*Un Certain Regard*](https://en.wikipedia.org/wiki/Un_Certain_Regard) section at the [2025 Cannes Film Festival](https://en.wikipedia.org/wiki/2025_Cannes_Film_Festival) in May 2025. It also broke history when it won the Special Mention for the [*Caméra d’Or*](https://en.wikipedia.org/wiki/Cam%C3%A9ra_d%27Or)*,* during the festival. [*My Father’s Shadow* ](https://nollycritic.com/akinola-davies-my-fathers-shadow-to-begin-cinema-run/ "My Father’s Shadow ")was co-written by Davies Jr. and his brother Wale Davies. The feature is set against the backdrop of the 1993 Nigerian presidential election. It tells the story of two young brothers, Remi and Akin, who spend a day in Lagos with their estranged father, Folarin. The cast includes English actor Sope Dirisu, Godwin Chiemerie Egbo, Chibuike Marvellous Egbo, Uzoamaka Aniunoh and Winifred Efon. The feature is set to debut locally on September 19, 2025 and will be distributed by Film One. **77** *[77: The FESTAC Conspiracy.](https://nollycritic.com/see-the-trailer-for-izu-ojukwus-77-the-festac-conspiracy/)* Directed by Izu Ojukwu, this film is sequel to *76*. The initial story was a depiction of the 1976 Nigerian coup. However, *77: The FESTAC Conspiracy* shifts the focus to the [1977 FESTAC](https://en.wikipedia.org/wiki/FESTAC_77) event. As it explores African identity, unity, and the political struggles of the time. The plot follows a former soldier who becomes involved in a revolutionary movement challenging Africa’s political systems. The film touches on deep themes of loyalty, moral conflict, and cultural identity. It paints a vivid picture of the political unrest during the late 1970s. The cast includes Ramsey Nouah, Rita Dominic, Ibinabo Fiberesima and Nigerian musician Seun Kuti. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/7-nollywood-movies-we-cant-wait-for-nigerians-to-see/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/7-nollywood-movies-we-cant-wait-for-nigerians-to-see/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/7-nollywood-movies-we-cant-wait-for-nigerians-to-see/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/7-nollywood-movies-we-cant-wait-for-nigerians-to-see/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/7-nollywood-movies-we-cant-wait-for-nigerians-to-see/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** film, nigerian cinema, nollycritic, nollywood, Nollywood 2025 --- ### [See the Trailer For "Almost Perfect", Set for October Release](https://nollycritic.com/see-the-cast-for-almost-perfect-set-for-october-release/) **Published:** September 9, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Directed by Imoh Umoren, Almost Perfect is described as "a love story stitched in secrets, dreams, and desire." The film unfolds... **Content:** [Genesis Motion Pictures](https://genesismotionpicturesng.com/ "Genesis Motion Pictures"), in partnership with Rucksack Productions and Rok Studios, has unveiled key details about its upcoming romance film, *Almost Perfect*. The film is set to hit cinemas across West Africa on October 10, 2025, under the distribution of Genesis Pictures. ##### What We Know About the Film Directed by Imoh Umoren, *Almost Perfect* is described as “a love story stitched in secrets, dreams, and desire.” The film unfolds in the world of fashion and self-discovery, promising a visually rich narrative that centres on emotional depth. In the official synopsis revealed alongside the promotional poster, the story invites viewers to “step into a world of fashion, emotion, and self-discovery,” suggesting a coming-of-age romance threaded with introspection. ##### Cast & Production The ensemble cast includes heavyweights such as Kate Henshaw, [Toke Makinwa](https://nollycritic.com/the-shadow-of-greed-a-cross-cultural-exploration-of-corruption/ "Toke Makinwa"), Detola Jones, Bimbo Manuel, Obinna Okenwa, Omowunmi Dada, Eso Dike, Real Warri Pikin, and Liquorose. Directed by Imoh Umoren and produced in collaboration with Rok Studios and Rucksack Productions, the film is positioned as both a romantic drama and a fashion-infused narrative of self-realisation. ##### Coming Attractions With the October 10 release date confirmed, cinemas distributed by Genesis Pictures are gearing up to showcase *Almost Perfect* across multiple locations. The creative team behind the film has also teased future announcements related to trailer drops and premiere events. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-cast-for-almost-perfect-set-for-october-release/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-cast-for-almost-perfect-set-for-october-release/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-cast-for-almost-perfect-set-for-october-release/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-cast-for-almost-perfect-set-for-october-release/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-cast-for-almost-perfect-set-for-october-release/?share=linkedin) - **Categories:** Blog, Movies, Nollywood News **Tags:** Almost Perfect, Bimbo Manuel, Detola Jones, fashion film, film release October 2025, Genesis Pictures, Imoh Umoren, Kate Henshaw, Liquorose, love story, nigerian cinema 2025, Nigerian romance film, Nollywood Romance, Omowunmi Dada, Real Warri Pikin, Rok Studios, Rucksack Productions, toke makinwa --- ### [Nollywood Films With Intriguing Concepts That Deserve a Remake](https://nollycritic.com/nollywood-films-with-intriguing-concepts-that-deserve-a-remake/) **Published:** September 10, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Let’s be honest, some nollywood films just wasted a good idea. We’ve all seen them. You sit down, popcorn ready, the concept sounds like a banger... **Content:** Let’s be honest, some nollywood films just wasted a good idea. We’ve all seen them. You sit down, popcorn ready, the concept sounds like a banger… and then nothing happens. Or worse, the film tries to do too much, or not enough. It’s like someone started cooking hot steamy jollof and forgot to add salt. Painful. We’re not talking about bad films. No, this is about *almost* films. The ones that had potential. The ones that made you say, “If only they had just…” So, we’re making a case: for remakes! Not the classics or oldies, but the ones that could rise again if given the right treatment. Here are five Nigerian films — or film categories — with brilliant concepts that we think deserve a proper remake. ##### Water & Garri This film had all the ingredients for a stunning crossover between music and cinema. Sharing its name with Tiwa Savage’s Water & Garri EP (a soulful blend of love, loss, and resilience) it promised a narrative as rich as the album. But the final dish? Undercooked. We got a film that doesn’t seem to know what it wants to be. It wasn’t clear if the music inspired the story or the other way round. Instead of embracing the album’s emotional arc and building the film around that, it floated from scene to scene with beautiful shots and little substance. It might not be a “Water and Garri Remake”, but it sure would be nice to see another film ride on this concept. Build a tight narrative where each song drives the plot, like a character’s heartbreak or triumph unfolding through lyrics. ##### Owambe Thieves The idea of robbing Lagos owambes is rich with cultural tension, satire, and spectacle. But *Owambe Thieves* tried to be a heist film, a slapstick comedy, and a social commentary all at once, and didn’t quite nail any of them. The characters, while charming at first, never evolved. The motivations were sketchy. The heist scenes lacked tension. One minute it felt like a parody, the next it wanted us to take it seriously. The editing jumped awkwardly, the stakes were inconsistent, and crucial story beats were either rushed or ignored. But imagine a remake with the tone of Ocean’s Eleven but the chaos of a Yoruba party. Each crew member could have their own owambe role—caterer, DJ, MC, even the bouncer—all part of the con. Lean into the satire, but keep the plotting tight. That’s the version we want to see. ##### Bendel Girl [*Bendel Girl* ](https://nollycritic.com/bendel-girl-review-a-strong-start-that-fizzles-out-in-execution/ "Bendel Girl ")tilts toward a psychological thriller with a time-travel premise that’s a breath of fresh air in Nollywood. Directed by Gbenga Kayode, it follows Theresa, a teenage girl who vanishes into a forest in 1985 Benin (the old Bendel State) and mysteriously reappears on a Nigerian highway in 2024 nearly 40 years later, unchanged. It’s got that eerie, mind-bending vibe of unexplained disappearances, family reunions gone wrong, and the mental toll of lost time, setting it apart from Niyi Akinmolayan’s more family-focused time-travel romp in *Day of Destiny*, where brothers jump back 20 years to fix fortunes. The premise—lost time, fractured psyche, unexplained return—is gripping. The early mystery hooks, but uneven pacing and loose plot threads dilute the impact. Time-travel rules feel inconsistent, and the psychological depth stays shallow. A remake could tighten the narrative, grounding the time jump in clear mechanics, perhaps tied to Benin folklore. Lean into Theresa’s mental unraveling for a slow-burn thriller that balances emotion and suspense. ##### Ile Owo This film deserves props for even trying to bring horror back into Nollywood at a time when romantic comedies and drama were everywhere. The idea: a young woman falls for a charming man whose family is part of a cult, and her own father may be involved. That’s horror gold—family secrets, supernatural deals, betrayal wrapped in blood. But *Ile Owo* played it too safe. The story held back on horror and leaned more into drama. The occult elements were underexplored. The scares were softened by weak visual effects, and the ending left more confusion than resolution. The tension simmered but never boiled. There was so much room for bold, gothic horror—rituals, ancestral spirits, moral corruption—but the film seemed afraid to go full dark. A stronger version would double down on the genre: make it uncomfortable, make it haunting, and give us a clear, terrifying mythology. Horror thrives on specificity this story has it, it just needs to stop playing nice. ##### Time-Loop/ Films (The Beads, Landline, ) Nollywood has flirted with time-loop concepts in films like *The Beads* (2024), where a bride relives her wedding-day murder on repeat; *[Landline](https://www.imdb.com/title/tt36690031/ "Landline")* (2025), a sergeant trapped in eerie phone calls to save his wife.The unifying thread? These high-concept plots falter under rushed execution, inconsistent loop logic (characters randomly recall details), and endings that promise big but fizzle out. But the core idea of reliving moments to break a cycle is ripe for satire on Nigerian life: think looping through endless ASUU strikes or election-day chaos. A remake could fix this by proposing a tight, character-driven loop, imagine a Ekiti hustler reliving a botched scam. Keep pacing snappy with escalating stakes per cycle, iron out logic holes for believability, and land a satisfying resolution that ties emotional arcs to the mechanics. No more dangling threads; give us a loop that evolves. ##### So… What Film Would You Remake? We’ve dropped our list. Now it’s your turn. Which Nollywood film had a brilliant idea but missed the mark? Which one left you thinking, “This could have been iconic”? What’s your blueprint for a better version? Tell us your picks. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-films-with-intriguing-concepts-that-deserve-a-remake/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-films-with-intriguing-concepts-that-deserve-a-remake/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-films-with-intriguing-concepts-that-deserve-a-remake/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-films-with-intriguing-concepts-that-deserve-a-remake/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-films-with-intriguing-concepts-that-deserve-a-remake/?share=linkedin) - **Categories:** Articles, Blog, Movies **Tags:** African films, Bendel Girl, Benin folklore, day of destiny, film remakes, Gbenga Kayode, heist films, horror movies, Igbo music, Ile Owo, La La Land, Landline, movie reviews, musical films, Musicals, nigerian cinema, Niyi Akinmolayan, nollywood, Obara’M, Ocean’s Eleven, Owambe Thieves, psychological thriller, Tarella: Princess of the Nile, The Beads, time travel, Time-Loop Films, Tiwa Savage, Water & Garri --- ### [Nollywood Crime Dramas: A Mirror to Nigeria’s Soul](https://nollycritic.com/nollywood-crime-dramas-a-mirror-to-nigerias-soul/) **Published:** September 10, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood crime dramas began in the early 1990s, with Living in Bondage (1992) laying a solid foundation. Though not a pure crime drama.. **Content:** Mama Ngozi, was more than a fabric seller with a quick tongue. She had eyes like a hawk. One day in Onitsha’s boisterous main market, she noticed sneaky boys eyeing crates amid the clamor of yams and used shoes. Whispers of a smuggling ring hiding stolen electronics in garri sacks fueled her suspicions. So, Mama Ngozi decided to investigate this herself. One evening, heart pounding, she trailed a shady trader to a dark warehouse. There, she uncovered crates of stolen radios and overheard talk of a vast criminal network, even catching Baba Kole’s name. Her discovery set Onitsha ablaze, with kids reenacting her bold chase and families buzzing over her courage. More than Mama Ngozi’s adventure, it was the pulse of crime itself that kept tongues wagging. Beneath the market’s bustle, a deeper scheme had been brewing, unnoticed until her sharp eyes caught it. Whispers of shady deals turned into solid evidence, shaking Onitsha awake and hooking you into the electric thrill of Nigeria’s crime-soaked tales. This raw energy, born from stories like Mama Ngozi’s, finds its echo in Nollywood’s crime dramas. That’s the pull of Nollywood’s crime dramas. They dig into suspicion, betrayal, and stubborn hope for justice that hum in every Nigerian’s heart. ##### Roots in the 1990s: Gritty Beginnings Nollywood’s[ crime dramas ](https://nollycritic.com/?s=crime+drama " crime dramas ")began in the early 1990s, with *Living in Bondage* (1992) laying a foundation. Though not a pure crime drama, its tale of rituals and betrayal hinted at the genre’s potential to probe societal ills. By 2000, *Issakaba* emerged, a raw depiction of vigilante justice against armed robbery, reflecting Nigeria’s lawlessness. These early films were not polished. They were visceral, blending crime with moral and supernatural threads to grip audiences. Yet, by the mid-2000s, the industry pivoted to romantic comedies and family sagas, sidelining crime narratives. The genre’s pulse weakened, save for outliers like *A Place in the Stars* (2014), which tackled counterfeit drug trafficking with rare ambition. ##### The Resurgence: A New Nollywood Around 2015, a shift began. *Gbomo Gbomo Express* marked a return to crime themes, but it was *King of Boys* (2018), directed by Kemi Adetiba, that ignited the resurgence. Grossing over 300 million Naira, it followed Alhaja Eniola Salami’s rise from obscurity to crime lord, navigating Lagos’ corrupt political underbelly. The film’s success was no fluke. It tapped into a hunger for stories that mirrored Nigeria’s realities—63% of the population lived below the poverty line in 2022, per World Bank data, and corruption scandals dominated public discourse. Directors like Jade Osiberu, and Ramsey Nouah joined Adetiba, crafting narratives that refused to shy away from Nigeria’s wounds. Osiberu’s *Sugar Rush* (2019) tackled money laundering with sharp wit. Nouah’s *Living in Bondage: Breaking Free* (2019) revisited the occult-driven greed of its 1992 predecessor, updating it with modern cultism and ambition. Series like [*Blood Sisters* (2022)](https://www.rottentomatoes.com/tv/blood_sisters/s01 "Blood Sisters (2022)"), directed by Biyi Bandele and Kenneth Gyang, explored the criminal underworld through family dynamics, showcasing the genre’s expansion. By 2021, Nollywood’s market size hit $6.4 billion, with crime dramas leading the charge, amplified by streaming platforms like Netflix and Prime that brought these gritty tales to global audiences. ##### A Cycle of Corruption: The Grass-to-Grace Narrative Nollywood crime dramas resonate because they reflect a society where corruption is not an anomaly but a cycle. Leaders’ greed, as Transparency International’s 2021 Corruption Perceptions Index (ranking Nigeria 149 out of 180) shows, perpetuates poverty, pushing ordinary Nigerians to desperate acts. This is the heart of the genre’s appeal: the “grass-to-grace” arc, where characters rise from nothing through crime, only to face its costs. *King of Boys* embodies this. Eniola Salami’s ascent through crime and politics is not just a story; it is Nigerian story, where power is often bought with moral compromise. *Living in Bondage: Breaking Free* (2019), directed by Ramsey Nouah, also explores this theme, as Nnamdi Okeke’s ambition leads him to make morally questionable decisions, mirroring the societal pressures that drive many to seek wealth at any cost. Similarly, *To Kill a Monkey* (2025), also by Adetiba, follows Efemini, a programmer turned cybercriminal, driven by poverty’s chokehold. Released on Netflix on July 18, 2025, the series captures the allure and peril of “yahoo-yahoo” (internet/cybercrime fraud), a path 70% of Nigerian youth in a 2023 Africa Polling Institute study linked to economic hardship. Unlike earlier Nollywood films that often centered spirituality and rituals as the narrative core, *To Kill a Monkey* sidesteps these clichés by focusing on modern cybercrime and systemic pressures. While it includes a scene where boys swear loyalty to Oboz in a ritual, this serves as a plot device to highlight group dynamics and power structures, not the story’s heart. Instead, the series dwells on Efemini’s moral descent and the societal conditions—unemployment, inequality—that fuel his choices, offering a grounded critique over supernatural spectacle. These narratives reflect Nigeria’s struggle with systemic entrapment. *Shanty Town* (2023), created by Xavier Ighorodje and Chichi Nworah, takes it to Lagos’ slums, where courtesans fight to escape a kingpin’s grip, their struggle a microcosm of systemic entrapment. These films dissect crime. *To Kill a Monkey* is a cautionary tale, its layered storytelling praised for avoiding Nollywood’s ritualistic clichés. *Shanty Town* earns acclaim for its performances. Both, like *King of Boys*, gesture at insight. ##### Socio-Political Reflections The genre’s strength lies in its socio-political lens. Poverty breeds crime, as seen in *Gangs of Lagos*, where urban violence thrives in neglected communities. Corruption links crime to politics in *4th Republic* (2019), sparking debates on reform. *Òlòtūré* (2019), directed by Kenneth Gyang, brings to light the horrors of human trafficking, using cinéma vérité techniques to immerse viewers in the reality faced by many Nigerians. *4th Republic* (2019), by Ishaya Bako, weaves a tale of political intrigue and corruption, illustrating how crime permeates every level of society. *Gangs of Lagos* (2023), directed by Jade Osiberu, portrays urban poverty and violence, highlighting neglected communities, though its cultural depictions sparked controversy. Weak law enforcement and drug abuse, central to *The Trade*, *Swallow*, and *Shanty Town*, underscore systemic failures. These films demand accountability, forcing viewers to confront Nigeria’s realities. Yet, they walk a fine line. While they critique, they risk normalizing crime, especially for youth in a country with high crime rates. A 2025 survey found 58.8% of viewers believe Nollywood effectively highlights socio-political issues, but 24.3% question whether it encourages critical reflection or merely sensationalizes. ##### Audience Connection: Relatable, Yet Divisive Nigerians watch these dramas because they see themselves, their struggles, their anger, their resilience. *King of Boys* entered the “Nolly Hall of Fame” for its cultural weight, while *Brotherhood* (2022) and *King of Thieves* (2022) each grossed over 300 million Naira, proving commercial pull. On Reddit (e.g., r/Nigeria), fans praise the genre’s raw energy, but diaspora viewers often critique its realism, citing exaggerated portrayals. The thrill of drug cartels, kidnaps, and scams in *Crime and Justice* or *Blood Sisters* captivates, but the fear of glamorizing crime lingers. ##### What They Intend, What They Achieve Nollywood crime dramas aim to entertain and provoke, to hold a mirror and a megaphone. They intend to expose corruption, poverty, and systemic decay while offering catharsis through stories of survival. *King of Boys* achieves this, its narrative tight and resonant. *To Kill a Monkey* aspires to warn against cybercrime but stumbles with pacing. *Shanty Town* seeks emotional depth but leans on familiar tropes. The genre promises insight but sometimes delivers drama over substance. Yet, their impact is undeniable. They spark conversations, challenge complacency, and reflect a nation wrestling with its soul. As of today, Nollywood crime dramas remain a vital force, not because they are perfect, but because they dare to speak. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-crime-dramas-a-mirror-to-nigerias-soul/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-crime-dramas-a-mirror-to-nigerias-soul/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-crime-dramas-a-mirror-to-nigerias-soul/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-crime-dramas-a-mirror-to-nigerias-soul/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-crime-dramas-a-mirror-to-nigerias-soul/?share=linkedin) - **Categories:** Articles, Nollywood **Tags:** Abba Makama, Adesua Etomi-Wellington, Africa Ukoh, Banana Island, Banana Island Ghost, bb sasore, Bimbo Ademoye, Bisola Aiyeola, Bovi, Bunmi Ajakaiye, casa de novia, Chigul, Chioma Omeruah, comedies, crime comedy, dark humour, Egbemawei Sammy, Falz, fantasy comedy, Frank Donga, greed, Ijeoma, Jadesola Osiberu, Kayode Kasum, Koye Kekere-Ekun, legacy, My Village People, New Money, Nigerian mysticism, nollywood, Patrick Diabuah, Quam’s Money, satire, Shawn Faqua, Social commentary, Sugar Rush, Supernatural, Three Thieves, Udoka Oyeka, wealth, witchcraft, Yoyo --- ### [5 Underrated Nollywood Films You Can Stream Right Now](https://nollycritic.com/5-underrated-nollywood-films-you-can-stream-right-now/) **Published:** September 9, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Not every good film receives attention. In Nollywood, where visibility often depends on spectacle or star power, some of the most thoughtful work... **Content:** Not every good film receives attention. In Nollywood, where visibility often depends on spectacle or star power, some of the most thoughtful work goes unrecognised. These are not the films that dominated press cycles, filled timelines, or triggered mass debate. They are quieter, more deliberate, and in many cases, more rewarding. By “underrated,” we mean films that were overlooked or undervalued despite offering clarity of vision, sharp storytelling, or formal ambition. All five are currently available to stream, and each one earns its place here not through popularity but through precision. ##### 1. The Ghost and the House of Truth (2019) **Directed by: Akin Omotoso | Streaming: Showmax** Akin Omotoso’s *The Ghost and the House of Truth* is a restrained crime drama that strips the genre of its usual theatrics, set in the gritty urban context of Lagos. Susan Wokoma stars as Bola, a therapist committed to restorative justice (a rare theme in Nollywood) whose life unravels when her daughter disappears. The film resists sensationalism, using minimal dialogue, silences, and subtle glances to convey Bola’s emotional disorientation, focusing on grief, institutional failure, and moral conflict. Wokoma’s nuanced performance, marked by emotional intelligence, earned nominations at African film awards, including the Africa International Film Festival. Omotoso employs minimalism as a method, letting structural tension and understated visuals carry the narrative without artificial resolution. Despite critical praise for its introspective approach, the film remains underseen due to limited marketing, overshadowed by flashier releases. This compact, deeply considered work deserves more discussion for its narrative precision and thematic depth, reflecting the cost of belief in a flawed system. ##### 2. Eyimofe (2020) **Directed by: Arie and Chuko Esiri | Streaming: Prime Video** *[Eyimofe](https://www.imdb.com/title/tt10365870/ "Eyimofe")* (*This Is My Desire)* is a film about the weight of staying. Told in two parts, it follows Mofe and Rosa, two Lagosians negotiating survival, dignity, and the fantasy of escape. The film’s two-part structure: “Spain” and “Italy”, reflects their dreams of migration but avoids romanticized struggle, presenting a stark, documentary-like depiction of survival. Shot with non-professional actors and on location in Lagos, the film’s muted colours and tight framing capture the city’s claustrophobic energy, emphasizing endurance over drama. Critically acclaimed at the Berlin International Film Festival, with screenings at Rotterdam and BFI London, *Eyimofe* explores economic migration with universal resonance. However, its slow pace and lack of star power limited its local audience, making it one of Nollywood’s sharpest yet underappreciated feature debuts. Here, the Esiri brothers demonstrated that they were not interested in narrative punchlines. Their camera observes rather than imposes. Jude Akuwudike’s performance holds the first half in place, marked by unspoken grief and earned stillness. Temi Ami-Williams gives Rosa grit without reducing her to resilience. There is no climax, no arc of redemption. Only labour, longing, and the quiet strain of living in a city that demands everything but offers little in return. The film knows what it is doing and refuses to simplify. It should be essential viewing, yet it remains a footnote. ##### 3. *With Difficulty Comes Ease* (2023) **Directed by: Korede Azeez | Streaming: Prime Video** Korede Azeez’s debut feature, *[With Difficulty Comes Ease](https://nollycritic.com/with-difficulty-comes-ease-a-strong-tale-of-loss-and-faith/ "With Difficulty Comes Ease")*, is a meditative drama about alienation and resilience. Characters grapple with personal and societal disconnection, conveyed through minimal dialogue, long takes, and stark compositions by cinematographer Ola Cardoso. The absence of a traditional score and deliberate pacing create an immersive, tactile experience, reflecting themes of modern isolation. The film’s unconventional structure, which prioritizes mood over plot and avoids clear resolutions, distinguishes it from typical dramas. Despite critical recognition, including a feature in Open Country Mag’s 2024 list of top Nollywood films, its experimental style and limited promotion led to minimal mainstream attention. This bold work represents a growing trend of auteur-driven Nollywood cinema, rewarding viewers who engage with its patient, introspective approach. ##### 4. *Shaping Us* (2024) **Directed by: Kambili Ofili | Streaming: Showmax** Kambili Ofili’s directorial debut, *Shaping Us*, is a tense drama exploring infertility, postpartum depression, friendship, and resilience. Set during a celebratory dinner party for Ara and Biodun, a couple finally pregnant after years of struggles, the film unravels repressed secrets and simmering tensions among their close friends. With a runtime of about 1 hour 44 minutes, it delivers sharp commentary on parenthood, pain, and modern relationships through grounded performances and tight scripting, avoiding melodrama for emotional authenticity. The film’s strength lies in its honest portrayal of human fragility, bolstered by standout performances from Uzoamaka Aniunoh, Bucci Franklin, Floyd Igbo, and Omowunmi Dada. Despite earning 10 nominations at the 2024 Toronto International Nollywood Film Festival and praise for its festival run, its niche themes and lack of blockbuster marketing have kept it under the radar. Ofili, who also wrote the script, crafts a story that prompts difficult conversations about love, exhaustion, and unspoken pain, making it a standout for its depth and relatability. ##### 5. *House of Secrets* (2023) **Directed by: Niyi Akinmolayan | Streaming: Prime Video** This is Akinmolayan’s most interesting work to date, not because it is his most polished, but because it is not. *House of Secrets* breaks from the commercial formula he is best known for and leans into shadow, stillness, and ambiguity. The film, released on June 30, 2023, as Anthill Studios’ first straight-to-streaming title on Prime Video, is a psychological thriller blending romance, espionage, and trauma. Set in a stylized 1990s Nigeria, it follows Sarah (Najite Dede), a woman imprisoned for aiding her spy lover, Panam, whose memories hold a secret number critical to thwarting a political conspiracy led by General Sani. The film employs film noir elements—monochromatic visuals, high-contrast lighting, and a fatalistic tone—evoking classics like *The Maltese Falcon* with its moral ambiguity and shadowy aesthetic. Flashbacks, written by Akinmolayan and Dolapo Adigun, unravel Sarah’s past, with black-and-white scenes enhancing the noir mood. The pacing is slow, at times hesitant, but that hesitancy is built into the story’s emotional texture. There are risks here, some successful, some not. But what matters is that Akinmolayan commits to a different kind of storytelling, one less dependent on resolution, more concerned with mood and psychological space. Despite praise for its ambitious cinematography and beautiful soundtrack s, its niche aesthetic limited its audience. This bold experiment in Nollywood’s genre landscape remains underappreciated. **Conclusion** These are not overlooked films because they lack value. They are overlooked because they do not conform. They do not chase visibility. They do not rely on formula. And in doing so, they make room for something else—something slower, stranger, and more deliberate. If the dominant rhythm of Nollywood is urgency, these films take their time. And that time is worth giving. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/5-underrated-nollywood-films-you-can-stream-right-now/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/5-underrated-nollywood-films-you-can-stream-right-now/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/5-underrated-nollywood-films-you-can-stream-right-now/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/5-underrated-nollywood-films-you-can-stream-right-now/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/5-underrated-nollywood-films-you-can-stream-right-now/?share=linkedin) - **Categories:** Articles, Movies, Nollywood **Tags:** Akin Omotoso, Arie Esiri, Chioma ‘Chigul’ Omeruah, Chuko Esiri, Efe Iwara, Eyimofe, House of Secrets, Kate Henshaw, Najite Dede, Netflix, Niyi Akinmolayan, Prime Video, Shaping Us, Shola Amoo, Showmax, Susan Wokoma, The Ghost and The House of Truth, Theophilus King, Toyin Oshinaike, With Difficulty Comes Ease, Youtube --- ### [6 Nollywood Comedies That Will Keep You Laughing](https://nollycritic.com/6-nollywood-comedies-that-will-keep-you-laughing/) **Published:** September 11, 2025 **Author:** Shalom O. Obisesan **Excerpt:** We took some time reflecting on the Nollywood comedies that stuck with us. The ones we remembered by how we laughed, quoted them... **Content:** We took some time reflecting on the Nollywood comedies that stuck with us. The ones we remembered by how we laughed, quoted them, or had to tell someone else to watch. What makes a comedy memorable is never just its jokes. It’s the tension it relieves, the truth it slips in, the oddity it leans into. Sometimes it’s the cast chemistry. Sometimes it’s just one moment that feels too real to forget. These are the ones that gave us all that, each in its own strange, specific way. As Nollycritic, we don’t just watch for laughs. We watch for choices, risks, and rhythms that leave a mark. What makes a comedy last isn’t how hard it tries to be funny. It’s what it reveals about the moment, the culture, and the way Nigerians deal with chaos, identity, and absurdity. ##### *Banana Island Ghost (2017)* Directed and written by BB Sasore, this fantasy comedy tells of a man who dies and negotiates three days to return as a ghost to find a soulmate so he can enter heaven. He ends up paired with a woman who must stop her father’s house from being repossessed on Banana Island. We were charmed by Patrick Diabuah’s ghost and Chioma “Chigul” Omeruah grounded performance as Ijeoma. Casting Chigul in a lead romantic role was significant. At a time when Nollywood was still boxed in by narrow ideals of beauty, *Banana Island Ghost* gave audiences a confident, full-bodied female protagonist who didn’t need to be toned down or apologised for. The film also delivers subtle but pointed social commentary. By centring its story on Banana Island (Nigeria’s most exclusive and ostentatiously wealthy neighbourhood) the narrative explores themes of legacy, greed, and the illusion of permanence. What’s especially clever is how the film layers all this underneath its light, fantastical setup. It uses the supernatural not to escape reality, but to refract it. ##### *Three Thieves (2019)* Directed by Udoka Oyeka, with screenplay by Egbemawei Sammy, Abba Makama and Africa Ukoh, this film follows three underemployed friends mistaken for professional thieves who escalate from theft to accidental kidnapping. The chemistry between Shawn Faqua, Koye Kekere-Ekun and Frank Donga was a highlight. The film is quietly confident. It never forces jokes. It paddles along and then lets absurdity erupt. Someone who loves understated chaos called it the film that sneaks up on you. This film didn’t just catch us off guard, it ran off with our attention. *Three Thieves* plays like a tightrope walk between crime and comedy—fast, chaotic, and incredibly fun to watch. It is one of those rare Nollywood comedies that understands timing and tone, keeping things sharp without losing heart. ##### *Casa De Novia (2023)* Everything about [*Casa de Novia* ](https://nollycritic.com/casa-de-novia-packed-full-of-laughs-and-mystery/ "Casa de Novia ")screams ridiculous, and that’s the point. It’s built around a central character whose entire charm lies in her over-the-top clumsiness and unfiltered confidence. She floats through the world like a live-action cartoon, creating havoc without malice and turning the most ordinary moments into exaggerated spectacle. The tone is deliberately unserious. Even the CGI, which got its fair share of ridicule, feels like part of the joke. You can’t watch the scene where the house spins Yoyo around and believe the filmmakers expected us to take it seriously. It’s not aiming for realism; it’s aiming for amusement. This is a film that winks at the audience from start to finish. And that’s its charm. It’s chaotic, it’s unserious, and it’s built around a lead performance that doesn’t hold back. We appreciated it for what it was a comedy that plays with form, tone, and performance. ##### *Quam’s Money (2020)* Falz has never been one for subtlety, and neither is this film. *Quam’s Money* spins off from *New Money*, but it quickly becomes its own beast. Falz returns as Quam, now rich, reckless, and ripe for a fall. The film dives headfirst into the chaos of sudden wealth, scams, and social climbing. It’s loud, ridiculous, and knows it. Directed by Kayode Kasum, Falz returns in top form, playing the newly rich Quam as loud, gullible, and hilariously overconfident. The story follows his entanglement in a high-level scam, turning his sudden wealth into a lesson in ego and naivety. What makes *Quam’s Money* work is how it plays with satire. It’s flashy, fast, and doesn’t pretend to be deep. But it pokes fun at the very lifestyle it puts on display. Falz’s comedic timing keeps things afloat, and the film delivers the spectacle it promises. ##### *My Village People (2021)* This one took a risk and owned it. *[My Village People](https://www.imdb.com/title/tt13155940/ "My Village People")* drops a playboy into a full-on supernatural trap, mixing dark humour with mythological themes that rarely get this kind of spotlight in mainstream Nollywood. The result is a film that’s part satire, part horror fantasy, and all chaos. Bovi plays the unlucky bachelor who returns home for his sister’s wedding and walks right into the middle of a witchcraft war. The storyline leans heavily on folk beliefs but never loses its sense of humour. There’s a surreal quality to how the film balances seduction, ritual, and absurdity, making it feel like a fever dream you can’t look away from. What made it memorable was its originality. It didn’t copy Hollywood formulas or stick to safe storytelling. It made space for Nigerian mysticism and found comedy in it without mocking the source material. That’s rare. And the visuals are glossy, strange, and vivid. It’s the kind of film that splits opinions but earns points for doing something different. ##### *Sugar Rush (2019)* Directed by Kayode Kasum and written by Bunmi Ajakaiye and Jadesola Osiberu, this is a crime-action comedy in which three sisters find $800,000 in a murder house and are pursued by both criminals and EFCC operatives. *Sugar Rush* starts off as a comedy dips into crime, and veers into supernatural spectacle, with invisible cars, juju-wielding mob bosses, and chase scenes that feel ripped from a video game. We embraced the chaos. The film is chaotic by design. It leans into its absurdity and comes out the other side as one of Nollywood’s most entertaining big-screen rides. CGI-heavy and packed with stylish set-pieces, *Sugar Rush* was a massive box office hit when it dropped during the 2019 Christmas season. But what really made it click was the energy: fast, funny, full of personality. The Sugar sisters, played by Adesua Etomi-Wellington, Bimbo Ademoye, and Bisola Aiyeola, are the heart of it, and their chemistry makes every ridiculous turn land. It’s a film that knows exactly what it wants to be, and goes all in. ##### Closing Reflection These films succeed because they have distinct flavours. Some draw on folklore, others on heists, rivalry, spiritual chaos, or mistaken identity. What keeps us talking is not perfection but presence. Each one offers a different experience depending on who you ask. But in every case, these comedies stick because they reflect Nigerian lived experiences filtered through humour, surprise, and very specific tonal risks. What are your favorite nollywood comedy films or series? Let us know! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/6-nollywood-comedies-that-will-keep-you-laughing/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/6-nollywood-comedies-that-will-keep-you-laughing/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/6-nollywood-comedies-that-will-keep-you-laughing/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/6-nollywood-comedies-that-will-keep-you-laughing/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/6-nollywood-comedies-that-will-keep-you-laughing/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** Abba Makama, Adesua Etomi-Wellington, Africa Ukoh, Banana Island, Banana Island Ghost, bb sasore, Bimbo Ademoye, Bisola Aiyeola, Bovi, Bunmi Ajakaiye, casa de novia, Chigul, Chioma Omeruah, comedies, crime comedy, dark humour, Egbemawei Sammy, Falz, fantasy comedy, Frank Donga, greed, Ijeoma, Jadesola Osiberu, Kayode Kasum, Koye Kekere-Ekun, legacy, My Village People, New Money, Nigerian mysticism, nollywood, Patrick Diabuah, Quam’s Money, satire, Shawn Faqua, Social commentary, Sugar Rush, Supernatural, Three Thieves, Udoka Oyeka, wealth, witchcraft, Yoyo --- ### [See The 6 Nigerian Movies Screening at TIFF 2025](https://nollycritic.com/see-the-6-nigerian-movies-screening-at-tiff-2025/) **Published:** September 6, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nigerian cinema is taking centre stage at the TIFF 2025 (Toronto International Film Festival), with four standout titles featured across both public screenings **Content:** Nigerian cinema takes center stage at the TIFF 2025[ (Toronto International Film Festival)](https://www.tiff.net/), with four standout titles featured across both public screenings and industry showcases. From debut features to genre-bending experiments, the films highlight the growing ambition and diversity of Nigerian storytelling. This year’s festival will hold between September 4 to 15, 2025. The inclusion of these films at TIFF 2025 reflects the expanding international presence of Nigerian cinema. From politically charged dramas to fashion-centred narratives and experimental sci-fi, the selections showcase Nollywood’s evolving creativity and its determination to reach global audiences. ***My Father’s Shadow*** British-Nigerian director Akinola Davies Jr. takes the journey for *[My Father’s Shadow](https://nollycritic.com/akinola-davies-my-fathers-shadow-to-begin-cinema-run/)* to TIFF 20255. This comes days away from its nationwide release in Nigeria on September 19, 2025, distributed by FilmOne. Set during the politically charged 1993 presidential election, the drama follows two brothers, Remi and Akin, as they reconnect with their estranged father in Lagos. Starring Sope Dirisu as the father, alongside real-life siblings Godwin Chiemerie Egbo and Chibuike Marvellous Egbo, the film also features Uzoamaka Aniunoh and Winifred Efon. ***Dust to Dreams*** A collaboration between Mo Abudu’s EbonyLife Films and Elba’s production company. [*Dust to Dreams*](https://nollycritic.com/dust-to-dreams-see-the-trailer-for-the-new-idris-elba-drama/) is set against the pulsating backdrop of Lagos nightlife. The story follows a nightclub owner’s struggle to preserve her empire while her daughter’s estranged father, a soldier, suddenly returns, unearthing long-buried emotions. The cast includes Nse Ikpe-Etim, Eku Edewor, Atlanta Bridget Johnson, and rising talent Constance Olatunde, with a special appearance by British-Nigerian musician Seal. The film weaves themes of family, ambition, and reconciliation with music as a driving force. *Dust to Dreams* is also expected to screen at the London Film Festival in October. **Stitches** Produced by Nigeria’s BRS Studios and directed by Ghana’s Shirley Frimpong-Manso. The Lagos-set drama follows Boma, a gifted fashion designer from a humble background, whose rise into high society is threatened by love and the weight of her past. It is a story about ambition, identity and the personal cost of crossing social lines. The film stars Dakore Egbuson-Akande, Regina Askia, Adaobi Dibor and Obinna Okenwa ***Bam Bam*** *Bam Bam* is a sci-fi story by Nigerian filmmaker Tolu Itegboje and produced by Oge Obasi. It is scheduled for screening at the TIFF 2025 Industry Market on September 7, 2025. The film tells the story of Babatunde, an introverted teenager whose closest confidant is a mysterious companion named Bam Bam. As he navigates first love and self-doubt, Babatunde must decide how much trust to place in his enigmatic guide. Itegboje is known for his Netflix documentary Awon Boyz and features Ambrose Nwoga, Kelechi Udegbe, Victory Eyong, Emmanuel Oluwatunmise and Nimi Adekanmbi. ***The Serpent’s Gift*** Directed by Kayode Kasum, *The Serpent’s Gift*, which is currently showing across cinemas nationwide, joins the TIFF train. It’s one of two movies from Nile Entertainment headed to the festival. The feature tells the story of a woman who loses her husband under mysterious circumstances. But instead of finding solace in grief, she finds herself cornered by accusations and conspiracies. Her late husband’s family suspects foul play and, blinded by entitlement and suspicion, launch an aggressive battle to strip her of everything—including his properties, dignity, and peace. The star-studded cast includes Stan Nze, Tina Mba, Ihuoma Linda Ejiofor, Beverly Osu, Etim Effiong, Inem King, Uche Chika, Chico Aligwekwe, Tracey George, Florence Sunday, Ric Hassani, David Destiny, Nonso Odogwu, Moyinoluwa Olutayo, Marcela Aipoh, Alexander Ayalogu, and Thelma Chukwunwem. ***Mother’s Love*** The second movie from Nile Entertainment headed to TIFF is *Mother’s Love* directed by Omotola Jalade-Ekeinde. The drama follows the life of Adebisi. The sheltered daughter of a wealthy family finds freedom through the NYSC program and a friendship that challenges her worldview. But as she asserts her independence, her father’s wrath resurfaces—forcing her seemingly docile mother to reveal hidden strength and confront long-buried family secrets. The cast features Lillian Afegbai, Nosa Rex, Olumide Oworu, Ifeanyi Kalu and Noray Nehita. And is slated to screen on September 6, 2025. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-6-nigerian-movies-screening-at-tiff-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-6-nigerian-movies-screening-at-tiff-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-6-nigerian-movies-screening-at-tiff-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-6-nigerian-movies-screening-at-tiff-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-6-nigerian-movies-screening-at-tiff-2025/?share=linkedin) - **Categories:** Blog, Nollywood News **Tags:** Dakore Egbuso-Akande Neflix, Dust To Dreams, Ebony Life Films, film, Idris Elba, Kayode Kasum, My Father's Shadow, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Nse Ikpe Etim, Oge basi, Omotola Jalade, The Serpent's Gift, TIFF --- ### [New Nollywood Movies To See This September](https://nollycritic.com/new-nollywood-movies-and-series-to-see-this-september/) **Published:** September 1, 2025 **Author:** Michael Arowoselu **Excerpt:** September is shaping up to be full of exciting Nollywood movies , packed with thrilling action, emotional drama, epics and gripping storytelling... **Content:** Hey movie Lovers! September is shaping up to be full of exciting [Nollywood](https://nollycritic.com/?s=nollywood) movies , packed with thrilling action, emotional drama, epics and gripping storytelling. Whether you’re in the mood for an epic, thought-provoking dramas, or award winning movies, this month’s lineup has something for everyone. With cinema blockbusters and [streaming](https://nollycritic.com/nollywood-movies-and-series-to-see-this-march-2025/#) exclusives dropping all month long, here are the Nollywood movies and series you won’t want to miss! #### *Over The Bridge* — September 5 *[Over the Bridge](https://nollycritic.com/7-nollywood-movies-we-cant-wait-for-nigerians-to-see/#)* tells the story of an ambitious man whose life spirals after a major financial scandal. A corporate thriller at heart, it exposes the dangers of greed, corruption, and the fragile line between success and downfall. Nigerians should see it because it mirrors real events in the country’s financial world, offering both caution and reflection. Ozzy Agu, in the lead role, delivers a deeply nuanced portrayal of Folarin, capturing both his outward confidence and his private vulnerability. Supporting performances by Nollywood veterans such as Joke Silva, alongside rising stars like Chimezie Imo and Elma Mbadiwe, add texture and depth to the narrative. Together, the cast bridges generations of Nigerian actors, further enriching the film’s character dynamics. Nile Entertainment recently announced September 5, 2025, as the nationwide cinematic release for *Over The Bridge.* #### *Dara* — September 5 TikTok sensation Dara gains admission into school but campus life is nothing like what he expected. Trapped in a web of toxic love, cultism, and campus violence. His only escape? Dance. His only strength? Passion. But one dangerous moment threatens everything. His freedom, his girl, even his life… Starring veteran actress Tina Mba, rising star [Tomi Ojo](https://nollycritic.com/makemation-a-family-drama-on-ai-technology-and-the-future/), Riyo David, and Raymond Umenze, the film offers a deeply emotional and culturally grounded story that highlights love in the vibrant oil city of Port Harcourt. Director Bobby Rak explores themes of romance and second chances in a setting rarely portrayed in Nigerian cinema. With its mix of local flavour and universal appeal, the story challenges the typical love narratives often shown on screen. Blue Pictures handles distribution and will premiere *Dara* in cinemas nationwide on September 5, 2025. #### *Gammy and The Living Things* — September 5 An agama lizard finds the perfect excuse to exchange the boring and slow-paced life of the Hinterland for the fast-paced and success-paved streets of Lagos. With his band of music-loving friends, they set out on an arduous but event-filled adventure to make it big and conquer Lagos. Will they find success or redemption?This animated movie stars; Jude Abaga, Bovi Ugboma, Pete Edochie, Joke Silva and many others. *Gammy and The Living Things* will premiere in cinemas, September 5, 2025. #### *A Weekend Fiasco* — September 5 Samuel Olatunji’s *A Weekend Fiasco* is next on our list. A wife seeking an escape from her troubled marriage, embarks on a weekend getaway with a potential lover only for her plans to unravel in a whirlwind of chaos involving familiar faces and unexpected twists. The film stars; Ini Edo, Alex Ekubo, Yvonne Jegede, Odunlade Adekola, Liquorose, Chimezie Imo and many others. *A Weekend Fiasco* is coming to cinemas nationwide September 5, 2025. #### ***Amanyanabo (The Eagle King**)* — September 12 Chosen by the goddess Tamunoba, Ibanichuka becomes king of Okrika and must hold his people together through betrayal, war, and a clash of faiths. The epic film will also have performances from Nkem Owoh, Monalisa Chinda Coker, Walter Anga, Uju Okoli, Lucien Morgan, Gentle Jack, Columbus Irisanga. Premieres in cinemas, September 12. #### *The Waiter* — September 12 Another Akpors adventure. This time he takes a temporary job as a waiter at Crystal Hotel for an event hosted by the Minister of Poverty Alleviation, where a scheme to assist the underprivileged is being launched. The film stars AY Makun, Deyemi Okanlawon, Regina Daniels, Toke Makinwa, Shaffy Bello, Kunle Remi, Buchi Franklyn, and Williams Uchemba. Streaming on Netflix from September 12. #### *Family Brouhaha* — September 12 A family rife with conflict as a result of childhood trauma: a worried mother whose children have forgotten their roles, duties, and obligations. Their fixation on inheritance clouds their ability to see through each others pains and struggles. This occurrence eventually leads to an unexpected and disappointing heart-wrenching shock that would make or break the family. The Film is directed by Femi Adebayo and features familiar names—Gabriel Afolayan, Wale Ojo, Shaffy Bello, Joke Silva and many others. Premieres on Circuits, September 12, 2025. #### *My Father’s Shadow* — September 19 [*My Father’s Shadow* ](https://nollycritic.com/akinola-davies-my-fathers-shadow-to-begin-cinema-run/)was co-written by Davies Jr. and his brother Wale Davies. The feature is set against the backdrop of the 1993 Nigerian presidential election. It tells the story of two young brothers, Remi and Akin, who spend a day in Lagos with their estranged father, Folarin. The cast includes English actor Sope Dirisu, Godwin Chiemerie Egbo, Chibuike Marvellous Egbo, Uzoamaka Aniunoh and Winifred Efon. The feature is set to debut locally on September 19, 2025 and will be distributed by Film One. #### *Ibobo: The Blind Seer* — September 19 A blind man whose visions reveal truths beyond ordinary sight. As he guides the people around him, his insight uncovers secrets, challenges, and unexpected twists. Directed by Godwin Onwuneme Obiora, the film features; Pete Edochie, Nkem Owoh, Alex Osifo, Gideon Okeke, Ebele Okaro, Uloma Eze, Christopher Omenyi, and Raji Lawal. *[Ibobo: The Blind Seer](https://www.imdb.com/title/tt38060347/ "Ibobo: The Blind Seer")* is Coming to cinemas nationwide on September 19. #### *Ginger* — September 25 Yemi Morafa’s Ginger.Starring; Wunmi Toriola, KieKie, Bolaji Ogunmola, Bisola Aiyeola, who also serve as executive producers. Directed by Yemi ‘Filmboy’ Morafa, GingeRRR also stars Shaffy Bello, Odunlade Adekola, Adedimeji Lateef, Timini Egbuson, Blossom Chukwujekwu, Shammah Agah, Kamo, Adebowale Adedayo, Emeka Okoye. Coming to Nigerian cinemas on September 25, 2025. > [View this post on Instagram](https://www.instagram.com/reel/DNlEE2rtpEb/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Yemi Filmboy Morafa (@filmboythefirst)](https://www.instagram.com/reel/DNlEE2rtpEb/?utm_source=ig_embed&utm_campaign=loading) hich of these Nollywood movies do you anticipate the most? Be sure to stay updated as we’ll add more Nollywood movies to this list. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-nollywood-movies-and-series-to-see-this-september/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-nollywood-movies-and-series-to-see-this-september/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-nollywood-movies-and-series-to-see-this-september/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-nollywood-movies-and-series-to-see-this-september/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-nollywood-movies-and-series-to-see-this-september/?share=linkedin) - **Categories:** Articles, Movies, Nollywood **Tags:** A Weekend Fiasco, Amanyanabo (The Eagle King), Dara, Gammy and The Living Things, Ibobo: The Blind Seer, My Father's Shadow, Netflix, nollycritic, nollywood, OVER THE BRIDGE, Prime Video, The Waiter --- ### [Ella Chikezie Drives In Her Shoes to Global Spotlight](https://nollycritic.com/ella-chikezie-drives-in-her-shoes-to-global-spotlight/) **Published:** August 28, 2025 **Author:** Faith Oloruntoyin **Excerpt:** In Her Shoes, a Nigerian short film co-produced by FlyGrade Media and Negodu Media Africa, is making waves on the international festival circuit with its powerful story on autism, empathy, and resilience. **Content:** *In Her Shoes*, a Nigerian short film co-produced by FlyGrade Media and Negodu Media Africa, is making waves on the international festival front with its powerful story on autism, empathy, and resilience. So far, the film has secured major festival nominations, including a competition berth for Best Short Film at the Silicon Valley African Film Festival (California, USA), one of the most prestigious showcases of African cinema in the diaspora. It also screened at the Power24 International Film Festival (South Africa) and recently joined the official lineup of the Uhvati Film Festival for Disability (Serbia), a global platform amplifying disability narratives. At the helm is debut director Ella Chikezie, praised for her authentic and tender storytelling, alongside producer Precious Iroagalachi, whose sharp execution has earned the duo recognition as a rising Nollywood power team. According to them, “*In* *Her Shoes* is more than a film; it’s a mirror of empathy and resilience… “It proves that powerful stories thrive when artists and communities work with purpose.” ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/08/Precious-Iroagalachi-scaled.jpg?resize=640%2C640&ssl=1)Anchored by a standout performance from Darasimi Nadi as Halima, the cast also features Nadia Dutch, Emmanuel Adex, and Imoh Eboh. Cinematography by Adeniyi Joseph-Omobulejo, who captures both the intimacy of Halima’s journey and the bustling vibrancy of Lagos. Receives support from a strong technical crew across editing, sound, and design. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/08/Ella-Chikezie-scaled.jpg?resize=640%2C853&ssl=1)The film also received a grant from Tricom Productions, further validating its cultural significance. Back home, *In Her Shoes* will screen at the [Nigerian International Film Summit (NIFS)](https://nollycritic.com/filmhouse-calls-for-global-growth-at-cannes-2025/) on Wednesday, August 27, at 2:00 PM at Filmhouse Cinemas, The Palms, Lekki. With its growing international acclaim, *In Her Shoes* stands as proof that socially conscious Nigerian cinema can spark global dialogue and inspire audiences far beyond its borders ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ella-chikezie-drives-in-her-shoes-to-global-spotlight/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ella-chikezie-drives-in-her-shoes-to-global-spotlight/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ella-chikezie-drives-in-her-shoes-to-global-spotlight/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ella-chikezie-drives-in-her-shoes-to-global-spotlight/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ella-chikezie-drives-in-her-shoes-to-global-spotlight/?share=linkedin) - **Categories:** Nollywood News **Tags:** film, In Her Shoes, nollycritic, nollywood, Nollywood 2025 --- ### [Film Festivals: Gateways to Growth For Nigerian Filmmakers](https://nollycritic.com/film-festivals-gateways-to-growth-for-nigerian-filmmakers/) **Published:** August 29, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nigeria hosts several film festivals each year. And showcase an array of undiscovered projects and filmmakers. It also highlights interesting projects... **Content:** Film Festivals isn’t just another ambiguous term in filmmaking, but a gateway into a growing industry. However, that’s on the condition that its meaning and importance are well understood. For a growing filmmaker, it can be the needed arsenal to launch one’s name and works on far-reaching stages far reaching. **A Definition to Film Festivals** A [film festival](https://www.studiobinder.com/blog/what-is-a-film-festival-definition/) is an event organized for the purpose of selecting and screening visual content. Historically, festivals would occur at a single location, be it a theatre or a group of theatres. Film festivals are gatherings that bring filmmakers, audience members, and industry experts together in a shared creative space. As opposed to the industry being portrayed as inaccessible, festivals give every stakeholder involved in filmmaking, from the point of inception to the final consumption, a level playing field to interact. It involves showcasing films, hosting discussions, and connecting talent to opportunities. Thereby providing a platform for new and established filmmakers to shine. **A Newbie’s Guide Into The World of Film Festivals** As an upcoming filmmaker or film student, you may wonder why film festivals could aid your journey. Well[, film festivals](https://nollycritic.com/?s=festival ", film festivals") are vital because they provide a platform for growth, recognition, and connection within the industry. They serve as spaces where new voices can be seen and heard beyond their immediate circles, offering exposure to critics, industry professionals, and potential investors who can help push their careers forward. These events also create networking opportunities, bringing together directors, producers, distributors, and actors in one space, making it possible for collaborations and future projects to emerge. For many young filmmakers, being accepted into a festival offers validation and credibility, as it shows that their work has reached a recognised standard. Beyond screening films, festivals often organise workshops, masterclasses, and panel discussions where filmmakers can learn about new trends, storytelling approaches, and industry practices, which contribute greatly to professional growth. Another important benefit is the possibility of distribution. Many streaming platforms, television stations, and film distributors attend festivals specifically to discover fresh talent and compelling films, giving upcoming filmmakers a chance to reach audiences far beyond their immediate environment. Festivals also allow filmmakers to experience live audience reactions to their work, providing honest feedback that can help them improve their craft. Winning an award or even receiving a nomination at a festival can open new doors, from access to grants and funding opportunities to invitations to international platforms. More than that, being in the company of other passionate filmmakers fosters inspiration and motivation, reminding newcomers that they are part of a much larger creative community. In essence, film festivals are not just about glitz and glamour; they are a bridge that connects emerging filmmakers to the world, offering opportunities for exposure, learning, and growth while helping them establish their place in the industry. ### **Nigerian Film Festivals** To Expect Later This Year Nigeria hosts several film festivals each year. And showcase an array of undiscovered projects and filmmakers. It also highlights interesting projects and individuals to look out for in the industry at large. Here are key film festivals in Nigeria and their expected run time this year; The Annual Film Mischief. This year’s edition will be held in Lagos, Ibadan, Ghana and Zimbabwe at an undisclosed date in October. Organized by the Film Rats Club, founded by Chukwu Martins, The Annual Film Mischief prides itself in lending a voice and platform to indie-inclined filmmakers. It’s a great start to meet fellow upcoming filmmakers and film clubs that one could learn from. It also provides upcoming filmmakers with a bank of knowledge to learn from and regular movie gatherings under the Film Rats Club umbrella. Basically, a home for anyone who has no inclination of where to start in Nollywood. The Africa International Film Festival (AFRIFF), on the other hand is currently the biggest film festival in Nigeria. Due to its international reception and the diversity of the films screened. Over the years, AFRIFF has given the media and its audience a glimpse into outstanding projects before they ever go public. Scheduled to hold in November between the 2nd and the 8th. With the inclusion of the Film & Content Market, at the upcoming edition, AFRIFF is definitely home to a wider ground of network locally and globally. Lagos Fringe Festival, although an encompassing arts festival, also welcomes film screenings and awards. The 8th edition will be held between the 18th and the 23rd of November. Launched in 2018 by Kenneth Uphopho, Lagos Fringe has become the largest multidisciplinary arts festival in Africa. It has a mission to support and showcase artists through diverse initiatives. Abuja International Film Festival (AIFF) draws both African and global participation. Founded in 2003 by acclaimed filmmaker Fidelis Duker, AIFF has evolved into a highly respected and enduring annual film festival held in Abuja. Over the years, it has featured a wide range of filmmakers, from established Nollywood veterans to rising directors and student filmmakers showcasing short films, first-time projects, and experimental works. It has also created a platform for documentary and socially conscious filmmakers tackling themes such as human rights, governance, climate change, and cultural identity. This year’s edition is scheduled to be held between the 26th and to 30th of October. Zuma Film Festival, also held in the city of Abuja, and is facilitated by the Nigerian Film Corporation. ZIFF is targeted at a wide spectrum of Nigerian filmmakers, from emerging talents seeking visibility through short films and student projects, to established Nollywood professionals showcasing feature works and competing for top honors. It also creates space for independent and indigenous filmmakers telling stories in local languages or unconventional formats, while providing a marketplace for producers, distributors, and financiers to connect on co-productions and global distribution. It holds the first week in December. Eastern Nigerian International Film Festival, was founded in 2020 by filmmakers Ujuaku Akukwe and Chris Odili. ENIFF has grown into a vibrant annual festival held in Enugu, focused on amplifying independent filmmaking in Eastern Nigeria and beyond. Over the years, it has evolved into a year-round creative hub offering masterclasses, mentorships, and global connectivity for innovators in digital media. It holds in Enugu during the last week of November. S16 Film Festival was founded in 2021 by the Surreal 16 Collective, comprising filmmakers Abba T. Makama, C.J. “Fiery” Obasi, and Michael Omonua. The S16 Film Festival is a curated pan-African art-house event that champions African and global indie cinema, distinctly positioned against the mainstream Nollywood model. The last edition showcased *My Father’s Shadow*, which became the first Nigerian film at the Cannes Film Festival. This year’s edition will be held in Lagos in Q4. Eko International Film Festival promotes international exchange and film education. The festival is a vital force in raising the profile of African cinema. From its humble beginnings in 2010 to its anticipated 2026 edition, its sustained presence, through workshops, awards, and film showcases, continues to empower filmmakers and enrich Nigeria’s cultural tourism landscape. Already held in the month of May in Lagos. **Final Thoughts** Film festivals are more than just celebratory gatherings; they are incubators for talent, culture, and industry growth. For Nigerian filmmakers, these festivals are a vital bridge between creativity and opportunity, offering access to local and global audiences, industry networks, and distribution platforms. They validate new voices, inspire collaboration, and challenge the industry to keep evolving. As Nigeria continues to grow its place in the global film space, engaging with festivals, whether as participants, attendees, or collaborators, remains one of the most powerful ways for filmmakers to amplify their work, sharpen their craft, and position themselves for international relevance. As a new filmmaker, going to film festivals slowly helps you grow your confidence. So dust your shoes this year and let Nollywood welcome you into its ever-growing circle. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/film-festivals-gateways-to-growth-for-nigerian-filmmakers/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/film-festivals-gateways-to-growth-for-nigerian-filmmakers/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/film-festivals-gateways-to-growth-for-nigerian-filmmakers/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/film-festivals-gateways-to-growth-for-nigerian-filmmakers/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/film-festivals-gateways-to-growth-for-nigerian-filmmakers/?share=linkedin) - **Categories:** Articles, Nollywood **Tags:** afriff, film, Film Rats Club, Lagos Fringe, My Father's Shadow, nollycritic, nollywood, s16 film festival, Zuma Film Festival --- ### [Behind The Scenes: Funke Akindele Announces New Film](https://nollycritic.com/behind-the-scenes-funke-akindele-announces-new-blockbuster/) **Published:** August 26, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Award-winning Nigerian filmmaker Funke Akindele has confirmed the release of her highly anticipated film Behind the Scenes, set to hit cinemas this December... **Content:** Award-winning Nigerian filmmaker Funke Akindele has confirmed the release of her new film *Behind the Scenes*, set to hit cinemas this December. The project, co-directed by Tunde Olaoye, who previously collaborated with Akindele on the hit *Everybody Loves Jenifa*, promises to be a festive blockbuster. With a pan-African crew drawn from Nigeria, Ghana, and South Africa, the film has already wrapped up principal photography and is now in post-production. The star-studded cast includes Tobi Bakre, Iyabo Ojo, Uche Montana, Inidima Okojie, Scarlet Gomez, Destiny Etiko, Ibrahim Chatta, Uzoma Arukwe, Dele Odule, Wanni, Handi, Veeiye, Akinyoola Ayoola, and Avenue Balogun Fausat. Akindele, who has built a reputation for delivering crowd-pulling hits, is expected to once again captivate audiences with *Behind the Scenes*, combining her trademark storytelling with an ensemble of top Nollywood talent. With the release date just four months away, additional details about the storyline are expected to emerge in the coming weeks. In a related update, Funke Akindele’s 2024 hit [*Everybody Loves Jenifa*](https://nollycritic.com/everybody-loves-jenifa-breaks-box-office-records/) will begin streaming on Prime Video on August 29. The feature shattered box office records, with [₦1.88 billion in total gross](https://en.wikipedia.org/wiki/List_of_highest-grossing_Nigerian_films), making it the highest-grossing Nigerian film of 2024. Recall that, *ELJ* debuted across cinemas nationwide on December 13, 2024. It opened to a phenomenal ₦45.22 million on opening day, hit ₦783 million within 14 days, and crossed the ₦1 billion mark in just 19 days, marking the fastest milestone achieved by a Nollywood title. It also went on to screen at international cinemas in Europe and other parts of Africa. The film continues the story of the character Jenifa, from Akindele’s earlier series. It expands Jenifa’s progress over the years and her romantic relationship with Shegzy. The cast includes Falz, Nancy Isime, . Patience Ozokwor, Jackie Appiah, Adedimeji Lateef, Adebayo Salami (Oga Bello), Layi Wasabi, KieKie, D’banj, and many others. > [View this post on Instagram](https://www.instagram.com/reel/DNvRaqV2rTj/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Olufunke Akindele (@funkejenifaakindele)](https://www.instagram.com/reel/DNvRaqV2rTj/?utm_source=ig_embed&utm_campaign=loading) ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/behind-the-scenes-funke-akindele-announces-new-blockbuster/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/behind-the-scenes-funke-akindele-announces-new-blockbuster/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/behind-the-scenes-funke-akindele-announces-new-blockbuster/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/behind-the-scenes-funke-akindele-announces-new-blockbuster/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/behind-the-scenes-funke-akindele-announces-new-blockbuster/?share=linkedin) - **Categories:** Nollywood News **Tags:** Akinyoola Ayoola, Behind the Scenes, Dele Odule, Destiny Etiko, FAAN, Funke Akindele, Handi, Ibrahim Chatta, Inidima Okojie, Iyabo Ojo, obi Bakre, Scarlet Gomez, Uche Montana, Uzoma Arukwe, Veeiye, Wanni --- ### [It’s Time for Nollywood to Write Its Genre Playbook](https://nollycritic.com/its-time-for-nollywood-to-write-its-genre-playbook/) **Published:** August 18, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nollywood doesn’t need to copy Hollywood. It needs a deeper understanding of genre rooted in Nigerian realities. What does Nigerian sci-fi look like? **Content:** Genre remains one of the most powerful tools in storytelling. It offers structure, clarity, and emotional direction. For filmmakers, it helps shape narrative choices. For audiences, it signals what kind of experience to expect. Yet in Nollywood, genre is often misunderstood or misused. As a result, many films feel overcrowded, tonally inconsistent, or forgettable. **The Power of Genre in Storytelling** Across creative industries—film, literature, music, and games—storytellers rely on [genre](https://www.merriam-webster.com/dictionary/genre) to shape their work. Genres help audiences choose whether they want to feel thrilled, moved, amused, or challenged. They are not rigid rules but flexible frameworks defined by tone, structure, themes, and style. As storytelling evolves, genres also adapt. They guide creative choices, influence marketing strategies, and shape how audiences interpret stories. Globally, genres are well established. Audiences recognize action, comedy, drama, fantasy, horror, romance, sci-fi, and historical fiction. In non-fiction, categories like biography, documentary, and true crime have also taken shape. Many stories combine genres—*[The Hunger Games](https://en.wikipedia.org/wiki/The_Hunger_Games:_The_Ballad_of_Songbirds_%26_Snakes "The Hunger Games")* blends dystopia, romance, and action; *Get Out* mixes horror with social commentary. These hybrid forms make storytelling richer and more dynamic. **Understanding Genre Conventions** [Genre conventions](https://www.studiobinder.com/blog/genre-conventions-definition/) are the familiar elements that define a genre and make it recognizable. These include narrative patterns—like a romantic comedy’s meet-cute and happy ending or a thriller’s rising tension and climactic twist. Character archetypes also help define genres: the hero and villain in action films, or the beautiful girl and monster in horror. Settings and visuals matter too—sci-fi often uses futuristic backdrops, while crime dramas favor gritty, musty and urban environments. Themes like love and fate in romance, or fear and survival in horror, reinforce a genre’s identity. Specific color schemes that make each unique; for instance, black and blue tones for crime drama and dusty brown and neutral for stories that go back in time. Tone and pacing also shape genres. Horror should feel unsettling; comedy should be light-hearted; drama should be emotionally intense. Action films move fast with frequent high-energy scenes, while mysteries unravel slowly, dropping clues along the way. These conventions allow audiences to anticipate a film’s emotional and narrative arc. **Nollywood’s Troubled Relationship with Genre** Nollywood has struggled to apply genre with consistency. Filmmakers and even audiences often misunderstand or overlook genre distinctions. This results in films that drift in tone or try to be too many things at once. A romantic comedy might suddenly shift into a violent thriller. A horror film may become unintentionally comedic, depending too much on jump scares and sound effects. Some films marketed as action end up featuring more romance and drama, with little or no action at all. These inconsistencies weaken emotional engagement. Nollywood action movies have suffered from these inconsistencies. A closer examination of action film conventions reveals that many Nigerian films classified as action are, in fact, better described as crime dramas. And this is because they barely follow the genre conventions of action. Action films thrive on fast-paced storytelling, explosive spectacle, and larger-than-life conflicts that keep audiences on the edge of their seats. At their core, these films pit a heroic figure against a formidable villain in a high-stakes battle where justice, survival, or redemption hangs in the balance. Heroes are often physically capable, resilient, and driven by personal duty or revenge, while villains embody chaos, corruption, or ruthless power. Alongside them, allies, sidekicks, and sometimes a person in peril enrich the narrative, pushing the protagonist to take daring risks and make sacrifices. The structure is typically straightforward, moving swiftly from setup to escalating danger, and culminating in a climactic showdown that resolves the central conflict. Technically, action films rely on dynamic fight sequences, car chases, breathtaking stunts, and explosions that heighten the sense of danger and excitement. Fast editing, quick camera cuts, and pulsating soundtracks amplify tension and adrenaline, while weapons, gadgets, and special effects create spectacle. Beneath the chaos, common themes like heroism, sacrifice, and the triumph of good over evil anchor the genre, reminding audiences that even amid destruction and danger, courage and resilience can prevail. In the last three years, Nollywood has produced action films that challenge some of these conventions, prioritizing emotional depth and social realities over relentless spectacle. A prime example is [*Brotherhood* (2022)](https://nollycritic.com/from-reality-tv-to-the-big-screen-3-bbnaija-stars-to-watch-in-nollywood/), which at first glance seems to embody the typical crime-action thriller. The film follows twin brothers scarred by childhood trauma, one working within the law as a SWAT officer and the other living outside it as part of a notorious gang. However, unlike the clear hero-versus-villain dynamics found in conventional action films, *Brotherhood* blurs moral boundaries, presenting both brothers as flawed, conflicted, and driven by personal histories. Its action sequences exist not for spectacle alone but to heighten the drama of brotherhood, betrayal, and fate. The narrative leans heavily on psychological and emotional conflict rather than the relentless pace, explosive stunts, or larger-than-life battles that audiences might expect from traditional action. In doing so, *Brotherhood* illustrates how Nollywood is reshaping the action genre to reflect local realities and cultural storytelling traditions. It offers a vision of action cinema where thrills are inseparable from human complexity, proving that the genre can evolve beyond formula while still captivating audiences. The horror genre is also shaky ground in the Nigerian film industry. *Ms Kanyin*, produced by Nemsia Studios, aims to tap into the horror genre with a modern Nigerian setting. However, despite its atmospheric setup and cultural potential, the film falls short of effectively delivering on core horror expectations. A horror film must keep viewers unsettled — *[Ms Kanyin](https://nollycritic.com/ms-kanyin-a-familiar-haunting-in-a-new-uniform/)* gives us moments of intrigue but rarely a sense of sustained danger. Effective horror — especially supernatural horror — works best when its world follows internal logic. However, we don’t get a clear understanding of what the threat is, what it wants, or how it operates. *Ms Kanyin* lacks deeply developed characters that the audience can root for or fear for. Good horror relies on tight pacing and tone control — viewers must feel like they’re on a ride. *Ms Kanyin* often feels unsure of what ride it’s offering Then we have movies that fail to completely deliver the genre conventions it claims to uphold. Kemi Adetiba’s *To Kill A Monkey* opened with a compelling cybercrime setup but soon drifted from its genre foundation. The early scenes captured the usual internet fraud elements—ritual undertones, reckless spending, and the shady, den-like setting. But the story failed to show Efe (William Benson) and Oboz (Bucci Franklin) executing the AI-driven scam they constantly discussed. This scam eventually caused their downfall, yet we never saw it in action. Showing the fraud in progress would have reinforced the cybercrime theme the series claimed to explore. Lastly, there are the movies that chaotically mix various genres into one story. Funke Akindele’s *A Tribe Called Judah* (2023) stands out for its ambitious blend of multiple genre conventions, though the result often feels more chaotic than seamless. The film begins as a family drama, focusing on Jedidah Judah and her five sons, grounding the narrative in themes of motherhood and sibling loyalty. It then swerves into crime and heist action when the brothers attempt a mall robbery, before sliding into comedy through witty banter and light-hearted moments, only to end in tragedy with a devastating climax. While these conventions individually strengthen the story, their collision at times creates tonal shifts that feel abrupt and disjointed, pulling the audience between laughter, suspense, and grief in ways that can be jarring. This chaotic interplay of genres, however, also mirrors the unpredictability of real life, which may explain why the film resonated so deeply with Nigerian audiences despite its uneven structure. However, we have some movies that have delivered in terms of the genres they set out to achieve. Kemi Adetiba’s *King of Boys* is a standout Nigerian film that delivered perfectly on its intended crime-political thriller genre. With Alhaja Eniola Salami at its centre, the film blends gritty underworld politics with the ruthless game of power. It delivers all the conventions of a political crime drama: a powerful anti-hero, betrayal, tension-filled dialogue, violent retribution, and a high-stakes struggle for dominance. Its sequel, [*King of Boys: The Return of the King* (2021](https://nollycritic.com/kemi-adetiba-begins-production-for-king-of-boys-3/)), expanded on this by leaning into the suspense, double-crosses, and corruption typical of the genre. Both works demonstrated that Nollywood can fully embrace and execute a crime-thriller structure without losing cultural authenticity. And then, JJC Skillz *[Hakkem: Seeking Justice](https://nollycritic.com/hakeem-seeking-justice-an-authentic-nollywood-action/).* The feature follows the earlier highlighted conventions for action movies. It stands out because it firmly embraces these conventions. At its center is Hakeem, a grief-stricken ex-military officer whose revenge quest makes him the archetypal action hero. He is resilient, physically capable, and driven by both personal duty and loss, while facing off against multiple antagonists whose corruption and ruthlessness embody the role of the villain. The film avoids drawn-out dialogue, leans into dark, moody visuals, and keeps the story moving with clear escalation toward a climactic confrontation. Technically, it delivers choreographed fight sequences, tense car chases, and explosive moments that heighten danger, even if some effects fall short. More importantly, the film anchors its spectacle in themes of sacrifice, vengeance, and justice, proving itself a true action thriller in ways many Nollywood counterparts have not. **Overused Tropes and Safe Bets** Romantic comedies like *Isoken* and *The Wedding Party*, succeeded by sticking to familiar beats and cultural themes. However, this overreliance discourages experimentation. Many filmmakers combine multiple genres to appeal to everyone, resulting in bloated, confusing narratives. Audiences sometimes expect this chaos, viewing more restrained genre films as dull. This has normalized genre confusion rather than challenged it. At the heart of this problem is a lack of genre literacy. Many Nigerian filmmakers and investors don’t fully understand how genre conventions work. They default to mixing styles without clarity or purpose. As Nollywood gains global attention, the industry must evolve. International platforms expect genre clarity, not chaotic storytelling. **Award Bodies and Misclassification** Even award shows reflect Nollywood’s genre confusion. At the 2020 AMVCA, *Living in Bondage: Breaking Free* won Best Drama. Though it includes dramatic moments, its core is a supernatural thriller rooted in occultism, spiritual warfare, and suspense. Misclassifying it as drama overlooked key genre elements—rituals, nightmares, and supernatural tension. This blurred the lines between drama and horror-thriller and highlighted the industry’s habit of choosing genre labels based on emotion rather than structure. This matters because it sidelines underrepresented genres like horror, thriller, and sci-fi. When award bodies ignore genre accuracy, they also limit the recognition and growth of genre-specific storytelling. It also complicates marketing and distribution, both locally and globally. **Exploring the Blood Money Genre** The Blood Money genre in Nollywood is a very dominant and frequently explored area. It blends spiritual horror, crime, and moral caution. Typically, it is a a subgenre of the thriller and horror genre. These stories typically involve characters seeking wealth through occult means, including human sacrifice. This genre explores themes of greed, desperation, betrayal, and spiritual consequences. The narrative usually follows a character drawn into a cult who gains riches but suffers mental torment or tragic ending. Foundational titles include Chico Ejiro’s *Blood Money* (1997) and Teco Benson’s *Rituals* (1997). And then the era of Ramsey Nouah’s *Living in Bondage: Breaking Free* (2019) modernized the genre with a thriller twist in 2019. More recently, Juju Stories, The Blood Covenant and *Ile Owo*, explored blood money themes using secret societies and political corruption. This genre specifically highlights a major aspect of Nigerian storytelling, which latches on to real occurrences. **Global Implications of Genre Confusion** Nollywood’s unclear approach to genre seems to affects its global reception. In international markets, genre serves as a shared language that guides how films are positioned, sold, and distributed. Film festivals, streamers, and critics rely on genre categories to select and promote films. Without clear genre framing, Nigerian films may struggle to fit into global programming slots like horror nights, sci-fi festivals, or action showcases. This ambiguity also impacts marketing. Global distributors may need clear genre signals to predict audience interest. If a thriller randomly shifts into comedy or a romance veers into spiritual horror without context, international viewers may feel misled. This reinforces stereotypes about Nollywood being unstructured, which undermines its potential despite rich storytelling traditions. **Hope from New Voices** Signs of change are emerging. During a Filmhouse press briefing for the launch of [KAVA](https://nollycritic.com/kava-filmhouse-and-inkblot-lauch-new-streaming-platform/), a new streaming platform, Inkblot founder Chinaza Onuzo acknowledged the need for better genre representation. He encouraged filmmakers to explore genre types specific to Nigerian experiences. This marks an important step toward industry reform. Unconventional voices like CJ Obasi (*Mami Wata*) and Arie Esiri, and Chuko Esiri (*Eyimofe)* are already pushing boundaries. Obasi’s *Mami Wata* embraced fantasy and folklore with visual confidence, earning recognition at Sundance. It anchors on the fantasy thriller genre and successfully delivers so. The film draws directly from the myth of Mami Wata, a powerful West African water spirit often associated with beauty, mysticism, and danger. It doesn’t just reference folklore—it embeds it into the world of the village, Iyi, where spiritualism governs life. The villagers’ worship and fear of Mami Wata sets a mythical tone from the beginning, grounding the film in magical realism. The film’s central conflict—between tradition and modern rebellion—creates a slow-burning suspense. When external forces disrupt the village, the tension rises. The threat isn’t just physical, but existential and spiritual. Its costumes, as well as the black and white cinematography also aid the storyline. Its language choice and sounds also do justice to its ancient backdrop in which it is set. However, a kin look at its brief cinematic run in 2023 shows that it didn’t enjoy vast profit. It also further strengthens the fact that times movies that do justice to their genre markings don’t enjoy favorable reception at the cinemas. *Eyimofe* thrives on realism. It shows life as it is—no gloss, no melodrama. The film focuses on ordinary people: Mofe, an electrician, and Rosa, a hairdresser. It follows their daily struggles—debt, grief, bureaucracy, unreliable systems—without sensationalizing them. These are problems many viewers can relate to or recognize, especially in Nigeria and across the Global South. **A Way Forward: The Genre Guidebook** Nollywood doesn’t need to copy Hollywood. It needs a deeper understanding of genre rooted in Nigerian realities. What does Nigerian sci-fi look like? What would a legal thriller sound like in Lagos? How can horror reflect our cultural fears? These are the questions a robust film culture must ask. Creating a standardised genre guidebook is a crucial first step. It should define key and hybrid genres, give local examples, and outline storytelling principles. Marketing teams must align promotional materials with the actual genre to manage expectations. Finally, the industry should encourage collaboration between veteran and emerging filmmakers, balancing tradition with experimentation. Genre is more than a label—it’s a storytelling tool that connects creators to audiences and markets. For Nollywood to thrive globally and culturally, it must stop treating genre as an afterthought. It’s time to take genre seriously and create a guidebook built on Nigerian stories, for Nigerian storytellers, and global recognition. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/its-time-for-nollywood-to-write-its-genre-playbook/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/its-time-for-nollywood-to-write-its-genre-playbook/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/its-time-for-nollywood-to-write-its-genre-playbook/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/its-time-for-nollywood-to-write-its-genre-playbook/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/its-time-for-nollywood-to-write-its-genre-playbook/?share=linkedin) - **Categories:** Articles, Nollywood **Tags:** film, filmhouse, GENRE, Kemi Adetiba, nigerian cinema, nollycritic, nollywood, Nollywood 2025, the black book, To kill a monkey --- ### [Kava Takes Nollywood Stories Global with UK Launch](https://nollycritic.com/kava-takes-nollywood-stories-global-with-uk-launch/) **Published:** August 22, 2025 **Author:** Michael Arowoselu **Excerpt:** KAVA, the Nigerian-born streaming platform, announced exclusive early access on kava.tv at its UK launch on Thursday, August 21st. **Content:** [Kava](https://nollycritic.com/kava-filmhouse-and-inkblot-lauch-new-streaming-platform/ "Kava"), the Nigerian-born streaming platform, announced exclusive early access on kava.tv at its UK launch on Thursday, August 21st. First unveiled in Lagos, Nigeria in July 2025, the service now extends its reach to diaspora audiences with a web-first rollout, ahead of mobile and smart TV app availability in the coming weeks. Backed by Kene Okwuosa, Group CEO of Filmhouse Group (Filmhouse Cinemas, FilmOne Entertainment, FilmOne Studios), and Chinaza Onuzo, CEO of Inkblot Productions, it represents a bold move to make Nollywood as globally accessible as Hollywood. At launch, early-access viewers can stream a premium catalogue of over 30 Nollywood titles, from post-theatrical blockbusters to exclusive originals, with fresh content added weekly. For the UK and Africans in the diaspora, [Kava](https://www.kava.tv/ "Kava") is positioning itself as a cinematic home away from home. With over 17 million Nigerians living abroad, the demand for authentic African representation has never been higher. Industry analysts note that the web-first debut is a strategic step that underscores Nollywood’s rising global influence. By offering audiences digital access now, and expanding into apps later, the platform is building anticipation while cementing its role as the home of African storytelling for the world. Kava is available to stream on Smart TVs, iOS & Android devices, game consoles, browsers and is available in over 190 countries. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kava-takes-nollywood-stories-global-with-uk-launch/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kava-takes-nollywood-stories-global-with-uk-launch/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kava-takes-nollywood-stories-global-with-uk-launch/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kava-takes-nollywood-stories-global-with-uk-launch/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kava-takes-nollywood-stories-global-with-uk-launch/?share=linkedin) - **Categories:** Nollywood News **Tags:** Chinaza onuzo, FilmOne, Inkblot Productions, KAVA, Kene Okwuosa, nollywood --- ### [How Piracy Endangers the Nollywood Creatives You Love](https://nollycritic.com/how-piracy-endangers-the-nollywood-creatives-you-love/) **Published:** August 30, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Piracy is currently eating deep into the Nigerian Film Industry, and we all have a part to play in one way... **Content:** In the digital age, where entertainment is just a click away, one of the film industry’s most persistent enemies continues to evolve: movie piracy. In a growing industry like Nollywood, way past the quality issues are other threatening elements. And these elements are related to you, movie lovers and watchers. **What Piracy Really Is** Movie piracy refers to the unauthorized copying, distribution, or sharing of films, whether online or offline, without the permission of the owner or distributor. In plain terms, it’s when movies are made available or accessed illegally, often for free, and typically without regard for the copyright laws that protect filmmakers and studios. Piracy violates intellectual property rights and is considered theft of creative work. It happens at every level of the industry, from high-budget big-screen films to low-budget YouTube projects. Over time, piracy has taken on many forms, adapting to new technologies and distribution models. Some of the most common methods include cam-ripping, which involves recording a film in a cinema using a handheld camera. Though the video and audio quality are poor, these recordings often appear online shortly after a film’s release. File sharing through peer-to-peer, which allows users to download and circulate copyrighted films. These are frequently compressed and distributed across multiple piracy sites. **The Sources That Aid It** Illegal streaming sites like [Moviebox](https://nollycritic.com/ncc-shuts-down-moviebox-in-crackdown-on-piracy/ "Moviebox") also play a major role in the nationwide piracy, Nollywood faces. Platforms like this host pirated films for direct viewing, often generating revenue through advertisements or subscription fees, all while distributing stolen content. Other offline means include CD and DVD piracy; these physical copies are mass-produced and sold on the streets at cheap prices, making them a lucrative but illegal enterprise. Other, more tech-savvy means, cloud storage services like Google Drive and Dropbox, or social platforms like Telegram, to share download links. Access to these private groups is either free or offered for a small fee. Increasingly, social media has become a new frontier for piracy, with short clips or full-length movies appearing on platforms like YouTube, Telegram, WhatsApp, Facebook, or TikTok. **The Threat It Poses, That You May Be Unaware Of** The impact of movie piracy is far-reaching. It doesn’t just affect studios, producers and big-name actors. But it disrupts the entire creative chain, from screenwriters and cinematographers to editors, distributors, marketers and the economy. The most obvious consequence is the loss of revenue. Piracy leads to millions, if not billions, of dollars in lost income globally, reducing the funds available for future productions, fair compensation, and industry innovation. Toyin Abraham’s 2023 feature film *Malaika* premiered in Lagos on December 17 and opened theatrically nationwide on December 22. Tragically, her moment of triumph turned into distress when the film was illegally uploaded online in early 2024. The unauthorized release was widely shared across social media and streaming platforms, causing her immense emotional and financial strain. She revealed the psychological toll this violation had on her, experiencing panic attacks so severe that she required hospitalization. Although Funke Akindele’s record-breaking movie [*A Tribe Called Judah*](https://nollycritic.com/nollywood-marketing-from-video-clubs-to-tiktok/) hit the ₦1 billion mark at the box office, it too fell victim to piracy. An HD version of the film was leaked online via a Telegram channel. This unauthorized copy—sourced outside cinemas—spread rapidly across piracy platforms, threatening the movie’s continued box office momentum. When creators see their work devalued and stolen, morale plummets. This discouragement can lead to fewer projects being made and reluctance from investors who see diminished returns on their contributions. Furthermore, piracy threatens jobs. Thousands of professionals working in the film industry rely on fair revenue cycles, and piracy undercuts their ability to earn a stable livelihood. ##### **The Viewer’s Loss: Poor Quality and Real Risks** Aside from economic damage, piracy negatively affects the viewer experience. Pirated copies are typically of poor quality, with distorted audio, unfinished scenes, bad subtitles, or incorrect color grading, undermining the filmmaker’s original vision. For the user, accessing pirated material comes with its own risks—from malware infections and phishing scams to potential legal consequences. Many piracy websites are riddled with viruses or data-harvesting tools. In countries with emerging creative markets like Nigeria, India, and the Philippines, the toll is especially severe. Piracy stunts industry growth, making it hard for talented filmmakers to recoup investments or fund future projects. As a result, the pipeline of local storytelling is weakened. ##### **A Normalized Crisis in Nigeria’s Creative Landscape** Despite being home to one of the world’s most prolific film industries, Nigeria continues to battle a deeply rooted problem that eats away at its creative potential. From pirated Nollywood DVDs in traffic jams to full-length films leaked online hours after release, the piracy epidemic in Nigeria is not only widespread but also dangerously normalized. Several forms of piracy dominate the Nigerian landscape. Street DVD piracy is rampant, with films illegally burned and sold in open-air markets for as little as ₦200 to ₦500, severely undercutting legitimate sales. Online leaks are equally prevalent, with WhatsApp groups, Telegram channels, and shared cloud folders circulating new releases in low quality. Illegal streaming sites offer Nollywood content for free or at a fraction of the legal price, often hosted on foreign servers. Television and online broadcasters sometimes air films without proper licensing agreements, denying filmmakers their royalties. Beyond film, Nigerian authors and musicians are also deeply affected, with pirated books and albums sold in traffic or uploaded online for mass distribution without monetization. Piracy persists in Nigeria for several reasons. Intellectual property laws exist but are poorly enforced. Arrests and convictions are rare, and pirates often operate without fear of prosecution. Legal access to films remains expensive for many, pushing consumers to seek cheaper or free options. Clemency has only ever occurred a few times. For instance, Nollywood actor and filmmaker [Femi](https://nollycritic.com/femi-adebayos-new-win-a-legal-triumph-for-nollywood/ "Femi")[ Adebayo won a ₦25 million court](https://nollycritic.com/femi-adebayos-new-win-a-legal-triumph-for-nollywood/) verdict against a video streaming channel that used his film *Survival of Jelili* without authorization. The platform used the movie’s poster and title to promote unrelated content, deceiving viewers and diverting revenue from its legitimate owner. The case, which began in 2019, took three years to resolve. In the case of Toyin Abraham, a criminal complaint was filed with the police, leading to the [arrest of five suspects (later updated to six)](https://youtu.be/fk8Az8fFd-M), who were charged with conspiracy, intellectual property theft, piracy, and cyber-related crimes. However, no financial recovery was reported. There’s also a widespread lack of awareness about what piracy actually is and the damage it causes. For some, piracy is just a hustle—a way to survive in a tough economy with minimal risk and high rewards. For others, it’s simply a lifestyle of not wanting to pay for anything made in Nigeria, due to the persistent mentality that local content is substandard or insignificant. **The Way Forward If We Want Nollywood to Grow** Addressing this challenge will require a multifaceted approach. Public awareness campaigns are essential to reframe piracy not as a victimless act, but as theft that robs creatives of their future. Legal reforms must be paired with rigorous enforcement to ensure pirates face real consequences. Affordable and accessible alternatives to piracy, such as local streaming platforms like EbonyLife on Plus, KAVA and Showmax Naija, can help bridge the pricing outcries. Another probable solution stems from a suggestion by a Nigerian filmmaker, [Niyi Akinmolayan. ](https://www.instagram.com/niyi_akinmolayan/p/DNSd9EEszi5/) He termed it the low-priced ad-supported screening; in his words, “special halls (even in current cinemas) and days at ₦2500 – ₦3,000 tickets (about one-third the current price). During the film, there are two ad breaks, each with three 45-second ads. That’s just 3 minutes of ad time total. People won’t mind. Filmmakers prepare this ad-supported cut themselves. So exhibitors don’t touch the film. ADs can be placed in climactic moments” Technology also plays a vital role, with watermarking, digital rights management tools, and leak-prevention systems offering some protection. Lastly, creators themselves need structural support, including funding, legal guidance, and industry representation, to stand resilient in the face of piracy. **Final Words** Piracy in Nigeria, and around the world, isn’t just a legal issue — it is a cultural, economic, and technological one. Unless it is tackled seriously and collectively, the dream of building a thriving, globally competitive creative industry will remain out of reach. For Nigeria to fully harness its creative power, it must protect its storytellers and honor their work. That begins with a simple truth: piracy is not hustle, it is harm. In the end these acts of visiting illegal streaming sites or dubbing from social platforms cause harm to fellow citizens like yourself. And if we are clamoring for change then it starts with the little things. So as an audience and movie lover, ensure to visit the right sites and outlets, where movies are being disseminated. Pass the new knowledge you have to others, and even report piracy activities you may come across. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/how-piracy-endangers-the-nollywood-creatives-you-love/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/how-piracy-endangers-the-nollywood-creatives-you-love/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/how-piracy-endangers-the-nollywood-creatives-you-love/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/how-piracy-endangers-the-nollywood-creatives-you-love/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/how-piracy-endangers-the-nollywood-creatives-you-love/?share=linkedin) - **Categories:** Articles, Nollywood **Tags:** film, Netflix, nigerian cinema, nollycritic, nollywood, Nollywood 2025, piracy, Prime Video --- ### [Love Finds a New Voice in Dara — Tomi Ojo Stars in Port Harcourt Romance](https://nollycritic.com/love-finds-a-new-voice-in-dara-tomi-ojo-stars-in-port-harcourt-romance/) **Published:** August 25, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Movie lovers can expect a fresh romantic drama titled Dara as it heads for the big screen. The feature delivers a love story... **Content:** Movie lovers can expect a fresh romantic drama titled *[Dara](https://www.instagram.com/dara_themovie/reel/DLj8E-AosJM/)* as it heads for the big screen. The feature delivers a love story unlike anything audiences have seen before. Starring veteran actress Tina Mba, rising star [Tomi Ojo](https://nollycritic.com/makemation-a-family-drama-on-ai-technology-and-the-future/), Riyo David, and Raymond Umenze, the film offers a deeply emotional and culturally grounded story that highlights love in the vibrant oil city of Port Harcourt. Rising filmmaker Emmanuel Edi produces *Dara* and also plays a role in the film. Director Bobby Rak explores themes of romance and second chances in a setting rarely portrayed in Nigerian cinema. With its mix of local flavour and universal appeal, the story challenges the typical love narratives often shown on screen. Blue Pictures handles distribution and will premiere *Dara* in cinemas nationwide on September 5, 2025. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/love-finds-a-new-voice-in-dara-tomi-ojo-stars-in-port-harcourt-romance/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/love-finds-a-new-voice-in-dara-tomi-ojo-stars-in-port-harcourt-romance/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/love-finds-a-new-voice-in-dara-tomi-ojo-stars-in-port-harcourt-romance/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/love-finds-a-new-voice-in-dara-tomi-ojo-stars-in-port-harcourt-romance/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/love-finds-a-new-voice-in-dara-tomi-ojo-stars-in-port-harcourt-romance/?share=linkedin) - **Categories:** Nollywood News **Tags:** Dara, Riyo David, Tina Mba, Tomi Ojo --- ### [Nollywood Filmmakers Who Have Won The Hat-trick Hat](https://nollycritic.com/nollywood-filmmakers-who-have-won-the-hat-trick-hat/) **Published:** August 22, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nollywood is a place for bold ideas and relentless creativity. Some filmmakers go further, taking on the triple challenge of producing... **Content:** Nollywood is a place for bold ideas and relentless creativity. This isn’t restricted to the projects it rolls out, but the people behind the screen. Those committed to every single layer of the story that becomes the finished product we stream or see at the cinema. Within this vibrant industry, a select group of filmmakers take on an even bigger challenge: of producing, directing, and acting all at the same time on a project. This triple responsibility is more than just a career flex; it’s a demonstration of total storytelling mastery. It requires stamina to handle long production schedules and sharp vision to keep the narrative coherent. As well as the ability to balance the demands of being both behind and in front of the camera. In an industry where the pressures and expectations are high, and budgets are often tight, pulling this off without the project coming out as an absolute fail is a rare skill. These multifaceted filmmakers have proved that versatility can drive both artistic excellence and commercial success. Their works haven’t just packed cinemas; they’ve crossed borders, earned global streaming deals, and collected some of Nollywood’s most prestigious awards. This isn’t to say that the hat-trick crown is the only flex worthy of celebrating, but a form of celebrating versatility within the, filmmakers’ bracket. And to show upcoming filmmakers the possibilities and work demanded in the ever-evolving, industry like Nollywood. ### **Kunle Afolayan** Remember *The Figurine* well, when [Afolayan](https://nollycritic.com/kunle-afolayans-recall-brings-love-and-memory-to-the-test/) released it in 2009. It wasn’t just another Nollywood film — it was a landmark moment. He wore the hats of producer, director, and actor, bringing a supernatural thriller with high production values to Nigerian audiences. His role in front of the camera was also as compelling as his work behind it. The feature birthed one of the most remarkable “Ajuwaye” storyline in Nollywood and left a lasting template for others to follow. The result of *The Figurine*? A film that swept five Africa Movie Academy Awards (AMAAs), including Best Picture and Best Director, and pushed Nollywood into a new era of polished, layered storytelling. In 2014, Afolayan repeated the triple role with *October 1*, a gripping period mystery-thriller. He produced, directed and also played the role of Agbekoya. The project showed genuine signs of meticulous historical research, authentic costuming, and immersive set designs to transport viewers to Nigeria’s pre-independence era. [The film grossed over ₦100 million](https://pmnewsnigeria.com/2015/02/13/afolayans-october-1-grosses-over-n100m/?amp=1) and dominated the awards circuit that year. Later, in the same year, it won the awards for Best Feature Film, Best Screenplay and Best Actor at the African International Film Festival. ### **Genevieve Nnaji** When *Lionheart* dropped in 2018, it marked Nnaji’s transition from beloved screen icon to a history-making filmmaker. She wrote, directed, and starred in the family comedy-drama about a woman navigating the male-dominated Nigerian transportation industry. Her triple involvement meant the film maintained a consistent tone and vision from start to finish. *Lion Heart* wasn’t just any movie but a turning point for Nollywood and its interaction with the world. It was also a major feat for indigenous language films, seeing the possibilities of being a lot more than just home videos. The movie was acquired by Netflix, in September 2018, becoming the very first Nigerian original. It also went on to premiere at the 2018 Toronto International Film Festival. But its success didn’t stop there; it has opened up Nollywood to the Best International Feature Film category at the Academy Awards. Thereby, being Nigeria’s first Oscar submission for Best International Feature. Although, Nigeria hasn’t successfully scaled through the Oscars selection process, the possibilities give a sense of hope and acceptance. ### **Funke Akindele** Akindele has built her career on blending high-energy storytelling with relatable humor, and has mastered the art of running the show from all angles. She also has a track record of directing, producing and playing the lead in most of her projects. In fact, she is currently the filmmaker with highest number of hat-trick projects In *Omo Ghetto: The Saga* (2020), she served as producer, co-director, and lead actress — playing the unforgettable twin sisters Ayomide and Lefty. Her knack for comic timing, combined with her attention to street-culture realism, struck a chord with audiences. The result? It grossed ₦636 million, becoming the [highest-grossing](https://en.wikipedia.org/wiki/List_of_highest-grossing_Nigerian_films) Nigerian film at the time. In *Battle on Buka Street*, she repeated the triple role. This time, she balanced her duties by having her co-director handle second-unit shoots. The movie broke her own box office record with ₦668 million. The same is the case for 2023, *A Tribe Called Judah,* and 2024, *Everybody Loves Jenifa*. In both projects she stars at the lead, with a comical responsibility. Both of these projects have broken Nigeria’s highest-grossing records with a total of over 1.4 billion naira respectively. **Final Word** These filmmakers are living proof that wearing multiple hats can sharpen a story’s vision rather than dilute it. By blending business sense with creative direction and on-screen charisma, they’ve built projects that resonate with both local audiences and global platforms. Their work stands as a testament to the fact that in Nollywood, versatility is not just a talent, it’s a power move. It’s a path that demands discipline, endurance, and a deep love for the craft. And for those who can pull it off, the rewards, in impact, recognition, and legacy, are immense. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-filmmakers-who-have-won-the-hat-trick-hat/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-filmmakers-who-have-won-the-hat-trick-hat/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-filmmakers-who-have-won-the-hat-trick-hat/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-filmmakers-who-have-won-the-hat-trick-hat/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-filmmakers-who-have-won-the-hat-trick-hat/?share=linkedin) - **Categories:** Articles, Nollywood **Tags:** Battle on Buka Street, Citation, Figurine, film, Funke Akindele, Genevieve Nnaji, Kunle Afolayan, Lon Heart, Netflix, nigerian cinema, nollycritic, nollywood, Nollywood 2025, October1, oscars, Prime Video --- ### [New Nollywood Movies to See This August 2025](https://nollycritic.com/new-nollywood-movies-to-see-this-august-2025/) **Published:** August 1, 2025 **Author:** Fisayo Adekoya **Excerpt:** t’s a brand new month, and Nollywood is coming in strong. From riveting Crime Thrillers to Action, and Drama, August is giving everything. **Content:** It’s a brand new month, and [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") is coming in strong. From riveting Crime Thrillers to Action, and Drama, August is giving everything. Whether you’re heading to the cinema or staying in with your favorite streaming platform, there’s no shortage of stories to dive into. Here’s your ultimate guide to Nollywood releases dropping this August, save the dates. ##### *Closure Mandate* **— August** 1 After giving David fifteen years of her life, Linda is blindsided when he announces he’s getting married. What follows is a storm of betrayal, heartbreak, and revenge. Caught in a dangerous love triangle, Linda must decide: seek justice or find the strength to finally let go? *Closure Mandate*, inspired by true events, is a powerful drama about love lost, the cost of betrayal, and the courage it takes to start again. Directed by Robert O. Peters and produced by Bode Ojo, the film premieres on Prime Video on August 1, 2025. ##### ***Hakeem: Seeking Justice* — August** 1 A grieving man battles betrayal and a broken system in this intense action drama. Former military officer Hakeem returns home to discover his family has been murdered, pushing him onto a path of vengeance that forces him to question justice and survival. Directed by JJC Skillz (Abdulrasheed Bello) and produced by Afristar Media, the film stars Deyemi Okanlawon as Hakeem, alongside Gabriel Afolayan, Regina Daniels, Chioma Chukwuka, Zubby Michael, Bolanle Ninalowo, and more. Hakeem: Seeking Justice hits cinemas nationwide on August 1, 2025. ##### ***Dead Tide* — August 1** Set in a coastal town, this high-octane thriller asks: What happens when you capture a president’s son committing murder and become a target yourself? Itoro, a former Niger Delta militant, finds himself on the run with Sade, a social media influencer whose accidental recording sets off a deadly chase. Directed by Soji Ogunnaike and produced by POV Films with Rushing Tap Studios, the film features Ikechukwu Onunaku, Mobimpe Adedimeji, Eniola Ajao, Ibrahim Suleiman, William Benson, and more. *Dead Tide* opens in cinemas on August 1, 2025 ##### ***What About Us* ? — August 1** After it’s 2024 cinema run, What About Us is now available via streaming. The film follows a young couple, with a son. Their marriage seems perfect on the outside, but secrets and a lack of communication seek to drive them apart. As a result, both find solace in other affairs which drives a wedge further between them. Will they walk the path of forgiveness and restoration for the sake of their marriage or will they succumb to selfishness and lose everything? Directed by Kayode Kasum, the film features Kunle Remi, Atlanta Bridget Johnson, Folu Storms and many others. Premieres via this [website](https://www.whataboutusmovie.com/?fbclid=PAZXh0bgNhZW0CMTEAAaeGOzhhzxnIq4h8MArXHXIWqRq3UPaPKW8oY13lp4l3bzjwehOomzwxT7PyCg_aem__MAUO6syYsyrYi6NmgBVwg "website"). ##### *Finding Nina* — August 8 JB (Jabir), a world-renowned street photographer, returns home to Northern Nigeria in search of stories untold. But when he photographs a mysterious woman in a red veil — Nina, his childhood love — a haunting and poetic search begins. As he journeys through dreamlike memories, folklore, and family scars, JB must confront the emotional weight of his past and the love he’s long ignored. *Finding Nina* is a cinematic ode to the beauty of Northern Nigeria and the healing power of coming home, from the makers of *Breath of Life* and *The Fire & The Moth*. Directed by Famous Odion Iraoya and produced by Dalaham Hirse & Joshua Enakarhire, the film stars Abdulazeem M Ibrahim, Ijapari Ben-Hirki, Tomi Ojo, Paul Sambo, Mbasiti Jesse, Ahmed Isa, and Rabi’u Rikadawa. *Finding Nina* streams exclusively on Prime Video from August 8, 2025. ##### *The Benefactor* — August 8 When a rising star’s breakthrough is cut short by the machinations of a powerful mentor, she must expose the truth or risk losing everything. *The Benefactor* is a suspenseful Nollywood drama that examines ambition, greed, and the cost of mentorship gone wrong. Directed by Adeoluwa Owu, written by Temilolu Fosudo, and produced by Folakemi Bello and Owu, it stars Bimbo Ademoye as Tuntunlade, alongside Kunle Remi, Tobi Makinde, Joke Muyiwa, Kiitan Bukola, Manuel Bimbo, and Akin Lewis. *The Benefactor* premieres in cinemas on August 8, 2025. > [View this post on Instagram](https://www.instagram.com/reel/DMXTt-HtHFD/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Adeoluwa Owu (@captaindegzy)](https://www.instagram.com/reel/DMXTt-HtHFD/?utm_source=ig_embed&utm_campaign=loading) ##### *Revelations* — August 15 When a trusted cleric goes missing, his daughter, a renowned surgeon, returns from the U.S. to uncover a trail of spiritual corruption and betrayal. *Revelations* bridges Nigerian tradition with American noir to ask: How far would you go to protect faith and family? Directed by Martins Samuel, the film boasts a diverse and international cast. The film stars Richard and Tega Mofe-Damijo, Chioma Akpotha, Tanya Price, Ryon Thomas, Nnamdi Kanaga, and Alex Boyé. *Revelations* hits cinemas on August 15, 2025. ##### *Devil Is A Liar* — August 15 Adaora, a successful career woman, has given up on love until a chance encounter with Jaiye Abiodun, an old flame, stirs up emotions she thought were long buried. As their paths intertwine once more, a web of passion, secrets, and choices forces both to confront what lies beneath the surface. Between heartache and healing, can love truly be resurrected? Directed by Moses Inwang and distributed by Fortress Studios, Devil Is A Liar stars Nse Ikpe-Etim and James Gardiner. The film premieres on Netflix on August 15, 2025. ##### *ABÁNISÉTÈ: The Ancestor* — August 15 An idol. A treasure. A power beyond borders. When outsiders seek to control what they don’t understand, A battle begins! Directed by Itele and produced by Femi Adebayo, the cast lineup includes Itele, Femi Adebayo, Lateef Adedimeji, Omowunmi Dada, Olarotimi Fakunle, Broda Shaggi and many others. Coming to cinemas, August 15th. ##### *Sin: Blackout* — August 22 The concluding part of *Sin: First Blood*. An empire is crumbling, and vengeance is the only law. In this gripping African action thriller, a woman refuses to back down and a man won’t rest until war is declared. As betrayal and survival collide, *Sin: Blackout* unravels a ruthless story of power, revenge, and redemption. Directed by Yemi Morafa and produced by 6th Sense Movies, the film stars Jim Iyke, Toni Tones, Chidi Mokeme, Gideon Okeke, Yemi Blaq, Toke Makinwa, Hermes Iyele, Shaffy Bello, Patrick Doyle, and many others across the continent. *Sin:* Blackout premieres globally on Prime Video on August 22, 2025. ##### *The Serpent’s Gift* — August 29 Set in Eastern Nigeria, *The Serpent’s Gift* follows Ijeoma Sylvanus, a young widow thrust into a ferocious battle for her late husband’s empire. As rival family members close in, blood ties become weapons and mourning gives way to power games in this richly woven mystery-drama. When tradition clashes with ambition, justice becomes the scariest inheritance of all. Directed by Kayode Kasum and produced by Winifred Nkiru Mena-Ajakpovi, the film centers on a stellar ensemble including Linda Ejiofor‑Suleiman, Stan Nze, Tina Mba, Daniel Etim‑Effiong, Beverly Osu, Nonso Odogwu, and Ric Hassani. *The Serpent’s Gift* opens in cinemas nationwide on August 29, 2025 ##### *Everybody Loves Jenifa* — August 29 Jenifa’s popularity fades when a shady new neighbor, Lobster, outshines her charity work. In Ghana, Jenifa and friends face a deadly drug baron after a bag of drugs is mistakenly left in their rental. Funke Akindele returns as Jenifa, with Falz reprising his role as Sege. New stars include Nancy Isime, who plays Olivia, a stylish socialite who guides Jenifa. Patience Ozokwor and Jackie Appiah also join the cast, adding more depth to the story. The movie also stars Adedimeji Lateef, Adebayo Salami (Oga Bello), Layi Wasabi, KieKie, D’banj, and many others, each bringing a unique energy to the film. Streaming on Prime Video from August 29. August is delivering one of Nollywood’s most diverse and ambitious slates yet. Whether you’re hitting the cinemas or streaming from home, these stories promise high-stakes tension, raw emotion, and the kind of unforgettable performances that prove Nigerian cinema isn’t just rising, it’s redefining the game. List will be updated when new tittles are announced. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-nollywood-movies-to-see-this-august-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-nollywood-movies-to-see-this-august-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-nollywood-movies-to-see-this-august-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-nollywood-movies-to-see-this-august-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-nollywood-movies-to-see-this-august-2025/?share=linkedin) - **Categories:** Articles, Movies, Nollywood, Nollywood News **Tags:** Dead Tide, Hakeem, nollycritic, nollywood, Nollywood 2025, Revelations, The Benefactor, The Serpent's Gift, what about us --- ### [We Danced & Danced Opens with Private Screenings in Nigeria](https://nollycritic.com/we-danced-danced-opens-with-private-screenings-in-nigeria/) **Published:** August 22, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Chukwu Martin’s latest feature film, We Danced & Danced, has quietly entered the Nigerian film scene through a string of private screenings in Ibadan and Lagos. **Content:** Chukwu Martin’s latest feature film, *We Danced & Danced,* has quietly entered the Nigerian film scene through a string of private screenings in Ibadan and Lagos. Known for his series of rough plays, which include [*Mr Gbega’s Hard Drive*](https://www.imdb.com/name/nm13430648/)*, Oga Mike* and *Abeni.* As well as his pioneering role at [The Annual Film Mischief](https://nollycritic.com/the-annual-film-mischief-2025-returns-with-bold-new-theme/). Martin’s moves past the traditional cinema premiere and choses a more intimate rollout. This is designed to immerse audiences in the film’s unflinching emotional core. Shot in Ibadan in April 2024, the film tells the story of two siblings, Zina and Eno. Played by Jessica Gabriels Ujah and Timilehin Ojeola, who escape their turbulent home in search of freedom and belonging. Zina has always been fiercely protective of her younger brother, Eno, as they flee a home consumed by their parents’ bitter conflicts. In each other, they find comfort and the only true sense of belonging they have ever known. Driven by a shared dream of freedom, they take temporary refuge in a friend’s house while secretly plotting to leave the country and begin a new life together. But as their bond deepens, long-buried family truths and the weight of their choices begin to surface, challenging the fragile world they have built. ![We Danced & Danced](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/08/Zina-OJ.jpg?resize=640%2C360&ssl=1)The screenplay, co-written by Martin and Tomi Folowosele, blends fragility with resilience in a narrative that has already sparked conversations in its earliest viewings. *We Danced & Danced* is a stirring drama that delves into the scars of parental neglect, the desperate search for freedom, and the unsettling taboo of forbidden love. Speaking about the film’s journey, Martin said: “I’ve lived with the story for a while… As a filmmaker, I wanted to create a narrative that forces us to confront uncomfortable truths. I want the viewer to feel like they are watching their secrets play out on screen. The bond between Zina and Eno is more than just a shocking premise; it’s a reflection of the loneliness that can arise from fractured family dynamics”. *We Danced & Danced* is the first production from New Culture Studios in over 50 years, made in collaboration with Nostalgia Media Agency. Behind the scenes, Okwong Fadamana handled cinematography, Tinuola Nwachukwu led production design, and Peter Nwanguma served as editor and colourist. Executive producers include Rufus Nwoko, Martin, and Adeniyi “TAJ” Joseph. The cast also features Ikechukwu Iwebenua, Tega Ethan, Chris Ikechi Anyanya, Kelvin Callistus, Temitope Agoro, Chabod Oyejide, and Ifeoluwa Ogunade, alongside music from The Golden Chorale. The feature will begin festival screenings soon. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/we-danced-danced-opens-with-private-screenings-in-nigeria/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/we-danced-danced-opens-with-private-screenings-in-nigeria/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/we-danced-danced-opens-with-private-screenings-in-nigeria/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/we-danced-danced-opens-with-private-screenings-in-nigeria/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/we-danced-danced-opens-with-private-screenings-in-nigeria/?share=linkedin) - **Categories:** Nollywood News **Tags:** Chabod Oyejide, Chris Ikechi Anyanya, Chukwu Martins, film, Film Rats Club, kechukwu Iwebenua, Kelvin Callistus, nollycritic, nollywood, Tega Ethan, Temitope Agoro, The Annual Film Mischief --- ### [Akinola Davies' My Father’s Shadow to Begin Cinema Run](https://nollycritic.com/akinola-davies-my-fathers-shadow-to-begin-cinema-run/) **Published:** August 21, 2025 **Author:** Faith Oloruntoyin **Excerpt:** My Father's Shadow, directed by Akinola Davies Jr, and Nigeria's first-ever Cannes selection is set to debut across cinemas nationwide. **Content:** Nigeria’s first-ever Cannes Film Festival selection is set to commence viewing across cinemas nationwide. [*M*y *Father’s Shadow* ](https://nollycritic.com/my-fathers-shadow-earns-special-mention-at-cannes/)was directed by British-Nigerian filmmaker Akinola Davies Jr as his first feature-length project. And now it’s set to debut locally on September 19, 2025 and will be distributed by Film One. The film started its journey in February 2025, with a distribution rights acquisition by MUBI, a global streaming service. This spanned across North America, the UK, Ireland, and Turkey. And then an [*Un Certain Regard*](https://en.wikipedia.org/wiki/Un_Certain_Regard) section at the [2025 Cannes Film Festival](https://en.wikipedia.org/wiki/2025_Cannes_Film_Festival) in May 2025. It also broke history when it won the Special Mention for the [*Caméra d’Or*](https://en.wikipedia.org/wiki/Cam%C3%A9ra_d%27Or)*,* during the festival. *My Father’s Shadow* was co-written by Davies Jr. and his brother Wale Davies. The duo previously won the Grand Jury Prize at Sundance 2021 and a BAFTA nomination for the short film *Lizard*. Shot across Lagos, the film channels the city’s energy, threading Yoruba, Pidgin, and everyday street names into its story. The feature is set against the backdrop of the 1993 Nigerian presidential election. It tells the story of two young brothers, Remi and Akin, who spend a day in Lagos with their estranged father, Folarin. The cast includes English actor Sope Dirisu as the father, real-life brothers Godwin Chiemerie Egbo and Chibuike Marvellous Egbo as the young brothers. Other faces include Uzoamaka Aniunoh and Winifred Efon. Produced by Rachel Dargavel and Funmbi Ogunbanwo*. My Father’s Shadow* is a collaboration between Element Pictures, Crybaby, and Fatherland Productions, with funding from BBC Film and the British Film Institute. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/akinola-davies-my-fathers-shadow-to-begin-cinema-run/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/akinola-davies-my-fathers-shadow-to-begin-cinema-run/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/akinola-davies-my-fathers-shadow-to-begin-cinema-run/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/akinola-davies-my-fathers-shadow-to-begin-cinema-run/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/akinola-davies-my-fathers-shadow-to-begin-cinema-run/?share=linkedin) - **Categories:** Nollywood News **Tags:** BBC Film, British Film Institute, cannes, film, My Father's Shadow, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Sope Dirisu, Uzoamaka Aniunoh, Winifred Efon --- ### [Content Creators and Nollywood: The Risk and Opportunities](https://nollycritic.com/content-creators-and-nollywood-the-risk-and-opportunities/) **Published:** August 14, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nollywood has witnessed an increasing trend of online content creators transitioning from viral skits to the big and small screen... **Content:** Nollywood has witnessed an increasing trend of [online content creators](https://nollycritic.com/from-screens-to-scenes-nigerian-influencers-turned-actors/ "online content creators") transitioning from viral skits to the big and small screen. Once known solely for their Instagram, TikTok, or YouTube comedy sketches, many of these creators are now cast in major film productions. Although this change has brought in new talent and viewers, it has also presented a number of difficulties, especially when filmmakers use their online personas in film roles without making any changes. **Big Names Making the Leap** Several content creators have already made significant strides in the industry. Mr Macaroni, known for his “Daddy Wa” character and his exaggerated portrayal of morally corrupt authority figures, has appeared in major titles like *Ponzi, Ayinla, Aníkúlápó, Lisabi: The Uprising, and[ Freedom Way](https://nollycritic.com/freedom-way-a-haunting-tale-on-lagos-life/).* However, he has always gone into those movies fully shelving his online character and picking up a new one. Broda Shaggi, whose skits often feature exaggerated street-smart behavior and humorous interactions, has featured in *Chief Daddy, Namaste Wahala, [Omo Ghetto: The Saga](https://en.wikipedia.org/wiki/Omo_Ghetto:_The_Saga), and Inside Life*, among others. These creators bring their massive online fanbase to the cinema, providing instant visibility and potential box office appeal for any film they’re part of. But it also creates a continuous stereotype that becomes boring for the audience. Other notable examples include Lasisi Elenu, whose comedic rants and facial filters made him a social media star. He has since starred in *The Razz Guy, The Ghost and the Tout, and African Messiah*. KieKie, who rose to fame through lifestyle and fashion skits, has made appearances in *Muri & Ko, A Simple Lie, and Mimi*. It has always been difficult for KieKie to distinguish between her various online personas, which at times make it even more difficult to tell which is which. The potential for versatility beyond comedy is demonstrated by the appearance of creators such as Josh2Funny, Nasboi, and Flora (Omozele Gabriel) in more serious Nollywood roles. In Here Love Lies, for example, Flora played a younger version of a main character, a role that called for more emotional nuance than comedic timing. **The Bright Side of the Crossover** There are indisputable advantages to this shift from internet platforms to movie sets. One of the most obvious is that audiences are already there when content creators arrive, and many of them are excited to support their favorite content in a new format. This can greatly increase a film’s visibility prior to its release and gives filmmakers an instant marketing advantage. As a result of years of producing content quickly and receiving immediate feedback from their audience, these creators also bring a natural, relatable presence to their roles. Because they capture the language, tone, and issues of the average Nigerian, their performances frequently strike a chord. Some, such as Josh2Funny and Mr. Macaroni, have effectively abandoned their comedic personas to give powerful dramatic performances, demonstrating that content creators can develop into actors with the correct guidance. **The Flip Side: When Skits Overshadow Cinema** However, the trend is not without its drawbacks. The excessive dependence on an online character in the movie itself is a persistent problem. The outcome may seem cliched or shallow when a content creator merely reprises their most well-known skit character in a film. The movie occasionally turns into a longer version of their Instagram feed rather than advancing the plot. This lessens the nuance and complexity that films frequently demand. Additionally, it restricts the creator’s development by confining them to roles that are similar to their previous work on the internet. **Typecasting, Popularity Over Performance, and Authenticity Issues** Typecasting is another problem. Audiences may find it difficult to accept these creators in roles that deviate from their established brand. Directors and producers may find it more difficult to try out unusual casting choices as a result, and their creative potential may be suppressed. Furthermore, some films hire content producers only because of their fan base, ignoring the necessity of character development or appropriate acting training. In these situations, the plot deteriorates and the overall caliber of the movie may decline, supporting the idea that Nollywood puts popularity before talent. There’s also a concern around authenticity. The representations of some content creators’ humorous online personas in films can occasionally come across as phoney or inappropriate, particularly in narratives that call for emotional depth or cultural awareness. **Striking the Right Balance** The rise of content creators in Nollywood reflects a broader shift in how stories are made and consumed in the digital age. Their presence has expanded the talent pipeline in Nigerian cinema, brought in new energy, and drawn in new audiences. However, in order for this crossover to continue to be beneficial, both content producers and filmmakers need to understand the distinction between digital skits and cinematic storytelling. Intentional character development, careful casting, and a readiness on the part of creators to step outside of their online comfort zones are all necessary for success. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/content-creators-and-nollywood-the-risk-and-opportunities/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/content-creators-and-nollywood-the-risk-and-opportunities/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/content-creators-and-nollywood-the-risk-and-opportunities/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/content-creators-and-nollywood-the-risk-and-opportunities/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/content-creators-and-nollywood-the-risk-and-opportunities/?share=linkedin) - **Categories:** Articles, Nollywood **Tags:** Broda Shaggi, film, Freedom Way, Kiekie, Lasisi Elenu, Mr Macaroni, Muri&Ko, Netflix, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Prime Video --- ### [Dika Ofoma, Blessing Uzzi Emerge Lead Winners at Locarno Open Doors](https://nollycritic.com/dika-ofoma-blessing-uzzi-emerge-lead-winners-at-locarno-open-doors/) **Published:** August 13, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Directed by Dika Ofoma and produced by Uzzi, Kachifo: Till the Morning Comes, earned three international awards at the 2025 Locarno Film Festival.  **Content:** [Dika Ofoma](https://nollycritic.com/nollywood-marketing-from-video-clubs-to-tiktok/) and Blessing Uzi continue to shine as they secure funding and international recognition. Directed by Ofoma and produced by [Uzzi, *Kachifo: Till the Morning Comes*](https://www.imdb.com/news/ni65423857/?ref_=nwc_art_perm "Uzzi, Kachifo: Till the Morning Comes"), earned three international awards ceremony for the 23rd edition of Locarno’s talent development programme Open Doors. The Open Doors initiative was the main award for the day and also included two other African projects from Zimbabwe and Ivory Coast. The award entails a CHF 50,000 grant total sponsored by visions sud est and the City of Bellinzona. *Kachifo* came in second and landed CHF 20,000. The movie also picked up the €6,000 Prix Arte Kino International for development and the Sørfond Award which gives the project an opportunity to take part in the Norwegian pitching event this November. According to the five man Jury *Kachifo* tells a well structured story in a complex and challenging manner. In their words*“*The award goes to a film with an original narrative structure, where two layers are closely connected. Through a parallel storyline, we gradually approach the revelation of a connection that will unfold over time. We are excited by the complex and challenging approach taken, which will require further work to fully realize. We look forward to seeing this film about love on the big screen soon.*”* According to[ screen daily](https://www.screendaily.com/news/nigerian-director-dika-ofomas-till-the-morning-comes-leads-winners-at-locarnos-open-doors/5207757.article?referrer=RSS " screen daily"), Dika Ofoma’s €1.3m romantic drama, which is set to begin shooting at locations in the Nigerian state of Enugu from October 2026, draws inspiration from the difficulties the director has experienced coming to terms with his sexuality and pursuing romantic relationships with other men in a country where same-sex attraction is considered taboo and criminalised under the Nigerian constitution. This wins mark a big break for Dika Ofoma and Blessig Uzzi’s continuous collaborations. A little while back they released [*Something Sweet*](https://nollycritic.com/something-sweet-the-possibilities-of-love-in-gaps/)*,* which is one of [Zikoko’s Life Series](https://nollycritic.com/big-cabal-media-goes-cinematic-with-zikoko-life/). And on the other end Uzzi debuted the award-winning feature [*Freedom Way*](https://nollycritic.com/freedom-way-a-haunting-tale-on-lagos-life/)*.* Jointly they have also worked together under the Blu-house studios on *A Quiet Monday,* ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/dika-ofoma-blessing-uzzi-emerge-lead-winners-at-locarno-open-doors/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/dika-ofoma-blessing-uzzi-emerge-lead-winners-at-locarno-open-doors/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/dika-ofoma-blessing-uzzi-emerge-lead-winners-at-locarno-open-doors/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/dika-ofoma-blessing-uzzi-emerge-lead-winners-at-locarno-open-doors/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/dika-ofoma-blessing-uzzi-emerge-lead-winners-at-locarno-open-doors/?share=linkedin) - **Categories:** Nollywood News **Tags:** Blessing Uzi, Dika Ofoma, film, nigerian cinema, nollycritic, nollywood, Reviews, Something Sweet, Zikoko Life --- ### [See the 5 Nollywood Titles Headed to Septimius Awards 2025](https://nollycritic.com/see-the-5-nollywood-titles-headed-to-septimius-awards-2025/) **Published:** August 12, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nollywood expands its international recognition as it earns multiple nominations at the upcoming Septimius Awards. This year, five independent Nigerian filmmakers have secured nominations across various categories. **Content:** Nollywood shines as it earns several nominations at the [2025 Septimius Award](https://septimiusawards.com/nominees2025/). The Septimius Awards is a award ceremony that showcases the best films and talent from around the world. The Awards ceremony holds in Amsterdam between September 3 – 4, 2025. Here are the details: ##### *The Serpent’s Gift* Produced by Winifred Mena-Ajakpovi and directed by Kayode Kasum, [*The Serpent’s Gift* ](https://nollycritic.com/the-serpents-gift-first-look-at-kayode-kasums-new-drama/)earns nominations for Best African Film and Best African Actor (Stan Nze). Written by Stephen Okonkwo and Mr Mett, it follows a woman who loses her husband under mysterious circumstances. Only to face accusations and conspiracies from her late husband’s family. The cast includes Tina Mba, Ihuoma Linda Ejiofor, Beverly Osu, Etim Effiong, Inem King, Uche Chika, Chico Aligwekwe and Tracey George. As well as Florence Sunday, Ric Hassani, David Destiny, Nonso Odogwu, Moyinoluwa Olutayo, Marcela Aipoh, Alexander Ayalogu, and Thelma Chukwunwem. *The Serpent’s Gift* debuts across West African cinemas on August 29, 2025, distributed by Nile Entertainment. ##### *Grind* (Season 2) Created by Roberta Orioma, the second season of the Nigerian drama series *Grind* secures a nomination for the Best Series category. Directed by Orire Nwani and Joshua Tsotso, and produced by Josh Olaoluwa and Roberta Orioma, the series follows Tarela, a young woman who becomes a stripper to support her family and pay for her sister’s education. The show explores survival, ambition, sacrifice, and agency, painting a raw portrait of Lagos nightlife. ##### *Mai Martaba* [Nigeria’s 2025 Oscar selection, *Mai Martaba*](https://nollycritic.com/nosc-selects-mai-martaba-for-the-2025-oscars-consideration/) earned four nominations: Best African Film, Best Costume Design and Best Makeup and Hairstyling. Produced by Ghali Abdallah Dz and Prince Daniel, and directed by Prince Daniel. *Mai Martaba* is a spin-off of the radio drama *Kasar Jallaba* on 93.1 Arewa Radio. The story is set in an ancient kingdom that once thrived on the Trans-Saharan trade. The prosperity collapses when the Agadashawa ruling clan is torn apart by a power struggle. The cast includes Adam A. Zango, GhaliAbdallah DZ, Muktar Aminu Haruna, Fatima Mohammed and Tasi’u Ali. In 2024, the feature film premiered in cinemas in Kano, Kastina and Kaduna. But has since not had any other public release. ##### *3 Cold Dishes* Directed by Oluseyi Asurf and written by Tomi Adesina, [*3 Cold Dishes*](https://nollycritic.com/see-the-new-teaser-for-3-cold-dishes-and-cinema-release-date/) secures a spot for Best Screenplay and Best African Actress (Osas Ighodaro). This revenge thriller, set across Nigeria, Benin, Côte d’Ivoire, and Mauritania, explores human trafficking and retribution. The cast also includes Wale Ojo, Bambadjan Bamba, Amélie Mbaye, Greg Ojefua, Mentor Bâ, Femi Jacobs, Anouble Didier, Tomiwa Sage, Sourou Govoeke, Prescilia, Bayili Fulbert, Didier Nassegande, and Brutus the Actor, bringing a rich ensemble of talent to the screen. Executively produced by Ighodaro and Burna Boy, *3 Cold Dishes* premieres nationwide on November 7, 2025. ##### *Recall* Written, directed, and produced by Kunle Afolayan, [*Recall*](https://nollycritic.com/kunle-afolayans-recall-brings-love-and-memory-to-the-test/) has been nominated for Best Producer, Best African Actress (Sharon Ooja) and Best African Actor (Olarotimi Fakunle). *Recall* follows Goke, a devoted husband whose world shatters when his wife loses her memory a day after their 10th wedding anniversary. Suddenly, the life they built together becomes a distant past she cannot recognise. As Goke fights to restore her memory, an unsettling truth looms in the background, threatening to keep them apart forever. The feature film initially premiered at the African International Film Festival (AFRIFF) in 2024 before its Nigerian cinema release in April 2025. This year’s nominations confirm Nollywood’s growing impact on global film stages, with stories that span diverse genres, cultures, and languages. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-5-nollywood-titles-headed-to-septimius-awards-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-5-nollywood-titles-headed-to-septimius-awards-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-5-nollywood-titles-headed-to-septimius-awards-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-5-nollywood-titles-headed-to-septimius-awards-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-5-nollywood-titles-headed-to-septimius-awards-2025/?share=linkedin) - **Categories:** Nollywood, Nollywood News **Tags:** 3 Cold Dishes, Burna Boy, film, Grind, Kayode Kasum, Kunle Afolayan, Mai Martaba, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Olarotimi Fakunle, oscars, recall, Sharoon Ooja, Stan Nze, The Serpent’s Gift --- ### [Nigerian Film and Video Censors Board Launches Indigenous Film Showcase](https://nollycritic.com/nigerian-film-and-video-censors-board-launches-indigenous-film-showcase/) **Published:** August 8, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Indigenous Language films take the front line in the Nigerian Film and Video Censors Board latest showcase initiative, slated for the last quarter of 2025. **Content:** The [Nigerian Film and Video Censors Board](https://www.nfvcb.gov.ng/) (NFVCB) has introduced the Nigeria Indigenous Language Film Showcase (NILFS). This new initiative, designed as a film competition, aims to spotlight storytelling in Nigeria’s lesser-known [indigenous languages](https://nollycritic.com/the-evolution-of-yoruba-epic-movies/). This is as a result of the increased dominance of Yoruba, Igbo and Hausa language films in Nollywood and a neglect of about 500 other Nigerian languages. The NILFS 225 is the first of its kind and follows strict guidelines which include: an age limit of 35, films produced in Nigerian indigenous languages outside of Yoruba, Hausa and Igbo, a subtitle in English and a production date between 2023 and 2025. With no specific date or location announcement, the one-day showcase will be held in October. While NILFS is a powerful cultural gesture, it will not be a one-time event. As the NFVCB Executive Director, Shaibu Husseini announced, plans towards digital streaming platform and the Nigerian Television Authority (NTA). These efforts aim to ensure that showcased films reach wider audiences across the country. NILFS is more than a competition—it’s a cultural intervention. It urges filmmakers to value heritage over profit. It invites audiences to celebrate Nigeria’s rich linguistic identity. The upcoming showcase isn’t the only thing to expect from NFVCB this year. Because in September, the board will release a three-volume catalogue. This will detail all films and videos registered and classified in Nigeria since the inception of the video era (1994 to 2004). This is expected to finally help with the lack of information that the Nigerian film history suffers. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nigerian-film-and-video-censors-board-launches-indigenous-film-showcase/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nigerian-film-and-video-censors-board-launches-indigenous-film-showcase/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nigerian-film-and-video-censors-board-launches-indigenous-film-showcase/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nigerian-film-and-video-censors-board-launches-indigenous-film-showcase/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nigerian-film-and-video-censors-board-launches-indigenous-film-showcase/?share=linkedin) - **Categories:** Nollywood News **Tags:** film, nigerian cinema, nollycritic, nollywood, Nollywood 2025 --- ### [Filmmakers Mart Secures Investment from IFC and Sony](https://nollycritic.com/filmmakers-mart-secures-investment-from-ifc-and-sony/) **Published:** August 7, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Filmmakers Mart has received new investment funding from the International Finance Corporation (IFC) and Sony Innovation Fund: Africa... **Content:** [Filmmakers Mart ](https://www.filmmakersmart.com/ "Filmmakers Mart ")has received new investment funding from the International Finance Corporation (IFC) and Sony Innovation Fund: Africa. The announcement was made this week through the company’s official platform, marking IFC’s first-ever investment in Nigeria’s audiovisual sector, and its first joint creative-sector deal with Sony Ventures. According to official statements, the investment is intended to support the platform’s goal of expanding digital infrastructure for film and television production across Africa. ##### About the Platform Filmmakers Mart is a digital production management platform for production teams that enables users to book filming locations, arrange logistics, request permits, order catering, and coordinate production teams through a single system. It was built to eliminate friction, reduce time lost in negotiation, and simplify the workflow for filmmakers and producers operating in fast-moving, under-resourced environments. The company currently operates in Nigeria, Ghana, Kenya, Morocco, and South Africa. ##### Statements from Partners Company CEO Eric Kafui Okyerefo described the platform as “an operating system for the creative industries in emerging markets”, a toolkit designed to enable collaboration, unlock opportunity, and scale sustainable production systems for local creators. He stated that the IFC and Sony partnership “validates the vision” of giving Africa’s storytellers the tools to work at a global standard. “We’re building the operating system for the creative industries in emerging markets… This support enables us to deepen our impact, expand globally, and continue solving the structural challenges faced by storytellers and producers in these markets,” he said. Antonio Avitabile, Managing Director of Sony Ventures EMEA, noted that Filmmakers Mart is “addressing real infrastructure gaps in Africa’s production ecosystem” and praised its scalability. Sony Ventures, through its innovation fund in Africa, brings strategic connections and deep knowledge of global media workflows to support FMM’s growth. From IFC’s perspective, the investment aligns with its goal of backing inclusive innovation and expanding opportunity in creative sectors. According to Dahlia Khalifa, IFC Regional Director for Central Africa and Anglophone West Africa, “Africa’s film and entertainment sector is brimming with talent, but talent alone is not enough. It needs the right tools, platforms, and investment to thrive.” ##### Planned Expansion and Features With the new funding, Filmmakers Mart plans to expand into new markets across the continent and introduce additional platform features. These include subscription plans, post-production support, and crew training resources. A key addition to the ecosystem is Rollpay, a payroll and payment solution built specifically for production teams. It aims at helping producers and crew to manage payments, tax disbursements, and contractor fees all within the same dashboard that powers their logistics and shoot plans. ##### Context The investment forms part of broader efforts by both IFC and Sony Ventures to support technology-driven solutions in creative sectors. According to Filmmakers Mart, the goal is to provide production teams with reliable access to services that enable smoother project execution. It also reflects the changing expectations of African filmmakers, who are demanding faster systems, fairer payments, and more efficient access to verified production support. As the market grows, so does the need for platforms that reflect regional realities and industry pressures. No specific financial details of the investment were disclosed. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/filmmakers-mart-secures-investment-from-ifc-and-sony/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/filmmakers-mart-secures-investment-from-ifc-and-sony/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/filmmakers-mart-secures-investment-from-ifc-and-sony/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/filmmakers-mart-secures-investment-from-ifc-and-sony/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/filmmakers-mart-secures-investment-from-ifc-and-sony/?share=linkedin) - **Categories:** Nollywood, Nollywood News --- ### [The Serpent's Gift: First Look at Kayode Kasum's New Drama](https://nollycritic.com/the-serpents-gift-first-look-at-kayode-kasums-new-drama/) **Published:** August 3, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Kayode Kasum is back with a powerful new feature: The Serpent’s Gift, a gripping family drama rooted in blood ties, betrayal, and legacy. **Content:** Award-winning filmmaker Kayode Kasum is back with a promising new feature titled *The Serpent’s Gift*. It tells a gripping family drama rooted in blood ties, betrayal, and legacy. Following a string of bold storytelling ventures, including [*Reel Love, Afamefuna, Ajosepo, and Obara’m,* Kasum](https://nollycritic.com/kayode-kasum-and-the-new-nollywood-romance-a-genre-bending-love-affair/ "Reel Love, Afamefuna, Ajosepo, and Obara’m, Kasum"). He steps into the emotionally intense terrain, this time confronting the fallout of widowhood within a fiercely traditional household. This raises the familiar Igbo culture plot to which Kasum dabbled for the first time in *Afamefuna*. This secured four nominations at the [2024 African Magic Viewers’ Choice Awards](https://nollycritic.com/amvca-2025-see-the-full-list-of-winners-and-nominees/) (AMVCA), where the director won the Trailblazer Award. Produced by [Winifred Nkiru Mena-Ajakpovi](https://www.imdb.com/name/nm13281543/), and penned by screenwriters Stephen Okonkwo and Mr Mett, *The Serpent’s Gift* tells the story of a woman who loses her husband under mysterious circumstances. But instead of finding solace in grief, she finds herself cornered by accusations and conspiracies. Her late husband’s family suspects foul play and, blinded by entitlement and suspicion, launch an aggressive battle to strip her of everything—including his properties, dignity, and peace. Set against the backdrop of Nigerian familial customs, the film explores the tension between grief and greed, tradition and truth. At its heart is a woman fighting not just for justice, but for her very survival in a world where widowhood is often treated as a curse rather than a passage. The star-studded cast includes Stan Nze, Tina Mba, Ihuoma Linda Ejiofor, Beverly Osu, Etim Effiong, Inem King, Uche Chika, Chico Aligwekwe, Tracey George, Florence Sunday, Ric Hassani, David Destiny, Nonso Odogwu, Moyinoluwa Olutayo, Marcela Aipoh, Alexander Ayalogu, and Thelma Chukwunwem. Each bringing a dynamic presence to a story steeped in emotional and cultural depth. The Nile Entertainment will distribute *The Serpent’s Gift*, which opens in Nigerian cinemas nationwide on August 29, 2025. With a plot laced with secrets, accusations, and a woman’s fierce determination to defend what’s rightfully hers, the film promises to spark conversations and stir emotions long after the credits roll. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-serpents-gift-first-look-at-kayode-kasums-new-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-serpents-gift-first-look-at-kayode-kasums-new-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-serpents-gift-first-look-at-kayode-kasums-new-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-serpents-gift-first-look-at-kayode-kasums-new-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-serpents-gift-first-look-at-kayode-kasums-new-drama/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Beverly Osu, Etim Effiong, film, Ihuoma Ejiofor, Kayode Kasum, nile entertainment, nollycritic, nollywood, Nollywood 2025, Stan Nze, Tina Mba --- ### [EbonyLife on Plus: See Pricing and New Content Details](https://nollycritic.com/ebonylife-on-plus-see-pricing-and-new-content-details/) **Published:** August 6, 2025 **Author:** Faith Oloruntoyin **Excerpt:** In an exclusive interview with Variety, media mogul Mo Abudu revealed new details about the upcoming launch of her highly anticipated... **Content:** In an exclusive interview with [*Variety*](https://variety.com/2025/tv/global/ebonylife-mo-abudu-new-streamer-ebonylife-on-plus-1236477693/), media mogul Mo Abudu reveals new details about the upcoming launch of EbonyLife on Plus. The highly anticipated streaming platform will have a soft launch in September 2025. Designed as a membership-based service, [EbonyLife](https://nollycritic.com/mo-abudu-unveils-ebony-life-on-plus-a-new-streaming-home-for-africa/) on Plus will offer a broad slate of content. Which would include films, series, talk shows, and lifestyle programming from across Africa. The platform also promises affordable pricing, especially for local audiences. Nigeria-based subscribers can expect a yearly rate between ₦15,000 and ₦18,000, while international users will pay $30 annually. The streaming library will debut with a mix of new and existing titles. The lineup includes: Hallelujah – a family drama set within a powerful Lagos church, starring Uzor Arukwe and Bolaji Ogunmola. An untitled drama led by Omoni Oboli, portraying a media personality whose seemingly perfect life begins to fall apart. Additional projects featuring Nancy Isime, Daniel Effiong, and Uche Jombo. Subscribers will also gain access to EbonyLife’s existing catalogue. As well as curated selection of Nollywood Gold classics, and select Sony Pictures titles that highlight Black talent globally. The platform also plans to roll out original scripted content with modest budgets and locally grounded settings. “*My primary focus now is on building a thriving ecosystem — one that encompasses production, distribution, and capacity building across Africa and the diaspora,*” said Abudu. She further expressed the success of Ebony Life’s most recent body of work, *B*aby Farm. *“Our co-production Baby Farm has been extremely successful in Africa and Netflix then decided to distribute it to English-speaking countries, where it performed exceptionally. Top 10 Netflix charts in key markets including the U.K., U.S., Australia, Canada, New Zealand, and the Philippines, among others. That tells you there is a big market and that people are ready to listen to our stories*,” she said. As a result, *Baby Farm* will also stream on EbonyLife On Plus, however, for the audience, outside of Africa. Beyond EbonyLife on Plus, Abudu continues to expand her global partnerships. She is currently developing projects with major collaborators including Idris Elba, Starz, Lionsgate, Westbrook Studios, and IFC. The award-winning filmmaker continues to cement her role as a leading force in African media, creating a global stage for the continent’s rich diversity, creative depth, and untold stories. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ebonylife-on-plus-see-pricing-and-new-content-details/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ebonylife-on-plus-see-pricing-and-new-content-details/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ebonylife-on-plus-see-pricing-and-new-content-details/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ebonylife-on-plus-see-pricing-and-new-content-details/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ebonylife-on-plus-see-pricing-and-new-content-details/?share=linkedin) - **Categories:** Nollywood, Nollywood News **Tags:** Bolaji Ogunmola, Daniel Effiong, Ebony Life, Ebony Life Plus, film, Idris Elba, Mo Abudu, Nancy Isime, nollycritic, nollywood, Nollywood 2025, Omoni Oboli, Uche Jombo, Uzor Arukwe --- ### [Finding Nina: See The Trailer For New Nemsia Movie](https://nollycritic.com/finding-nina-see-the-trailer-for-new-nemsia-movie/) **Published:** August 5, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nemsia Studios’ latest feature, Finding Nina, brings a fresh take to the rarely explored Northern Nigerian love drama. The feature film... **Content:** Nemsia Studios’ latest feature, *Finding Nina*, brings a fresh take to the rarely explored Northern Nigerian love drama. Following the recent release of its official trailer and premiere date, audiences can expect a compelling journey of love, memory, and rediscovery. The story begins with JB, played by Jammal Ibrahim—a world-renowned photographer—who sets out in search of a long-lost love. But while he searches, it becomes clear he’s also left behind someone who isn’t ready to let go. As he navigates emotional and physical challenges, JB finally encounters Nadia and tries to rekindle their past connection. However, little did he know that this journey would lead him to discover more about himself. Directed by Famous Odion Iraoyo and produced by Hirse Peace Dalaham, *Finding Nadia* unfolds against the rich cultural backdrop of Northern Nigeria. The film introduces a mix of emerging and familiar faces in Nollywood. This includes Tomi Ojo, Paul Sambo, Ijapari Ben-Hiriki, Mbasiti Jesse, Augustine Gilbert, Nadia Dutch, Vine Olugu, and Rabi’u Rikadawa. A key area the trailer hints at is the bust of shots that well capture the beauty of the Northern part of Nigeria. Which has always been a rare but exquisite burst location choice in Nollywood. [Nemsia Studios](https://en.wikipedia.org/wiki/Nemsia_Studios) has consistently delivered standout Nollywood titles such as *[Ms Kanyin](https://nollycritic.com/ms-kanyin-see-the-trailer-for-the-new-supernatural-thriller/)*, *The Fire and the Moth*, *A Green Fever*, *With Difficulty Comes Ease*, and *Soft Love*. *Finding Nina* joins this growing slate of impactful films as it premieres globally on Prime Video on Friday, August 8, 2025. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/finding-nina-see-the-trailer-for-new-nemsia-movie/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/finding-nina-see-the-trailer-for-new-nemsia-movie/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/finding-nina-see-the-trailer-for-new-nemsia-movie/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/finding-nina-see-the-trailer-for-new-nemsia-movie/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/finding-nina-see-the-trailer-for-new-nemsia-movie/?share=linkedin) - **Categories:** Movies, Nollywood News **Tags:** A Green Fever, Jammal Ibrahim, Nemsia Studios, nollycritic, nollywood, Northern Nigeria, Prime Video, Suky, Tomi Ojo --- ### [NCC Shuts Down MovieBox in Crackdown on Piracy](https://nollycritic.com/ncc-shuts-down-moviebox-in-crackdown-on-piracy/) **Published:** August 1, 2025 **Author:** Shalom O. Obisesan **Excerpt:** NCC, in collaboration NiRA, has officially shut down MovieBox.ng, a piracy website known for streaming unauthorised Nigerian films... **Content:** The Nigerian Copyright Commission (NCC), in collaboration with the Nigeria Internet Registration Association (NiRA), has officially shut down [MovieBox.ng](https://moviebox.ph/ "MovieBox.ng"), a [pirac](https://nollycritic.com/the-menace-of-nollywood-youtube-piracy-and-misleading-promotions/ "pirac")y website known for streaming unauthorised Nigerian films, international titles, music, and live sports broadcasts. The action, which took effect on July 20, 2025, follows months of intensified digital enforcement efforts and forms part of the NCC’s broader clampdown on online copyright violations. ##### Targeting a Network of Clone Sites According to NCC Director of Public Affairs, Ijeoma Egbunike, the takedown was carried out in response to evidence showing that MovieBox.ng was part of a wider network of piracy domains. The platform reportedly used multiple mirror and fallback websites to continue operations despite past warnings and interventions. NCC Director-General, John Asein, confirmed that the domain’s history links it to known piracy operations and applauded NiRA for acting swiftly on takedown requests. He called on other internet intermediaries and service providers to comply with the Commission’s notices, as mandated under the Copyright Act of 2022. > “These platforms thrive on cloned identities and deceptive domains to keep illegal content online,” Asein said. “Our action against MovieBox.ng is a message that the system is catching up.” ##### Consumer Warning and Broader Risks In addition to the shutdown, the NCC issued a public warning against accessing illegal streaming platforms. The agency emphasised that such websites not only violate copyright law but also endanger users by exposing them to risks such as malware infections, identity theft, and financial scams. This enforcement action is part of the NCC’s Stand Together Against Online Piracy (STOP) campaign, launched earlier in the year to disrupt digital piracy networks and raise awareness among content consumers and digital service providers. Efforts are now underway to track and disable mirror sites affiliated with MovieBox.ng. The Commission noted that such sites often resurface under new names, and continuous monitoring and takedown enforcement will be necessary. ##### Industry Response and Next Steps The shutdown has been widely welcomed by film producers, record labels, and broadcast stakeholders, many of whom have lost revenue to illegal online distribution. The Association of Movie Producers (AMP) recently reiterated its support for coordinated anti-piracy efforts, describing NCC’s action as a “necessary correction” for an industry that has been economically undermined by digital theft. The NCC has also proposed deeper collaboration with the Nigerian Communications Commission and ISPs to develop technical protocols for faster takedown compliance. These plans include a cross-agency task force and the introduction of a digital code of conduct tailored to Nigeria’s creative industries. ##### Conclusion The removal of MovieBox.ng reflects a shifting tide in Nigeria’s copyright enforcement strategy. With regulatory backing, tech coordination, and growing awareness, the creative sector may finally be seeing the kind of protection it has long demanded. As at the time of this publication, the website is still live. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ncc-shuts-down-moviebox-in-crackdown-on-piracy/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ncc-shuts-down-moviebox-in-crackdown-on-piracy/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ncc-shuts-down-moviebox-in-crackdown-on-piracy/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ncc-shuts-down-moviebox-in-crackdown-on-piracy/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ncc-shuts-down-moviebox-in-crackdown-on-piracy/?share=linkedin) - **Categories:** Nollywood News **Tags:** Association of Movie Producers, clone domains, copyright law Nigeria, digital piracy enforcement, Ijeoma Egbunike, illegal streaming Nigeria, intellectual property protection, internet takedowns Nigeria, John Asein, mirror sites, MovieBox.ng, NCC, Nigerian Copyright Commission, Nigerian film industry, NiRA, Nollywood copyright, online piracy Nigeria, piracy crackdown Nigeria, STOP campaign --- ### [Revelations: RMD and Son to Shine Together in New Film](https://nollycritic.com/revelations-rmd-and-son-to-shine-together-in-new-film/) **Published:** July 19, 2025 **Author:** Fisayo Adekoya **Excerpt:** With Revelations, Nollywood continues to expand its reach and redefine its identity. The industry has seen numerous milestones over the years... **Content:** For the first time in Nollywood history, veteran actor [RMD](https://nollycritic.com/rmd-partners-with-nile-entertainment-for-two-new-films/ "RMD") (Richard Mofe-Damijo) and his son, Oghenetega Mofe-Damijo, will share the screen in a powerful new feature film. Titled Revelations, the project marks a generational milestone, pairing father and son in a deeply emotional and culturally layered drama. The film is scheduled to hit Nigerian cinemas on August 15, 2025, and anticipation is steadily growing. Tega, also known as TMD, makes his acting debut in this highly anticipated project. Despite being new to the screen, he has already made an impression. Revelations premiered at the [Utah International Film Festival](https://theutahfilmfestival.com/ "Utah International Film Festival"), where both he and his father received recognition for their performances. RMD took home Best Actor, while Tega earned an honorable mention as Best Supporting Actor. Their joint appearance is already being hailed as a significant moment in Nollywood, and this early acclaim has only intensified the buzz. Set across Nigeria and Utah in the United States, Revelations presents a cross-cultural narrative that explores family, identity, and faith. At its core, the story follows a Nigerian-American couple dealing with infertility and spiritual conflict. While the film leans into emotional storytelling, it also incorporates visual elements inspired by the American Western genre, giving it a unique tone that sets it apart from typical Nollywood releases. Directed by Martins Samuel, the film boasts a diverse and international cast. Alongside the Mofe-Damijos, the film stars Chioma Akpotha, Tanya Price, Ryon Thomas, Nnamdi Kanaga, and Alex Boyé. The production blends the strengths of Nollywood storytelling with global cinematic techniques, creating a film that is both familiar and refreshingly new. Though Tega has only just stepped into the spotlight, his performance alongside his father reveals a natural on-screen presence. Their chemistry not only supports the film’s emotional depth but also reinforces the personal connection behind the casting. The project, therefore, functions as more than a film. It becomes a statement about legacy, growth, and the ever-evolving nature of Nigerian cinema. As the release date draws near, industry observers are already labeling Revelations as a film to watch. It combines award-winning performances with a compelling story, striking visuals, and cultural relevance. Moreover, it delivers something rare, a family story that exists both on and off screen. Theo father-son collaboration has introduced a fresh dynamic into Nollywood, one that may open doors for more meaningful pairings in the future. With Revelations, Nollywood continues to expand its reach and redefine its identity. The industry has seen numerous milestones over the years, but this film captures something intimate and impactful. It blends the personal with the cinematic, and in doing so, creates a moment worth remembering. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/revelations-rmd-and-son-to-shine-together-in-new-film/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/revelations-rmd-and-son-to-shine-together-in-new-film/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/revelations-rmd-and-son-to-shine-together-in-new-film/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/revelations-rmd-and-son-to-shine-together-in-new-film/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/revelations-rmd-and-son-to-shine-together-in-new-film/?share=linkedin) - **Categories:** Blog, Movies, Nollywood News **Tags:** Chioma Akpotha, Nnamdi Kanaga, nollycritic, nollywood, Oghenetega Mofe-Damijo, Revelations, Richard Mofe-Damijo, RMD, Ryon Thomas, Tanya Price --- ### [Ori: The Rebirth Dominates 2025 Box Office](https://nollycritic.com/ori-the-rebirth-dominates-2025-box-office/) **Published:** July 30, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Indigenous film Ori: The Rebirth by Muyiwa Ademola secures a spot among Nollywood’s top earners, with a 13-week gross of ₦419.5 million. **Content:** Indigenous film [*Ori: The Rebirth*](https://nollycritic.com/ori-rebirth-destiny-and-a-seriously-stubborn-head/) secures a spot among Nollywood’s top earners. Produced by veteran actor and filmmaker Muyiwa Ademola, the drama ran in cinemas nationwide for 13 weeks, during which it grossed ₦419.5 million. This makes it the highest-grossing Nigerian film released in 2025 so far and the eighth highest-grossing Nollywood film of all time. And also the highest-grossing non-December Nollywood release ever. *Ori: The Rebirth* continues the 2004 classic [*Ori*](https://www.youtube.com/watch?v=6yv8pbKT0Us), a spiritually driven Yoruba drama that cemented Ademola’s legacy. In the new chapter, the film explores themes of destiny, sacrifice, and spiritual accountability. It follows Bisade, a successful man whose life begins to spiral after a string of strange events. As the story unfolds, Bisade uncovers an ancestral burden tied to his past. His only way forward lies in awakening spiritually and making painful sacrifices. Ademola returns to the screen with a powerful performance, reprising his iconic role. He also co-directed the film, taking creative control of both story and style. The cast features a strong mix of Nollywood veterans and rising stars. Which include; Toyin Abraham, Omowunmi Dada, Sola Sobowale, Femi Adebayo, Odunlade Adekoya, Ibrahim Chatta and Lattef Adedimeji. The film opened with a weekend gross of ₦97.8 million in just three days, with ₦19.5 million. Within three weeks, the film crossed ₦260 million. By its fifth week, it had climbed to ₦342 million. Continued support from fans pushed its final earnings to ₦419.5 million. These numbers showed that Nigerian audiences werw hungry for high-quality stories rooted in culture and spirituality. While *Ori: The Rebirth* leads the box office for 2025, it stands alongside other major hits. Funke Akindele’s [*Everybody Loves Jenifa*](https://nollycritic.com/everybody-loves-jenifa-breaks-box-office-records/) still holds the all-time record with ₦1.8 billion. Following closely for 2025 releases is [*Reel Love*](https://nollycritic.com/reel-love-is-this-romance-real-or-for-reels/) with ₦356,824,175, *Labake Olododo* with ₦264,281,948 and [*Owambe Thieves*](https://nollycritic.com/owambe-thieves-a-cultural-mess-of-chaos-and-comedy/) with ₦205,055,028. Unlike many box office hits driven by romance or comedy, *Ori: The Rebirth* dares to dive into spiritual and metaphysical themes. Its success proves that audiences are ready for deeper narratives. Ademola’s vision, combined with a skilled cast and cultural relevance, delivered one of the most impactful Nollywood films in recent years. This marks a significant achievement, especially considering that by this time [last year](https://nollycritic.com/wumi-toriolas-queen-lateefah-grosses-over-n300000000/), no Nollywood film had crossed the ₦400 million mark. Historically, most of the titles on the highest-grossing list owe their success to December releases. *Ori: The Rebirth* offers a promising glimpse into the potential for record-breaking earnings even before the usual end-of-year box office surge. As 2025 continues, new releases may challenge *Ori’s* top spot. But no matter what, this film has already secured its place in Nollywood history. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ori-the-rebirth-dominates-2025-box-office/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ori-the-rebirth-dominates-2025-box-office/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ori-the-rebirth-dominates-2025-box-office/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ori-the-rebirth-dominates-2025-box-office/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ori-the-rebirth-dominates-2025-box-office/?share=linkedin) - **Categories:** Nollywood News **Tags:** Femi Adebayo, Ibrahim Chatta, Lateef Adedimeji, Muyiwa Ademola, nollycritic, nollywood, Nollywood 2025, Odunlade Adekola, Omowunmi Dada, Prime Video, Sola Sobowale, Toyin Abraham --- ### [T'egbon T'aburo: Unraveling Pain and Unforgiveness](https://nollycritic.com/tegbon-taburo-unraveling-pain-and-unforgiveness/) **Published:** July 29, 2025 **Author:** Shalom O. Obisesan **Excerpt:** In T'egbon T'aburo, the image of the door plays a powerful role, representing Mojisola’s hardened heart and her refusal to grant her... **Content:** A closed door is more than just a physical barrier. It can be a refusal, a rejection, or an unwillingness to let someone in. In[ ](https://www.imdb.com/title/tt34000835/ " T'egbon T'bauro,")*[T’egbon T’aburo](https://www.imdb.com/title/tt34000835/ " T'egbon T'aburo,")*[,](https://www.imdb.com/title/tt34000835/ " T'egbon T'bauro,") the image of the door plays a powerful role, representing Mojisola’s hardened heart and her refusal to grant her sister a chance at redemption. It takes something beyond the physical, a dream or perhaps a trance, for her to even consider reopening it. By the time she realises what she has done, the door might just be closed for good. ## *T’egbon T’aburo* Directed by: Orire Nwani Produced by: Josh Olaoluwa Genre: Drama Released on: February 2, 2025 (Youtube) Language: Yoruba The [short film ](https://nollycritic.com/?s=short+film "short film ")begins with a radio broadcast delivering grim news. A woman has died in a bus accident caused by a drunk driver. As the report plays, Mojisola, played by the exceptional Carol King, rests. Whether she is asleep or merely lost in thought, the moment is interrupted by a phone call. It is from her sister’s husband, but she ignores it. Then comes the knock at the door. She opens it, and sees her sister. She’s holding back words, but one thing is for sure—she’s angry at her. This shows her reluctance to let her sister in, both literally and emotionally. Mosunmola stands at the threshold, but the welcome is cold. What follows is an emotionally charged conversation that exposes years of pain and resentment. Mojisola’s son died while in Mosunmola’s care. This was not just any loss. It was the loss of her only child, the one thing she had left. The wound is made worse by their history. Mojisola sacrificed so that Mosunmola could have better opportunities. She attended a government school so her sister could go to a private one. She worked hard so Mosunmola could have a future. Despite all of that, Mosunmola failed her in the worst possible way. Mosunmola pleads for forgiveness, but Mojisola refuses. To her, the door to reconciliation is shut. It is not only about the loss of her son. It is about the years of sacrifice, the unfairness of it all, and the feeling that she was repaid with grief. Mosunmola begs, not just for Mojisola to forgive her, but for Mojisola to forgive herself. But bitterness has built walls too high to climb. Even when Mosunmola says she does not want her sister to grieve alone, Mojisola remains unmoved. Then the phone rings again. This time, she answers. It is her husband, delivering the news that Mosunmola died that morning, just as the radio had reported. Mojisola laughs, confused, turning to her sister, only to find she is no longer there. The realisation is devastating. The conversation was never real. It was a dream, or perhaps something beyond that, a final chance for reconciliation. Mojisola had shut the door once again. Now, it is closed forever. T’egbon T’aburo does not present forgiveness as something simple or easy. It treats it as a deeply personal struggle, shaped by pain and time. The film suggests that while wounds may heal, scars remain, and they can make forgiveness feel impossible. Mojisola was given one last opportunity, a space outside of reality to reconsider. Her bitterness was too strong and her pain too raw. Now, all that remains is regret. Carol King and Adeola Awodein’s performance is the heart of the film, capturing every flicker of anger, grief, and internal conflict. The emotions feel raw, unfiltered, and deeply human. It is no surprise that T’egbon T’aburo won Best Performance at [The Annual Film Mischief awards in 2024.](https://filmfreeway.com/filmratsmischief "The Annual Film Mischief awards in 2024.") Every moment lingers, forcing the audience to sit with the same weight of loss and missed chances. The film leaves us with a haunting question. What if Mojisola had opened the door just a little wider? What if she had allowed herself to listen, even if she was not ready to forgive? Life does not always give second chances. Sometimes, by the time we are ready to open the door, there is no one left standing on the other side. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/tegbon-taburo-unraveling-pain-and-unforgiveness/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/tegbon-taburo-unraveling-pain-and-unforgiveness/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/tegbon-taburo-unraveling-pain-and-unforgiveness/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/tegbon-taburo-unraveling-pain-and-unforgiveness/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/tegbon-taburo-unraveling-pain-and-unforgiveness/?share=linkedin) - **Categories:** Articles, Nollywood, Short Films **Tags:** nollycritic, nollywood, T'egbon T'bauro, Tegbon Taburo --- ### [Kimono Kid: Grief, Identity, and the Crossroads of Culture](https://nollycritic.com/kimono-kid-grief-identity-and-the-crossroads-of-culture/) **Published:** February 27, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Kimono Kid is not just a narrative short; it is an experience of the mind—one that immerses the viewer in the... **Content:** [*Kimono Kid* ](https://www.imdb.com/title/tt34852033/ "Kimono Kid ")is not just a narrative short; it is an experience of the mind—one that immerses the viewer in the quiet, internal battle of self-doubt, grief, and identity. It does not tell a story so much as it pulls the audience into a state of quiet reflection, mirroring the inner world of its protagonist. Directed by Josef Adamu and Seyi Akinlade, the film paints an intimate portrait of a young martial artist in Lagos, as he grapples with grief, self-doubt, and the search for meaning. It is a story told through movement, sound, and silence—an exploration of how we seek refuge in discipline when the noise of the world becomes unbearable. ## *Kimono Kid* Directed by: Josef Adamu, Seyi Akinlade Written by: Josef Adamu, Seyi Akinlade, Dare Olaitan Genre: Drama Released on: February 3, 2025 (Youtube) Language: English *Kimono Kid* is a meditation. It pulls us into the mind of its protagonist, Junior, a boy navigating life in Lagos while carrying the weight of his late father’s words: “*Everyone’s destiny is between they and their God*.” The city hums with restless energy, yet for Junior, it is simply noise—a world too chaotic to provide answers. He finds his true self not in the streets but in the dojo, where the structured discipline of Kung Fu offers him something the world outside does not: stillness, purpose, and a connection to his father’s memory. In the discipline of Kung Fu, he finds himself. ##### A Sensorial Experience: The Mind Speaks in Sound and Motion The film’s sound design is a masterclass in restraint. Inspired by the soft, meditative tones of reminiscent in Kung Fu/Chinese films, it never overpowers. Instead, it draws the viewer inward, creating an almost trance-like state. This is a film that breathes. Every footstep, every controlled strike, every pause in motion is deliberate and carries meaning, placing us inside Junior’s headspace. The sounds do not just accompany his movements; they are his movements, reflecting his internal rhythm as he wrestles with grief and self-doubt. The sound design does not intrude; it listens. The audio draws us into Junior’s world without demanding attention. Lagos hums around him—restless, relentless—but inside his mind, the noise fades. The dojo is his escape, the one place where the world makes sense. This is a film that does not merely tell its story—it feels it. The choreography of Kung Fu, with its deliberate motions and precise patterns, becomes a language of its own, mirroring Junior’s emotional state. Each stance and strike speaks of longing, hesitation, and quiet determination. The film allows us to inhabit his search for identity without excessive exposition. We do not need words to understand his struggle; we sense it through every carefully composed frame. ##### Identity is Not Chosen. It is Realised. Junior is Nigerian, but his identity is in motion. His story is uniquely Nigerian, yet deeply universal. Nigeria itself is a mosaic of cultures—internal and external influences shaping personal identities in ways that are often unspoken. More felt than articulated. The film taps into this reality, showing how identity is not always something declared but something discovered, often in unexpected places. Junior’s connection to Kung Fu is not just about martial arts; it is about finding himself in an art form that transcends borders. This[ short film](https://nollycritic.com/?s=short+film " short film") does not present identity as a fixed thing—it is something lived, something shaped by experience. Junior does not simply choose Kung Fu; he finds himself within it. The connection is unspoken but deep, a reflection of the way many Nigerians navigate identity in a cross-cultural world. His practice is not merely a skill—it is survival. It is the way he processes loss, the way he honours his father, the way he carves out his own space in a city that never stops moving. Junior carries the weight of his father’s words: “*Everyone’s destiny is between they and their God*.” In the dojo, he chases that destiny. He moves, he trains, he fights—not for victory, but for understanding. The discipline of Kung Fu becomes his way of making sense of grief, of honouring his father, of carving out his own place in the world. In this, *Kimono Kid* speaks to anyone who has ever sought refuge in discipline, in art, in something greater than themselves to make sense of the world. ##### A Subtle but Powerful Impact; A Story That Sinks Into You What makes *Kimono Kid* so compelling is its ability to make the deeply personal feel universal. *Kimono Kid* does not demand attention. It lingers. It does not push emotion onto the viewer—it allows space for it. Without realising it, you find yourself mirroring Junior’s introspection, drawn into the quiet poetry of his journey, feeling as he feels. It is this ease, this seamless fusion of sound, movement, and emotion, that makes *Kimono Kid* more than just a film about martial arts, or one guy throwing fists and legs in the air. It is a film about becoming. A film about finding identity. It is identity unfolding. It does not seek easy conclusions. There is no grand moment of resolution, no final declaration of self. Instead, there is motion. There is breath. There is the quiet persistence of a boy stepping forward, one movement at a time, towards something only he can truly define. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kimono-kid-grief-identity-and-the-crossroads-of-culture/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kimono-kid-grief-identity-and-the-crossroads-of-culture/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kimono-kid-grief-identity-and-the-crossroads-of-culture/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kimono-kid-grief-identity-and-the-crossroads-of-culture/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kimono-kid-grief-identity-and-the-crossroads-of-culture/?share=linkedin) - **Categories:** Articles, Nollywood, Reviews, Short Films **Tags:** Josef Adamu, nollycritic, nollywood, Seyi Akinlade, short film --- ### [Cordelia: A Slow-Burn Political Drama on Love and Courage](https://nollycritic.com/cordelia-a-slow-burn-political-drama-on-love-and-courage/) **Published:** July 28, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Cordelia unfolds as a romantic period-drama where love and politics entwine with a gentle, almost meditative grace. Directed by the venerable Tunde Kelani... **Content:** In the heart of Nigeria’s turbulent 1990s, *[Cordelia](https://www.imdb.com/title/tt26671730/ "Cordelia")* unfolds as a romantic period-drama where love and politics entwine with a gentle, almost meditative grace. Directed by the venerable Tunde Kelani and adapted from Femi Osofisan’s novella, this film is a delicate dance of human emotion set against the backdrop of military rule. At its core is a disillusioned professor ([William Benson](https://nollycritic.com/?s=william+benson#google_vignette "William Benson")), whose personal turmoil over his marriage collides with the arrival of Cordelia (Omowunmi Dada), the daughter of a colonel embroiled in a coup. Initially beginning as a quiet, introspective journey, it soon spirals into a tale of sacrifice, bravery, and national upheaval. Yet, for all its ambition, *Cordelia* moves at a pace that demands patience: a slow burn that may leave some viewers adrift, whilst others find themselves enchanted by its subtle charms, like the tender moment of Remi’s piano scene. ## *Cordelia* Directed by: Tunde Kelani Written by: Omowunmi Ajiboye/Femi Osofisan Genre: Drama Released on: July 18, 2025 (Cinemas) Language: English ##### The Story, Whispers of the Heart The story of *Cordelia* is one of quiet transformations and unspoken desires. The professor, a lecturer frayed by marital discord, is a man whose inner world mirrors the fractured nation around him. His journey from paralysis to reluctant heroism anchors the film’s exploration of personal and political secrets. Cordelia, meanwhile, is both spark and enigma, her cheerfulness veiling deeper fears. The emotional arc unfolds deliberately, as if hesitant to rush its revelations, reflecting the uncertainty of the era. This restraint is the film’s strength, letting silence and small gestures carry weight. But it can also feel distant, requiring multiple viewings to fully sink in, as the characters’ inner lives whisper rather than shout. ##### The Plot, A Slow-Moving River The plot flows like a river: deep, calm, and sometimes elusive. It follows the professor’s descent into chaos after sheltering Cordelia, a student whose life is upended by a military coup tied to her father. Political satire simmers beneath the romance, with the coup driving both tension and tenderness. Yet, the pacing is unhurried, often lingering too long on quiet moments. The university riot feels muted, and Cordelia’s peril lacks urgency, making the narrative circle its themes rather than charge towards them. Still, sweet interludes like Remi’s piano scene pierce the stillness, reminding us that beneath the politics, this is a story of human connection. For some, this slowness may disconnect; for others, it’s a meditative pull. ##### The Performances, A Mixture of Light and Shadow The performances are a delicate interplay of brilliance and restraint, with some actors illuminating the screen whilst others remain quietly in the background. William Benson’s Professor Dekunle is the film’s quiet anchor, his understated bravery and inner turmoil lending much of its emotional weight. Omowunmi Dada’s Cordelia, though vibrant, can feel like a puzzle piece that doesn’t quite fit, her cheerfulness occasionally at odds with the story’s gravity. Yet, it is Yvonne Jegede’s Remi who truly captivates, her fiery spirit and underlying pain adding a rich, compelling layer to the narrative. Her feisty nature isn’t mere bravado, but a reflection of her character’s wounds, making her a standout presence that draws the audience in. Keppy Ekenpyoung, as Colonel Nwanze-Peters, delivers a masterful portrayal, his expertise shining through even in a challenging moment. In a scene where he converses with Kunle, his lines feel unnecessarily delayed, dragged, and repetitive, perhaps a stumble in delivery. Yet, he masks this imperfection with such skill that it’s almost unnoticeable. Whilst a touch of editing might have sharpened the exchange, the moment remains passable and doesn’t dim his overall brilliance. However, the dynamic between the professor, Remi, and Cordelia occasionally strains, as if the script struggles to weave their stories together seamlessly. Together, these actors form a mixed but engaging ensemble, with Remi and the Colonel leaving the strongest impressions. ##### The Gentle Hand of Craftsmanship Tunde Kelani’s direction is steady and reverent, guiding *Cordelia* with a soft touch. Adekunle Nodash Adejuyigbe’s cinematography bathes the film in a nostalgic glow, lingering on intimate details—the flicker in the professor’s eyes, the curve of Cordelia’s smile, even a radio. This patience mirrors the story’s pace, though it sometimes lacks the dynamism to push it forward. The score, crafted by Michael Ogunlade and University of Delaware musicians, is a subtle companion—sombre and soft, it deepens the reflective mood without overwhelming it. A dubbed singing scene between the professor and his wife jars briefly, but overall, the craftsmanship shines through in its restrained elegance. ##### Final Thoughts *Cordelia* is a film that asks for your patience and rapt attention, offering not grand gestures but quiet revelations. It explores sacrifice and bravery against a backdrop of history, unfolding like a photograph developing in dim light. For those who lean into its rhythm, it’s a layered gem; for others, its muted beats and deliberate pace may feel like a wall. Its cultural and political commentary is subtle, almost too gentle, leaving questions to linger in the silence. It’s a film that rewards contemplation, not immediacy. ##### Verdict *Cordelia* is for the patient soul who savours a slow, introspective tale where character and theme bloom over time. If you seek a meditative escape rather than a gripping ride, it’s a quiet triumph worth your while. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/cordelia-a-slow-burn-political-drama-on-love-and-courage/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/cordelia-a-slow-burn-political-drama-on-love-and-courage/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/cordelia-a-slow-burn-political-drama-on-love-and-courage/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/cordelia-a-slow-burn-political-drama-on-love-and-courage/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/cordelia-a-slow-burn-political-drama-on-love-and-courage/?share=linkedin) - **Categories:** Articles, Movies, Nollywood, Reviews **Tags:** Adekunle Nodash Adejuyigbe, collaboration, Cordelia, critique, cultural diversity, Drama, Femi Osofisan, Jide Bello, Keppy Ekenpyoung, New York African Film Festival, nigerian cinema, Omowunmi Ajiboye, Omowunmi Dada, period-drama, political satire, Review, Romance, Tunde Kelani, William Benson, Yvonne Jegede --- ### [Bendel Girl Review: A Strong Start That Fizzles Out in Execution](https://nollycritic.com/bendel-girl-review-a-strong-start-that-fizzles-out-in-execution/) **Published:** July 28, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Bendel Girl by Gbenga Michael fails to deliver its mystery-themed drama. It features former BBNaija housemates Saskay, Tolanibaj and Tobi Bakre. **Content:** Written and directed by Gbenga Kayode, a renowned [BBNaija](https://nollycritic.com/from-reality-tv-to-the-big-screen-3-bbnaija-stars-to-watch-in-nollywood/) Series Director, *Bendel Girl* marks his feature film debut in Nigerian cinemas. Distributed by [Blue Pictures](https://bluepicturesng.com/), the film premiered nationwide on Friday, July 18, 2025. While its trailer hinted at a gripping mix of mystery, suspense, and drama, the final product fails to deliver on that promise. ## *Bendel Girl* Directed by: Gbenga Kayode Written by: Gbenga Kayode Genre: Psychological Drama Released on: July 18, 2025 (Cinemas) Language: English **A Strong, Fresh, and Promising Premise** Set in 2024, *Bendel Girl* follows the mysterious reappearance of Theresa, a teenage girl believed to have died 35 years earlier. Played by ex-BBNaija housemate Saskay, Theresa’s return raises questions about time, death, and the supernatural. The film weaves a parallel storyline with Esuosa (played by [Timi Agbaje](https://nollycritic.com/from-reality-tv-to-the-big-screen-3-bbnaija-stars-to-watch-in-nollywood/)), a man whose life has always been intertwined with the spiritual realm. After years of relying on mystical practices to cheat death, Esuosa suddenly finds himself rejected by the same forces that once preserved him, and now must fight for his survival. Themes of time travel, life after death, and mystical powers offer a compelling premise. Unfortunately, this promise is quickly lost in the film’s muddled execution. **Momentum Crumbles Under Misdirection** Despite an intriguing setup, *Bendel Girl* suffers from a lack of narrative direction. The story meanders without a clear plan, especially in its attempt to tackle complex topics like time travel and spiritual duality. The plot often feels like it’s chasing ideas it doesn’t fully understand or commit to. Character development is shallow, and dialogue is often weak or inconclusive. For example, Theresa’s mysterious return barely affects her emotionally or spiritually; we never truly understand her inner world, motivations, or desires. Her journey lacks personal depth, and she remains distant from the audience throughout. The subplot involving Erika (Amanda Iriekpen) and Dave (Tope Tedela) is the only storyline that feels somewhat grounded, mostly due to the actors’ performances. Their strained relationship is believable—they know they’re wrong for each other but are desperate to make it work for hidden reasons. However, the main arcs—Theresa and Esuosa’s—fail to meaningfully intersect. One notable attempt is a scene where a traditional priest tells Esuosa that, like Theresa, he exists between life and death. But even that feels underdeveloped. The ending leaves the audience with more confusion than closure: Why did Theresa enter the forest without any inkling of time travel? Why did Esuosa vanish without explanation? Why was Theresa’s childbirth the final scene when it adds no narrative resolution? **Performances That Struggle to Carry the Weight** Unfortunately, many performances fall flat and do little to elevate the struggling story. Saskay’s portrayal of Theresa lacks emotional resonance. Her character should have been the emotional centre of the film, yet the disconnection between actor and role is stark. Lines are delivered, not embodied, and her performance remains static throughout, culminating in visible fatigue by the film’s end. Timi Agbaje, better known for his online comedic persona, brings that same energy to a role that demanded more gravity. His portrayal of Esuosa often slips in and out of his digital character, making it hard to distinguish between the actor and the role. While one might argue his character was intended to be sarcastic or darkly humorous, the tone of the story required a deeper, more serious performance—one that never quite arrived. This inconsistency shifts the burden of salvaging the story onto supporting characters like Dave, his sister, and Doctor Darlington. Of the ensemble, Erika stands out as the antagonist. Her portrayal is grounded, believable, and perhaps the only performance that fully understands the assignment. **Striking Cinematography Let Down by Poor Sound Choices** One of the film’s standout elements is its cinematography. Many shots feel thoughtful and purposeful, adding texture to key scenes. Aerial shots during Dave and Theresa’s journey to Benin, and the haunting visuals of Theresa wandering through the forest bring visual elegance to the film. However, this strength is undercut by mismatched sound design. The score consistently builds anticipation for drama that never materializes, misleading the audience and weakening emotional payoff. Worse still is the use of Sir Victor Uwaifo’s *Joromi*—a nostalgic highlife tune that feels completely out of place. Dave, who was never portrayed as an old-school enthusiast, inexplicably plays the song in a moment meant to create a connection with Theresa. It could’ve been a lighthearted, bonding scene—but the choice feels forced and unearned. One scene that just felt right with the sound was Theresa finding out that her entire family was dead. The music, the performance and the cinematography came out beautifully. The road trip to Benin raises questions about the film’s sense of location. While the story implies a journey to Benin, the primary setting remains in Ibadan.The house Dave and Theresa arrive at is located within the University of Ibadan. Though slightly aged and fitting the visual tone the story aims for, the location is easily recognizable to anyone familiar with the university. Between Esuosa and Baba, there’s a noticeable lack of precision and depth in the portrayal of the ritual scene and other spiritual elements. Baba’s only convincing display of spiritual power is his sudden disappearance from Esuosa’s house. Beyond that, his costume and mannerisms feel overly modern, undermining the authenticity of his spiritual role. **Final Thoughts** At its core, *Bendel Girl* had the potential to offer something different in Nollywood’s growing catalogue of genre experimentation. But the execution highlights a broader concern: Are some content creators being cast more for their fame than their craft? The film raises a cautionary note for Nollywood—faces alone cannot carry a film. Vision, storytelling, and acting must align. Appearances from Brutus Richard and Tobi Bakre are forgettable, made worse by poor synergy with the main cast. Even the portrayal of traditional elements feels stripped of cultural authenticity, as the modern “Babalawo” lacked any real traditional grounding. Time travel remains a rich and untapped storytelling device. But until Nollywood filmmakers invest more deeply in script development, performance training, and story cohesion, we may keep getting beautiful ideas that lose their way. **Verdict** Bendel Girl sets off with a promising concept but derails long before its destination. A visually thoughtful film, let down by weak storytelling, poor character development, and underwhelming performances. It earns itself a 2 from us. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/bendel-girl-review-a-strong-start-that-fizzles-out-in-execution/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/bendel-girl-review-a-strong-start-that-fizzles-out-in-execution/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/bendel-girl-review-a-strong-start-that-fizzles-out-in-execution/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/bendel-girl-review-a-strong-start-that-fizzles-out-in-execution/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/bendel-girl-review-a-strong-start-that-fizzles-out-in-execution/?share=linkedin) - **Categories:** Articles, Reviews **Tags:** film, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Reviews, Saskay, Tobi Bakre --- ### [From Reality TV to the Big Screen: 3 BBNaija Stars to Watch in Nollywood](https://nollycritic.com/from-reality-tv-to-the-big-screen-3-bbnaija-stars-to-watch-in-nollywood/) **Published:** July 26, 2025 **Author:** Faith Oloruntoyin **Excerpt:** BBNaija has proven to be more than just a reality TV show. It has produced some notable Nollywood actors and actresses which include... **Content:** Over the years, [Big Brother Naija](https://en.wikipedia.org/wiki/Big_Brother_Naija) (BBNaija) has evolved beyond the bounds of reality television. It now serves as a launching pad for some of Nigeria’s most talented and bankable screen actors. Although the show primarily entertains, it also offers contestants high visibility, enabling many to build full-fledged careers in Nollywood. Contestants often enter the house as unknowns and exit with massive fanbases, industry attention, and new opportunities. And go on to reinvent themselves across the entertainment landscape. Many housemates have leveraged the BBNaija platform to explore various ventures, including acting. However, only a select few have gone beyond surface-level appearances to make a lasting impact in Nollywood. These standout alumni combine audience appeal with genuine acting talent — a dual strength that gives them a strategic advantage. In today’s digital-first era, where visibility is a valuable currency, their ability to attract audiences, trend online, and command leading roles makes them especially appealing to filmmakers and producers. Their sustained success shows that reality TV, when paired with talent, ambition, and hard work, can offer a credible pathway to long-term relevance in Nigeria’s dynamic film industry. **Gideon Okeke: The Theatre-Polished Professional** Gideon Okeke first gained public attention during the debut season of Big Brother Nigeria in 2006. But his disciplined approach to craft and formal training in theatre helped him stand out. He transitioned into film and television with intentionality, focusing on both stage and screen roles. His breakout came via his long-running role on *Tinsel*, Nigeria’s longest-running soap opera. Where he portrayed Phillip Ade-Williams — a hot-headed but ambitious character. This performance established his credibility in the industry. He further proved his skill in *93 Days* (2016), playing Dr. Morris Ibeawuchi, a key figure in Nigeria’s successful containment of the Ebola outbreak. The film earned a Best Movie (Drama) nomination at the Africa Magic Viewers’ Choice Awards (AMVCA) and gained international attention. Critics praised Gideon’s performance for its restraint and emotional intelligence. In *A Place in the Stars*, which won Best Nigerian Film at the 2015 AMVCAs, he played a young lawyer battling counterfeit drug barons, embodying moral tension and youthful idealism. These performances strengthened his reputation as a serious actor. Gideon has consistently received industry recognition. In 2016, the Best of Nollywood Awards nominated him for Best Kiss in a Movie (*Anniversary*). In 2017, he secured an AMVCA nomination for Best Supporting Actor for *93 Days*. His 2022 performance in *Loving Rona* earned a nomination for Best Actor in a Comedy, while in 2024 and 2025, he earned consecutive AMVCA nominations for Best Lead Actor for *Egun* and another leading role, further affirming his place among Nollywood’s elite. **Bisola Aiyeola: From Entertainer to Leading Lady** Aiyeola’s career reflects one of BBNaija’s most inspiring transformations. A multitalented performer — singer, host, and actress — she rose to prominence as the first runner-up in the 2017 edition of Big Brother Naija and quickly transitioned into acting with charm and range. Her post-BBNaija debut in *Picture Perfect* (2017) proved transformative. As Kiksy, a street-smart tailor, she delivered a performance filled with humour and authenticity, earning her the Trailblazer Award at the 2018 AMVCAs — a prize that celebrates rising talents in African cinema. In *This Lady Called Life* (2020), she portrayed Aiye, a single mother chasing her culinary dreams amidst deep emotional struggles. Her heartfelt performance led to a Best Actress nomination at the AMVCAs, confirming that she could carry a film as a lead. Perhaps her most memorable character remains Sola Sugar in *Sugar Rush*. Fans still reference her quirky yet grounded portrayal, which captured both comedic and emotional tones. More recently, she defied expectations with her role as Madam Bassey in *Everybody Loves Jenifa*. Taking on the part of an elderly, physically challenged but educated woman, Bisola stepped far outside her usual range. The performance shocked many and showcased her serious acting capabilities. Her core strength lies in her ability to oscillate between comedic relief and dramatic intensity seamlessly. In *Madam Bassey*, she took on a physically demanding and dramatically serious role — and delivered with excellence, again proving her versatility. **Tobi Bakre: The Adrenaline-Powered Star** The 2018 BBNaija finalist wasted no time in converting his popularity into a purposeful acting career. Initially perceived as a charismatic heartthrob, he has emerged as a compelling presence in action and drama genres. His acting debut in *Sugar Rush* (2019) introduced him as a natural fit for fast-paced storytelling. But it was his role in *Brotherhood* (2022) that marked a turning point. As Akin Adetula, a twin on the wrong side of the law, Tobi delivered a performance marked by physical intensity and emotional nuance. His dedication to stunt work and character immersion earned widespread acclaim and culminated in a Best Actor win at the 2023 AMVCAs. He continued this trajectory with another gangster role in *Gangs of Lagos*, sparking conversations about whether he was at risk of being typecast. However, in 2024, he subverted expectations with *[Farmer’s Bride](https://nollycritic.com/see-exclusive-bts-images-of-tobi-bakre-in-farmers-bride/)*, where he played Femi, a smooth-talking playboy. This role — light, flirtatious, and far removed from physical combat — showcased his comedic timing and romantic charm, further proving his acting range. Tobi’s evolution reflects a strategic and calculated progression from reality star to leading man, and his ability to command different emotional spectrums ensures his continued relevance in Nollywood’s fast-changing landscape. **Conclusion** The journeys of Okeke, Aiyeola, and Bakre exemplify how BBNaija has evolved into a powerful springboard for sustainable careers in Nollywood. Each of these alumni demonstrates that while the reality show can open the door, it is true talent, adaptability, and strategic career choices that ensure longevity an. If anything, the trajectories of these former housemates are an indication that reality television can no longer be dismissed as a fleeting spotlight. Because in the right hands, it is a launchpad for excellence. BBNaija season 10 is set to commence on Saturday, July 26, 2025. All eyes are glued to see what new stars this drama packed season will birth. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/from-reality-tv-to-the-big-screen-3-bbnaija-stars-to-watch-in-nollywood/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/from-reality-tv-to-the-big-screen-3-bbnaija-stars-to-watch-in-nollywood/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/from-reality-tv-to-the-big-screen-3-bbnaija-stars-to-watch-in-nollywood/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/from-reality-tv-to-the-big-screen-3-bbnaija-stars-to-watch-in-nollywood/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/from-reality-tv-to-the-big-screen-3-bbnaija-stars-to-watch-in-nollywood/?share=linkedin) - **Categories:** Articles, Movies, Nollywood **Tags:** BBNaija, Bisola Aiyeola, Gideon Okeke, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Tobi Bakre --- ### [My Body God's Temple Makes Sexy a Lot More than Nudity](https://nollycritic.com/my-body-gods-temple-makes-sexy-a-lot-more-than-nudity/) **Published:** July 26, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nudity and sexual acts are usually the hallmark of many films tagged as a romantic genre. My Body, God’s Temple defies that. **Content:** Many romantic films often rely heavily on sexual acts, nudity, and eroticism to portray intimacy. But Uzoamaka Power, in her directorial debut *[My Body, God’s Temple](https://nollycritic.com/big-cabal-media-goes-cinematic-with-zikoko-life/ "My Body, God’s Temple")*, defies that convention. She presents both romance and intimacy with striking decency, still captivating, still leaving the viewer wanting more. After all, intimacy struggles are very real, even for newlyweds who either remained virgins or practised celibacy at some point. ## My Body God’s Temple Directed by: Uzoamaka Power Produced by: Blessing Uzzi Genre: Drama Released on: July 25, 2025 (Youtube) Language: English ##### **A Story Rooted in Love, Shame and Fear** Built on themes of love, commitment, and valid desires, the 30-minute short explores the life of a newlywed couple struggling to consummate their marriage. The conflict isn’t about a lack of love but a fear rooted in the woman’s prolonged virginity.[ Power](https://nollycritic.com/a-night-in-2005-a-thought-provoking-drama-on-power-trauma-and-justice/) and[ Andrew Yaw Bunting](https://www.imdb.com/name/nm9298963/) play the couple navigating the tension and tenderness of a union on the edge. The film sheds light on an issue many women are afraid to speak about. Society often treats conversations about female sexual anxiety as taboo, even immoral. It challenges questions and assumptions like: *Why should a woman desire sexual intimacy?* *Shouldn’t sex come naturally without any need for information or preparation?* *Why talk about it—won’t people mock you?* These warped norms have silenced countless women who struggle with sexual issues in marriage. ##### **A Ray of Hope and a Tough Dilemma** Through Omasilu’s journey, *My Body* offers hope to women facing similar fears, especially those who choose abstinence during courtship. The story reminds us that it’s okay to seek help from books, the internet, or trusted friends. What matters is filtering that advice and weighing the consequences. Omasilu’s character remains consistent yet conflicted, especially as she weighs solutions that might clash with her spiritual values. The film doesn’t resolve this tension explicitly, but it plants a thought-provoking question in the minds of its viewers: *Can self-pleasure coexist with certain Christian beliefs?* ##### **A Strong Performance on All Fronts** Power shines—not just as the lead actress, but also as the film’s writer and director. Which makes it even more commendable, as she can direct herself well enough that the story doesn’t suffer. Even with other details like cinematography, setting, other characters’ delivery and edits. The chemistry between Omasilu and Zion was undeniable. Even in conflict, their interactions felt like a couple trying to heal—not hurt each other. Every stare, flatter, giggle, dance, joke and kiss shared was like a music note for a love song. But this time, their love story was the love song being written. Zion’s character was endearing and intentional. Every moment felt like an opportunity for him to either back down or disappoint her. But that wasn’t the case; he reached forward even more and always had her back. His character was the prince-charming role, which we often don’t get to see in Nollywood. Supporting actors like Ejiro Onajaife, Uche Chika Elumelu, and Chiagoziem Nwakanma brought nuance to their roles. They reflected the two faces of society—those quick to judge and those ready to help. Initially sceptical of their friend’s struggle, they later shift to acceptance and support. ##### **Zikoko Life’s Continuous** Technical Prowess The cinematography and editing, led by Muhammad Attah and Eddie Eduvie, delivered visual brilliance. Each location stood out, and every angle felt intentional. One can’t quite tell where the magic lies—whether in the camera work or the editing—but the result is breathtaking. The standout scenes are too numerous to count, but some distinct ones include the evening view from the couple’s balcony. That shot gives nighttime in Lagos a facelift and makes it less treacherous than the realities. There is also a beautiful glazing that the melanin skin is giving, like it’s communicating bold, subtle, but not fragile. The garden scene also leaves a lasting impression on the mind of anyone. The play of colors as opposed to just leaving it bare. And then the exit shot, which stays on the couple’s upper body as opposed to a full view. Although it might seem like a random shot, it clearly helps shine the intense intimacy they had going on, even with just their faces and their hands. It then births their successful consummation, which is to be one of the best sex scenes ever. The shots which showed the acceptance, desire and intense hunger they both shared were very much void of nudity. Hand grips, leg tosses, bra stripping, pulse movements and even sounds of their breathing- adequately gave everything an intimate scene should give. This particular scene redefines every single thing about what a sex/ romance scene should give. The couple’s victory dance at the end is also an unforgettable one. The Romantic, joyful, and beautifully shot makes it feel like a music video in the best way possible. They share yet another fun and open moment, but still have their love and desire intact and visible. The lighting gives the couple the feel of a spotlight on stage. And then Omasilo’s confidence as she dances also gives way to a light-up shot. Well, dancing is incomplete without the right beat, sound or music, and this scene had just the right pick. With You by Davido and Omah Lay gave *My Body, God’s Temple* just the right closing it needed. ##### **A Conversation Worth Having** *My Body, God’s Temple* has raised critical questions that deserve open discussions. It urges ladies to stop suffering in silence and start talking about the realities many quietly endure. Conversations surrounding sex education should be held by the right persons and at the right time. But it shouldn’t be seen as taboo or something to be ashamed of. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/my-body-gods-temple-makes-sexy-a-lot-more-than-nudity/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/my-body-gods-temple-makes-sexy-a-lot-more-than-nudity/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/my-body-gods-temple-makes-sexy-a-lot-more-than-nudity/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/my-body-gods-temple-makes-sexy-a-lot-more-than-nudity/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/my-body-gods-temple-makes-sexy-a-lot-more-than-nudity/?share=linkedin) - **Categories:** Articles, Reviews, Short Films **Tags:** film, love, nollycritic, nollywood, Nudity, Reviews, Romance, Uzoamaka Power, Zikoko Life --- ### [Every Nollywood Series on Netflix: A Short Review](https://nollycritic.com/every-nollywood-series-on-netflix-a-short-review/) **Published:** July 26, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood’s got a serious foothold on Netflix, serving up a wild mix of series that swing from gritty crime dramas, mythic epics... **Content:** Nollywood’s got a serious foothold on [Netflix](https://www.netflix.com/browse "Netflix"), serving up a wild mix of series that swing from gritty crime dramas, mythic epics, sharp comedies, and heartfelt dramas. Fueled by Netflix’s investment, these originals blend cultural specificity with universal appeal, showcasing local talent, ambitious production values, and narratives that challenge stereotypes while embracing Nigeria’s vibrant creative pulse. From precolonial kingdoms to modern Lagos hustle, these shows tackle themes like power, betrayal, identity, and resilience, offering something for every viewer. Here’s what each series is, when it dropped, and why it matters. You might as well add some to your watch ##### To Kill a Monkey (2025) [*To Kill a Monkey* ](https://nollycritic.com/to-kill-a-monkey-a-gritty-tale-of-betrayal-and-survival/ "To Kill a Monkey ") follows Efemini’s slide into cybercrime, grappling with moral and dangerous fallout. Premiering on Netflix in July 2025, *To Kill a Monkey*, directed by Kemi Adetiba, tracks Efemini, a young man lured into the high-stakes world of cybercrime in Lagos, where quick cash comes with steep moral and physical costs. Led by William Benson and Bucci Franklin, the series weaves a tense narrative of ambition, betrayal, and redemption, set against Nigeria’s booming tech scene. Its slow burn pacing and sharp dialogue capture the paranoia of digital scams, while Efemini’s personal struggles ground the story in human stakes. The show’s sleek visuals and pulsing soundtrack amplify its modern edge, though some tropes feel familiar. It matters for its timely dive into Nigeria’s cyber culture, exposing the allure and dangers of fast money in a connected world. If you’re into modern crime stories, this one’s worth checking out. ##### Baby Farm (2025) *Baby Farm*, directed by Kayode Kasum and produced by Mo Abudu, premiered on Netflix on March 21, 2025, tackling the grim reality of baby trafficking in Nigeria. The series follows Adanna, a pregnant woman abandoned by her boyfriend and shunned by her family, who flees to Lagos and entrusts her unborn twins to the Evans Foundation, an NGO masking a sinister baby farm operation. Weaving in Cherise, an actress grappling with infertility, and Joy, an investigative journalist exposing the truth, the story delivers a tense exploration of deception and resilience. Its stark visuals and strong performances, including Onyinye Odokoro, amplify its unflinching social commentary. This series stands out for pushing Nollywood’s boundaries, sparking vital conversations about systemic exploitation. If raw crime dramas with social commentary are your thing, it’s a bold choice. ##### The Party (2025) A posh Lagos birthday bash turns deadly in *The Party*, a whodunit where everyone’s a suspect. Dropped on Netflix in May 2025, starring Kunle Remi and Kehinde Bankole, the series blends high-society glamour with suspense, unraveling secrets of wealth, envy, and betrayal. Its polished cinematography and sharp character dynamics elevate the drama, though some mystery tropes feel familiar. The show’s strength lies in its portrayal of Lagos’s elite, exposing the fragility of status and trust beneath the glitz. It’s a flashy, fun watch that hooks you with its twists and cultural nuance, perfect for thriller fans craving Nigerian flair. It’s stylish but leans on familiar mystery tropes. If you love high-society thrillers, this one’s a fun, flashy watch. ##### Seven Doors (2024) Set in a fictional precolonial Yoruba kingdom, *Seven Doors* follows Prince Adedunjoye, a reluctant heir forced to confront his legacy when a divine prophecy presents him with a series of metaphysical trials. Each door he opens leads to a new test, some rooted in history, others in myth, all tied to the fate of his people. The series takes big creative risks, combining folklore with psychological horror and political allegory. Its use of language, costuming, and spatial design crafts an immersive world that pulls directly from cultural memory. It’s a genre experiment that treats spirituality and tradition as architecture for dramatic tension. The series leans into allegory and folklore, embracing a mythic tone rarely attempted at this scale. ##### Inside Life (2024) *Inside Life*, directed by Clarence Peters, is a gritty Nigerian series set in the chaotic underbelly of Lagos. It interweaves the backstories of prisoners in a Lagos jail, exposing societal ills like police brutality, human trafficking, and ritualistic practices through characters like a desperate man, a devoted sister, and an ambitious woman. The series uses raw cinematography and intense pacing to mirror the instability of its world, with Gift Ndah leading a strong ensemble cast. Its unflinching portrayal of systemic dysfunction and personal survival makes it a bold addition to Nollywood’s Netflix slate. *Inside Life* matters for its raw, character-driven exploration of Lagos’s harsh realities, blending personal drama with social critique. ##### Ólòtūré: The Journey (2024) *Oloture: The Journey* is a six-part series that continues the harrowing story of *Òlòtūré*, the 2019 film directed by Kenneth Gyang and produced by EbonyLife Studios. The series follows undercover journalist Òlòtūré (Sharon Ooja) after she is trafficked across borders in the aftermath of her infiltration into Nigeria’s human trafficking underworld. Unlike the film’s confined intensity, the series unfolds across multiple geographies and narrative layers, exploring corruption, complicity, and the emotional cost of bearing witness. With each episode charting her passage through exploitation, violence, and survival, the series shifts settings from Nigeria to North Africa and finally Europe, deepening its critique of global complicity in trafficking networks. Visually raw and emotionally searing, *Oloture: The Journey* expands the cinematic universe of the original film while maintaining its investigative intensity. While some viewers questioned the creative liberties taken, especially in pacing and character arcs, the series was largely lauded for its bold storytelling and its refusal to sanitise difficult truths. ##### Last Year Single (2024) Dropped on Netflix in September 2024, *Last Year Single* is a lightweight comedy-drama following a young woman navigating love, career, and self-discovery in Lagos’s fast-paced urban scene. Starring Omoni Oboli and Bimbo Ademoye, the series blends sharp wit with relatable struggles, capturing the highs and lows of modern Nigerian life. Its breezy tone and colorful visuals make it an easy binge, though its lighter themes don’t dig as deep as other Nollywood dramas. The show shines in its authentic portrayal of the pressures of balancing romance with ambition. It’s a fun, accessible watch that resonates with anyone chasing dreams in a bustling city. ##### *Ololade* (2024) *Ololade* is a character-driven dramedy that follows Shina and Lateef, two long-time friends who stumble into sudden wealth under suspicious circumstances. Initially framed as a story of underdog triumph, the show slowly reveals the toll of deception, class pressure, and the fragility of ambition. Created by Adeniyi Joseph Omobulejo (Niyi Johnson), the series blends satirical humour with stark realism. What starts with impulsive joy turns into a slow burn of secrets and moral rot. ##### Anikulapo: Rise of the Sceptre (2024) Set in a pre-colonial Yoruba kingdom, this fantasy epic builds on the world introduced in Kunle Afolayan’s 2022 feature *Aníkúlápó*. This series continues its folkloric world through a longer, serialized form. Set in the mythical Oyo empire, the show follows Saro (played by Kunle Remi) as he navigates power, betrayal, and fate after being resurrected from death. The series deepens the original’s exploration of ambition, destiny, and divine retribution, now enhanced by more elaborate worldbuilding, costuming, and visual effects. While some critics pointed to its uneven pacing and episodic sprawl, *Rise of the Sceptre* marks a significant step in genre expansion within Nigerian television blending epic fantasy with Yoruba mythology for a local audience with global streaming access. With lavish set design and steeped mythology, it reclaims fantasy as a space for African histories. The tight episode structure, stylised visuals, and deliberate tonal shifts allow the story to move from light-hearted to tragic without losing narrative focus. It’s a compact but layered commentary on Lagos hustle culture, and the limits of loyalty when money enters the room. ##### Postcards (2024) An experimental short-form anthology focused on migration, identity, and memory. Each self-contained episode presents a vignette: people in motion, reflecting on who they were and where they’re going. *Postcards* is a Netflix original romantic drama series created by Hamisha Daryani Ahuja, the filmmaker behind *Namaste Wahala*. This cross-cultural story follows two main characters, one Nigerian, one Indian, who form a deep connection through an unexpected exchange of handwritten postcards. Filmed across Lagos and Mumbai, *Postcards* uses location as an emotional and narrative device, visually contrasting the vibrancy and constraints of both worlds. With its warm cinematography, bilingual dialogue, and an emphasis on written intimacy in a digital age, the series offers a refreshing take on long-distance romance. While it occasionally leans into cliché, *Postcards* stands out for its sincerity and global-minded storytelling. ##### The Plan (2023) *The Plan* centers on three friends whose loyalty cracks after hiding stolen gold, spiraling into lies and betrayal. Premiering on Netflix in February 2023, and starring Rahama Sadau and Rosaline Meurer, the series delivers a gripping human-driven drama set against Nigeria’s underworld. Its raw performances highlight the cost of greed and broken trust, though some themes echo familiar crime stories. The show’s strength lies in its character focus, using intimate moments to reveal the emotional toll of their choices. It’s a compelling watch that captures the stakes of friendship under pressure, perfect for fans of morally complex thrillers. If you’re into human-driven stories about trust gone wrong, this one’s a quick, effective watch. ##### Shanty Town (2023) A crime thriller set deep within Lagos’s shadow economy. It centres on a group of sex workers led by Scar (Chidi Mokeme), a charismatic yet ruthless kingpin, and the women determined to escape his control. Created by Xavier Ighorodje and Chichi Nworah, the series explores how systems of trafficking, poverty, and impunity entrench themselves in everyday life. Its use of intense colour grading, abrupt violence, and high-stakes pacing mirrors the instability of its world. The ensemble cast including Ini Edo, Nancy Isime, and Nse Ikpe-Etim, delivers heightened performances that don’t trade complexity for spectacle. What makes *Shanty Town* stand out is its refusal to sanitise its setting. It leans into discomfort, even when it’s messy. It’s unpolished in the best way: urgent, angry, alive. ##### *Far From Home* (2022) This five-part drama centres on Ishaya, a gifted young artist from Lagos’s working-class outskirts, who gains a scholarship to an elite private school. The promise of a better life quickly unravels as he is pulled into a web of blackmail, fraud, and social double-dealing. While marketed as teen drama, *Far From Home* builds a sharp critique of class stratification, aspirational culture, and the pressure to perform identity. The show leans into its genre roots like romance, betrayal, secrets, but its standout feature is how it overlays style with substance. The production is slick, the performances tight, and the emotional stakes grounded. It’s aspirational TV that doesn’t forget its edge. ##### Becoming Abi (2021) *Becoming Abi* tags along with Abi, a young creative navigating her dream gig at a Lagos ad agency, inspired by real-life hustle. Dropped on Netflix in October 2022, the film stars Bolu Essien. This sitcom blends sharp humor with relatable insights into ambition and workplace dynamics. Its breezy tone and depiction of Lagos’s creative scene make it a crowd-pleaser, though it leans lighter than deeper Nollywood dramas. The series shines in capturing the grind and glamour of chasing dreams in a competitive city. It’s fun and relatable but doesn’t dig too deep. If you’re after a light comedy about chasing dreams in the city, it’s a breezy watch, perfect for a chill weekend. ##### King of Boys: The Return of the King (2021) Kemi Adetiba’s return to the *King of Boys* universe took a sharp left turn, not a feature-length sequel but a limited series that unpacks the rise of Eniola Salami into political power. Here, Eniola Salami returns from exile to rebuild her political empire. But Lagos has changed, and her enemies have multiplied. Now operating in the public sphere, Eniola navigates a Lagos governed by perception, influence, and quiet brutality. The series expands the *King of Boys* film’s themes into a slow-burn, power-heavy chess match, full of betrayal, manipulation, and Yoruba theatricality. It reshaped how cinematic storytelling could function in Nigerian television. The show uses monologues and political drama to deepen its world. Sola Sobowale anchors the series with a performance steeped in volatility, dignity, and menace. Adetiba retains her maximalist style: large scenes, tight closeups, lyrical pacing, but tightens her focus around character psychology. This isn’t a simple redemption arc. It’s a dissection of power as performance. ##### Blood Sisters (2022) In *Blood Sisters*, a wedding turns into a manhunt after the groom goes missing and the bride and her best friend flee. Directed by Biyi Bandele and Kenneth Gyang. As Sarah (Ini Dima-Okojie) and Kemi (Nancy Isime) navigate media frenzy and family secrets, the series moves through high-society Lagos, backstreets, and backroom deals. What makes it effective is its balancing act, emotionally intimate, but paced like a thriller. The series makes smart use of fashion and architecture as markers of power, using surface beauty to expose hidden violence. *Blood Sisters* marked one of Netflix’s most visible Nigerian entries globally, and it built that visibility with strong character framing and clean visual storytelling. The series balances thriller mechanics with character depth and elevated production design. ##### WAR: Wrath and Revenge (2022) A woman hunts the truth behind her mother’s murder, stepping into a chain of revenge, cover-ups, and long-buried secrets. *WAR* is a spin-off from *Sons of the Caliphate*, and it picks up in the aftermath of palace betrayal. The show focuses on Binta, whose political savvy and maternal instincts are tested as she enters the fray of dynastic power play in Northern Nigeria. Written and produced by Dimbo and Karachi Atiya, the series layers traditional hierarchy with modern strategic manipulation. It draws from the aesthetic of palace drama: grand halls, veiled threats, arranged marriages, but anchors it in emotional complexity. The dialogue leans into formal Hausa-inflected English, reinforcing the regional identity. It’s not subtle, but it’s purposeful in how it builds tension around the private costs of public ambition. ##### Castle and Castle (2021) A married couple runs a high-powered law firm in Lagos while navigating infidelity, legal rivalries, and family strain. Legal cases form the structure, but emotional fallout powers the momentum. It’s character-first, emotionally tense, and still the only true Nigerian legal drama of its kind. As Nigeria’s first major legal drama, *Castle & Castle* occupies a unique space in the TV landscape. The show revolves around Remi and Tega Castle, a married couple and law partners grappling with high-stakes litigation and internal power struggles. Played by Dakore Egbuson-Akande and Richard Mofe-Damijo, their dynamic reflects the push and pull between legal ethics, ambition, and emotional betrayal. Season two expands its focus to younger associates, complicating the generational and moral lines within the firm. The series smartly blends procedural courtroom cases with intimate character arcs, using each case as a pressure point. Its value lies not in legal novelty, but in how it reframes law as a space for emotional and social negotiation. ##### Dere: An African Tale (2017) Picture a Lagos-style Cinderella. *Dere: An African Tale* follows a young woman battling to save her father’s company after a family tragedy upends her life. Starring Weruche Opia and Ireti Doyle, the series blends Yoruba-infused romance with corporate scheming, delivering heartfelt drama with a cultural edge. Its soap opera vibes may feel old-school, but the emotional stakes and strong performances keep it engaging. The show’s strength lies in its fusion of family loyalty and business intrigue, reflecting Nigeria’s blend of tradition and ambition. It’s a solid pick for fans of emotional dramas with a touch of corporate power play, though it leans on familiar tropes. If you’re into emotional family dramas with a cultural kick, it’s worth a look, though don’t expect groundbreaking twists. ##### The Governor (2016) *The Governor*, which landed on Netflix in 2020, stars Caroline Chikezie as Angela Ochello, a new governor thrust into Nigeria’s cutthroat political arena after a tragic event. The series dives into the tension between power and sacrifice, exploring governance, corruption, and personal loss in a male-dominated system. Its writing and intense performances highlight Angela’s struggle to balance leadership with family ties, though the pacing can slow for those not drawn to political intrigue. The show offers a window into Nigeria’s complex power dynamics, grounded in cultural and regional nuances. It’s a must-watch for fans of governance dramas craving insight into systemic challenges, with a focus on resilience and moral stakes, though it’s more educational than flashy. These series highlight a significant shift in how Nigerian stories reach audiences through streaming platforms. With deliberate investments and creative leadership from local filmmakers, Netflix is building a portfolio that combines ambition, diversity, and cultural specificity. This body of work reveals where the industry is heading and invites viewers to engage critically and attentively with these emerging narratives. Which of these Netflix Series is your favourite? Let’s know in the comment section. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/every-nollywood-series-on-netflix-a-short-review/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/every-nollywood-series-on-netflix-a-short-review/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/every-nollywood-series-on-netflix-a-short-review/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/every-nollywood-series-on-netflix-a-short-review/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/every-nollywood-series-on-netflix-a-short-review/?share=linkedin) - **Categories:** Articles, Nollywood, TV --- ### [KAVA: Filmhouse and Inkblot Launch New Streaming Platform](https://nollycritic.com/kava-filmhouse-and-inkblot-lauch-new-streaming-platform/) **Published:** July 24, 2025 **Author:** Faith Oloruntoyin **Excerpt:** At launch, KAVA will roll out over 30 premium Nollywood titles, including post-theatrical exclusives, beloved classics, and brand-new works from... **Content:** In a bold leap for African entertainment, Nollywood is taking control of its global narrative with the launch of a premium streaming platform. Created exclusively for Nigerian films and African storytelling. Set to debut globally, Kava emerges from a partnership between [Filmhouse Group](https://nollycritic.com/filmhouse-calls-for-global-growth-at-cannes-2025/) and [Inkblot](https://ink-blot.tv/) Studios, two of Nigeria’s most renowned film production companies. KAVA is set to deliver culturally rich, globally accessible stories from Africa’s vibrant film industry, often cited as the world’s second-largest. It aims to position itself not just as a streaming platform but as a digital ecosystem. In a press briefing held on Thursday, July 24, the goal is to amplify African voices, preserve cultural heritage, and offer audiences a streaming experience rooted in African authenticity. According to Kene Okwuosa, CEO of Filmhouse Group and Co-CEO of KAVA “This is more than a platform—it’s an ecosystem for African content, We’re not just streaming films—we’re building the digital infrastructure for the future of African cinema. We want audiences to feel the joy of seeing their language, humour, struggles, and triumphs on screen. To feel seen, and like they’re part of something bigger.” At launch, KAVA will roll out over 30 premium Nollywood titles, including post-theatrical exclusives, beloved classics, and brand-new works from both local and diaspora filmmakers. The platform plans to release new content weekly—spanning drama, romance, thrillers, epics, and comedy—to reflect the breadth and energy of African storytelling. And grow to the point of at least 10 titles added monthly. Also shared is the aim to create African-specific genres. In a way that Nollywood grows into creating its own genre tags as opposed to being boxed by already laid down categories. Further sharing that one of the ways it aims to achieve this is via the collaborative production of film content. So, the platform wouldn’t focus on acquisition but would also have original movies created. Chinaza Onuzo, Co-founder of Inkblot and Co-CEO of KAVA, added, “KAVA is where cutting-edge technology meets cultural storytelling. For creators, it’s a new economy—one that champions who we are, as Africans and as artists.” He also expressed the integral plan to make the platform welcoming for emerging filmmakers. As the target isn’t only for already established filmmakers but also for new takers, looking for a home to showcase their works. Backed by Inkblot’s trailblazing history with Amazon Prime and Netflix, and Filmhouse’s dominance in West African cinemas and film distribution, KAVA brings unmatched industry expertise to the table. Together, they aim to set a new global standard for African cinema. Although no specific date has been shared, KAVA will launch in August 2025. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kava-filmhouse-and-inkblot-lauch-new-streaming-platform/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kava-filmhouse-and-inkblot-lauch-new-streaming-platform/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kava-filmhouse-and-inkblot-lauch-new-streaming-platform/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kava-filmhouse-and-inkblot-lauch-new-streaming-platform/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kava-filmhouse-and-inkblot-lauch-new-streaming-platform/?share=linkedin) - **Categories:** Nollywood News **Tags:** Africa, filmhouse, inkblot, KAVA, nigerian cinema, nollycritic, nollywood --- ### [Canal+ Acquires Multichoice: DStv, GOtv Now Under French Control](https://nollycritic.com/canal-acquires-multichoice-dstv-gotv-now-under-french-control/) **Published:** July 24, 2025 **Author:** Faith Oloruntoyin **Excerpt:** In a landmark move set to redefine Africa’s broadcasting landscape, French media giant Canal+ has finalized its acquisition of MultiChoice Group. **Content:** In a landmark move set to redefine Africa’s broadcasting landscape, French media giant [Canal+](https://www.canalplus.com/) has finalized its acquisition of MultiChoice Group. Thus gaining complete control of the continent’s foremost pay-tv platforms — [DStv](https://nollycritic.com/amvca-2025-see-the-full-list-of-winners-and-nominees/) and GOtv. The $3 billion takeover follows formal approval from South Africa’s Competition Tribunal, clearing the path for the finalization of the deal by October 2025. Canal+ has purchased the remaining 55% stake in MultiChoice that it previously did not own. This move strengthens its position as a major player in African media. As part of the agreement, Canal+ will invest R26 billion (approximately USD 1.4 billion) over the next three years. This investment will enhance local content production, maintain MultiChoice’s headquarters in South Africa, and amplify African narratives across its platforms. This deal goes beyond a typical corporate merger. It marks a strategic shift toward cross-continental content integration. Canal+ already offers a portfolio that includes French, English, and Portuguese programming. With this, the company is well-positioned to serve Africa’s diverse and multilingual audiences in over 50 countries. By acquiring MultiChoice, Canal+ aims to boost regional storytelling and nurture local talent. It also plans to deliver culturally resonant programming. This moment represents a major turning point in Africa’s evolving media landscape. It could increase the continent’s presence on the global entertainment stage and reshape the future of pay-TV in Africa. Beyond subscriber services, MultiChoice has made significant socio-economic contributions. Its creative initiatives include the MultiChoice Talent Factory, which has trained thousands of aspiring filmmakers. And the commissioning of Africa Magic channels in local languages like Igbo, Hausa, and Yoruba. These ventures have not only amplified regional storytelling but also generated substantial economic impact. MultiChoice in Nigeria has invested heavily in local content production and infrastructure, contributing billions in taxes, local spending, and creative industry growth. Eyes are peeled to see what becomes of all the interesting and impacting brackets Multichoice has offered over the years. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/canal-acquires-multichoice-dstv-gotv-now-under-french-control/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/canal-acquires-multichoice-dstv-gotv-now-under-french-control/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/canal-acquires-multichoice-dstv-gotv-now-under-french-control/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/canal-acquires-multichoice-dstv-gotv-now-under-french-control/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/canal-acquires-multichoice-dstv-gotv-now-under-french-control/?share=linkedin) - **Categories:** Nollywood News **Tags:** Africa, Canal+, DStv, GOtv, Multichoice --- ### [Nollywood Thrives Again at TIFF as Agemo Joins 2025 Lineup](https://nollycritic.com/nollywood-thrives-again-at-tiff-as-agemo-joins-2025-lineup/) **Published:** July 23, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Nollywood’s mystical thriller Agemo, directed by debut filmmaker Abiola Agemo, continues its impressive international festival run. **Content:** Nollywood’s mystical thriller *[Agemo](https://www.imdb.com/title/tt34475640/ "Agemo")*, directed by debut filmmaker Moshood Abiola, continues its impressive international festival run. The film has now been selected for the [2025 Toronto International Film Festival (TIFF)](https://tiff.net/about-the-festival "2025 Toronto International Film Festival (TIFF)"), where it will compete in several categories, including Best Director – International, Best First-Time Film, Best Actress – Nollywood/African Film, Best Child/Teen Actor, Best Hair and Makeup, Best Graphic Design, and Best Cinematography. TIFF, celebrating its 50th edition this year, will run from 4–15 September 2025. Over the years, the globally recognised festival has increasingly embraced Nollywood, with past selections such as *Freedom Way*, *Half of a Yellow Sun*, *Lionheart*, *The Wedding Party*, and *The Legend of the Vagabond Queen of Lagos*. *Agemo* first premiered in 2024 at the Red Movie Awards, followed by a screening at the Amsterdam International Awards. And later on, the African International Film Festival ([AFRIFF](https://nollycritic.com/afriff-2024-a-celebration-of-african-cinema-and-culture/)), where it won the Best Female Performance. The film also earned two nominations — [Best Lead Actress and Best Cinematography — at the 2024 African Viewers’ Choice Awards ](https://nollycritic.com/amvca-2025-see-the-full-list-of-winners-and-nominees/)(AMVCA). Penned by Esther Olayinka, the film delves into themes of women’s empowerment, supernatural manipulation, and the complex dynamics of power. The cast features Uzoamaka Onuoha, Darasimi Nadi, Jide Kosoko, Aramide Lawal, Foluke Daramola-Salako, and Yinka Quadri. Despite its growing acclaim, producers have yet to announce a cinema or streaming release date, leaving audiences eager to experience *Agemo* beyond the festival circuit. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-thrives-again-at-tiff-as-agemo-joins-2025-lineup/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-thrives-again-at-tiff-as-agemo-joins-2025-lineup/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-thrives-again-at-tiff-as-agemo-joins-2025-lineup/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-thrives-again-at-tiff-as-agemo-joins-2025-lineup/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-thrives-again-at-tiff-as-agemo-joins-2025-lineup/?share=linkedin) - **Categories:** Movies, Nollywood News **Tags:** afriff, Agemo, AMVCA, film, Jide Kosoko, nollycritic, nollywood, Uzoamak Onuoha --- ### [Something Sweet: An Exploration on Possibilities of Love In Gaps](https://nollycritic.com/something-sweet-the-possibilities-of-love-in-gaps/) **Published:** July 18, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Something Sweet does leave one feeling like they tasted something sweet. Although the last on the triage, the 27-minute short doesn’t break the momentum. **Content:** In a society like ours, where dating or settling down with a man in the same age frame raises some whispers for a woman. How much more of a gap over decades that tilts to the other side of the spectrum? It’s quickly seen as bizarre, frivolous and unacceptable. And these and much more is what *Something Sweet* expresses adequately*.* ## *Something Sweet* Directed by: Dika Ofoma Produced by: Blessing Uzzi Genre: Drama Released on: July 19, 2025 (Youtube) Language: English **A Story True to Its Name** *Something Sweet* does leave one feeling like they tasted something sweet. It tells the story of a woman in her 40s who finds love with a significantly younger man. Together, they wade through various storms, from acceptances by family to the noisy whispers from society. For them, it’s not a question of love being absent or present but a question of whether or not they both had the will to hold on, knowing fully well that every day would mean a different struggle. As often said, love alone is not enough to sustain a relationship that will stand the test of time. And in this case time the test of the society’s normalcy. Directed by[ Dika Ofoma](https://www.imdb.com/name/nm9556517/), who is slowly growing his directing portfolio, which includes *A Quiet Morning* (2023)*, A Japa Tale* (2022)*, The Way Things Happen* (2022), *God’s Wife* (2024) and *Nkemakonam* (2024). *Something Sweet* sheds light on the struggles women face after 30 in their pursuit of love. It stands firm on the themes of love, acceptance, cultural acceptance and defiance. **A Defiant Love Like No Other** [Michelle Dede](https://nollycritic.com/ms-kanyin-a-familiar-haunting-in-a-new-uniform/) and Ogranya Jable Osai share a chemistry that’s palpable through the screen. Not once did their performance seem awkward to see on a big screen, but rather felt very true and possible. What started off as just a casual meet at a store quickly moved into becoming love and passion. At first, the son struggles to accept the realities and starts off with cold and hostile reactions towards their love. But over time, he slowly warms up to the existence of their love. Next is someone from the market who sort of represents the society. She pushes to know exactly what type of relationship they had. Which showed just a bit how the society always tries to take a seat in the choices and decisions we make. The final obstacle is the mother’s very vocal and unwavering disapproval. Which echoed loudly but didn’t stop either of them from trying. Although the story stops after they profess their love and will to each other. One can easily pick that they love would definitely stand the test of time. **Excellent Imagery That Sells the Story Even More** The movie also stars Oladozie Chiedoziem, Tolu Wunmi and Kanyinsola Erogbogbo, who each play a hurdle or a cupid for the couple. Although this isn’t Chiedoziem’s first time on screen, he seems to execute his silent roles a lot better than when dialogue is involved. The cinematography is also very noteworthy, as the pictures look well and beautifully shot. It felt like an intentional act to make each scene something frame-worthy. The colour blending in terms of costumes, location, setting and grading further sells the story as something even more worthy. For instance, the market scene didn’t look like a quick stop, but yet another scene that helped flatter their love. It also shaped the tone and way too which their first disagreement on whether or not their love could intertwine with their work structures. And then, the best garden scene ever, which leaves one out of breath for a minute or two. It has this entry that just properly amplifies the beauty of the garden. And then, the mat made the serenity of that particular location, safeguarded and visible. The garden also seals the start of their love life, further making it the cupid element they needed. The music and sound used also blended well along the course of the storytelling. Subtle and inviting are the best ways to describe the choice of sound used. **Conclusion** *Something Sweet* is an expression of its title. Further, carrying on its backs, that truthfully, when it comes to love, the couple’s opinions are all that matter. If we all are in direct shape, form, colour and even size, how much more the love we feel for others. Love alone may not be enough, but it is worth fighting for. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/something-sweet-the-possibilities-of-love-in-gaps/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/something-sweet-the-possibilities-of-love-in-gaps/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/something-sweet-the-possibilities-of-love-in-gaps/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/something-sweet-the-possibilities-of-love-in-gaps/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/something-sweet-the-possibilities-of-love-in-gaps/?share=linkedin) - **Categories:** Articles, Blog, Reviews, Short Films **Tags:** Dika Ofoma, film, love, Michelle Dede, nollycritic, nollywood, Reviews, Zikoko Life --- ### [Zikoko’s New Short What's Left of Us is a Quiet Rebellion](https://nollycritic.com/zikokos-new-short-whats-left-of-us-is-a-quiet-rebellion/) **Published:** July 17, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Rebellion is often described as an act of defiance against norms, authority, or leadership. In What's Left of Us, rebellion takes a quiet form. **Content:** Rebellion often signals defiance against norms, authority, or leadership. We usually associate it with loud disruptions or even violence. However, would rebellion be your next move if you lost the right over your body? And I don’t mean to paralyse or any other form of ailment. But rather the dictates of men who hold the autonomy over your will. This was Miriam’s story in *What’s Left of Us* by [Zikoko Life](https://nollycritic.com/big-cabal-media-goes-cinematic-with-zikoko-life/). ## *What’s Left of Us* Directed by: Victor Daniel Written by: Olamide Adio and Victor Daniel Genre: Drama Released on: July 12, 2025 (Youtube) Language: English **A Story ached on two rebellious men.** The 27-minute short tells the story of Miriam (played by Tolu Asanu), who decides to stop having children. This singular action opens up a well of chaos for her as she faces the possibility of losing at home. Directed by Olamide Adio and Victor Daniel, this serves as their second run together as co-directors. Although not released yet, their previously produced short film is titled *Mother* and also surrounds the story of a woman. Being men alone makes Daniel and Adio’s role in this production a form of rebellion. Because it’s often argued that men had no proper understanding to tell a woman’s story. Daniel takes the stand as the writer of *[What’s Left of Us](https://www.youtube.com/watch?v=KjzH-EPoQzE)*. For him, this story seeks to be a voice and lesson for men who fail to understand that certain decisions can’t always be made as a couple. It surrounds relevant themes like cultural sensitivity, economic control, body autonomy, patriarchy and religious intertwining. It is awesomely filling and told in such a way that it properly delivers all that it is meant to. **Lack of Dialogue, Not in the Story But In the Couple’s Love Story.** From the very beginning, we quickly understand Aliu’s (Caleb Richards) controlling nature, even with his mistress, Fatima (Sunday Joy). He refuses to take responsibility for any preventive method in intimacy, yet doesn’t want a child with her. At first, even the altercation between him and his wife goes on to feel like it went from zero to a hundred very quickly. With little dialogue or possibly not enough back-and-forth, for the outcome it had. But that’s easily explained with Mariam’s visible tremble and Aliu’s very quick-paced anger. The problem quickly shifted completely from childbearing discrepancies to Miriam wanting more in life in terms of a career. However, one thing remains evident: that there was a lack of communication from the very beginning. As a married couple now, their problem isn’t a question of feelings, but rather, both parties wanting two different things. And that has been silently evident from the very start of their union. You would spot this when Aliu points out that they had an earlier plan on how they would run their family. But Mariam pushing back on not having a say in the plans that had been set. The final blow is the conversation with the man who serves as a spiritual leader. He implores Miriam, explaining that the extramarital affair outside of their marriage was lawful based on religion. Further, expressing that her displeasure at having more children was against the powers by religion that the husband had over her. This leads to an altercation between the couple as they return home. With both of them dealing an ultimatum. For Aliu, it’s either she stays and falls in line with his demands or leaves the house. For Miriam, she was ok leaving, but not without our kids. **A Solid Blend of Technicalities** In terms of performance, the couple delivers adequately at every point in time. They properly express the right emotions, dialogues, and even expressions to make us better understand their plights. The other supporting cast does well enough to also aid the successful performance of the leads. However, the dialogue between Ali and his friend seems to lack a bit of connection, especially as their relationship is based on friendship. A standout moment would be the final altercation the couple had, the style in which it was shot properly amplifies each party’s points. Although it was an argument, the chaos/noise surrounding was piped down for us to fully understand where both parties stood. Another strength of the short film is its immaculate cinematography, handled by Muhammad Attah. Each scene was very distinct and intricate, with the combined effects of the lighting, setting and colour gradient. Every single indoor scene stood out very much, from Ali and his mistress at the bar to the meeting at the mosque. Everyone lit up differently, which further helped in giving the story a look and a feel. There was also just something about the way the scene at the mosque was shot. From the choice of location to the use of the over-the-head technique. To which, only the back of the Imam’s body was shown. Making his voice seem very powerful in the lives of the couple. Rather than an emphasis on the face of the Imam, the shot was fixated on the expression and reaction towards what he was saying. We could tell the approval and the round of applause that was probably going through Aliu’s mind. And see, the defiance and anger in Miriam. As opposed to music, *What’s Left of Us* made use of subtle sounds instead. This helped the storytelling, which was explained by the dialogues that happened and the drama that was going on. **Final Thoughts** The strength of the performances elevates the film from a simple retelling to something deeply real and intimately relatable. *What’s Left of Us* is not just a film, it’s a subtle revolt. A reminder that resistance can come not with shouting, but with a quiet refusal to conform. You ca watch the film [here](https://www.youtube.com/watch?v=gi0AyjDFhLY "here"). ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/zikokos-new-short-whats-left-of-us-is-a-quiet-rebellion/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/zikokos-new-short-whats-left-of-us-is-a-quiet-rebellion/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/zikokos-new-short-whats-left-of-us-is-a-quiet-rebellion/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/zikokos-new-short-whats-left-of-us-is-a-quiet-rebellion/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/zikokos-new-short-whats-left-of-us-is-a-quiet-rebellion/?share=linkedin) - **Categories:** Articles, Blog, Reviews, Short Films **Tags:** film, nollycritic, nollywood, Nollywood 2025, Rebellion, Reviews, Zikoko Life --- ### [Why To Kill A Monkey Is the Most Anticipated Nollywood Series of 2025](https://nollycritic.com/why-to-kill-a-monkey-is-the-most-anticipated-nollywood-series-of-2025/) **Published:** July 17, 2025 **Author:** Faith Oloruntoyin **Excerpt:** Kemi Adetiba is back. Her latest project, To Kill A Monkey, is a male-led, crime thriller that steps away from herusual... **Content:** Known for redefining Nollywood’s landscape with *The Wedding Party* and *King of Boys,* [Kemi Adetiba](https://nollycritic.com/10-nollywood-actors-and-filmmakers-with-a-law-degree/) is back. Her latest project, *To Kill A Monkey*, is a male-led, crime thriller that steps away from her usual mix of political sagas and romantic spectacles. It’s her first major work without longtime collaborator Sola Sobowale. Instead of political power games or bridal chaos, we’re entering Nigeria’s digital underworld. A space where loyalty is traded and silence is deadly. Over the years, she has carved out a space in Nigeria’s entertainment industry as a bold, visionary storyteller with an eye for spectacle and a heart for authenticity. Whether she’s behind the camera directing a blockbuster or producing a genre-bending thriller, Adetiba continues to prove that her genius lies in her ability to blend style, substance, and unforgettable characters. Premiering on Netflix on July 18, 2025, *TKAM* is already stirring buzz across film circles and social media timelines. So what exactly makes this series so special? Here are seven reasons *TKAM* is the most talked-about Nollywood series of 2025. ##### Kemi Adetiba’s Boldest Shift Yet In *To Kill A Monkey*, Adetiba trades her crown for full-blown chaos. Known for building a franchise around Sola Sobowale’s unforgettable Eniola Salami. This time, she lets go of her familiar tools, female-led narratives, political chessboards, even romance. And leans into the rawness of male desperation, greed, and survival. As the plot surrounds a man who finds himself stuck on a treacherous path all in the need to try to survive the impending poverty. So many may think it’s a creative risk, but maybe one that signals Adetiba’s growth into a genre-bending. ##### Cybercrime Meets Moral Drama in Eight Episodes This isn’t your average criminal tale. The story follows Efemini (played by Willam Benson), a down-on-his-luck man who finds himself drawn into a world of cybercrime and betrayal. What follows is a tightly constructed eight-episode journey through desperation, loyalty, supernatural whispers, and the transactional nature of survival in modern-day Nigeria. Many feared that the next time Adetiba dropped a meal, it wouldn’t be enough. But the eight part series structure makes it promising for a filling watch. ##### **The longest Suspense Filled Wait** This marks the longest gap fans have had to endure between Kemi Adetiba’s projects since she kicked off her Nollywood journey in 2016. Viewers had grown used to a predictable two-year rhythm between releases. So, after *King of Boys: The Return of the King* dropped in 2021, many expected another project by 2023. But that year came and went in complete silence. In 2024, hope was briefly reignited with announcements about [*King of Boys 3*](https://nollycritic.com/kemi-adetiba-begins-production-for-king-of-boys-3/) and [*To Kill A Monkey*,](https://nollycritic.com/to-kill-a-monkey-see-the-trailer-for-new-netflix-original-series/) yet no release dates, no trailers, no plot teases—just silence. ##### Netflix Backing and Global Release As part of a three-title deal between Kemi Adetiba Visuals and Netflix, *To Kill A Monkey* is positioned as a global showcase of Nigerian talent. The July 18 release isn’t just for Nigerian audiences — it will stream across multiple territories, introducing Nollywood’s new wave to a worldwide audience. It’s currently being positioned as a major release—one that could reignite the kind of global momentum Nollywood experienced with [*The Black Book*](https://en.wikipedia.org/wiki/The_Black_Book_(2023_film)) in 2023. ##### Powerhouse Cast That Demands Respect The cast includes veteran actors like Stella Damasus, Bimbo Akintola, Chidi Mokeme and Ireti Doyle. And also features growing faces like Lilian Afegbai, Teniola Aladese and Sunhine Rosman. Indeed, an ensemble that knows how to anchor drama with lived-in realism. A fusion of generations, talent, and styles — all under Adetiba’s meticulous direction. ##### Adetiba’s Visual and Narrative Signature Even in a completely new genre, Adetiba’s voice is unmistakable. The trailer already gave us her signature — tight scripting, rich symbolism, stunning cinematography, and dialogue that bites. The visual is grittier, the lighting moodier, and the world even more stylized than *King of Boys*, yet every frame feels intentional. ##### **Themes That Resonate With the Society** *To Kill A Monkey* isn’t just a crime story — it’s a mirror and thats something Adetiba always spices in. In a Nigeria where survival often means crossing moral lines, the series explores urgent questions: Is breaking the law okay in a country where the law imporvishes? What does it cost to protect family? Is silence complicity? Can good men make bad choices and still be good? *TKAM* starts streaming in less than 24 hours, and fingers are crossed to see what it unravels. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/why-to-kill-a-monkey-is-the-most-anticipated-nollywood-series-of-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/why-to-kill-a-monkey-is-the-most-anticipated-nollywood-series-of-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/why-to-kill-a-monkey-is-the-most-anticipated-nollywood-series-of-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/why-to-kill-a-monkey-is-the-most-anticipated-nollywood-series-of-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/why-to-kill-a-monkey-is-the-most-anticipated-nollywood-series-of-2025/?share=linkedin) - **Categories:** Articles, Movies, Nollywood **Tags:** film, Kemi Adetiba, Netflix, nollycritic, nollywood, Nollywood 2025 --- ### [Circuits TV Expands with New Nollywood Catalogue](https://nollycritic.com/circuits-tv-expands-with-new-nollywood-catalogue/) **Published:** July 17, 2025 **Author:** Shalom O. Obisesan **Excerpt:** With a steady wave of Nigerian films leaving Netflix, Circuits TV has stepped in to fill the gap, announcing today that will now... **Content:** With a steady wave of Nigerian films leaving Netflix,[ Circuits TV](https://nollycritic.com/the-best-nollywood-movies-on-circuits-tv/) has stepped in to fill the gap, announcing today that it will now host a substantial slate of Nollywood titles, many of which are either leaving Netflix this July, August or have already been removed. As the Nigerian streaming space begins to realign, viewers looking to catch their favourite Nollywood titles before they disappear from one platform or reappear on another have more reason than ever to stay plugged in. ##### What’s Coming to Circuits TV The newly announced additions include *Sylvia, New Money, Gold Statue, Power of 1, A Trip to Jamaica, 10 Days in Sun City, The Accidental Spy, My Wife and I, Tatu, Celebrity Marriage, Benevolence, Zero Hour, The Arbitration,* and *Wives on Strike*. Also joining the platform are *Banana Island Ghost, Moms at War, June, Mama Drama, Shadow Parties, Slow Country, Taxi Driver: Oko Ashewo, The Call, Three Thieves, Sergeant Tutu, Who’s the Boss*, and *Couple of Days*. Several titles that have either recently left Netflix or are scheduled to do so are now confirmed to be on [Circuits TV](https://www.circuits.tv/page/646792d82a19035a166745f6 "Circuits TV"). These include *Quam’s Money* (which exited Netflix on August 5, 2023), *The Wedding Party* (Part 1 was already unavailable on Netflix, while *The Wedding Party 2: Destination Dubai* is leaving on August 11), *Merry Men: The Real Yoruba Demons* (leaving August 1), *Merry Men 2: Another Mission* (leaving August 8), *The Ghost and the Tout* (leaving July 31), *The Ghost and the Tout Too* (leaving July 24), *Elevator Baby* (leaving August 7), *Love is War* (leaving August 4), *The Set Up* (leaving August 3), *Nimbe* (leaving August 7), *Coming from Insanity* (leaving August 9), and *Up North* (leaving August 6). There are also a number of titles still available on Netflix but now accessible on both platforms, including *The Delivery Boy*, *Black Rose*, *Seven and a Half Dates*, and *Hire a Woman*. If you’re building your watchlist or curious about where these films are headed next, keep your eyes on **Nollycritic** for the latest updates in African film access, rights shifts, and platform rollouts. https://www.youtube.com/watch?v=R57C7VCvXiI ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/circuits-tv-expands-with-new-nollywood-catalogue/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/circuits-tv-expands-with-new-nollywood-catalogue/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/circuits-tv-expands-with-new-nollywood-catalogue/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/circuits-tv-expands-with-new-nollywood-catalogue/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/circuits-tv-expands-with-new-nollywood-catalogue/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** 10 Days in Sun City, 93 Days, A Trip to Jamaica, Banana Island Ghost, Black Rose, Bling Lagosians, Celebrity Marriage, Circuits TV, Coming from insanity, Couple of Days, Disguise, Elevator Baby, Gold Statue, Hire a Woman, June, Kasanova, Love is War, Lunch Time Heroes, Mama Drama, Merry Men, Merry Men 2: Another Mission, Merry Men: The Real Yoruba Demons, Moms at War, My Wife and I, Netflix Nigeria, New Money, Nigerian Films, Nimbe, Nollywood exits Netflix, Nollywood streaming, Power of 1, Quam’s Money, Sergeant Tutu, Seven and a Half Dates, Shadow Parties, Slow Country, Sylvia, Tatu, Taxi Driver Oko Asewo, The Arbitration, The Call, The Delivery Boy, The Ghost and the Tout, The Ghost and the Tout Too, The Set Up, The Wedding Party, The Wedding Party 2: Destination Dubai, Three Thieves, Up North, Who’s the Boss, Wives on Strike, Zero Hour --- ### [See The Trailer For When Nigeria Happens, A Quiet Storm in Nollywood’s New Wave](https://nollycritic.com/see-the-trailer-for-when-nigeria-happens-a-quiet-storm-in-nollywoods-new-wave/) **Published:** July 16, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Filmmaker Ema Edosio Deelen has unveiled the official trailer for her upcoming feature When Nigeria Happens, sharing it on her official... **Content:** Filmmaker Ema Edosio Deelen has unveiled the official trailer for her upcoming feature *[When Nigeria Happens](https://nollycritic.com/ema-edosio-explores-dance-filmm-genre-in-when-nigeria-happens/ "When Nigeria Happens")*, sharing it on her official X (formerly Twitter) account earlier today. *When Nigeria Happens* follows a group of misfit dancers: Fagbo, Pokko, Lighter, Movement, Colos, and Poppy, who struggle to stay afloat in a city that offers them little security or recognition. Their bond is tested when Fagbo’s mother becomes critically ill, forcing him to seek funds and confront the limits of their shared dreams and identities. The narrative appears to lean into movement, and expression, using dance as both a survival language and a form of resistance to explore how the characters navigate this crisis. The film reportedly runs 80 minutes and was shot entirely in Lagos on a tight budget of 100,000 US dollars. Trailer footage and production notes hint at a visual style that blends documentary realism with expressive movement, offering glimpses of dance not just as performance, but potentially as a metaphor for coping and communication in Nigeria’s busiest city. ##### The Vision Behind the Work [Ema Edosio ](https://www.imdb.com/name/nm8061992/ "Ema Edosio ")is no stranger to raw, human-centred filmmaking. A trained cinematographer and self-taught director, she previously made waves with her 2018 feature debut *Kasala!*, a coming-of-age comedy that travelled to more than 30 international festivals and won nine awards. She holds training credentials from the New York Film Academy and the Motion Pictures Institute of Michigan, and has worked across formats for EbonyLife TV, Ndani TV, and the BBC. In 2014, she was named Film and Television Director of the Year. For *When Nigeria Happens*, Edosio collaborated with Nigerian contemporary dance pioneer Qudus Onikeku and his Lagos-based QDance Company. Their creative partnership grounds the film’s physical language in authentic local movement. In this film, movement speaks volumes, replacing exposition with body, rhythm, and repetition. ##### The Cast and Crew The film features performances from Alex Usifo, Seun Ajayi, Jide Kene Achufusi, and breakout dancer Abella Dominic, also known as DomDom. Edosio has praised her cast and crew for their devotion and resilience, describing the set as a family. That energy, she says, is what made it possible to shoot a film of this scale under challenging conditions. In interviews, she has stressed the importance of emotional integrity over polish, saying that > “cinema should not only reflect what we see but also how we feel especially in a place like Nigeria, where survival often happens quietly.” ##### Locarno Premiere and Festival Recognition *When Nigeria Happens* will have its world premiere in August 2025 as the official opening film for the Open Doors section of the Locarno Film Festival in Switzerland. This marks the first time a Nigerian contemporary dance film has been selected to open the section, which is known for spotlighting bold cinema from underrepresented regions. This selection places the film on an international platform where it may gain further recognition in arthouse and independent film circles. No Nigerian release date has been confirmed yet, though wider distribution plans are expected to follow its festival run. ##### Why This Matters While the film itself has yet to be publicly screened, the trailer and the statements from Edosio indicate a project that embraces stillness, movement, and emotional subtlety. It signals an interest in storytelling that leans away from mainstream convention, possibly favouring tone and atmosphere At a time when Nollywood is diversifying, *When Nigeria Happens* feels timely and necessary. It offers a cinematic counterpoint, a quiet protest and a tender portrait of young Nigerians navigating grief, poverty, and the search for identity through art. Rather than rely on heavy dialogue or dramatic confrontation, the film favours introspection and physical storytelling. If the finished film reflects what the trailer suggests, *When Nigeria Happens* may represent a deliberate contribution to the growing call for range and nuance in Nigerian cinema. It invites more room for craft, space, risk, and voice. For Edosio, and for a new generation of filmmakers and dancers, it is also a statement: that the soft can be powerful, and the quiet can be heard. See the trailer below! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-trailer-for-when-nigeria-happens-a-quiet-storm-in-nollywoods-new-wave/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-trailer-for-when-nigeria-happens-a-quiet-storm-in-nollywoods-new-wave/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-trailer-for-when-nigeria-happens-a-quiet-storm-in-nollywoods-new-wave/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-trailer-for-when-nigeria-happens-a-quiet-storm-in-nollywoods-new-wave/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-trailer-for-when-nigeria-happens-a-quiet-storm-in-nollywoods-new-wave/?share=linkedin) - **Categories:** Movies, Nollywood News **Tags:** Abella Dominic, african cinema, Alex Usifo, arthouse Nigerian film, contemporary dance film, DomDom dancer, Ema Edosio, Ema Edosio Deelen, emotional cinema, experimental Nollywood, Jide Kene Achufusi, Kasala, Lagos filmmakers, Lagos stories, Locarno Film Festival, New York Film Academy, Nigerian Film, Nigerian independent cinema, Nigerian youth, nollywood, Open Doors section, QDance Company, Qudus Onikeku, Seun Ajayi, subtle storytelling, When Nigeria Happens --- ### [Did Nollywood Really Kill Its Own Horror Stories?](https://nollycritic.com/did-nollywood-really-kill-its-own-horror-stories/) **Published:** July 14, 2025 **Author:** Taiwo Egunjobi **Excerpt:** hile interrogating our past is crucial for building a better future, the original piece's reflection on Nollywood is built on a... **Content:** While interrogating our past is crucial for building a better future, the [original piece’s reflection on Nollywood](https://nollycritic.com/how-nollywood-killed-its-own-horror-stories-over-time/ "original piece's reflection on Nollywood") is built on a romanticized history. It almost poetically mourns the decline of Nollywood horror, claiming “we” became afraid of what it showed us. I don’t share this fervour. I believe its decline as a genre had little to do with a collective “fear of what it revealed.” As is typical with any exploitative film cycle, the formula loses its power as audiences become fatigued. It is far more likely that the marketers who commissioned these films simply moved on to the next fad, rather than the industry succumbing to some nebulous fear of the themes it explored. The central flaw in the article’s premise is its timeline and attribution. The rejection of graphic “money ritual” films was not a movement led by Pentecostal churches reacting to Nollywood in the 2000s. Christian filmmaking bodies, most notably Mount Zion Faith Ministries, predated the commercial home video boom, releasing their first film in 1990 and growing their influence concurrently with, not in reaction to, early Nollywood. The primary force behind the subgenre’s decline was regulatory, not religious. From its inception in 1993, the [National Film and Video Censors Board (NFVCB)](https://www.nfvcb.gov.ng/ "National Film and Video Censors Board (NFVCB)") had a broad mandate, targeting not only ritual films and “juju” stories, but also scenes of sex, nudity, and political critiques of the government. The turning point, however, was the real-world consequence of these narratives. A well-documented example is the mob-killing of Nigerians in Accra, Ghana, who were suspected of ritualism, a perception directly fueled by the popular Nigerian films of the time. As journalist Justin Akpovi-Esade reported on October 16, 2003, this incident and others like it forced the NFVCB to act. The board began a severe crackdown, with films like the popular Issakaba series facing heavy criticism and restrictions. Prominent directors of the era, such as Lancelot Imasuen and Chico Ejiro, frequently had their films flagged for “occult themes.” This pressure culminated in 2004 when the NFVCB publicly announced its attempt to ban all films promoting witchcraft and ritual killing. Nollywood’s response was not one of creative introspection but of pragmatic survival. Driven by the powerful marketer-distributor machinery, filmmakers simply pivoted to the next profitable trend. As the NFVCB clamped down on ritual and juju films, the industry churned out movies focused on armed robbery. When the censors targeted that genre, the industry shifted again to historical epics, which conveniently allowed for ritualistic themes by framing them as community-sanctioned tradition. The subsequent evolution of Nollywood genres was dictated almost entirely by this profit-driven model. The distributors and marketers who served as de-facto creative executives followed the money, leading to cycles of comedies, romantic dramas, and even a brief foray into soft-core erotica, which was also swiftly curtailed by regulatory pressure. This era was disrupted not by a change in creative taste, but by a shift in the business model itself: the resurgence of cinemas, the rise of YouTube, and the launch of platforms like Africa Magic/DStv. This disruption empowered a new generation of filmmakers, freed from the commercial shackles of the Idumota and Alaba marketers, to tell stories that reflected their own sensibilities. Ultimately, the persistent challenge in the industry isn’t that Nollywood “killed” a genre, but that it has long faced a foundational deficit in craft. The horror films of the ’90s did entrance audiences and gave us iconic moments, but they should be viewed as a stepping stone, not a pinnacle. While they expressed our collective suspicions about wealth and ambition, they offered no real reflection. Instead, they used rituals, sex, and demonic possession for pure shock value, reinforcing superstitious fatalism and milking paranoia for commercial gain. This enriched the marketers but left actors and creators hustling for scraps. To trade this reality for nostalgia is to stunt our growth. With a scarcity of formal film schools and a weak connection to the institutional memory of Nigeria’s cinematic golden age of the ’70s and ’80s, the industry has often relied on raw energy over refined storytelling. That said, the resurgence of the horror genre, led by filmmakers like my brothers Daniel Oriahi and CJ ‘Fiery’ Obasi, signals a promising new direction. Theirs is an ambitious cinema that is socially resonant and crafted with care. In an environment saturated with soft-light dramas, their work is the opposite of exploitation; it is art. While there is much to learn from that earlier era, their work proves it is time to look forward. ## Author - ![Taiwo Egunjobi](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/TFAM.webp?resize=80%2C80&ssl=1) [Taiwo Egunjobi](https://nollycritic.com/author/theseunm/ "Taiwo Egunjobi") [ ](mailto:Doyeticseun@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/did-nollywood-really-kill-its-own-horror-stories/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/did-nollywood-really-kill-its-own-horror-stories/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/did-nollywood-really-kill-its-own-horror-stories/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/did-nollywood-really-kill-its-own-horror-stories/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/did-nollywood-really-kill-its-own-horror-stories/?share=linkedin) - **Categories:** Articles, Nollywood **Tags:** Abba Makama, Blood Money, C.J. Obasi, child witches, Daniel Oriahi, Dare Olaitan, Dogs of War, Egg of Life, End of the Wicked, folklore, Helen Ukpabio, Hello Rain, horror genre, Ile Owo, Isakaba, Izaga, Juju, Juju stories, Karishika, Living in bondage, Madam Koi Koi, Madam Koi Koi Netflix, Mark of the Beast, Married to a Witch, Michael Omonua, Mount Zion Films, Ms Kanyin, nigerian cinema, Nneka the Pretty Serpent, Nollywood horror, Ojuju, religious conservatism, Sakobi: The Snake Girl, spiritual warfare, Suffer the Witch, superstition, Taiwo Egunjobi, The Maid, The Weekend, Victor Ayeni --- ### [Is Nollywood Too Grown for Campus Stories Now?](https://nollycritic.com/is-nollywood-too-grown-for-campus-stories-now/) **Published:** July 9, 2025 **Author:** Faith Oloruntoyin **Excerpt:** In the early 2000s, Nollywood began to feature campus stories. These films quickly became a cultural staple across Nigerian homes and dorm rooms. **Content:** The Nollywood Campus Genre explores university life in all its intensity, pressure, freedom, rebellion, and discovery. As a genre, these narratives centre on youths in transition: their first taste of independence and the chaos that often follows. What made them resonate deeply with audiences was how closely they mirrored reality, full of laughter, danger, romance, and consequences. Teenagers and young adults see themselves, their friends, and their fears reflected in these characters and plotlines. Genre-Specific Elements of Campus Films For any other film genre, what distincts it from others is its specific; setting, characters, and thematic richness. For campus stories it takes place within university campuses, hostels, lecture theatres, student lounges, school gates, and off-campus joints. These aren’t just backdrops; they are storytelling tools, an environment that shapes each character’s choices and struggles. The characters come from every side of campus life. There are the cult boys, the slay queens, the bookworms, the activists, and the lost ones. Each role reflects real-life students, from those chasing grades to those chasing clout in the four walls of the University system. They bring different stakes to the story. Some would want peace. Some power. Some just want to survive the semester. Cultism often took centre stage in these films majorly because at some point it was a raving concern in the society. This genre has helped show the violence, control, fear, and manipulation that came with these groups. As viewers watch how cults lure young boys/girls with promises of protection or power and lead them into chaos. Academic stress also featured strongly. Students struggle with exams, intimidating lecturers, endless assignments, and the burden to succeed. In between 2000 and 2022, there were growing concerns of illicit interactions between lecturers and students. Which quickly took the phrase tag of “Sex For Grades”. And the campus story genre, opened the audience to see the shape and form it took, wether solicited by the student or voilations of intimidation by the lecturer. The pressure is real, and campus stories captured the mental toll it took on students. Relationships are also a cornerstone of this genre. Many plots revolve around romantic crushes, breakups, infidelity, and friendship betrayals. At the time hese weren’t just for drama—they revealed how emotional bonds shaped students’ lives and choices. In many ways, love and heartbreak became rites of passage in the campus world. Beyond the classroom or the dorm, these films tackled/tackle deeper issues. They address poverty, class division, in between student sexual harassment, and the pressure to fit in. They show students hustling to pay fees, girls dating older men for survival, and rich students flaunting wealth in careless ways. These films don’t preach they reflected. They show what is happening behind university walls. They are also very prone to sparking conversations. Over the years capus stories have also been a tool to make parents more aware of what their wards/children might be going through. As well as giving the students a sense of visibility and validation. For new intakes it formed an essential watch guide on what to expect and what to guard against. For other parents it was more of a panic alarm that created more fear and abrash reactions towards the university system and children who had different opinions. The Rise of Campus Stories in Nollywood In the early 2000s, Nollywood began to feature campus stories. These films quickly became a cultural staple across Nigerian homes and dorm rooms. They reflected a part of life that many Nigerians knew firsthand. Almost every VCD you bought had a plot linked to university life. Films like *Girls Cot*, *Blackberry Babes*, *4-1-Love*,[ *The Campus Queen*](https://en.wikipedia.org/wiki/The_Campus_Queen), and Funke Akindele’s *Jenifa* became cultural landmarks. They gave audiences not just entertainment but also a glimpse into student life in Nigeria’s often chaotic educational system. Nollywood didn’t shy away from exposing the secret societies haunting Nigerian schools. That era was seen at Nollywood’s boldest moments of telling stories as they truly were in the society. They also introduced some of the biggest names in Nollywood. Rita Dominic, Genevieve Nnaji, Jim Iyke, Ini Edo, Kate Henshaw, and propelled the career of Funke Akindele to one of the most famous actors in Nollywood. These films offered low-cost productions with high engagement, making them gold for producers at the time. Tunde Kelani’s [*Oleku*](https://en.wikipedia.org/wiki/O_Le_Ku), adaptation from Professor Akinwumi Isola’s novel, is arguably one of the earliest and most grounded representations of campus life in Nigerian film. Set in the University of Ibadan in the 1970s, *Oleku* is a romantic drama that follows Ajani, a final-year student caught in a love triangle between three women. While *Oleku* foregrounds romance, it also subtly highlights the class aspirations, cultural shifts, and personal choices confronting young adults on campus. It is less flashy than latter campus films but more emotionally layered, examining how modernity and Yoruba traditions intersect through clothing, courtship, and character choices. Cultism a recurrent theme in previous campus stories, appears only briefly here, suggesting the tensions of campus power dynamics were already brewing beneath the surface. The theme of cultism is strongly referenced in Tade Ogidan’s *Diamond Ring*. Funke Akindele’s [*Jenifa*](https://en.wikipedia.org/wiki/Jenifa) brought a different energy to the genre. While *Oleku* leaned into nostalgia and romantic idealism, *Jenifa* went full throttle into social commentary through comedy. The titular character, a naive village girl desperate to belong, becomes entangled in a world of sex work, fake friends, and campus parties. Despite its comic tone, *Jenifa* tackled heavy themes: class divide, peer pressure, the desire for upward mobility, and the consequences of trying to keep up appearances. The film’s wide success spawned sequels and a long-running TV series (*Jenifa’s Diary*), signalling just how much Nigerian audiences connected with the exaggerated yet recognisable campus archetypes it portrayed. Jenifa herself became a symbol of what happens when youthful ambition is met with poor guidance and misplaced priorities. Tunde Kelani’s [*The Campus Queen*](https://en.wikipedia.org/wiki/The_Campus_Queen) took the genre in a bold, musical direction. Set in a fictional university, it centres around student union politics, inter-hall rivalry, and the eponymous “Campus Queen” competition. Here, the plot unfolds through vibrant song-and-dance numbers, creating a rich sonic landscape that reflects the liveliness and sometimes chaos of campus life. What sets *The Campus Queen* apart is its theatricality. It uses music not just as entertainment but as a storytelling device that captures youth expression, power play, and resistance. While it touches on moral themes like corruption and manipulation, the film is more celebratory than cautionary, framing campus life as a space of political awakening and performance. The Decline of Campus Stories But suddenly, the genre began to fade. Nollywood shifted towards comedy, elite romance, crime thrillers, family sagas, and political dramas. Stories became glossier. Settings moved from dorm rooms to mansions, offices, courtrooms, and secret boardrooms. Producers followed the money and attention. Campus stories slowly disappeared from the mainstream. After a long time of silence a few films tried to revamp the campus genre in recent years. Kunle Afolayan’s[ *Citation*](https://nollycritic.com/cinematic-trends-of-nigerian-movies-in-recent-times/) (2020) explored sexual abuse in a university. At a time when intimidation by lectures to the form of “Sex For Grades’ and female students were slowly starting to speak up. On the other hand, *Dark October* (2023) tells the chilling true story of four lynched students. Further, exposing the stero type the society grew for young boys who were between university ages. The assumption that dressing, hair cut and dispotions either meant cultist, thief or yahoo yahoo boy. But the revival never took root. Interestingly, while campus stories declined, secondary school stories started gaining ground. Series like *Far From Home*,[ Shuga Naija, *All Of Us,*](https://nollycritic.com/all-of-us-a-disappointing-mystery-with-uninspired-performances/) and features like; *Madam Koi Koi* and[ *Ms Kanyin*](https://nollycritic.com/ms-kanyin-see-the-trailer-for-the-new-supernatural-thriller/) now dominate Nigerian teen drama, offering glossier school narratives with elite settings and deeper backstories. Conclusion Nigeria still has millions of students in its universities and polytechnics. These campuses remain full of energy, activism, heartbreak, hustle, and change. They’re still shaping Nigeria’s future but their stories are missing from our screens. There’s room to explore student protests, feminism, mental health, digital culture, queer identity, and the hustle for survival. There’s room to update the narrative.[ *Shuga Naija*](https://en.wikipedia.org/wiki/Shuga_(TV_series)) is a strong example that youth-driven stories can still educate and entertain if done right. A new generation of filmmakers may be the ones to bring them back with boldness and truth. Until then, the era of Nollywood’s campus drama remains a cherished memory. And perhaps one of its most overlooked opportunities for powerful, youth-driven storytelling. There is still a lot to explore here. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/is-nollywood-too-grown-for-campus-stories-now/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/is-nollywood-too-grown-for-campus-stories-now/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/is-nollywood-too-grown-for-campus-stories-now/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/is-nollywood-too-grown-for-campus-stories-now/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/is-nollywood-too-grown-for-campus-stories-now/?share=linkedin) - **Categories:** Articles, Nollywood **Tags:** Campus, Citation, Dark October, Funke Akindele, Genevieve Nnaji, Ini Edo, Jim Iyke, Kate Henshaw, nollycritic, nollywood, Nollywood 2025, Oleku, rita dominic, The Campus Queen --- ### [Nollywood Films that Ruled the 2023 Box Office](https://nollycritic.com/the-nollywood-box-office-in-2023/) **Published:** December 31, 2023 **Author:** admin **Excerpt:** 2023 marked a milestone in Nollywood with record-breaking box office showcasing industry growth and genre diversity amidst challenges. **Content:** 2023 was a remarkable year for the Nollywood box office, with several films breaking records and showcasing the industry’s growing strength and diversity. Here are some key highlights: ***A Tribe Called Judah* by Funke Akindele** This family drama, directed by and starring Funke Akindele, dominated the box office with its powerful story of a single mother battling societal expectations. Its relatable themes, stellar performances, and high production value resonated with audiences, making it a commercial and critical darling. Notably popular for producing record-breaking movies, She did it with movies like ‘Omo Ghetto the Saga’ (2020) and ‘Battle on Buka Street’ (2022) and yet again in 2023. She’s done it again with ‘A Tribe Called Judah’. This film grossed N400 million in 12 days, setting records for the biggest weekend opening (N122 million) and reaching N376 million within two weeks, placing it among the top 5 highest-grossing Nigerian films ever. ***Orisa* by Odunlade Adekola** It was projected that the movie *Orisa* could amass N100 million in the first 14 days after its release. *Orisa* directed by Odunlade Adekola was released on 21 July 2023 and has ranked third among the top 5 grossing movies at the Box Office. The movie ‘Orisa’ is a compelling drama that mirrors the ordeals of human relationships, how emotions are managed, and how individuals manage their dreams and ambitions. Adeolu (Odunlade Adekola) of course from a struggling background and family sets out to put an end to the long suffering and poverty that has maligned his long line of generations. ***Merrymen 3* by Ayo Makun and Ramsey Nouah** Directed by Moses Inwang, ‘Merry Men 3’ boasts of versatile and seasoned cast, including AY Makun, Ramsey Nouah, Williams Uchemba, Sam Dede, Segun Arinze, Bucci Franklin, Nadia Buari, Jide Kosoko, Ufuoma McDermott, Iyabo Ojo, Francis Onwochei, Regina Daniels, and Caroline Hutchings. The verified data collected from the Cinema Association of Nigeria projects that Merry Men 3 enjoyed a substantial N18.6 million weekend haul, complemented by an additional N14.8 million from Monday, October 16th to October 19th, 2023. This outstanding sell-out sums up to a remarkable N33.4 million since its grand debut on Saturday, October 13th, 2023. Merry Men 3 encountered a 54% decrease in ticket sales during its opening weekend, tallying a total of N17.1 million, it has since made an impressive comeback, outperforming both Merry Men 1 (₦48,699,026) and Merry Men 2 (₦37,244,420). **Trends and notable developments:** - There was a noticeable increase in the number of Nollywood films released in 2023 compared to previous years, indicating a growing industry and audience demand. - A wider variety of genres were represented, including comedies, dramas, action, thrillers, and even fantasy films like “A Tribe Called Judah.” - The increasing popularity of streaming platforms has also impacted the Nollywood landscape, with some films opting for hybrid releases in cinemas and on streaming services. **Challenges and future prospects:** - Despite the successes, the Nollywood box office still faces challenges, such as piracy, limited cinema infrastructure, and competition from Hollywood and other international film industries. - However, the industry is constantly evolving and adapting, with initiatives like improved film production quality, innovative marketing strategies, and collaborations with international partners offering promising prospects for the future. Overall, 2023 was a positive year for the Nollywood box office, showcasing the industry’s resilience, creativity, and potential for further growth. With continued efforts to address existing challenges and embrace new opportunities, Nollywood is poised to achieve even greater success in the years to come. ## Author - ![admin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/535a20b173d6fdd1f61720c335dd2bb9.jpg?resize=80%2C80&ssl=1) [admin](https://nollycritic.com/author/nollycritic-com/ "admin") [ ](mailto:gbengamichael2014@gmail.com)[ ](http://nollycritic.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-nollywood-box-office-in-2023/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-nollywood-box-office-in-2023/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-nollywood-box-office-in-2023/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-nollywood-box-office-in-2023/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-nollywood-box-office-in-2023/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** A Tribe Called Judah, Box Office, film, Merry Men 3, Nigeria, nollycritic, nollywood, Orisa --- ### [The Best Nemsia Studios' Prime Video Releases](https://nollycritic.com/the-best-nemsia-studios-prime-video-releases/) **Published:** July 14, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Nemsia Studios has emerged as one of the few production houses shaping the tone of Nollywood's global streaming presence. Its partnership with Prime Video... **Content:** Nemsia Studios has emerged as one of the few production houses shaping the tone of Nollywood’s global streaming presence. Its partnership with Amazon Prime Video signalled a strategic moment for both parties. In June 2022, Nemsia signed a commissioning agreement with Prime Video for an initial two films, which later expanded to three with the inclusion of *L’oup Garou*. The deal prioritised local capacity, ensuring all projects would be developed, shot, and post-produced in Nigeria through Nemsia’s in-house teams. The first release under this slate was *Breath of Life*, followed by additional originals now defining the studio’s early streaming catalogue. This ranking evaluates each Nemsia Studios film released on Prime Video. Assessment is based on five key pillars: narrative structure, directorial clarity, performance depth, technical composition, and cultural intelligence. ##### 8. *[Ms. Kanyin](https://nollycritic.com/ms-kanyin-a-familiar-haunting-in-a-new-uniform/ "Ms. Kanyin")* (2025) Amara, a boarding-school student, unwittingly releases the vengeful spirit of Ms Kanyin while attempting to get exam papers. A genre experiment with flashes of promise, *Ms Kanyin* veers between camp horror and spiritual allegory. A horror-tinged supernatural thriller that centres on a young woman entangled in an ancestral curse, [*Ms Kanyin* ](https://nollycritic.com/ms-kanyin-see-the-trailer-for-the-new-supernatural-thriller/ "Ms Kanyin ")attempts to blend folklore with genre stylisation. Its visual effects are serviceable, and there are a handful of memorable images with little to no scares. **Rating**: 2.75/5 ##### 7. *Suky* — 3/5 Gritty and ambitious in tone, *[Suky](https://nollycritic.com/suky-a-fight-for-freedom-that-loses-its-punch/ "Suky")* aspires to deliver both social commentary and kinetic action. After witnessing his father’s murder, Suky descends into a violent underground boxing circuit within Aja Prison. Pushed by survival instincts and a thirst for justice, he is mentored into the world of Dambe fighting. The boxing sequences are visceral and the sound design immersive. Yet the screenplay lacks emotional contour, and its lead character’s arc feels manufactured rather than earned. It lands more as a proof of concept than a fully fleshed narrative. **Rating**: 3/5 ##### 6. *After 30* (2025) — 3/5 Temilola, Nkem, Ama, and Aisha—four women navigating careers, motherhood, romantic disappointments and self-discovery—reunite in this continuation of the *Before 30* series. Set against modern Lagos, their lives unfold through shared challenges, personal growth, and enduring friendship. The film attempts to balance personal storytelling with a broader reflection on what it means to age into adulthood as a Nigerian woman. *After 30* is visually elegant, styled with care and costumed to near-perfection. But beneath the aesthetic strength lies a fragmented narrative lacking in urgency and rhythm. Character arcs are introduced and dropped, and emotional stakes rarely materialise. Its best moments belong to the ensemble cast, who inject energy into an otherwise inconsistent script. **Rating**: 3/5 ##### 5. *Soft Love* (2024) — 3.5/5 Zandi, a South African relationship coach abandoned at the altar, finds herself entangled with Edward, a Nigerian photographer who turns out to be married. After a painful fallout, she relocates to Lagos, where both must confront the emotional wreckage they’ve left behind. As their paths cross again, the possibility of healing and reconnection looms. This romantic drama thrives on charisma and gloss. Anchored by convincing performances and appealing production design, it smartly leverages genre familiarity without losing local specificity. The film’s cross-cultural charm and seamless pacing give it emotional lift, though its narrative choices are occasionally too safe. Still, it remains the most polished in this rating cluster. **Rating**: 3.5/5 ##### 4. *A Green Fever* (2024) — 3.5/5 A moody thriller that excels in atmosphere and suggestion. The use of space, tension, and silence is deliberate, allowing paranoia and suspicion to build organically. Yet it pulls back just when the narrative needs to converge. The open-ended resolution, while bold, leaves the overall arc slightly diluted. A film of striking moments, even if not entirely whole. **Rating**: 3.5/5 ##### 3. *The Fire and The Moth* (2025) — 3.75/5 Measured and visually precise, *The Fire and The Moth*, directed by Taiwo Egunjobi, is a carefully composed crime thriller that rewards patience. It unfolds with the confidence of a director in full control of tone, texture and tempo. The film is unafraid of silence and suggestion, using symbolic imagery and shadow-play to explore themes of power, possession, and betrayal. Though emotionally reserved, its psychological framework and visual sophistication make it the most complete offering in the slate. **Rating**: 3.75/5 ##### 2. *With Difficulty Comes Ease* (2024) — 3.5/5 Zainab, recently widowed and living in Northern Nigeria, battles with cultural obligations, financial instability, and an unplanned pregnancy while staying with her controlling mother-in-law. Amidst this, she forms an unexpected friendship with Rayyan, a compassionate bank officer. Their growing bond offers her a glimpse of hope, even as her past continues to exert pressure. Set in a quiet rural context, the film finds strength in its minimalism. Its strength lies in stillness and a refusal to sensationalise pain. The interiority of the lead performance is deeply affecting, and the film’s restraint is its power. The pace is deliberate, and its focus on internal experience rather than overt drama gives it a meditative quality. **Rating**: 3.75/5 ##### 1. *Breath of Life* (2023) — N/A Directed by BB Sasore,[ *Breath of Life* is](https://www.imdb.com/title/tt21094306/ " Breath of Life is") a grand, emotionally ambitious work. Visually rich and texturally layered, it explores themes of faith, redemption, and agency through a period lens. Set in 1950s Nigeria, the film follows the transformation of a disillusioned clergyman whose life changes after meeting a young man with an unexpected gift. While its direction and cinematography are commanding, the film’s tonal swings and structural density occasionally undermine its core momentum. Despite the absence of a star rating, its cultural relevance and technical assurance place it firmly in the upper tier. ##### Closing Reflection This slate reveals a studio in active conversation with genre, form, and audience expectation. *The Fire and The Moth* emerges as the most cinematically coherent; *Soft Love* and *With Difficulty Comes Ease* show strong command of mood and character; *Breath of Life*, while unrated, pushes the narrative scale. At the lower end, *After 30*, *Suky*, and *Ms Kanyin* illustrate the risks of thematic reach exceeding narrative grounding. With all releases above our average score, Nemsia Studios remains one of Nollywood’s most forward-facing production houses. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-best-nemsia-studios-prime-video-releases/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-best-nemsia-studios-prime-video-releases/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-best-nemsia-studios-prime-video-releases/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-best-nemsia-studios-prime-video-releases/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-best-nemsia-studios-prime-video-releases/?share=linkedin) - **Categories:** Articles, Movies, Nollywood **Tags:** A Green Fever, After 30, Breath of Life, Ms.Kayin, nollycritic, nollywood, Prime Video, Soft Love, Suky, The Fire and the Moth, With Difficulty Comes Ease --- ### [Mo Abudu Unveils Ebony Life ON PLUS; A New streaming home for Africa](https://nollycritic.com/mo-abudu-unveils-ebony-life-on-plus-a-new-streaming-home-for-africa/) **Published:** July 12, 2025 **Author:** Faith Oloruntoyin **Excerpt:** African media executive and filmmaker Mo Abudu has announced the launch of multi-faceted streaming platform EbonyLife ON PLUS. **Content:** Nigerian filmmaker and media executive [Mo Abudu](https://nollycritic.com/story-so-far-mo-abudu-africas-most-influential-media-mogul/) has announced the launch of EbonyLife ON PLUS, a new streaming platform dedicated to African storytellers. The announcement was made via her official social media accounts on Friday, positioning the platform as a creative hub for filmmakers, producers, and directors across Africa and the global Black diaspora. This marks another milestone in Abudu’s two-decade-long mission to amplify African narratives on a global stage. From *Moments with Mo, Naija Diamonds. To The Wedding Party, Òlòturé, Blood Sisters,* and *[Baby Farm](https://nollycritic.com/baby-farm-a-sanctuary-of-many-doors-and-few-exits/)*. “For over 20 years, I’ve dedicated my life to telling our stories — stories that reflect our truth, our journey, and our future,” Abudu shared. And further expressed that this was the start of something new. Described as more than just a streaming service, EbonyLife ON PLUS aims to be a home for Nigerian and African stories, prioritizing authentic and diverse narratives that reflect the continent’s cultural richness. The platform will feature a mix of local and diaspora content, alongside exclusive programming and community-based offerings. In addition to hosting original and curated content, members of EbonyLife ON PLUS will gain access to several exclusive benefits, including; Masterclasses with Mo Abudu.The Legend Series, featuring conversations with leading industry experts. Inspirational podcasts for creatives and storytellers. Stardom Hangouts with prominent film and television personalities. Free live TV channels and monthly virtual events. And a vibrant online community for networking and collaboration As part of the platform’s rollout, Abudu also extended an invitation to filmmakers with completed projects to submit their works for consideration on the streaming service. The launch of EbonyLife ON PLUS follows the recent announcement of [EbonyLife’s expansion](https://nollycritic.com/mo-abudus-ebonylife-set-to-open-new-london-creative-hub/) to London. Scheduled to open in the final quarter of 2025, the new UK hub will include a 180-seater EbonyLife Cinema, Turaka London — a premium Nigerian dining experience — and a slate of stage productions aimed at promoting African culture internationally. With this latest development, [EbonyLife](https://www.instagram.com/reel/DHoY-phiXjx/?igsh=MWhudm13NWkxNTFyaw==) continues to solidify its position as a key driver of African storytelling, extending its impact beyond content creation to community building and global distribution. > [View this post on Instagram](https://www.instagram.com/reel/DL9cMa2iPBk/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Mo Abudu (@moabudu)](https://www.instagram.com/reel/DL9cMa2iPBk/?utm_source=ig_embed&utm_campaign=loading) ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/mo-abudu-unveils-ebony-life-on-plus-a-new-streaming-home-for-africa/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/mo-abudu-unveils-ebony-life-on-plus-a-new-streaming-home-for-africa/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/mo-abudu-unveils-ebony-life-on-plus-a-new-streaming-home-for-africa/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/mo-abudu-unveils-ebony-life-on-plus-a-new-streaming-home-for-africa/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/mo-abudu-unveils-ebony-life-on-plus-a-new-streaming-home-for-africa/?share=linkedin) - **Categories:** Blog, Nollywood News **Tags:** Ebony Life, EbonyLife ON PLUS, film, Mo Abudu, nigerian cinema, nollywood, ON PLUS --- ### [New Nollywood Movies and Series to See This July 2025](https://nollycritic.com/new-nollywood-movies-and-series-to-see-this-july-2025/) **Published:** June 30, 2025 **Author:** Fisayo Adekoya **Excerpt:** July is set to deliver a dynamic slate of Nollywood releases, filled with suspenseful thrillers, heartfelt dramas, and unforgettable characters. **Content:** July is set to deliver a dynamic slate of [Nollywood](https://en.wikipedia.org/wiki/Nollywood "Nollywood") releases, filled with suspenseful thrillers, heartfelt dramas, and unforgettable characters. From gripping political tales to emotionally charged family stories and dark mysteries, the month offers a variety of genres to keep audiences hooked. Whether you’re heading to the cinemas or streaming from home, here are the Nigerian films and TV Series hitting your screens this July that deserve a spot on your watchlist. ### *Out in the Darkness* — July 4 Bolu, a new mother, descends into postpartum depression, experiencing vivid hallucinations that push her into a terrifying psychological spiral. As her husband and mother race to save her, the film sheds light on maternal mental health and societal stigma in Nigeria. Directed by Sarah Stella Kwaji, it stars Bimbo Akintola, Deyemi Okanlawon, Cassandra Odita, Jide Kosoko, Kehinde Bankole, Ronke Oshodi Oke, Tina Mba, and Darasimi Nadi. *Out in the Darkness* opens in cinemas nationwide on July 4, 2025. ### *Her Excellency* — July 4 In this powerful political drama, a high-ranking female official navigates the murky waters of leadership, ethics, and legacy as Nigeria stands on the brink of change. Starring Femi Adebayo Salami, Sola Sobowale, Odunlade Adekola, Faithia Williams, Yemisi Solade, Bimbo Ademoye, Aisha Lawal, Kiekie, and many more, *Her Excellency* is a family affair, directed and produced by Adebayo Salami. It debuts in cinemas on July 4, 2025. ### *Midnight in Shangisha* — July 5 Yori, a young job seeker, responds to a message on a stolen phone and unknowingly steps into a murder-for-hire plot. When the real killer comes knocking, he must run, recover stolen money, and survive a contract he never signed up for. Directed by Ben Chiadika and Sola Osofisan, and produced by Sola Osofisan, *Midnight in Shangisha* stars Baaj Adebule, Sola Sobowale, Lanre Adediwura, Ireti Doyle, Tina Mba, Antar Laniyan, and Martha Ehinome Orhiere. The action-thriller hits cinemas July 5, 2025. ### *The Lost Days* — July 11 Chisom, a wealthy woman in cancer remission, returns home to seek reconciliation with the family she once abandoned but vanishes without a trace. What unfolds is an emotionally charged journey of regret, resentment, and the painful pursuit of redemption. Directed by Wingonia Ikpi in her feature debut and produced under the First Features Project, [*The Lost Days* ](https://nollycritic.com/the-lost-days-new-first-features-slate-explores-themes-of-family-and-forgiveness/ "The Lost Days ")stars Ifeoma Fafunwa, Bimbo Manuel, Baaj Adebule, Cynthia Clarke, and Durotimi Okutagidi. Stream it exclusively on Prime Video from July 11, 2025. ### *To Kill a Monkey* — July 18 One of our most anticipated Nolllywood Titles of the year; *To Kill a Monkey* is next on our list. Efemini, a down-on-his-luck everyman, reconnects with an old friend and is lured into the dark world of cybercrime. What starts as survival soon snowballs into moral compromise and deeper entanglements. Created by Kemi Adetiba for Kemi Adetiba Visuals, this Netflix original stars William Benson, Bucci Franklin, Bimbo Akintola, Stella Damasus, Chidi Mokeme, Lilian Afegbai, Ireti Doyle, Teniola Aladese, and more. Original score by Oscar Heman-Ackah. Available globally on Netflix starting July 18, 2025. ### *Freedom Way* — July 18 Nine ordinary Nigerians converge amid political unrest, police brutality, and economic hardship. Each must make life-altering choices in a quest for freedom. Directed by Afolabi Olalekan and written/produced by Blessing Uzzi for Bluhouse Studios, this powerful ensemble includes Debo “Mr. Macaroni” Adedayo, Femi Jacobs, Mike Afolarin, Bimbo Akintola, and Teniola Aladese. After international festival success, [*Freedom Way* ](https://www.imdb.com/title/tt27329776/ "Freedom Way ")debuts in Nigerian cinemas on July 18, 2025 ### *Ewo* — July 18 ÈWÒ is a chilling Yoruba-language thriller that dives into the heart of tradition, taboo, and forbidden secrets. When a young woman returns to her ancestral village to claim her inheritance, she encounters age-old rituals, dangerous customs, and whispers of ancestral wrath. As she unearths hidden truths, the line between family loyalty and mortal danger blurs. This Nollywood movie Starring Bimbo Ademoye, Demola Adedoyin, Taiwo “Ogogo” Hassan, Yinka Quadri, Jaiye Kuti, Akin Lewis, and Dele Odule, *ÈWÒ* is building buzz as one of the most anticipated Nollywood films of 2025. It hits cinemas on July 18, 2025. ### *Cordelia* — July 18 Set in the early 1990s during a turbulent period in Nigeria’s history, *Cordelia* follows a university lecturer who is summoned by the military after one of his students is accused of inciting protest. As the investigation unfolds, buried secrets, ideological clashes, and a tense political atmosphere come to light. Adapted from the novella by Professor Femi Osofisan, the film is directed by Tunde Kelani and written by Bunmi Ajiboye. The cast includes Omowunmi Dada, William Benson, Yvonne Jegede, Keppy Ekpenyong, Kelechi Udegbe, Femi Adebayo, Taiwo Ibikunle, and Ropo Ewenla. *Cordelia* opens in Nigerian cinemas on July 18, 2025. ### *Bendel Girl* — July 18 When a girl from the past crashes into the present, one man’s obsession with her mystery could heal or destroy the people he loves most. Starring: Saskay Jonah, Tope Tedela, Timi Agbaje, Tobi Bakre and many others. Directed by Gbenga Kayode. Premieres in cinemas on July 18. ### ***Sin: The First Kill* — July 24** An empire is crumbling, and vengeance is the only law. In this gripping African action thriller, a woman refuses to back down and a man won’t rest until war is declared. As betrayal and survival collide, *Sin: The First Kill* unravels a ruthless story of power, revenge, and redemption.Directed by Yemi Morafa and produced by 6th Sense Movies, the film stars Jim Iyke, Toni Tones, Chidi Mokeme, Gideon Okeke, Yemi Blaq, Toke Makinwa, Hermes Iyele, Shaffy Bello, Patrick Doyle, and many others across the continent. *Sin: The First Kill* premieres globally on Prime Video on July 24, 2025. ### *Ireke: Rise of the Maroons* — July 25 *Ireke: Rise of the Maroons* is a sweeping historical epic based on Yoruba oral tradition and true events. It tells the story of Prince Atanda, who, after being sold into slavery by rival nobles, leads a rebellion in the Caribbean and cements his legacy among the Maroons ensuring their freedom becomes legend. Directed by Gbolahan Peter Macjob, this Yoruba-language drama features Tobi Bakre, Yetunde Oduwole, Atlanta Bridget Johnson, Femi Branch, Kola Ajeyemi, Bolanle Ninalowo, Keturah King, and Antar Laniyan. Following its debut at Cannes, it opens in over 100 cinemas including in Nigeria, Ghana, the UK, and Benin on July 25, 2025 As the month unfolds, July delivers a refreshing wave of Nollywood titles that push boundaries, stir emotions, and celebrate diverse storytelling. With each release offering a unique perspective from tales rooted in culture to modern dilemmas, you’re sure to find something that resonates. It’s more than just entertainment; it’s another bold step in the industry’s vibrant journey forward. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-nollywood-movies-and-series-to-see-this-july-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-nollywood-movies-and-series-to-see-this-july-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-nollywood-movies-and-series-to-see-this-july-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-nollywood-movies-and-series-to-see-this-july-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-nollywood-movies-and-series-to-see-this-july-2025/?share=linkedin) - **Categories:** Movies, Nollywood News **Tags:** Ewo, Her Excellency, Ireke: Rise of the Maroons, Netflix, nollycritic, nollywood, Prime Video, The Lost Days, To kill a monkey --- ### [Kachi Benson Makes Emmy History as Madu Wins for Nigeria](https://nollycritic.com/kachi-benson-makes-emmy-history-as-madu-wins-for-nigeria/) **Published:** July 9, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Madu, a Disney Original co-directed with American filmmaker Matt Ogens, took home the award for Outstanding Arts and Culture Documentary, **Content:** Nigeria has officially entered the Emmy conversation. At the 46th News & Documentary Emmy Awards held in New York City, filmmaker Joel Kachi Benson made history, becoming the first Nigerian to win an Emmy. His documentary *[Madu](https://www.imdb.com/title/tt14152882/ "Madu")*, a [Disney](https://nollycritic.com/?s=disney "Disney") Original co-directed with American filmmaker Matt Ogens, took home the award for Outstanding Arts and Culture Documentary, marking a significant milestone for Nigerian cinema and the continent’s documentary storytelling at large. ##### From Lagos Rain to Global Recognition *Madu* tells the story of Anthony Madu, a 12-year-old ballet dancer from Lagos whose barefoot pirouettes in the rain were captured in a 44-second video that went viral in 2020. The clip amassed over 16 million views and led to Anthony receiving a scholarship to Elmhurst Ballet School in the UK. The documentary picks up from that moment of virality and follows Anthony’s transition into a new world, away from the crowded streets of Lagos and into the disciplined, high-pressure environment of a world-class ballet academy. What unfolds is a story that blends intimate observational filmmaking with emotional vérité, offering a raw and inspiring portrait of resilience, identity, and what it means to chase a dream across cultures and continents. ##### A Major First for Nigeria Kachi Benson’s win at the Emmy Awards is a first for Nigeria, both in the directing chair and for any locally rooted documentary. Madu was not only nominated for Outstanding Arts and Culture Documentary but also received a nomination for Outstanding Direction in the documentary category. It beat out strong contenders in its field, including *As We Speak: Rap Music on Trial*, *Butterfly in the Sky*, *Hollywood Black*, and *King Coal*. The documentary, which premiered globally on Disney+ in March 2024, has since travelled the international festival circuit. It was featured at the Santa Barbara International Film Festival and screened locally at Lagos’ iREP International Documentary Film Festival, further solidifying its reputation as a cross-cultural success. ##### The Team Behind the Film Joel Kachi Benson is no stranger to impact storytelling. He is best known for *Daughters of Chibok*, a pioneering virtual reality documentary on the 2014 Chibok schoolgirls kidnapping, which won the Venice Lion for Best Immersive Story. In *Madu*, he joined forces with Matt Ogens, the Academy Award-nominated director behind *Audible* and ESPN’s *30 for 30: From Harlem with Love*. Together, they brought the authenticity of Nigerian lived experience and the polish of international documentary craft into one frame. The result is a film that is both grounded and global. It showcases how collaborative, cross-border filmmaking can elevate underrepresented voices and lived realities. ##### A Filmmaker’s Response Following the win, Benson took to Instagram with a heartfelt message. > “We won an Emmy!!! Times like this I look back and I’m grateful for the journey, the pain, and the progress… It takes a village to raise a child… so I thank EVERYONE who’s been on this journey with me.” He dedicated the award to Nigeria and to “*every child with a dream*,” stressing the need to keep telling “*authentic and inspiring stories*.” His message echoes what *Madu* itself represents. A triumph of spirit, the value of community, and the undeniable power of storytelling. ##### Why This Win Matters Benson’s Emmy win is more than personal recognition. It is a landmark moment for Nigerian documentary filmmaking. In a global industry where African voices are still underrepresented in the major documentary categories, *Madu* breaks through. It proves that stories from the continent, when told with craft and integrity, can connect on the world stage. As both an inspiring youth story and a professional benchmark, *Madu* sets a new precedent. It is a win for storytellers, a win for dreamers, and above all, a win for Nigeria. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kachi-benson-makes-emmy-history-as-madu-wins-for-nigeria/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kachi-benson-makes-emmy-history-as-madu-wins-for-nigeria/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kachi-benson-makes-emmy-history-as-madu-wins-for-nigeria/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kachi-benson-makes-emmy-history-as-madu-wins-for-nigeria/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kachi-benson-makes-emmy-history-as-madu-wins-for-nigeria/?share=linkedin) - **Categories:** Nollywood News **Tags:** African documentary, Anthony Madu, ballet documentary, Daughters of Chibok, Disney Original, Disney+, documentary storytelling, Elmhurst Ballet School, Emmy 2025, Emmy win for Nigeria, international recognition, iREP Documentary Festival, Joel Kachi Benson, Kachi Benson, Lagos ballet, Madu documentary, Matt Ogens, News and Documentary Emmy Awards, Nigerian creatives, Nigerian filmmaking, Outstanding Arts and Culture Documentary, Pan-African film, youth in film --- ### [Sin: First Kill Set For Prime Video This July](https://nollycritic.com/sin-first-kill-set-for-prime-video-this-july/) **Published:** July 7, 2025 **Author:** Fisayo Adekoya **Excerpt:** Sin: First Kill arrives on Amazon Prime Video this July, marking a bold new entry in Nigeria’s cinematic landscape. Scheduled for release on July 24, **Content:** *[Sin: First Kill](https://www.facebook.com/JimIyke.Mission/videos/sin-first-kill/623093937485212/)* arrives on Amazon [Prime Video](https://nollycritic.com/?s=prime+video "Prime Video") this July, marking a bold new entry in Nigeria’s cinematic landscape. Scheduled for release on July 24, the film is backed by 6th Sense Movies and produced by Jim Iyke, who also stars in a lead role. With its large ensemble cast, intense visuals, and global distribution, the film sets out to make a strong statement about the direction of contemporary Nollywood. Unlike traditional Nollywood offerings, this project takes a different route. It dives headfirst into the action-thriller genre, blending stylized combat sequences, political undertones, and fast-paced storytelling. It doesn’t just aim to entertain; it wants to shift expectations. The tone is serious, the scale is ambitious, and the cast list is massive. Jim Iyke, the driving force behind the film, leads a lineup that includes some of the most recognized names in African entertainment. Alongside him are Toni Tones, Gideon Okeke, Chidi Mokeme, Yemi Blaq, Chimezie Imo, Kenneth Nwadike, and Uzee Usman. The film also features actors like Aderonke Onuoha, Hermes Iyele, Toke Makinwa, Charles Okocha, and Olumide Oworu. Veterans like Shaffy Bello and Patrick Doyle bring depth, while rising stars such as Tessy Diamond and Teddy A round out the dynamic ensemble. The production is handled by 6th Sense Movies in collaboration with Prime Video Naija. David Rukeme and Joy Grant-Ekong serve as co-producers, supporting the execution of this high-concept project. Their goal is clear, to raise the bar for what local audiences expect from homegrown action films and to ensure international viewers see Nigerian cinema in a new light. The trailer paints a world in crisis. There’s chaos, betrayal, and the sense that everything is on the line. Characters don’t just fight with weapons, they fight for survival, for justice, and sometimes just to stay in the game. Every shot in the teaser is deliberate, with fast cuts, gripping music, and tension that doesn’t let up. It’s designed to pull viewers into the story immediately and keep them guessing until the final scene. Beyond its visuals, the film carries the weight of a larger mission. By releasing directly on Prime Video, it places Nollywood in a stronger global position. In an industry where action often takes a backseat to drama or comedy, *Sin: First Kill* places adrenaline front and center. It’s not just representing Nigerian cinema, it’s actively reframing what African action films can look like when given the right scale, intention, and backing. As July 24 draws closer, the film continues to generate buzz across digital platforms. Its aggressive promotion strategy suggests that this is more than a regular debut. It’s a campaign, a clear attempt to rebrand Nigerian action cinema as a global contender. What audiences will get is yet to be seen, but one thing is certain: *Sin: First Kill* isn’t aiming to blend in. It’s stepping out to lead, and it’s doing so with full force. With a cast this wide, production this ambitious, and a platform as large as Prime Video, the film stands at the intersection of potential and pressure. It wants to prove that action films made in Nigeria can meet international standards without losing cultural depth. That’s a tall order, but one the team behind *Sin: First Kill* seems ready to take on. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/sin-first-kill-set-for-prime-video-this-july/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/sin-first-kill-set-for-prime-video-this-july/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/sin-first-kill-set-for-prime-video-this-july/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/sin-first-kill-set-for-prime-video-this-july/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/sin-first-kill-set-for-prime-video-this-july/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** ^th Sense Movies, film, Gideon Okeke, Jim Iyke, nollycritic, nollywood, Nollywood 2025, Nollywood action movies, nollywood action thrillers, Prime Video, Shaffy Bello, Sin: first kill, Toni Tones --- ### [How Nollywood Killed Its Own Horror Stories Over Time](https://nollycritic.com/how-nollywood-killed-its-own-horror-stories-over-time/) **Published:** July 5, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood horror did not fade because we lost interest. It died because we became afraid of what it showed us. And more importantly... **Content:** [Nollywood](https://nollycritic.com/?s=nollywoodhttps://nollycritic.com/?s=nollywood "Nollywood") horror did not fade because we lost interest. It died because we became afraid of what it showed us. And more importantly, what it made us confront. Our belief in unseen forces. Our obsession with morality. Our willingness to punish what we cannot explain. At some point, the screen became a mirror, and we did not like the reflection. There was a time when *Karishika* walked through living rooms like an uninvited spirit. Her name alone sent children ducking behind sofas, eyes squeezed shut, waiting for the screen to stop flickering. In those days, the fear was real. It lived in the tape. It breathed in the soundtracks. It clung to the sweat-soaked shirts of those who dared to keep watching. Today, that fear has been reduced to grainy YouTube clips. Split into ten parts, sometimes eleven, pixelated beyond reason. Comments below read like ghost stories of their own “*Who else is watching this in 2025*?” “*This movie traumatised me when I was five*.” We are still looking, still watching, but mostly through the glass of nostalgia. The terror, once urgent, is now kitsch. ##### A Season of Witches Before Nollywood found weddings, influencers and comic relief, it found the devil. It began in the 1990s, without glamour, but with grainy footage, haunted voiceovers and VHS tapes passed from house to house like cursed objects. The early horror films were unapologetically primitive, and perhaps for that very reason, deeply unsettling. There was *Living in Bondage*, where wealth came at the price of a soul. There was *Sakobi: The Snake Girl*, where a man’s ambition found serpentine consequence. And there was *Karishika*, whose mere entrance in a nightclub, heels clicking and wind blowing from nowhere, was enough to send a chill through the spine of a generation. These were not just films. They were warnings. They were sermons in disguise. They were folklore turned cinematic. In a society where dreams are decoded, where illness could be spiritual, and where wealth without explanation is always suspect, horror found a natural home. It did not need jump scares. It needed only to echo what many Nigerians already believed: that the spirit world was watching, and sometimes, intervening. These films carried the weight of communal fears. The fear of witchcraft, especially as it hides in plain sight. The fear of child witches, often blamed for misfortune and poverty. The fear of night journeys, ancestral debts, and shapeshifters in human skin. To the outside eye, it may have looked like melodrama. But to local audiences, it was prophecy and possibility. There was also something else. A tragic irony. The same genre that warned against superstition also deepened it. Films like *[End of the Wicked](https://www.imdb.com/title/tt0906000/ "End of the Wicked")* did more than terrify; they ignited a cultural panic. Children accused of witchcraft were beaten, exorcised, or abandoned. Ageing women, too eccentric or too poor, became suspects. Nollywood did not invent these fears, but it gave them names, faces and, unfortunately, cinematic proof. It is no coincidence that around this time, certain pastors rose in prominence, preaching about demonic attacks, evil dreams and spiritual battles. Nollywood horror and Nigerian Pentecostalism were locked in a dance, feeding off each other’s energy, each confirming the other’s claims. When churchgoers saw cats, bats or owls in films behaving strangely, they saw confirmation of what was already being said on pulpits. Film as evidence. Sermon as sequel. This was the golden age. It was messy, imperfect, and sometimes dangerous. But it was also bold, deeply Nigerian, and shockingly honest. We were watching our fears on screen, not through the lens of Hollywood slashers, but through juju priests, village shrines, and familiar city streets where evil wore suits and drove tinted cars. This was horror born from belief, and it thrived because the line between fiction and reality was never quite clear. ##### The Exorcism At first, the protests came in whispers, sermons, and side-eyes. A pastor warning his congregation not to let demons through their televisions. A mother hiding the family’s horror cassettes before evening devotion. A growing discomfort, not just with the films, but with the permission they gave — to name the devil, to visualise evil, to speak the unspeakable. Then the whispers became doctrine.By the mid-2000s, a quiet purge had begun. Pentecostal Christianity was on the rise, rebranding Nigeria’s spiritual narrative. It had no room for ambiguity, no tolerance for juju priests as protagonists or shape-shifting women as metaphors. Anything that hinted at traditional spirituality was reclassified as witchcraft. Anything that explored the supernatural without a salvation arc was labelled demonic. Horror, once a mirror, became a threat. Films that had once been played on loop during holiday seasons were now frowned upon. Pastors warned against “movies that open spiritual doors”, and horror quickly became the genre most likely to be accused of letting demons in. But religion did not kill horror by banning it. It killed it by replacing it. Enter the Mount Zion era. Christian film ministries with low budgets and high conviction. Their films were just as dramatic, just as saturated in spiritual warfare, but with a new agenda. Demons still attacked, witches still plotted, but there was always a moral at the end. Sin was now the monster, and redemption the only escape. In this version of horror, there were no morally complex characters. No ambiguous hauntings. No folklore, no trickster spirits. Everything had an answer, and every demon had a name recognisable from a Sunday service. It was horror without doubt. Without folklore. It was also, ironically, still terrifying. Young audiences raised on *Captives of the Mighty* or *Ultimate Power*, *666*, will remember the dream sequences, the demonic faces, the scenes where someone vomits a snake after being prayed for. These were Christian horrors — still unsettling, but now wrapped in righteousness. The horror had not disappeared. It had simply found sanctuary. At the same time, the mainstream industry began shifting toward lighter genres. Romantic comedies, family dramas, stories of success and redemption. Filmmakers, eager to please a newly global audience, distanced themselves from anything too dark, too spiritual, too Nigerian. Horror no longer fit the market profile. It was unsellable, uncomfortable, and too easily misunderstood. And so it faded, with forgetting because they became inconvenient. In the process, something was lost, not just a genre, but a way of seeing the world. Horror had once given us a language for our fears. Now, those fears were either sanitised or ignored. ##### The Hollowing Out Take *Ms Kanyin* (2025), a sleek, supernatural thriller set in an elite boarding school. It flirts with the uncanny but the execution is too neat, the scares too polite. The fear is distant, filtered through good lighting and polished dialogue. The spirit world, once looming and unpredictable, now feels stage-managed. Or *Ile Owo* (2022), Dare Olaitan’s attempt at modern-day ritual horror. It is visually captivating, and conceptually rich. But the storytelling lacks weight. The terror never curdles. It hints at dread, but refuses to descend fully into it. It remembers the rituals of horror, but not the rawness. Even *The Origin: Madam Koi-Koi*, Netflix’s much-anticipated dip into urban legend, failed to strike a chord. It had nostalgia, a familiar villain, and the perfect premise: the haunted school corridor, the eerie echo of heels on tile, but the series felt sterilised, as if afraid to commit to the folklore it borrowed from. It gestured toward fear, but never surrendered to it. We are witnessing a kind of genre amnesia. Not a lack of skill, but a lack of conviction. Where early Nollywood horror embraced belief systems, modern films retreat from them. The horror is abstract now. It is aesthetic. Stylish. Measured. And often forgettable. There are exceptions. *The Weekend* (2024), directed by Daniel Oriahi, leans into psychological horror, wrapping themes of family tension and spiritual unrest into a story that, while minimal in gore, carries the elegance of a Jordan Peele film. It does not terrify, but it unnerves. It made modest waves, ₦18 million at the Nigerian box office, and marked a step forward in craftsmanship, if not in genre definition. ##### Resurrection Dreams Not all is lost. Beneath the surface of Nollywood’s sanitised screen culture, something stirs. A few filmmakers are not content to let horror remain hollow. They are digging again. For meaning. For the fear that tells the truth. [C.J. Obasi](https://www.imdb.com/name/nm5236429/ "C.J. Obasi") is among them. His horror is not cheap spectacle. It is political. Emotional. Spiritual. In *Ojuju* (2014), a zombie outbreak becomes a metaphor for environmental neglect. Then came [*Juju Stories* ](https://www.imdb.com/title/tt11989466/ "Juju Stories ")— an anthology co-created with Abba Makama and Michael Omonua under the Surreal16 Collective — and with it, a rebuke to everything that had been lost. Each segment reclaims something with a fuse of comdey. Urban legend. Superstition. The quiet dread of being watched by something old. Obasi’s entry, *Suffer the Witch*, tells of obsession and suspicion between two young women, one possibly a witch. It is haunting, not because of what we see, but because of what we’re allowed to wonder. The fear is psychological. Queerness simmers just beneath the surface, not as provocation, but as atmosphere. It lingers like breath on a mirror. Obasi does not preach. He does not resolve. He remembers what early Nollywood horror often forgot: ambiguity is its own form of fear. Other filmmakers, like Dare Olaitan (*Ègún*, *Ile Owo*) and Daniel Oriahi (*The Weekend*), are also experimenting. They are peeling back the layers and testing how horror can speak to more than demons and curses. They are asking what haunts us now: the body, the city, the past, the price of desire. But these efforts remain few. Their audiences are niche. Their impact is quiet. And in an industry increasingly driven by box office formulas and algorithmic tastes, horror still feels like a gamble. What these Nollywood directors are doing is not revival. It is resistance. They are resisting the urge to sanitise. Resisting the idea that fear must always be marketable. They are not trying to recreate the chaos of the past. They are trying to redeem it. To find what was buried beneath the noise, the panic, the exorcisms and accusations — and bring it back with care. ##### What We Tried to Forget There is a difference between forgetting and choosing not to remember. Nollywood did not simply lose its horror cinema. It buried it. Not with reverence, but with shame. As if to admit we once believed these stories was itself a kind of weakness. What we tried to forget was not just a genre. It was a mirror. One that showed us what we feared about ourselves — our hunger, our cruelty, our helplessness. Horror films once named those things. They did not fix them. But they acknowledged them. That, at least, was honest. Maybe that is the future of Nollywood horror. Not louder. Not bloodier. But braver. More honest. Less concerned with genre than with guts. Because if we are honest, we never stopped being afraid. We only stopped allowing our stories to admit it. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/how-nollywood-killed-its-own-horror-stories-over-time/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/how-nollywood-killed-its-own-horror-stories-over-time/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/how-nollywood-killed-its-own-horror-stories-over-time/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/how-nollywood-killed-its-own-horror-stories-over-time/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/how-nollywood-killed-its-own-horror-stories-over-time/?share=linkedin) - **Categories:** Articles, Nollywood **Tags:** Abba Makama, African spirituality, Afrofuturism, Blood Money, C.J. Obasi, child witches, Daniel Oriahi, Dare Olaitan, Dogs of War, Egg of Life, End of the Wicked, folklore, Grandeur Ighorodje, Helen Ukpabio, Hello Rain, horror genre, horror revival, Ile Owo, Isakaba, Ishawuru, Izaga, Juju, Juju stories, Karishika, Lady Apostle Ukpabio, Living in bondage, Madam Koi Koi, Madam Koi Koi Netflix, Mark of the Beast, Married to a Witch, Michael Omonua, Mount Zion Films, Ms Kanyin, nigerian cinema, Nigerian folklore, Nneka the Pretty Serpent, Nollywood horror, Ojuju, religious conservatism, Sakobi: The Snake Girl, spiritual warfare, Suffer the Witch, superstition, Surreal16 Collective, The Maid, The Origin: Madam Koi Koi, The Ultimate Power, The Weekend, Victor Ayeni, Witches, YouTube Nollywood horror --- ### [The Lost Days: New First Features Slate Explores Themes Of Family And Forgiveness](https://nollycritic.com/the-lost-days-new-first-features-slate-explores-themes-of-family-and-forgiveness/) **Published:** June 27, 2025 **Author:** Michael Arowoselu **Excerpt:** Nollywood gets a new family drama this July with The Lost Days, premiering exclusively on Prime Video on July 11, 2025... **Content:** Nollywood gets a new family drama this July with *T[he Lost Days](https://nollycritic.com/the-lost-days-set-for-prime-video-premiere/ "he Lost Days")*, premiering exclusively on Prime Video on July 11, 2025. The film marks the ninth release under the[ First Features Project](https://nativesfilmworks.com/first-features-project/#:~:text=The%20First%20Features%20Project%20is,Steve%20Gukas%20and%20Dotun%20Olakunri. " First Features Project"), continuing the initiative’s mission to support debut directors telling authentic Nigerian stories. Wingonia Ikpi makes her directorial debut with an introspective family drama that confronts abandonment, resentment, and the fragile pursuit of redemption. The cast brings together established Nollywood talent and fresh faces, including Ifeoma Fafunwa, Bimbo Manuel, Baaj Adebule, Cynthia Clarke, and Durotimi Okutagidi. At the center of the story is Chisom, played by theatre director Ifeoma Fafunwa in her screen acting debut. A wealthy woman in remission from lymphoma cancer, Chisom returns to Abeokuta to make peace with the family she abandoned years earlier. What begins as a journey of healing takes a darker turn when she disappears without a trace, leaving her loved ones to confront old wounds that never properly healed.The film poses challenging questions about whether forgiveness is always possible and whether some family fractures run too deep to be mended. Bimbo Manuel delivers a nuanced performance as Baba Kola, Chisom’s former lover, caught between lingering feelings and present reality. Baaj Adebule appears as Moses, while Durotimi Okutagidi plays Kola and Cynthia Clarke portrays Nkem, Chisom’s daughter, who must navigate her complicated relationship with her mother’s return. *The Lost Days* is written by Abdul TJ and Paul S. Rowlston, leans into the emotional messiness of family and all the stuff we pretend isn’t there. The film’s weight comes from its honest portrayal of intergenerational trauma, unresolved grief, and the quiet violence that exists in many Nigerian homes where difficult conversations get buried under tradition and silence. Steve Gukas, Dotun Olakunri, Chioma Ezeani, and Bola Atta produced the project under the First Features banner, a collaboration between Native Filmworks and Michelangelo Productions that empowers new voices in African cinema. Wingonia Ikpi brings her background in talent management to the director’s chair, crafting a story that explores how love, regret, and redemption intersect in deeply human ways. *The Lost Days* premieres July 11, 2025, on Prime Video. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-lost-days-new-first-features-slate-explores-themes-of-family-and-forgiveness/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-lost-days-new-first-features-slate-explores-themes-of-family-and-forgiveness/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-lost-days-new-first-features-slate-explores-themes-of-family-and-forgiveness/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-lost-days-new-first-features-slate-explores-themes-of-family-and-forgiveness/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-lost-days-new-first-features-slate-explores-themes-of-family-and-forgiveness/?share=linkedin) - **Categories:** Nollywood News **Tags:** Baaj Adebule, Bimbo Manuel, Cynthia Clarke, feoma Fafunwa, First features project, nollywood, Prime Video, The Lost Days, Wingonia Ikpi --- ### [Big Cabal Media Goes Cinematic with Zikoko Life](https://nollycritic.com/big-cabal-media-goes-cinematic-with-zikoko-life/) **Published:** July 2, 2025 **Author:** Faith Oloruntoyin **Excerpt:** big Cabal Media has announced the upcoming release of Zikoko Life, a bold new anthology film series that explores love, sex, and autonomy **Content:** Big Cabal Media has announced the upcoming release of *Zikoko Life*, a bold new anthology film series that explores love, sex, and autonomy through the lens of Nigerian womanhood. Anita E. Eboigbe created the series, drawing inspiration from Zikoko’s popular editorial columns — *[Naira Life](https://www.zikoko.com/money/nairalife-from-car-wash-guy-to-real-estate-magnate/)*, *Sex Life*, and *Love Life*. She transforms real-life experiences into a cinematic universe that delivers both visual richness and emotional depth. Eboigbe says the series aims to “expand Zikoko’s emotional universe” and offer a powerful, artistic platform for truths people often leave unspoken. Blessing Uzzi, the acclaimed filmmaker behind the globally celebrated [*Freedom Way*,](https://nollycritic.com/new-nollywood-movies-and-series-to-see-this-july-2025/) produced the series. She brings together three standalone films, each spotlighting a different dimension of womanhood and agency in today’s Nigeria. “These aren’t just films. They’re stories rooted in our truth — not imported, not idealised,” Uzzi said. The series includes three standalone films: The first film, *What’s Left of Us*, directed by Victor Daniel and Olamide Adio, follows Mariam, a woman who decides to stop having children. Her decision challenges social expectations and disrupts her marriage. Caleb Richards and Tolu Asanu star in the film, which explores body autonomy and economic power in relationships. The directors drew creative influence from *Marriage Story* and *Revolutionary Road*. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/07/Whats-Left-of-us-2-1.jpg?resize=640%2C427&ssl=1)The second film, *My Body*, tells the story of a newlywed couple who struggle with intimacy, desire, and faith. Their inability to consummate their marriage forces them to confront deeply held beliefs about sex. Uzoamaka Power directs and stars in the film alongside Andrew Yaw Bunting. The film challenges widespread assumptions about sex in marriage. “Too often we hear things like ‘she can just lie there and let him take it,’” Power said. “It’s exhausting. *My Body* imagines a way forward.” - ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/07/MY-Body-2.png?resize=419%2C640&ssl=1) - ![my body movie](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/07/MY-Body-3.png?resize=421%2C643&ssl=1) - ![my body movie](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/07/My-BODY-1-1.png?resize=640%2C408&ssl=1) - ![my body movie](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/07/MY-BODY-1-1.png?resize=640%2C425&ssl=1) In the final instalment, *Something Sweet*, a woman in her 40s falls for a younger man and rediscovers the joy of romance. Dika Ofoma directs the film, starring Michelle Dede, Ogranya, Oladozie Chiedoziem, and Kanyinsola Erogbogbo. The story gently defies the notion that love has an expiration date. “You can still feel butterflies in your 40s. You can be desired, and you can choose,” Ofoma said. - ![big cabal media](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/07/something-sweet.jpg?resize=640%2C427&ssl=1) - ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/07/something-sweet-2.jpg?resize=640%2C427&ssl=1) - ![something sweet movie](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/07/somethingsweet-1.jpg?resize=640%2C427&ssl=1) - ![something sweet ](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/07/something-sweet-3.jpg?resize=640%2C427&ssl=1) Zikoko Life premieres in July on Zikoko’s YouTube channel. ## Author - ![Faith Oloruntoyin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/4096333b416573daa5ab0d32e86f8e6c.jpg?resize=80%2C80&ssl=1) [Faith Oloruntoyin](https://nollycritic.com/author/faith-oloruntoyin/ "Faith Oloruntoyin") [ ](mailto:loruntee@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/big-cabal-media-goes-cinematic-with-zikoko-life/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/big-cabal-media-goes-cinematic-with-zikoko-life/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/big-cabal-media-goes-cinematic-with-zikoko-life/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/big-cabal-media-goes-cinematic-with-zikoko-life/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/big-cabal-media-goes-cinematic-with-zikoko-life/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Blessing Uzzi, nollywood, Zikoko, Zikoko Life --- ### [Too Weird for Nollywood? Unconventional Films That Dared to Be Different](https://nollycritic.com/too-weird-for-nollywood-unconventional-films-that-dared-to-be-different/) **Published:** July 2, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood is often seen through a familiar lens: romantic drama, family conflict, village settings, a sprinkle of comedy, and a moral at the end. **Content:** [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") is often seen through a familiar lens: romantic drama, family conflict, village settings, a sprinkle of comedy, and a moral at the end. It’s a formula that works, but it’s also one that’s been done to death. Lately, though, a small group of filmmakers have been shaking things up, choosing strange storylines, odd visual styles, and bold genre experiments that leave viewers either confused or deeply impressed. These are the films that didn’t feel like “typical Nollywood.” Some were slammed by critics, misunderstood by audiences, or quietly swept under the rug. But on closer look, these oddball movies carry real weight. They may be flawed, but they also show the ambition and creativity Nollywood is starting to embrace. Here are seven of the weirdest—and weirdly rewarding—films to come out of [Nollywood](https://en.wikipedia.org/wiki/Nollywood "Nollywood") in recent years. ##### *Kofa* (2022) A psychological thriller in a box. Eight strangers wake up in a locked room with no memory of how they got there. *Kofa* sets up an intense, cerebral mystery—and it works, for a while. The performances are solid, and the tension builds steadily. But halfway through, it takes a hard left into confusing territory. The twist is jarring, the pacing falls apart, and what started as a strong premise begins to unravel. For some audiences, the minimalist setting and psychological angle felt too Western. The narrative structure wasn’t familiar: no clear protagonist, just eerie confusion. Its plot twist didn’t offer payoff—just more questions. Still, there’s something fascinating about its ambition; attempting something Nollywood rarely tries: cerebral, character-driven suspense with a tight ensemble cast. The film might not land perfectly, but it takes a risk most Nollywood films would never even try. ##### *Kasala!* (2018) Four boys, one car, and a ticking clock. *[Kasala](https://nollycritic.com/kasala-the-film-that-gave-nollywood-a-comedy-makeover/ "Kasala")!* is a fast-paced comedy that captures the energy of Lagos street life in a way few films ever have. The visuals are raw—fish-eye lenses, handheld shots, frantic cuts—but they match the chaotic tone of the story. It’s a coming-of-age tale that’s both hilarious and grounded, showing teenage life without gloss or glamour. It focuses on ordinary teenage boys, no big stars, no emotional manipulation. The visual style enhances the comedy. The characters feel real. It’s funny, fast, and honest. It’s not Nollywood as we know it, but it’s what Nollywood could be, breaking the status-quo. ##### *Mami Wata* (2023) Very few Nigerian films dare to go black-and-white, especially not for a mythical folktale. Shot entirely in black and white, spoken mostly in pidgin, and dripping with symbolism, *Mami Wata* is less a movie and more an experience. Nigerian audiences walked in expecting a horror spectacle about marine spirits, instead, they got a hypnotic dream. It tells the story of a small village caught between tradition and rebellion, led by a mysterious priestess figure. Many Nigerian viewers didn’t know what to make of it—“boring,” “slow,” and “too deep” were common reactions. It didn’t help that the story refuses to tell the story in a direct way. You have to interpret it. Pidgin as the main language felt familiar, but in an art-house context, if felt out of touch for some. The film’s mood, sound, and cinematography are stunning, the atmosphere thick, and the mythic tone bold; but it asks for patience. It’s not easy to watch but it’s unforgettable if you let it sink in. ##### *Day of Destiny* (2021 Time travel. In Nollywood? Nollywood doesn’t really “do” sci-fi. So even the premise threw some people off. Two brothers get transported 20 years into the past to change the outcome of their family’s future. *[Day of Destiny](https://www.imdb.com/title/tt15149712/ "Day of Destiny")* is ambitious, blending fantasy, family drama, and moral lessons into one story. Unfortunately, the CGI looked low-budget, which broke immersion for viewers expecting realism. But despite all that, it tried something different. It wasn’t afraid to take genre risks. For some, it felt silly. For others, it was a rare glimpse into what a Nigerian sci-fi film might look like. There’s a playful, youthful spirit to it, and for many viewers, that counts. ##### *Suspicion* (2025) Who would have imagined a juju fiction with juju used as superpowers? That’s what *Suspicion* dared to do differently. And that in itself breaks the norm. A family steeped in juju, bullets freezing midair, revenge unfolding like ritual choreography. The film mixes crime and mysticism with a stylish coolness that’s unusual and fresh in Nigerian cinema. It doesn’t shout. It simmers. And that subtle approach to power, revenge, and the supernatural made it one of the most unconventional thrillers Nollywood has ever released. ##### So, Are They Really That Weird? We’re used to films that tell us how to feel. That wrap everything in lessons. That give us comfort. These ones didn’t. They broke rules. They frustrated viewers. They confused and alienated people. But they also carved out space for something different. Something riskier. They reflect a Nollywood that’s growing, stretching, and trying to figure out what else it can be. Not every risk works. But sometimes, the boldest ideas start off as the most misunderstood. So now it’s your turn: Have you seen any of these films? Did you love them, hate them, or just not get them at all? Which ones confused you? Which ones surprised you? And which other “odd” Nollywood films do you think people are sleeping on? ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/too-weird-for-nollywood-unconventional-films-that-dared-to-be-different/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/too-weird-for-nollywood-unconventional-films-that-dared-to-be-different/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/too-weird-for-nollywood-unconventional-films-that-dared-to-be-different/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/too-weird-for-nollywood-unconventional-films-that-dared-to-be-different/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/too-weird-for-nollywood-unconventional-films-that-dared-to-be-different/?share=linkedin) - **Categories:** Articles, Movies, Nollywood **Tags:** day of destiny, Kasala, Kofa, mami wata, nollywood, suspicion --- ### [Kayode Kasum's Alo: Lightly Flawed, But Full of Heart](https://nollycritic.com/kayode-kasums-alo-lightly-flawed-but-full-of-heart/) **Published:** July 1, 2025 **Author:** Uju Okosieme **Excerpt:** Kayode Kasum steps into new territory with Alo, his first direct-to-YouTube offering. The short film anthology spotlights everyday Nigerians navigating love... **Content:** [Kayode Kasum](https://nollycritic.com/kayode-kasum-and-the-new-nollywood-romance-a-genre-bending-love-affair/ "Kayode Kasum and Nollywood Romance: A Genre-Bending Love Affair") steps into new territory with *[Alo](https://filmfreeway.com/AloStories "Alo")*, his first direct-to-YouTube offering. The short film anthology spotlights everyday Nigerians navigating love, hustle, ambition, and heartache—told in bite-sized stories that carry surprising emotional weight. With a stellar cast including Deyemi Okanlawon, Damilola Adegbite, Femi Jacobs, Sophie Alakija, and Omowumi Dada, *Alo* arrives with quiet promise. Is it worth your screen time? Let’s break it down. ##### A Tapestry of Lagos Stories Set in the ever-vibrant city of Lagos, *Alo* is structured as an anthology of four short films, each zooming in on a different slice of urban Nigerian life. Whether it’s the grind of survival or the search for identity, each episode explores a different emotional terrain, anchored by characters that feel both familiar and fresh. The stories include: - **Roles Reversed** – A man is forced to manage his home after his wife’s health scare and gains a deeper appreciation for her role. - **Hidden Figure** – A plus-sized fashion designer pushes through judgment from friends and strangers alike to pursue her dream. - **The Thing with Feathers** – A young man relocates to Lagos to provide for his sister, only to find that survival in the big city is tougher than expected. - **Road to Spotlight** – An aspiring content creator juggles ambition, setbacks, and doubt while trying to build a name for herself. Each short is distinct, yet together they paint a unified picture of resilience and vulnerability in modern-day Nigeria. ##### Everyday Emotions, Real Performances The performances across *Alo* are consistent and grounded, helping each story hit its emotional beats. Jessica Orishane delivers a standout performance as Ify in *Hidden Figure*, fully inhabiting her character’s emotional arc. She brings quiet depth to a woman determined to be seen for her talent, not her size. In *The Thing with Feathers*, Mofehintola Jebutu brings vulnerability and dignity to Femi, a young man learning Lagos the hard way. His simple act of finally buying suya with his first salary—a moment of small triumph—is one of the anthology’s most moving scenes. The rotating cast across each story allows for fresh dynamics, and while not every performance is remarkable, the authenticity of the delivery elevates even the simpler plots. ##### Simplicity Meets Style *Alo* isn’t trying to reinvent the visual language of Nollywood—and that’s a good thing. The film is simply and smartly shot, allowing the characters and dialogue to remain front and center. The cinematography doesn’t distract, though it occasionally shines: a standout moment comes in *Road to Spotlight*, where Sophie Alakija’s Naomi stares off into space at work, her dreams slipping into frame. The production avoids unnecessary flash and instead leans into clean visuals and relatable locations. This subtlety works especially well given the grounded nature of the stories being told. ##### Relatable, but Not Without Flaws *Alo* resonates because it reflects everyday struggle, joy, and perseverance. But a few missteps in execution hold it back. Product placement—particularly by sponsor Tecno—veers into the unbelievable. In *The Thing with Feathers*, Femi loses his phone not once but twice, and is gifted a new one each time. While it may serve the sponsor’s goals, it undercuts the realism the story tries to build. *Road to Spotlight* also falters in logic: after selecting a dress for a client, Naomi struggles to deliver it via public transport and the dress is ruined. It’s odd that someone who was initially willing to spend on an Uber wouldn’t simply charter the keke to protect the garment. These oversights break immersion, even in stories meant to feel grounded. ##### Verdict *Alo* is a heartfelt anthology that succeeds in showing slices of life rarely given screen time in mainstream Nollywood. While it stumbles with product placement and a few logic gaps, its sincerity and emotional core remain intact. It’s a beautiful, well-paced watch that you can finish in one sitting, totally worth your time. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kayode-kasums-alo-lightly-flawed-but-full-of-heart/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kayode-kasums-alo-lightly-flawed-but-full-of-heart/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kayode-kasums-alo-lightly-flawed-but-full-of-heart/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kayode-kasums-alo-lightly-flawed-but-full-of-heart/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kayode-kasums-alo-lightly-flawed-but-full-of-heart/?share=linkedin) - **Categories:** Articles, Nollywood, Reviews **Tags:** Alo, Anthology, Damilola Adegbite, Deyemi Okanlawon, Kayode Kasum, Omowumi Dada, Sophie Alakija, Youtube --- ### [If Nollywood Is Still Remaking Stories, Why Not These Ones?](https://nollycritic.com/if-nollywood-is-still-remaking-stories-why-not-these-ones/) **Published:** June 28, 2025 **Author:** Ikenna Churchill **Excerpt:** Nollywood is actively looking back. Sequels and reboots like Living in Bondage: Breaking Free in 2019 and Rattlesnake: The Ahanna Story **Content:** Nigeria’s movie industry stands at an interesting crossroads. Spurred by nostalgia and undeniable box office [success](https://nigeriamag.com/biggest-nollywood-box-office-hits-of-2025-so-far/ "success"), with domestic revenue increasing 125% to ₦3.5 billion in 2024 from 2023, [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") is actively looking back. Sequels and reboots like *[Living in Bondage: Breaking Free](https://www.imdb.com/title/tt12539758/ "Living in Bondage: Breaking Free")* in 2019 and *[Rattlesnake: The Ahanna Story](https://www.imdb.com/title/tt13890834/)* in 2020 demonstrated the commercial prowess of legacy intellectual property. They prove modern audiences are starved for classic stories with new twists. *Living in Bondage: Breaking Free*, in particular, was declared a classic, proving so convincingly how a remake can resound successfully when the original is respected and its scope extended. This wave of remakes in modern times is, however, curiously picky. While some popular titles get the limelight, a bunch of culturally resonant and story-wise strong classics lie in the shadows. This passionately prepared disorganisation poses questions: Why, if Nollywood is drawing on its heritage, are so many of its originary and provocative tales being set aside? This loss is not merely a loss of commercial resources, but also an elision of the industry’s rich cultural heritage and its potential to speak to contemporary Nigerian realities in even more profound ways. Ranging across the terrain of remakes, one finds a variety. The successes are clear in a tested formula: raised production values, deeper character development, and an appeal to nostalgia as brought up to date. Living in Bondage: Breaking Free succeeded by building on the repercussions of Andy Okeke’s initial contract through new characters. *Rattlesnake: The Ahanna Story*, in some critical observed narrative tropes, had an action-packed, visually stylised heist experience that remained faithful to the original’s gritty action roots. Conversely, flops like the *[Nneka the Pretty Serpent](https://www.imdb.com/title/tt13809646/ "Nneka the Pretty Serpent")* remake illustrate the pitfalls. Critics across the board panned its execution as dry and incoherent, blaming a failure to adopt the original’s potent mix of folklore and female vengeance for a gripping modern thriller. [*The Glamour Girls* nollywood ](https://en.wikipedia.org/wiki/Glamour_Girls_(2022_film) "The Glamour Girls ")remake traded away the original’s dark look at socio-economic pressures coercing women into tough decisions for all external glamour, forgoing its social commentary. These flops usually result from not grasping the heart of the original’s appeal or not investing in good scripts and direction. Even the *[Aki and Paw Paw](https://www.imdb.com/title/tt16411110/ "Aki and Paw Paw")* remake, as much as it raked in extremely high box office profits, had a mixed reception for banking on nostalgia with a poor script. Beyond the well-trodden grounds of *Living in Bondage* and *Aki and Paw Paw* lies Nollywood’s rich but untapped back catalogue. These are unique stories, full of culture, and dramatically relevant to contemporary Nigerian experience. Consider *I*[*godo: The Land of the Living (1999*) ](https://en.wikipedia.org/wiki/Igodo:_The_Land_of_the_Living_Dead)as an example. This early fantasy saga assembled a band of heroes on a dangerous quest to shatter a magical curse. A remake would be the Nigerian answer to leading global fantasy franchises. Imagine drawing on contemporary visual effects and production design to realise fully its mythological creatures, mystical forests, and ancestral temples. The prevailing themes – collective sacrifice, fighting ancestral evil, conflict between the material and spiritual worlds – are perfectly suited to the world’s appetite for high-risk fantasy, but remain firmly rooted in Igbo cosmology. Its ensemble structure offers rich soil for developing complex character arcs. Equally good is [*Blood Money (1997)*.](https://en.wikipedia.org/wiki/Blood_Money_(1997_film) "Blood Money (1997).") There are few genres that lend themselves more handily to a revival than the “Golden Age” Nollywood horror-thriller. Blood Money delved into the terrifying world of ritual murders carried out for cash, a topic eerily topical with regular rumours in recent years of rituals in relation to cybercrime and the relentless pursuit of ill-got gains. It would have been a modern reinterpretation that looked beyond simple scares and given us a blistering, socially conscious psychological horror film. It could have outlined the poisonous psychology of greed, desperation brought on by inequality, and occultism-fueled societal phobias – all only hinted at in the original because it was technologically constrained. It would not have been nostalgia, but a scary, powerful mirror held up against modern Nigerian anxieties. And then there’s*[ Karishika (1996)](https://en.m.wikipedia.org/wiki/Karishika " Karishika (1996)")*, another reliable 90s horror classic featuring a sensual female demon. A remake provides a golden opportunity for feminist reinterpretation. Rather than being a one-dimensional temptress, Karishika could be a more complex character – a woman brutalised by patriarchal or societal structures, a figure of supernatural power as an act of radical vengeance. This approach could call upon contemporary discourse on gender, power dynamics, and agency to reimagine an ancient parable as a bold exploration of female anger and tenacity, all within a chilling supernatural context. Much-loved comedy*[ Osuofia in London (2003)](https://en.wikipedia.org/wiki/Osuofia_in_London " Osuofia in London (2003)")* by Nkem Owoh is humorous but categorically of its time. A “spiritual sequel” or legacy sequel is a more intelligent route to take than an overt remake. Imagine Osuofia’s tech-savvy grandson, raised with one foot in Nigerian culture and the other in global digital existence, suffering from reverse culture shock when he returns to his village or splits his time between a hybrid Nigerian-British existence. This would be capable of mining humour out of present-day problems like the “Japa” syndrome, the complexities of modern diaspora identity, the clash between tradition and aggressive globalisation, and the juvenility of social media influence, without losing the heart and satire of the original. Even the flopped [*Glamour Girls (1994)* ](https://en.wikipedia.org/wiki/Glamour_Girls_(1994_film) "Glamour Girls (1994) ")remake shows that there was a title worth a genuine reimagining. The 2022 remake failed because it lost the gritty social commentary of the original. A new *Glamour Girls* could be an innovative, anthology-type drama in the world of Lagos’ high-end social scenes or thriving influencer economy. Every episode could explore the complex, often dangerous, power negotiations of sex, money, and survival taken up by different women within a patriarchal order. It requires bold writing, high-level performances, and a commitment to meeting uncomfortable realities of class and gender in modern Nigeria, achieving the potential the originals envisioned. Restoring these classics effectively requires more than bigger budgets. It requires a plan. First, embrace “elevated” genre storytelling. Igodo needs to engage in mythological battles against gravity. Blood Money needs to use horror to expose decay in society. The remake needs to ask: What does this story say about Nigeria in the present? Second, reinterpret, not copy. Dumb copies fail. Modern *Karishika* requires sophisticated character creation. New *Osuofia* stories need to speak to today’s transnational world. Honour the original’s spirit, but find its significance for the viewer in 2025. Third, leverage new production infrastructures and opportunities for collaboration. Utilise projects promoting international co-productions and festival exhibitions. Pursue co-productions for shared financing and expertise. Target international streaming platforms hungry for distinctive overseas fare. Fourth, walk on eggshells around cultural sensitivities. Religious conservatism that drove horror to the edges remains powerful. Frame tales like Blood Money and *Karishika* as morality tales or social commentary rather than occult romance. Partner with platforms offering direct audience engagement if needed, emphasising their value as cultural artefacts exploring local mythology. Fifth, invest in development and authenticity. Weak remakes failed because of poor scripts. Invest in extensive research and writing. Co-produce with custodians of cultures, especially for myth-rich stories—cast actors capable of acting with rich emotional undertones. Nollywood’s remake mania is an expression of artistic and commercial self-assurance, but the trend is currently too restrictive. The industry has a gigantic, unexploited repository brimming with culturally relevant, theme-rich, and commercially viable stories. Films like *Igodo, Blood Money, Karishika,* and even the detested *Glamour Girls* are not mere nostalgia but unique genres, origin myth-solving exercises, and explorations of enduring social phobias. To remake them is not merely a matter of riding on the coat tails of past success; it’s a work in cultural appropriation and artistic broadening. By fearlessly reinterpreting these stories with contemporary relevance and production values, Nollywood can present the world with the full depth and diversity of its storytelling heritage, best describe the multilateral richness of the Nigerian experience, and solidify its position as a world storytelling power. The archives are waiting. It’s time to answer. ## Author - ![Ikenna Churchill](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/e312d6884f18aca2f95d030201b2d6e7.jpg?resize=80%2C80&ssl=1) [Ikenna Churchill](https://nollycritic.com/author/sknypipo_bc/ "Ikenna Churchill") [ ](mailto:lumide93@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/if-nollywood-is-still-remaking-stories-why-not-these-ones/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/if-nollywood-is-still-remaking-stories-why-not-these-ones/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/if-nollywood-is-still-remaking-stories-why-not-these-ones/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/if-nollywood-is-still-remaking-stories-why-not-these-ones/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/if-nollywood-is-still-remaking-stories-why-not-these-ones/?share=linkedin) - **Categories:** Articles, Movies, Nollywood **Tags:** Glamour Girls, Living in Bondage: Breaking Free, nollycritic, nollywood, Rattle Snake: The Ahanna Story --- ### [Ms Kanyin: See the Trailer For the New Supernatural Thriller](https://nollycritic.com/ms-kanyin-see-the-trailer-for-the-new-supernatural-thriller/) **Published:** June 24, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Ms Kanyin, a new supernatural thriller produced by Nemsia Studios and directed by Jerry Ossai is set to premiere on Amazon Prime Video **Content:** *Ms Kanyin*, a new supernatural thriller produced by [Nemsia Studios](https://nemsiastudios.com/ "Nemsia Studios") and directed by Jerry Ossai, is set to premiere on Amazon Prime Video on June 27, 2025. The film was announced with a teaser on June 21, followed by an official trailer released on June 24. The project is positioned within the growing trend of Nigerian films debuting directly on streaming platforms, at a time when investment in local originals has become more selective among global streamers. ##### Plot and Genre Set within the walls of a seemingly perfect school, *Ms Kanyin* explores the consequences of a broken rule that unleashes an evil presence. The narrative follows the unravelling of a deadly secret long buried beneath the school’s surface. Promotional materials describe the film as a supernatural thriller, with thematic elements involving mystery, suspense, and possibly the supernatural consequences of past actions. The Film stars Temi Otedola, Michelle Dede, Tolu George, Kanaga Jnr, Natse Jemide, Queen Damilola, Aduke Shittabey, Demola Adedoyin, Kalu Ikeagwu, Keppy Ekpenyong, Blessing Onwukwe, and Francis Onwochei. ##### Streaming Context *Ms Kanyin* joins a growing list of [Nigerian](https://nollycritic.com/?s=nigeria "Nigerian") films opting for digital premieres on platforms such as Amazon Prime Video and Netflix, amid shifting dynamics in streamer-backed productions. While these platforms continue to license Nigerian content, their pace of commissioning local originals has reportedly slowed in 2025. As such, *Ms Kanyin* arrives at a time when genre films and direct-to-streaming projects are becoming increasingly prominent in Nigeria’s digital-first film distribution strategy. See the trailer below! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ms-kanyin-see-the-trailer-for-the-new-supernatural-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ms-kanyin-see-the-trailer-for-the-new-supernatural-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ms-kanyin-see-the-trailer-for-the-new-supernatural-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ms-kanyin-see-the-trailer-for-the-new-supernatural-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ms-kanyin-see-the-trailer-for-the-new-supernatural-thriller/?share=linkedin) - **Categories:** Movies, Nollywood News **Tags:** Amazon Prime Video Nigeria, June 2025 Nollywood releases, Ms Kanyin, Nemsia Studios, Nigerian film industry, Nigerian supernatural thriller, Nollywood news, Nollywood streaming, Prime Video originals, Tolu Ajayi --- ### [To Kill a Monkey: See the Trailer For the New Netflix Series](https://nollycritic.com/to-kill-a-monkey-see-the-trailer-for-new-netflix-original-series/) **Published:** June 26, 2025 **Author:** Michael Arowoselu **Excerpt:** The trailer for Kemi Adetiba’s highly anticipated series, To Kill a Monkey has just been released. The new Netflix original... **Content:** The trailer for [Kemi Adetiba’](https://nollycritic.com/kemi-adetiba-begins-production-for-king-of-boys-3/ "Kemi Adetiba’")s highly anticipated series,*[ To Kill a Monkey ](https://www.imdb.com/title/tt31158597/ " To Kill a Monkey ")*has just been released. The New Netflix original Series follows Efemini, a down-on-his-luck everyman whose life changes forever after a chance meeting with an old friend. Forced by circumstance to suppress his principles and explore a life of cybercrime, he finds himself making ever-greater moral compromises to stay ahead of the consequences of his new choices… and broadening tastes. Starring William Benson, Bucci Franklin, Bimbo Akintola, Stella Damasus, Chidi Mokeme, Sunshine Rosman, Lilian Afegbai, Ireti Doyle, Teniola Aladese, Michael Ejoor, and many more. Produced by Remi Adetiba and Kemi Adetiba for Kemi Adetiba Visuals, with original score composed and produced by Oscar Heman-Ackah. *To Kill a Monkey* is produced by Kemi Adetiba Visuals with Kemi Adetiba credited as director, showrunner and creator. This Series is set for a Netflix Premiere on July 18, 2025. See the trailer below! ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/to-kill-a-monkey-see-the-trailer-for-new-netflix-original-series/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/to-kill-a-monkey-see-the-trailer-for-new-netflix-original-series/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/to-kill-a-monkey-see-the-trailer-for-new-netflix-original-series/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/to-kill-a-monkey-see-the-trailer-for-new-netflix-original-series/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/to-kill-a-monkey-see-the-trailer-for-new-netflix-original-series/?share=linkedin) - **Categories:** Nollywood, Nollywood News, TV **Tags:** Bimbo Akintola, Bucci Franklin, Chidi Mokeme, Kemi Adetiba, lilian afegbai, Micheal Ejoor, Netflix, nollycritic, nollywood, Stella Damasus, To kill a monkey, William Benson --- ### [New Psychological Drama; Unclaimed by Biodun Stephen, Debuts in Cinemas](https://nollycritic.com/new-psychological-drama-unclaimed-by-biodun-stephen-debuts-in-cinemas/) **Published:** June 25, 2025 **Author:** Fisayo Adekoya **Excerpt:** Biodun Stephen’s new feature, Unclaimed, is now showing in cinemas across Nigeria. The film officially opened on June 20th, 2025 **Content:** Biodun Stephen’s new feature, *[Unclaimed](https://nollycritic.com/unclaimed-see-the-trailer-for-biodun-stephens-new-thriller/)*, is now showing in cinemas across Nigeria. The film officially opened on June 20th, 2025, following a private industry premiere at Alliance Française, Ikoyi. Blending emotional realism with suspense, the drama marks a deliberate step into psychological storytelling for Nollywood. The cast features Kunle Remi, Timini Egbuson, Elma Mbadiwe, Teniola Aladese, and Omowunmi Dada. Together, they navigate a story shaped by memory, loss, and fractured identity. The film unfolds in a way that forces its characters to confront buried truths and moral tension, all while attempting to reclaim a sense of self. Set against a backdrop of unresolved trauma, Unclaimed pushes viewers into a space where the past is never quite settled. Through measured pacing and grounded performances, the story avoids dramatic excess and leans instead into emotional precision. Each scene is layered with meaning, showing how silence, survival, and personal history can collide in unexpected ways. The film is produced by Kayode Kasum under FilmTrybe and marks the debut theatrical release from Hook Entertainment. It is distributed in collaboration with FilmOne Entertainment. This joint effort highlights a continued shift in the industry, where studios are placing greater value on genre-forward titles that reflect both narrative ambition and cultural depth. While Nollywood continues to experiment with genre, few recent films have approached psychological drama with this level of focus. Unclaimed avoids conventional storytelling and opts for something more introspective. Its tone remains steady throughout, drawing attention not just to events but to the emotional processes behind them. As the local film scene grows more diverse, projects like this indicate a rising appetite for stories that go beyond entertainment. They point toward a generation of filmmakers committed to pushing boundaries, even within familiar formats. This film, in particular, stands out for how it handles themes of identity and emotional rupture. Tickets for *Unclaimed* are now available at cinemas nationwide via [www.filmhouseng.com](http://www.filmhouseng.com). The film offers an experience that is both grounded and intense, inviting audiences to engage with it on a deeper level. See the trailer below for a glimpse into the story. - ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/06/Elma-Mbadiwe.jpg?resize=640%2C960&ssl=1) - ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/06/Stella-Damasus.jpg?resize=640%2C960&ssl=1) - ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/06/Kayode-Kasum.jpg?resize=640%2C960&ssl=1) - ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/06/Biodun-Stephen.jpg?resize=640%2C960&ssl=1) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-psychological-drama-unclaimed-by-biodun-stephen-debuts-in-cinemas/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-psychological-drama-unclaimed-by-biodun-stephen-debuts-in-cinemas/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-psychological-drama-unclaimed-by-biodun-stephen-debuts-in-cinemas/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-psychological-drama-unclaimed-by-biodun-stephen-debuts-in-cinemas/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-psychological-drama-unclaimed-by-biodun-stephen-debuts-in-cinemas/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Biodun Stephen, FilmOne Entertainment releases, kunle remi, new Nollywood movie release, nigerian cinema, Nigerian cinema June 2025, Nigerian film industry, nollycritic, nollywood, Nollywood psychological drama, Nollywood thrillers, Timini Egbuson, Unclaimed, Unclaimed movie 2025 --- ### [Midnight in Shangisha: See the Trailer for New Action Comedy](https://nollycritic.com/midnight-in-shangisha-see-the-trailer-for-new-action-comedy/) **Published:** June 25, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Midnight in Shangisha tells the story of Yori, a young man desperately searching for a job who unknowingly walks into a murder-for-hire trap... **Content:** The upcoming feature film, *Midnight in Shangisha* is set to arrive in [cinemas](https://nollycritic.com/out-in-the-darkness-hits-cinemas-this-july/ "cinemas") nationwide on July 4, 2025. Directed by Ben Chiadika and Sola Osofisan, and produced by Sola Osofisan, *Midnight in Shangisha* tells the story of Yori, a young man desperately searching for a job who unknowingly walks into a murder-for-hire trap after responding to a message on a borrowed, stolen phone. When the real assassin returns, Yori is forced into a race against time to recover stolen money and complete a contract he never agreed to. The cast includes Baaj Adebule, Lanre Adediwura, Martha Ehinome Orhiere,[ Tina Mba](https://www.imdb.com/name/nm3339311/ " Tina Mba"), Ireti Doyle, Sola Sobowale, Antar Laniyan, Muyiwa Adegoke, Saeed Mohammed, Bryan Okoye, Victor Nwaogu, May Efe Okanigbe, and Yinka Smart. Viewers should expect suspense, action, and laughter in one explosive mix. See the trailer below! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/midnight-in-shangisha-see-the-trailer-for-new-action-comedy/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/midnight-in-shangisha-see-the-trailer-for-new-action-comedy/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/midnight-in-shangisha-see-the-trailer-for-new-action-comedy/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/midnight-in-shangisha-see-the-trailer-for-new-action-comedy/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/midnight-in-shangisha-see-the-trailer-for-new-action-comedy/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News --- ### [The Best Nollywood Films and Shows of 2025 So Far](https://nollycritic.com/the-best-nollywood-films-and-shows-of-2025-so-far-2/) **Published:** June 23, 2025 **Author:** Shalom O. Obisesan **Excerpt:** 2025 continues to be a banner year for Nollywood. In the first half of the year, we’ve reviewed 55 titles ranging from... **Content:** 2025 continues to be a banner year for [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood"). In the first half of the year, we’ve reviewed **55** titles ranging from bold cinema debuts to streaming platform breakouts. While the full data from the National Film and Video Censors Board (NFVCB) for Q2 is still forthcoming, January alone recorded 27 official releases. That momentum carried through to June, and several projects have stood tall. At NollyCritic, we’ve reviewed **23** cinema releases and dozens more across Streaming Platforms (**Netflix**, **Prime Video**, **YouTube,** and **Circuits TV**), evaluating each with our internal rating metrics. This article presents our highest-rated titles so far rating from **3.5** and above. ##### Cinema Releases The first half of the year brought 23 cinema titles to our desk. From intense thrillers to relatable dramas, here are the those that stood above the rest: ***Blackout* – 4.2/5** Directed by Okechukwu Oku and written by Ikenna Okpara, *[Blackout](https://nollycritic.com/?s=blackout "Blackout")* stars Padita Agu, Gideon Okeke, Blossom Chukwujekwu, and Nelson Iwu. It follows Judith, a woman trapped in a marriage born from a sinister spell. With gripping suspense, razor-sharp direction, and immersive performances, at 4.2 stars, it is not just our highest-rated cinema release so far this year but our highest rated movie ever. **Aso Ebi Diaries / Makemation / Something About The Briggs / The Masked King – 4/5** We had a four-way tie for second place, with each film bringing something distinct to the table: *Aso Ebi Diaries* serves drama and fashion politics in equal measure. A fashion-driven Lagos drama led by Nancy Isime and Kunle Remi. *Aso Ebi Diaries* is a vivid take on identity, status, and the social pressures buried in Nigerian wedding culture. With sleek visuals and sharp dialogue, it balances satire and drama in a way that keeps audiences watching, and thinking. *Makemat**ion* takes Nollywood into tech territory with an AI-centered family story. Directed by Chiemeka Osagwu, *Makemation* is a rare Nollywood family sci-fi drama centered on a tech-savvy girl whose AI prototype gains national attention. Featuring RMD and a strong ensemble cast, the film grossed ₦32.9 million in its first weekend. It explores innovation, fear, and belonging in a country on the edge of digital transformation. *Something About The Briggs* delivers a grounded romantic drama anchored by Ariyike Dimples, Daniel Etim Effiong, Rita Dominic, and Stan Nze. Written and directed by Bukola Ogunsola, at its core is Sophie Briggs, a fiercely independent lawyer whose beliefs about love are shaken by a man who challenges her worldview. It balances family drama, emotional truth, and an explosive secret in a way that feels both familiar and fresh. *The Masked King* explores silence, customs, and inherited power through the story of King Ensa. It leans into historical narrative with strong emotional texture and thoughtful direction that reflects on how societies preserve power. **RadioVoice – 3.9/5** A quietly moving drama that builds its emotional core through solid character work and strong performances—particularly from Nancy Isime. It’s a film that lets humanity guide the story, delivering a message about redemption without tipping into sentimentality. ##### Streaming Platforms Only two Netflix series hit our radar this year, but one stood out as a clear winner. **Baby Farm – 3.85/5** A socially conscious limited series that tackles the underground baby-factory crisis with nuance and cinematic grit. Tense, timely, and emotionally resonant. The Netflix film lineup has been underwhelming so far this year as no Netflix film got a 3.5/5. While Q2 didn’t see many new Circuits TV releases, early-year titles gave us a strong entry: **Atiko – 3.85/5** A deeply emotional drama about tradition and spiritual reckoning. Threaded with themes of fate and sacrifice, *Atiko* unfolds with clever pacing and stunning visuals. It captures the tension between ancestral belief and personal agency. Prime Video served up a few intriguing titles this year. These three stood out: **The Fire and the Moth – 3.75/5** A smartly written drama exploring crime and power dynamics. Ambitious and atmospheric, *The Fire and the Moth* blends political commentary with stylistic flair, landing confidently among Prime’s best this year. **Landline – 3.5/5** A time-loop thriller with solid tension and a strong central performance from Gabriel Afolayan. While some parts strain believability, and it ultimately fails to answer the main question it poses the audience, it’s a bold attempt at high-concept storytelling. We only reviewed one Prime Video series this half of the year, but it held its own. **Grind (Season 2) – 3.5/5** The second season builds on its gritty Lagos underworld narrative with tighter direction and character arcs. ##### Final Thoughts Cinema is clearly leading Nollywood’s 2025 output—*Blackout*, *Makemation*, and *Radio Voice* showcase its best work so far. In contrast, Netflix’s lineup has been underwhelming, with *Baby Farm* as the only standout. YouTube fare also trails, lacking strong content this half-year. Compared to 2024, the quality curve has dipped. For streaming platforms, Prime Video and Circuits TV delivered some strong contenders. ***Special Mention***: *Shaping Us*, an emotionally charged story about motherhood, friendship, and hidden truths. Set during a farewell gathering, its strong performances and layered storytelling earned it 10 nominations at the 2024 Toronto International Nollywood Film Festival. It earns a nod for its emotional depth with a rating of 3.5/5. The film is now available on Showmax. There’s plenty more to come in the second half of the year. For now, these are the titles we believe have defined the year so far. --- **All ratings are based on Nollycritic’s internal review metrics and reflect the opinions of our editorial team.** --- ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-best-nollywood-films-and-shows-of-2025-so-far-2/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-best-nollywood-films-and-shows-of-2025-so-far-2/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-best-nollywood-films-and-shows-of-2025-so-far-2/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-best-nollywood-films-and-shows-of-2025-so-far-2/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-best-nollywood-films-and-shows-of-2025-so-far-2/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** Aso Ebi Diaries, baby farm, Blackout, Makemation, Netflix, nollycritic, nollywood, Prime Video, radio voice, The Fire and the Moth, The Masked King --- ### [See the New Teaser For 3 Cold Dishes and Cinema Release Date](https://nollycritic.com/see-the-new-teaser-for-3-cold-dishes-and-cinema-release-date/) **Published:** June 19, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The official teaser for 3 Cold Dishes - a Pan-African revenge thriller—has just dropped. Released today, June 26, the teaser offers... **Content:** The official teaser for *[3 Cold Dishes ](https://www.imdb.com/title/tt36643696/)*— a Pan-African revenge thriller—has just dropped. Released today, June 26, the teaser offers a charged first look at a film poised to be one of [Nollywood’s](https://nollycritic.com/?s=nollywood) most ambitious projects yet. The teaser introduces a tale of vengeance, survival, and justice—one rooted in a subject too often sidelined: intra-African human trafficking. ##### A Story of Sisterhood and Reckoning *3 Cold Dishes* tells the story of Esosa, Fatouma, and Giselle, three women trafficked as teenagers who formed a deep bond in captivity. Two decades later, hardened by trauma but united by purpose, they reunite to launch a meticulously planned mission against the men who once owned their lives. Set across Nigeria, Côte d’Ivoire, Mauritania, and the Benin Republic, the film promises a visually rich, emotionally charged journey, blending drama, suspense, and action. ##### Burna Boy Makes His Nollywood Production Debut Premiered earlier this year during Burna Boy’s concert at the Stade de France in Paris, the teaser’s release marks the Afrobeats star’s first foray into Nollywood as an executive producer under his Spaceship Films banner. Co-founded with his manager and mother, Bose Ogulu, the label now makes its cinematic debut in collaboration with Asurf Films, Ifind Pictures, Alma Productions, Martian Network, and others. ##### Behind the Scenes: A Continental Collaboration The film is directed by Asurf Oluseyi, known for *Hakkunde*, *Gone*, and *Kasanova*, and produced by Martial Dansou, LY Hamet, and Oluseyi himself. The production draws together a host of African and diasporic talent both on and off screen, with support from ten different studios including Nexthought Studios, Black Mic Mac, MBO Capital, and Azure Noir & Co. ##### Cast Highlights The cast features a powerful mix of Nigerian talent—Osas Ighodaro, Wale Ojo, Femi Jacobs, Ruby Akubueze and Brutus Mfon—alongside actors from across Francophone and Anglophone Africa. Ivorian actors Fat Toure and Maud Guérard bring diverse perspectives, while Senegalese stars Amelie Mbaye and Mentor Ba deepen the film’s continental authenticity, underscoring its truly Pan-African scope. The film is bilingual, delivered in both English and French. ##### A Rare Spotlight on Intra-African Trafficking While trafficking has been explored in Nigerian and African cinema before—films like *Òlòtūré* and *I Am All Girls* have tackled global networks—the focus has often been on victims trafficked from Africa to Europe or the Middle East. In contrast, *3 Cold Dishes* digs into a lesser-covered but widespread issue: human trafficking between African countries. In a statement on the Asurf Films YouTube channel, director Asurf Oluseyi shared: > “Before now, there are great titles that have explored trafficking from Africa going to Europe… but to explore the real gory story of these girls from an African country to another African country—that’s the story we’re telling.” This issue is alarmingly prevalent. According to data from the African Union and IOM, most trafficking in sub-Saharan Africa happens within the region. Women and girls, in particular, are moved across porous borders with little media coverage and even less justice. *3 Cold Dishes* steps into that silence. ##### The Road Ahead With the teaser now making its mark, audiences can anticipate the full trailer and marketing campaign in the coming months ahead of the film’s theatrical release on 7 November 2025. Distributed by FilmOne, *3 Cold Dishes* is set to premiere across a broad range of territories from Nigeria, Benin, Senegal, Côte d’Ivoire, Ghana, Togo, Kenya and Liberia to France, the UK, the USA and Canada. With its ambitious vision, international reach, and socially urgent story, *3 Cold Dishes* is shaping up to be a cinematic statement. Stay with Nollycritic for continued coverage including full trailer breakdowns, interviews, and in-depth features as *3 Cold Dishes* moves from teaser to theatrical release. Watch the teaser here. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-new-teaser-for-3-cold-dishes-and-cinema-release-date/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-new-teaser-for-3-cold-dishes-and-cinema-release-date/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-new-teaser-for-3-cold-dishes-and-cinema-release-date/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-new-teaser-for-3-cold-dishes-and-cinema-release-date/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-new-teaser-for-3-cold-dishes-and-cinema-release-date/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** Alma Productions, Amelie Mbaye, Asurf Films, Asurf Oluseyi, Azure Noir & Co., Black Mic Mac, Bose Ogulu, Brutus Mfon, Burna Boy, Cold Dishes, Didier Anouble, Didier Nassegande, Fat Toure, Femi Jacobs, Ifind Pictures, Imuetiyan Productions, LY Hamet, Martial Dansou, Martian Network, Maud Guérard, MBO Capital, Mentor Ba, Nexthought Studios, nollycritic, nollywood, Osas Ighodaro, Pan-African film, Ruby Akubueze, Sourou Govoueke, Spaceship Films, Wale Ojo --- ### [Out In The Darkness Hits Cinemas This July](https://nollycritic.com/out-in-the-darkness-hits-cinemas-this-july/) **Published:** June 17, 2025 **Author:** Fisayo Adekoya **Excerpt:** Sarah Stella Kwaji’s debut feature film, Out In The Darkness, is scheduled for release in Nigerian cinemas on July 4th, 2025. **Content:** Sarah Stella Kwaji’s debut feature film, *[Out In The Darkness](https://www.imdb.com/title/tt36982205/ "Out In The Darkness")*, is scheduled for release in Nigerian cinemas on July 4th, 2025. Following its international festival run and limited screening in Canada, the film has started attracting attention for its subject matter and direction. The drama made its first official appearance earlier in the year as an official selection at the[ Nollywood Week Festival 2025](https://nollycritic.com/nollywoodweek-here-are-the-2025-official-festival-selections/ " Nollywood Week Festival 2025"). After its festival debut, it was screened in Canadian cinemas in May, where it received positive feedback from viewers and critics alike. With its Nigerian release now confirmed, the film is expected to reach a broader local audience. *Out In The Darkness* explores the emotional and psychological challenges that come with postpartum depression. Set within the experience of new motherhood, it draws attention to the silence, pressure, and mental strain that many women face after childbirth. The film approaches these issues with sensitivity, offering a story that feels both relevant and timely. This marks Sarah Stella Kwaji’s first feature-length film. She serves as writer, director, and producer, making the project a personal and multi-layered effort. Despite being a debut, the film reflects careful planning and a clear artistic vision, particularly in how it presents mental health through a Nigerian lens. The cast includes Kehinde Bankole, Deyemi Okanlawon, Bimbo Akintola, Tina Mba, Prince Jide Kosoko, Ronke Oshodi Oke, Jennifer Eliogu, and others. Public figures such as Liquorose and Symply Tacha also appear in supporting roles. The range of performers contributes to the film’s grounded and emotionally realistic tone. Early reviews point to a story told through subtle dialogue and restrained performances. The film does not rely on heavy exposition but instead leans into the weight of quiet moments. This approach allows the audience to observe, reflect, and connect with the experiences presented on screen. Genesis Cinemas is handling distribution, ensuring nationwide availability across key cinema locations. Since the Canadian screenings, promotional activity has steadily grown, with emphasis now shifting to its Nigerian release and audience engagement. As mental health continues to gain more recognition in public discourse, *Out In The Darkness* arrives with a message that is both necessary and overdue. It is positioned not only as a film but as a conversation starter for families, health professionals, and viewers who may recognize parts of themselves in the story. With its local release set for July, the film adds to the ongoing shift in Nollywood toward stories that reflect lived realities. For Sarah Stella Kwaji, it marks the start of a promising journey as a filmmaker unafraid to handle weighty themes. Nigerian audiences can expect *Out In The Darkness* in cinemas nationwide from July 4th, 2025. Here’s the trailer for a first look at what to expect. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/out-in-the-darkness-hits-cinemas-this-july/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/out-in-the-darkness-hits-cinemas-this-july/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/out-in-the-darkness-hits-cinemas-this-july/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/out-in-the-darkness-hits-cinemas-this-july/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/out-in-the-darkness-hits-cinemas-this-july/?share=linkedin) - **Categories:** Articles, Drama, Movies, Nollywood, Nollywood News **Tags:** Bimbo Akintola, Deyemi Okanlawon, film, Kehinde Bankole, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Nollywood week, NOW Festival, Out in the Darkness, Sarah Stella Kwaji --- ### [Unclaimed: See The Trailer For Biodun Stephen's New Thriller](https://nollycritic.com/unclaimed-see-the-trailer-for-biodun-stephens-new-thriller/) **Published:** June 11, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The trailer for Unclaimed, a new Nollywood feature directed by Biodun Stephen, has been officially released ahead of the film’s.. **Content:** The trailer for *[Unclaimed](https://thenollywoodreporter.com/news/biodun-stephens-unclaimed-set-to-hit-cinemas-this-june/ "Unclaimed")*, a new [Nollywood](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-june-2025/ "Nollywood") feature directed by Biodun Stephen, has been officially released ahead of the film’s scheduled cinema debut on 20 June. Presented by The Hook, The Hook Entertainment, FilmTrybe and FilmOne NG, the film features a cast that includes Kunle Remi, Elma Mbadiwe, Timini Egbuson, Teniola Aladese, Jayeola Monje, Omowunmi Dada, Michael Ojoor and King Cregx. It is produced by Ofeyifunmi. According to early production notes and the trailer, *Unclaimed* tells the story of Dieko, a young woman navigating her career while serving as a caregiver for her physically challenged grandmother. Dieko’s life takes a sharp turn when she finds herself falsely accused of a serious crime. As she battles public shame and a justice system determined to break her, the film follows her journey toward reclaiming her name and freedom. Biodun Stephen, known for emotionally grounded stories with social relevance, directs this drama that explores themes of identity, false accusation, public judgement and survival. See the trailer below! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/unclaimed-see-the-trailer-for-biodun-stephens-new-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/unclaimed-see-the-trailer-for-biodun-stephens-new-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/unclaimed-see-the-trailer-for-biodun-stephens-new-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/unclaimed-see-the-trailer-for-biodun-stephens-new-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/unclaimed-see-the-trailer-for-biodun-stephens-new-thriller/?share=linkedin) - **Categories:** Blog, Movies, Nollywood News **Tags:** Biodun Stephen, Elma Mbadiwe, FilmOne NG, FilmTrybe, Jayeola Monje, King Cregx, kunle remi, Michael Ojoor, nigerian cinema, Nigerian Film, nollywood, Nollywood Drama, Nollywood trailer, Ofeyifunmi, Omowunmi Dada, Teniola Aladese, The Hook, The Hook Entertainment, Timini Egbuson, Unclaimed --- ### [New Nollywood Movies and Series to See in June 2025](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-june-2025/) **Published:** June 2, 2025 **Author:** Michael Arowoselu **Excerpt:** June is shaping up to be an exciting month for Nollywood lovers in 2005 , packed with thrilling action, emotional drama, epics **Content:** June is shaping up to be an exciting month for [Nollywood](https://nollycritic.com/?s=nollywood) lovers in 2005 , packed with thrilling action, emotional drama, epics and gripping storytelling. Whether you’re in the mood for a fast-paced adventure, a thought-provoking drama, or a epic, this lineup has something for everyone. With cinema blockbusters and [streaming](https://nollycritic.com/nollywood-movies-and-series-to-see-this-march-2025/#) exclusives dropping all month long, here are the Nollywood movies and series you won’t want to miss! #### *The Fire and the Moth* — June 3 In Taiwo Egunjobi’s crime drama, Violence and mayhem ensue after a smuggler escapes with a rare Ife bronze head into a gritty western Nigerian town. The film stars: Tayo Faniran, Jimmy Jean Louis, Ini Dima-Okojie and many others. Premieres on Prime Video, June 3. #### *Red Circle* — June 6 Fikayo has everything or so it seems. Born into a wealthy family and expected to follow the rules of legacy, she’s determined to carve her own path as a serious journalist. But when she begins investigating secrets that those around her would rather keep buried, she finds herself caught in a dangerous web of ambition, betrayal, and truth. Red Circle starring Folu Storms, Tobi Bakre,Timini Egbuson, Mike Afolarin, Omowunmi Dada,Femi Branch, Bukky Wright, Lateef Adedimeji, Debo Adedayo,Lizzy Jay, Ruggedman, Ibrahim Suleiman, Shamz Garuba,Detola Jones, Patrick Diabuah,Taye Arimoro & Inem King. In cinemas from June 6. #### *Iyalode* — June 6 Toyin Abraham is set to return to the big screen with *Iyalode*, a Yoruba-language epic distributed by [FilmOne Entertainment](https://www.filmoneng.com/home). The film follows the unbreakable spirit of a woman destined to lead. A gripping Nollywood epic story of strength, tradition, and the unbreakable spirit of a woman destined to lead. The film stars; Kehinde Bankole, Wale Ojo, and Muyiwa Ademola, Iyalode opens in cinemas nationwide on June 6, 2025. #### *The Shadow of Greed* — June 20 Jerry Chen’s dream posting as Head of Construction in Nigeria, takes a bitter turn as he is forced into a deadly tussle with the overly ambitious young queen of the region, Oba Adebukola Adele. With the help of a prominent youth leader, Tunde Braithewaite AKA Castro, and the good people of the community, the struggle to emerge from the shadow of greed is birthed. Directed by Akay Mason, the film features prominent actors like Olumide Oworu, Gabriel Afolayan, Toke Makinwa, and Kent S. Leung. *The Shadow of Greed* will screen in cinemas from June 20, 2025. #### *Unclaimed* — June 20 A tale of strength, survival, and finally saying: No more. Directed by Biodun Stephen, starring; Kunle Remi, Ellma Mbadiwe, Timini Egbuso, Omowumi Dada, Teniola Aladese and many others. In cinemas June 20th. https://www.instagram.com/p/DKMRVdnoY41/?hl=en #### *Mending* — June 27 Some scars are invisible. But they run deep. From heartbreak to healing, Mending is a journey of redemption, love, and truth. Directed by Robert Peters. *Mending* Features; Shaffy Bello, Nancy Isime, Omowunnmi Dada, Ademola Adedoyin, Enyinna Nwigwe and many others. *Mending* will premiere in cinemas on June 27. As June unfolds, these films promise to offer audiences a rich tapestry of Nollywood stories that entertain, challenge, and inspire. This list will be updated as more Nollywood titles are announced! ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-june-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-june-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-june-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-june-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-june-2025/?share=linkedin) - **Categories:** Articles, Movies, Nollywood, Nollywood News **Tags:** Iyalode, mending, nollycritic, nollywood, nollywood movies, Red circle, The Fire and the Moth, the shadow of greed --- ### [Iyalode: Toyin Abraham’s New Epic Set For Cinemas](https://nollycritic.com/iyalode-toyin-abrahams-new-epic-set-for-cinemas/) **Published:** May 29, 2025 **Author:** Fisayo Adekoya **Excerpt:** Toyin Abraham is set to return to the big screen with Iyalode, a Yoruba-language epic distributed by FilmOne Entertainment. **Content:** Toyin Abraham is set to return to the big screen with *Iyalode*, a Yoruba-language epic distributed by [FilmOne Entertainment](https://www.filmoneng.com/home "FilmOne Entertainment"). Coming just months after her December 2024 box office success with *[Alakada: Bad and Boujee](https://nollycritic.com/alakada-bad-and-boujee-an-unsatisfying-installment/)*, this latest project confirms Abraham’s sustained momentum as one of Nollywood’s leading commercial voices. Iyalode opens in cinemas nationwide on June 6, 2025, with a premiere event scheduled at Filmhouse IMAX, Lekki. The premiere is expected to draw key figures across Nollywood, celebrating the film’s deep cultural roots and theatrical ambition. With dialogue entirely in Yoruba, the film pushes further into the space of indigenous-language storytelling, a space that continues to prove its viability in the Nigerian box office and beyond. Anchored by an ensemble cast that includes Kehinde Bankole, Wale Ojo, and Muyiwa Ademola, the film offers a narrative that is both character-led and action-driven. Abraham steps into a role unlike her previous comedic or romantic parts, taking on a dramatic character shaped by power, tradition, and resistance. The shift in tone signals an effort to stretch not just her own filmography but also expectations around women-led period pieces in Nollywood. The project also aligns with FilmOne Entertainment’s growing investment in local-language films. With a strategy that blends theatrical and international releases, the company continues to position Nigerian stories within wider markets. Its backing of Iyalode fits into a pipeline that values regional depth as much as global appeal. This move is especially notable as the company balances titles from major Hollywood studios with local projects that reflect cultural specificity. As Nigerian cinema increasingly leans into multilingual storytelling, *Iyalode* arrives at a time when audiences are demanding more rooted, yet commercially viable, content. The film’s June release places it firmly in the mid-year calendar as one to watch not only for Toyin Abraham fans but also for viewers interested in how traditional narratives can be reimagined for the big screen. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/iyalode-toyin-abrahams-new-epic-set-for-cinemas/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/iyalode-toyin-abrahams-new-epic-set-for-cinemas/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/iyalode-toyin-abrahams-new-epic-set-for-cinemas/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/iyalode-toyin-abrahams-new-epic-set-for-cinemas/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/iyalode-toyin-abrahams-new-epic-set-for-cinemas/?share=linkedin) - **Categories:** Articles, Blog, Drama, Movies, Nollywood, Nollywood News **Tags:** film, Filmhouse Entertainment, Filmhouse Studios, Iyalode, Kehinde Bankole, nigerian cinema, nollycritic, nollywood, Nollywood 2025, nollywood 2025 releases, Toyin Abraham, Wale Ojo --- ### [NTA Set to Revive Classic Titles for a New Era](https://nollycritic.com/nta-set-to-revive-classic-titles-for-a-new-era/) **Published:** May 27, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The Nigerian Television Authority (NTA) is making a major push to re-establish itself as a national hub for premium storytelling. **Content:** [The Nigerian Television Authority (NTA)](https://en.wikipedia.org/wiki/Nigerian_Television_Authority "The Nigerian Television Authority (NTA)") is making a calculated comeback, and it is reaching into the past to chart the future to re-establish itself as a national hub for premium storytelling. In a bold move announced in March 2025, the state broadcaster revealed a sweeping collaboration with Nollywood producers and filmmakers aimed at reviving classic formats while also developing fresh content that reflects Nigeria’s cultural landscape. The Nigerian Television Authority (NTA) In a bid to reclaim its legacy as the cradle of Nigerian screen storytelling, NTA has launched a major initiative to revive some of its most iconic television formats. This includes plans to remake fan favourites like *Cock Crow at Dawn* and *Basi & Company*, with fresh creative energy from the Nollywood ecosystem. Earlier this year, NTA hosted a private interactive session in Abuja with a handpicked group of Nollywood producers. The goal was to present the Authority’s vision and explore ways to build a sustainable platform for bold, culturally resonant Nigerian stories. In attendance were respected filmmakers including Joke Silva, Adeniji Adedeji, Daniel Ademinokan, and other notable producers from across the industry. The session created space for open dialogue between the creatives and the NTA management, including the Director General and Tari Taylaur, NTA’s Executive Director of Programmes. Taylaur, a filmmaker and public broadcast advocate, presented NTA’s revitalisation strategy, which includes reestablishing the platform as a national destination for premium scripted content that speaks to Nigeria’s diversity and strength. > “We are opening up our platform to creatives who align with our mission to reflect the best of who we are as Nigerians,” she said. ##### A Legacy Reborn NTA, once the creative powerhouse behind legendary series like *Cock Crow at Dawn*, *Village Headmaster*, *Checkmate*, and *Basi & Company*, is tapping into its legacy to fuel the future. These shows were defining pillars of Nigerian television in the 70s through the 90s acclaimed for their storytelling, cultural grounding, and enduring characters. The meeting covered both legacy formats and new ideas. Chief among them is the planned return of *Cock Crow at Dawn*, the seminal 1980s series originally written by legendary broadcaster Peter Igho and directed by Matt Dadzie. In a unique cross-generational collaboration, the remake is expected to be led by Igho’s son, Tosin Igho, a modern filmmaker known for titles like *Seven*, *Nneka The Pretty Serpent*, and *The Trade*. The partnership symbolises what this reboot is about. Passing the torch while keeping the flame true. “We’re not just looking back,” Taylaur stated. “We’re using our legacy as a launchpad to inspire new formats that resonate with today’s audiences while staying rooted in who we are.” ##### The First Project: Temi & The Labalaba Band One of the first major fruits of this strategy is [*Temi & The Labalaba Band*, ](https://nollycritic.com/temi-and-the-labalaba-band-makes-bold-nta-debut/ "Temi & The Labalaba Band, ")a 13-episode musical family drama produced by Anthill Studios, helmed by filmmaker Niyi Akinmolayan. The series, which premiered on NTA Network Service on April 19, 2025, is set in a Nigerian university and follows a spirited young girl and her bandmates as they navigate music, friendship, and growing up. At the series launch, Dr Shaibu Husseini, Executive Director of the National Film and Video Censors Board, described the show as “a cultural milestone” and a move toward building African-themed children’s content that competes globally. Niyi Akinmolayan, founder of Anthill Studios and executive producer of the show, added that the vision is to give Nigerian children stories that reflect their world with beauty, ambition, and joy. Akinmolayan, speaking on behalf of Anthill, said the studio is committed to reshaping children’s and family entertainment in Nigeria. > “We want to create stories that build confidence, spark curiosity, and foster a sense of pride in our culture,” he said. ##### Industry Response and Broader Impact The broader agenda is to reposition NTA as a credible creative partner within Nollywood, not just a broadcaster but a builder of narratives. With over 80 million viewers in its network and infrastructure across the country, NTA is uniquely placed to give Nigerian stories the reach and resonance they deserve. Industry stakeholders have welcomed NTA’s return to active storytelling. Veteran producer and TV critic Chris Ihidero described the move as “a step in the right direction,” noting that Nigeria’s TV culture, once nurtured by NTA, must be revived to sustain the broader Nollywood ecosystem. With a nationwide reach and infrastructure that connects to over 80 million viewers, NTA is uniquely positioned to amplify stories that matter. The Authority has called on filmmakers, writers, and producers to submit short films, documentaries, series, and features that speak to Nigerian realities and aspirations. ##### What’s Next? Beyond *Temi & The Labalaba Band*, insiders hint at more remakes and original formats in development, including modern reinterpretations of *Cock Crow at Dawn* and *Basi & Company*. The vision is to blend the richness of Nigeria’s past with the energy of its creative present offering content that is nostalgic, fresh, and unapologetically Nigerian. In a media landscape flooded with foreign content, NTA’s repositioning marks a renewed commitment to homegrown storytelling. The Authority isn’t just broadcasting. It’s building bridges between generations, between cultures, and between Nigeria’s past and future on screen. What is clear is that the conversation has begun. NTA is reaching out. Nollywood is responding. And something is shifting. If done right, this could be the beginning of a new chapter for both the Authority and the Nigerian film and television industry as a whole. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nta-set-to-revive-classic-titles-for-a-new-era/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nta-set-to-revive-classic-titles-for-a-new-era/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nta-set-to-revive-classic-titles-for-a-new-era/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nta-set-to-revive-classic-titles-for-a-new-era/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nta-set-to-revive-classic-titles-for-a-new-era/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Checkmate, Cock Crow at Dawn, nollycritic, nollywood, NTA, Temi and the Laba laba band, Village Headmaster --- ### [My Father’s Shadow Earns Special Mention at Cannes](https://nollycritic.com/my-fathers-shadow-earns-special-mention-at-cannes/) **Published:** May 26, 2025 **Author:** Fisayo Adekoya **Excerpt:** Akinola Davies Jr.’s My Father’s Shadow has carved a historic mark for Nigerian cinema by earning a Caméra d’Or Special Mention at the 78th Cannes Film Festival **Content:** Akinola Davies Jr.’s *[My Father’s Shadow](https://nollycritic.com/my-fathers-shadow-makes-history-at-cannes-festival/ "My Father’s Shadow")* has carved a historic mark for Nigerian cinema by earning a Caméra d’Or Special Mention at the 78th Cannes Film Festival. This accolade celebrates the best debut features at the festival and places the film among the most notable first-time efforts in global cinema this year. More importantly, it represents a milestone not just for the filmmaker, but for the entire Nigerian film industry. The film, which premiered in the *Un Certain Regard* section, is the first Nigerian fiction feature to be officially selected by Cannes since its inception. This alone is a groundbreaking achievement. However, the story does not end there. Set in Lagos during the tension-filled 1993 elections, *My Father’s Shadow* follows two young brothers as they reconnect with their estranged father. Through its quiet emotional rhythm and deeply rooted themes of memory, masculinity, and grief, the film draws attention not only to personal family dynamics but also to Nigeria’s larger political soul. The performances in the film carry a rare authenticity. British-Nigerian actor Ṣọpẹ́ Dìrísù plays the father, Folarin, while real-life siblings Godwin and Chibuike Egbo portray the young boys. Their chemistry and raw delivery help ground the narrative in lived experience. Even more impressively, the film was made with over 80% Nigerian crew and about 90% African creatives. Despite challenges in logistics and infrastructure, the team managed to produce a work that now stands among the best in international debut cinema. Beyond its emotional core and technical merit, the film is already making waves in distribution. MUBI, the global streaming platform, acquired rights to the film in North America and several other territories. This signals growing international interest in stories that emerge from Africa but resonate universally. At a time when audiences are increasingly seeking stories that feel both grounded and global, *My Father’s Shadow* delivers with care and precision. The film’s recognition has also sparked institutional movement. In parallel with its premiere, Nigeria re-established its presence at Cannes with the relaunch of its national pavilion under the “Screen Nigeria” banner. As part of the larger “Destination 2030” campaign, this initiative aims to highlight the strength of Nigeria’s creative sector and attract international collaborations and investment. The film’s success has become a symbolic push for greater industry recognition and global respect. Critics have embraced the film for its subtle approach and its ability to allow emotion to build slowly and naturally. Reviewers commend its minimalism, its sense of restraint, and its atmosphere. Rather than relying on dramatics, it lets the story unfold through memory, silence, and tension, anchored in cultural truths that are both specific and universal. With *[My Father’s Shadow](https://www.imdb.com/title/tt35695538/ "My Father’s Shadow")*, Akinola Davies Jr. hasn’t just launched a promising directorial career. He has opened a door, one that many Nigerian filmmakers have been knocking on for years. His debut not only affirms the power of personal storytelling but also showcases the artistic and technical depth that Nollywood has been nurturing behind the scenes. This Special Mention from the Cannes jury is more than an award. It is a quiet but powerful statement. Nigerian cinema is ready for the world stage and it isn’t just arriving, it is already here. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/my-fathers-shadow-earns-special-mention-at-cannes/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/my-fathers-shadow-earns-special-mention-at-cannes/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/my-fathers-shadow-earns-special-mention-at-cannes/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/my-fathers-shadow-earns-special-mention-at-cannes/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/my-fathers-shadow-earns-special-mention-at-cannes/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** african cinema, African Creatives, Akinola Davies Jr., Camera d'Or, Cannes 2025, Cannes Film Festival, Cannes Official Selection, film, My Father's Shadow, nigerian cinema, Nigerian film at Cannes, nollycritic, nollywood, Nollywood at Cannes, Nollywood international recognition, Sope Dirisu --- ### [BRS Studios Reveals its 2025 Nollywood Film Slate](https://nollycritic.com/brs-studios-reveals-its-2025-nollywood-film-slate/) **Published:** May 24, 2025 **Author:** Shalom O. Obisesan **Excerpt:** BRS Studios has officially announced three new films for its 2025 release slate, with each title backed by veteran filmmakers **Content:** [BRS Studios](https://variety.com/2025/film/global/nigeria-brs-studios-slate-announcement-1236400151/ "BRS Studios") has officially announced three new films for its 2025 release slate, with each title backed by veteran filmmakers and a strong commitment to culturally rich storytelling. The studio, formed in 2024 as a joint venture between Joy Odiete’s Blue Pictures, Ramsey Nouah’s Ramsey Films, and Chris Odeh’s Sozo Films, continues its mission to raise the bar for [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood"). Following the global success of Tokunbo on Netflix, BRS Studios is doubling down on original, distinctly African narratives. The new slate features *Stitches*, *Iwa Akwa*, and *Dambe*, all of which are currently in development. ###### 1. Stitches Directed by Ghanaian filmmaker Shirley Frimpong-Manso, *Stitches* is a modern drama set in Lagos. It follows a gifted fashion designer from a humble background whose rise in the elite world of fashion forces her to confront secrets from her past. The film blends glamour, grit, and emotional depth, marking Frimpong-Manso’s return to the Nigerian scene after her acclaimed work across West Africa. ###### 2. Iwa Akwa Directed by Nollywood veteran Ernest Obi, *Iwa Akwa* dives into Igbo culture through the lens of a comedy-drama. When a quiet university professor is summoned back to his village to take the place of a fallen crown prince, he must navigate age-old traditions, scheming relatives, and his own modern values. The film is expected to offer a rare blend of humour, heritage, and identity. ###### 3. Dambe Directed by Ramsey Nouah himself, *Dambe* is a historical epic set in 11th-century Kano. It tells the story of a young man training in the ancient Hausa martial art of Dambe, as he battles his way through a brutal spiritual and physical journey. With large-scale sets, cultural depth, and a strong emotional core, the film aims to capture a rarely explored era of Nigerian history. ##### Building a New Vision for Nollywood Joy Odiete, speaking on behalf of Blue Pictures, said the 2025 lineup is about taking calculated creative risks. “We’re telling stories that reflect our realities, dreams, and history with boldness and technical quality to match.” Chris Odeh of Sozo Films added: “These aren’t just films, they’re statements. African cinema has no limits.” Ramsey Nouah stressed the importance of shaping Africa’s image from within: “We must tell our stories ourselves. That’s the only way they’ll ring true.” ##### What It Means for the Industry With these three films, BRS Studios signals its intent to be more than a one-hit studio. They’re building a canon, one that balances entertainment with meaning, and history with modern flair. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/brs-studios-reveals-its-2025-nollywood-film-slate/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/brs-studios-reveals-its-2025-nollywood-film-slate/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/brs-studios-reveals-its-2025-nollywood-film-slate/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/brs-studios-reveals-its-2025-nollywood-film-slate/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/brs-studios-reveals-its-2025-nollywood-film-slate/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** 2025 film slate, african cinema, BRS Studios, Chris Odeh, Dambe, Ernest Obi, Iwa Akwa, Joy Odiete, Nigerian film industry, nollywood, Ramsey Nouah, Shirley Frimpong-Manso, Stitches --- ### [Nile Entertainment Secures Rights to ‘Son of the Soil’](https://nollycritic.com/nile-entertainment-secures-rights-to-son-of-the-soil/) **Published:** May 24, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Nile Entertainment has officially acquired the African distribution rights to Son of the Soil, a new action drama fronted by British-Nigerian actor **Content:** [Nile Entertainment](https://nollycritic.com/?s=nile+entertainment "Nile Entertainment") has officially acquired the African distribution rights to *[Son of the Soil](https://www.imdb.com/title/tt32362662/ "Son of the Soil")*, a new action drama fronted by British-Nigerian actor and producer Raz Adoti. The deal marks a major step for the newly launched Nile Media Entertainment Group, headed by industry veteran Moses Babatope. The film, shot entirely in Nigeria, is set for a pan-African cinema release later this year. Developed by UK genre studio Action Xtreme, the story follows a British-Nigerian ex-soldier who returns home to bury his sister only to face political corruption, buried family trauma, and a fight for justice in his homeland. For Adoti, whose past credits include *Black Hawk Down* and *Amistad*, the film is a personal reckoning with identity and legacy which represents a personal return to leading-man roles — and to Nigerian soil. Directed by Chee Keong Cheung (*Redcon-1*), the film promises explosive action sequences grounded in a story about cultural reclamation and the complexities of “returning home” as part of the African diaspora. The cast features a mix of Nollywood veterans and rising stars, including Patience Ozokwor, Ireti Doyle, Toyin Oshinaike, Damilola Ogunsi, Sharon Rotimi, Taye Arimoro, Sunshine Rosman, Philip Asaya, and Emeka Golden. Their involvement grounds the film in its Nigerian roots while reinforcing its transcontinental tone. Moses Babatope, former co-founder of FilmOne Entertainment, launched Nile Media Entertainment Group to transform African cinema through cultural representation and industry excellence. The group comprises five subsidiaries: Nile Entertainment (distribution), Nile Cinemas (luxury cinema experiences), Nile Motion Pictures (production), Nile Studio Lab (a film village in Nigeria), and the Nile Foundation (community development through film). With over 20 years in the industry, Babatope has been instrumental in distributing Nigerian blockbuster films globally, including *A Tribe Called Judah*, *Battle on Buka Street*, and *Omo Ghetto: The Saga*. “This is the kind of ambitious, culturally grounded storytelling African audiences are hungry for,” Babatope told the press. “We’re here to deliver films that are unapologetically African, yet universally powerful.” *Son of the Soil* is among the 31 titles for which Nile Entertainment has secured distribution rights release across West, East, and Southern Africa. With support from Nigeria’s National Film and Video Censors Board (NFVCB), the film has official backing that hints at a broader embrace of genre cinema in Nigeria’s cultural policy. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nile-entertainment-secures-rights-to-son-of-the-soil/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nile-entertainment-secures-rights-to-son-of-the-soil/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nile-entertainment-secures-rights-to-son-of-the-soil/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nile-entertainment-secures-rights-to-son-of-the-soil/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nile-entertainment-secures-rights-to-son-of-the-soil/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** African film distribution, Chee Keong Cheung, Damilola Ogunsi, Ireti Doyle, Moses babatope, nigerian cinema, nile entertainment, nollywood, Nollywood action movie, Nollywood news, Patience Ozokwor, Raz Adoti, Son of the Soil, Toyin Oshinaike --- ### [Filmhouse Calls for Global Growth at Cannes 2025](https://nollycritic.com/filmhouse-calls-for-global-growth-at-cannes-2025/) **Published:** May 23, 2025 **Author:** Fisayo Adekoya **Excerpt:** At the 2025 Cannes Film Festival, Filmhouse Group took a pivotal role in shaping the conversation around the future of African storytelling. **Content:** At the 2025 Cannes Film Festival, [Filmhouse](https://www.filmhouseng.com/ "Filmhouse") Group took a pivotal role in shaping the conversation around the future of African storytelling. During the Nigerian International Film Summit (NIFS), the company led a high-level session focused on Nollywood’s readiness for global distribution and the critical role of infrastructure in sustaining its growth. The summit, themed “The [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") Conversations: A Deep Dive into Opportunities to Present African Stories for Global Screens,” brought together stakeholders from across the creative, financial, and policy sectors. Filmhouse used the platform to spotlight the need for African filmmakers and studios to prioritize scalable systems that support not only content production but long-term industry sustainability. Represented by Filmhouse Group CEO, Kene Okwuosa, and FilmOne Entertainment Chief Content Officer, Ladun Awobokun, the company emphasized its vision of a structured, globally competitive Nollywood. Their commentary reflected a larger push within the company to position Nollywood not just as a local success story, but as a serious global player. They urged industry stakeholders to move beyond sporadic content success and build lasting systems for licensing, exhibition, international partnerships, and creative financing. Filmhouse’s current partnerships already point in that direction. Through its distribution division, FilmOne Entertainment, the company holds theatrical licenses across West Africa with top Hollywood studios including Disney, Sony, Warner Bros., Angel Studios, and Empire. It also maintains dominance in local content distribution, giving it a unique edge in balancing African stories with global market expectations. As part of the event, Filmhouse previewed select upcoming titles, including the highly anticipated 77: The Festac Conspiracy. The showcase reinforced the company’s commitment to producing and distributing high-value African stories designed for international audiences. This move aligns with a growing demand for culturally authentic content that can thrive on platforms such as Netflix, Amazon Prime, and global box office markets. Filmhouse’s presence at Cannes also underscored its investment in policy engagement, production infrastructure, and cross-border collaboration. The company believes that these elements are not optional add-ons but foundational requirements for long-term relevance on the global stage. As the industry continues to evolve, Filmhouse’s message was clear: for Nollywood to lead, it must build. The global audience is ready. The responsibility now lies in creating a system strong enough to deliver. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/filmhouse-calls-for-global-growth-at-cannes-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/filmhouse-calls-for-global-growth-at-cannes-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/filmhouse-calls-for-global-growth-at-cannes-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/filmhouse-calls-for-global-growth-at-cannes-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/filmhouse-calls-for-global-growth-at-cannes-2025/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** 77: The FESTAC Conspiracy, Cannes 2025, Cannes Film Festival, film, filmhouse, Filmone entertainment, Kene Okwuosa, nigerian cinema, nollycritic, nollywood, Nollywood industry insights --- ### [10 Nollywood Actors and Filmmakers With a Law Degree](https://nollycritic.com/10-nollywood-actors-and-filmmakers-with-a-law-degree/) **Published:** May 22, 2025 **Author:** Michael Arowoselu **Excerpt:** Nollywood is home to many talented actors, actresses, and filmmakers with diverse backgrounds. Surprisingly, some of these stars studied l **Content:** Lights, Camera, Legal Briefs! Nollywood is home to many talented actors, actresses, and filmmakers with diverse backgrounds. Surprisingly, some of these stars studied law before making their mark in entertainment. While some actively practiced law before transitioning into acting and filmmaking, others still maintain a connection to the legal profession. You might be surprised to learn that some of Nollywood’s brightest stars once swapped courtrooms for film sets. You might be familiar with names like Funke Akindele, Femi Adebayo, Kanayo O. Kanayo, Kenneth Okonkwo, Folarin ‘Falz’ Falana, etc. But, here we’ll be diving into the intriguing journeys of ten industry figures who began or have careers in law that you probably don’t know about. ##### Kemi Adetiba – The Filmmaker with a Legal Background [Kemi Adetiba](https://www.imdb.com/name/nm2989430/ "Kemi Adetiba")[ ](https://nollycritic.com/kemi-adetiba-begins-production-for-king-of-boys-3/ "Kemi Adetiba ")embarked on her academic journey at the University of Lagos, where she earned her Bachelor of Laws (LL.B) degree. Following her graduation, she was called to the Nigerian Bar, marking her formal entry into the legal profession. However, Adetiba’s passion for storytelling and visual media soon led her to transition from law to the entertainment industry. She initially gained prominence as a radio presenter with Rhythm 93.7 FM, hosting popular shows like “Soul’d Out” and “Sunday at the Seaside.” Her on-air success paved the way for television, where she produced and presented several programs on Mnet, including “Studio 53” and “Temptation Nigeria.” Eager to hone her skills behind the camera, Adetiba enrolled at the New York Film Academy, focusing on filmmaking. This decision culminated in her directorial debut with the feature film *The Wedding Party* in 2016, which premiered at the Toronto International Film Festival and became a box office sensation in Nigeria. She further solidified her reputation with the critically acclaimed *King of Boys*. Despite her legal education, she followed her passion for filmmaking and media, making a name for herself as a music video director before venturing into movies. Today, she is one of Nigeria’s most sought-after filmmakers, proving that a legal education can be an asset in any field. ##### Bukola Ogunsola – The Director Who Knows the Law Bukola Ogunsola hails from a family deeply rooted in the medical profession, with her father being a renowned cardiologist and her mother a retired nurse. She pursued her legal studies at Obafemi Awolowo University, Ile-Ife, graduating with a law degree in 2002. Upon completing her Bar examinations, she was called to the Nigerian Bar in 2004. Ogunsola’s legal career commenced with a stint as a Graduate Assistant at the University of Ilorin’s Faculty of Law during her National Youth Service Corps year. She furthered her education by obtaining a Master’s degree in Law from the University of Ibadan in 2007. Her professional journey included roles such as Legal Counsel at Infinite Associates in Ilorin and Legal Assistant at Arbitration and ADR in Africa, Abuja. In 2015, driven by a lifelong passion for storytelling, Ogunsola transitioned into filmmaking. She honed her craft at the London Film Academy and the Met Film School, focusing on screenwriting and filmmaking. Her debut screenplay, *The Perfect Plan*, was produced for Africa Magic. She went on to write, direct, and produce her first feature film, *Happy Father’s Day*, followed by its sequel, *Another Father’s Day*, which received a nationwide cinema release in 2019 and is available on Amazon Prime. Her latest project, *Something About the Briggs* hit cinemas on January 31, 2025. ##### Richard Mofe-Damijo (RMD) – The Actor, Politician, and Lawyer Richard Mofe-Damijo, affectionately known as RMD, is a multifaceted Nigerian figure renowned for his contributions to acting, law, and politics. He initially studied Theatre Arts at the University of Benin, laying the foundation for his illustrious acting career. Demonstrating a commitment to broadening his professional horizons, RMD returned to academia to pursue a law degree, further diversifying his expertise. After completing his legal studies, he was called to the Nigerian Bar, officially becoming a qualified lawyer. In the realm of politics, RMD served as the Commissioner for Culture and Tourism in Delta State, contributing to the development and promotion of cultural initiatives within the region. His notable filmography includes acclaimed works such as *Out of Bounds* and *The Wedding Party*, where he delivered compelling performances that have left a lasting impact on Nollywood. RMD’s diverse career trajectory exemplifies a harmonious blend of artistic passion, legal acumen, and public service, establishing him as a distinguished and influential figure in Nigeria’s cultural and political landscape. ##### Aisha Lawal – The Yoruba Star with a Law Degree Aisha Lawal is a Nigerian actress known for her significant contributions to Yoruba Nollywood cinema. She pursued her legal education at Lead City University, where she earned her law degree. In addition to her legal studies, Lawal obtained a diploma in Performing Arts, reflecting her passion for the creative field. This combination of legal and artistic education paved the way for her successful acting career. She has garnered acclaim for her roles in films such as *Irugbin* and *Simbi Alamala*, where she showcased her depth as an actress. Lawal’s unique blend of legal knowledge and performing arts expertise has distinguished her in the Nigerian entertainment industry, particularly within the Yoruba film sector. ##### Eso Dike – The Legal Eagle Soaring in Nollywood Okolocha Esowese Dike, professionally known as Eso Dike, is a multifaceted Nigerian talent: actor, musician, television personality, lawyer, and media entrepreneur. Born in Benin City, Nigeria, Dike pursued a legal education at the University of Benin, obtaining his LL.B degree. He furthered his legal training at the Nigerian Law School in Abuja, earning his B.L. and gaining admission to the Nigerian Bar. Despite his legal qualifications, Dike’s passion for the arts led him to the entertainment industry. He began his career interning at Spice TV and, after numerous auditions, secured a role in the Nigerian television series *Tinsel* in 2016. Dike has since portrayed notable characters such as Tsola in *The Smart Money Woman* (2020), Leye in *Game On* (2020), and Malik in *Ricordi* (2021). His performances in films like *Ijakumo*, *The Wildflower*, and *The Stand Up* contributed to his recognition as one of Nollywood’s highest-grossing actors in 2022, with these films collectively earning over ₦300 million at the Nigerian box office. Transitioning from law to entertainment presented challenges, including initial skepticism from his family and the difficulties of establishing a foothold in Nollywood. However, Dike’s perseverance and dedication have solidified his status as a prominent figure in the Nigerian entertainment landscape. ##### Genoveva Umeh – The UK-Trained Lawyer Turned Nollywood Star Genoveva Umeh is a Nigerian actress who initially pursued a legal career in the United Kingdom. She completed her law studies in the UK, equipping herself with a solid foundation in legal principles. Despite her legal background, Umeh’s passion for acting led her to transition into the entertainment industry upon her return to Nigeria. She gained prominence for her role in the Nigerian series *Blood Sisters*, where her performance was met with critical acclaim. Umeh’s journey from law to acting highlights her versatility and dedication to her craft, as she continues to make significant strides in Nollywood. ##### Abimbola Craig – The Producer Who Stepped into the Spotlight Abimbola Craig, born on November 3, 1986, in Lagos, Nigeria, initially pursued a career in law before making a significant impact in Nollywood. She earned her LL.B degree from the University of Buckingham in England and subsequently completed the Nigerian Law School program, becoming a qualified solicitor and advocate. Craig practiced law for several years, specializing in corporate law, which provided her with a strong foundation in the professional world. Her transition into the entertainment industry began behind the scenes as a producer. She was initially slated to produce the web series *Skinny Girl in Transit* but ended up playing the lead role of Tiwalade, a character that resonated with many viewers. Her portrayal garnered widespread acclaim, leading to further opportunities both in front of and behind the camera. Beyond acting, Craig has produced and co-produced notable projects, including the box office hit *Sugar Rush* in 2019. Her journey from law to entertainment exemplifies a dynamic career shift, highlighting her versatility and passion for storytelling. ##### Rita Daniels – The Matriarch with a Multifaceted Career Rita Daniels Chukuji is a renowned Nigerian actress, filmmaker, movie producer, politician, investor, and entrepreneur. She has made significant contributions to Nollywood, both as an actress and a producer, with notable works such as *The Perfect Ladder* and *Letter to My Daughter*. In addition to her entertainment career, Daniels has been active in politics and business, showcasing her versatility across various fields. She is also recognized as the mother of the talented actress Regina Daniels, further cementing her legacy in the Nigerian entertainment industry. ##### Sandra Okunzuwa – From Courtrooms to Cameras Sandra Okunzuwa studied law at the University of Benin where she earned her LL.B degree before attending law school in Abuja in 2015. Okunzuwa initially practiced law, gaining valuable experience in the legal field. Her passion for the arts led her to explore acting, and she eventually transitioned into the entertainment industry. She has since appeared in several notable films, including *Lady of the Night* (2024), *Sarah’s Bind* (2023), and *Something Like Gold* among others. Okunzuwa’s journey from practicing law to acting showcases her versatility and dedication to pursuing her passions. ##### Scarlet Gomez – The Beauty Queen with a Legal Edge Gbemisola Scarlet Shotade Gomez, known professionally as Scarlet Gomez, is a Nigerian actress, singer, and model. She was born in Lagos and obtained a bachelor’s degree in Business Administration from the University of Lagos. Before venturing into the entertainment industry, Gomez had a background in law, having studied the discipline during her academic pursuits. She gained prominence after winning the Miss United Nations Tourism pageant in Kingston, Jamaica, in December 2012. Transitioning into acting, Gomez has appeared in various Nollywood productions, including the 2023 Showmax Original telenovela-series *Wura*. Her diverse talents and experiences have established her as a multifaceted figure in the Nigerian entertainment scene. These Nollywood stars have demonstrated that having a legal background doesn’t limit one’s career choices. While some have completely embraced entertainment, others still leverage their legal expertise in various ways. Their journeys prove that passion, dedication, and versatility can lead to success in multiple fields. Who among these Nollywood stars surprised you the most? Let us know in the comments! ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/10-nollywood-actors-and-filmmakers-with-a-law-degree/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/10-nollywood-actors-and-filmmakers-with-a-law-degree/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/10-nollywood-actors-and-filmmakers-with-a-law-degree/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/10-nollywood-actors-and-filmmakers-with-a-law-degree/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/10-nollywood-actors-and-filmmakers-with-a-law-degree/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Abimbola Craig, bukola ogunsola, Eso Dike, Genoveva Umeh, Kemi Adetiba, nollycritic, nollywood, RMD, Sandra Okunzuwa, Scarlet Gomez --- ### [Temi and the Labalaba Band Makes Bold NTA Debut](https://nollycritic.com/temi-and-the-labalaba-band-makes-bold-nta-debut/) **Published:** May 21, 2025 **Author:** Fisayo Adekoya **Excerpt:** Temi and The Labalaba Band, the musical drama blends storytelling, music, and culture into a format designed to entertain and inspire young audiences **Content:** The Nigerian Television Authority, in partnership with leading Nollywood production house[ Anthill Studios](https://www.anthillstudios.com/ " Anthill Studios"), has introduced a new series that sets a bold tone for children’s television. Titled *Temi and The Labalaba Band,* the musical drama blends storytelling, music, and culture into a format designed to entertain and inspire young audiences. It airs every Saturday at 9:30 a.m. on NTA’s Network Service. Set in a middle-class buka in the heart of Lagos, the story unfolds around Mama B’s restaurant—a warm community spot known for local meals and football gatherings. Trouble begins when the landlord threatens to shut the place down. However, instead of giving in, Mama B’s daughter, Temi, leads a group of children determined to save the restaurant. Their solution is both simple and vibrant: music, dance, and shared effort. As the band forms, the buka transforms into more than a food stop. It becomes a lively hub of rhythm, resilience, and friendship. Through their performances, the children help Mama B’s establishment recover its energy and keep its doors open. As a result, what could have been a tale of loss turns into a celebration of ingenuity and togetherness. The series, structured as 13 episodes of 27 minutes each, expands its reach well beyond television. While premiering on NTA, the show is also available on YouTube, where it continues to gain a loyal following. Additionally, it will soon appear on cable platforms and streaming services such as Netflix and Amazon Prime. To connect with viewers across Africa and beyond, the show is delivered in English, French, and Portuguese. [*Temi and The Labalaba Band* ](https://nollycritic.com/anthill-launches-new-platform-for-child-entertainment/ "Temi and The Labalaba Band ")combines entertainment with intentional storytelling. Backed by the expertise of Anthill Studios, it presents children as problem-solvers and leaders within their communities. With strong visuals, lively music, and relatable narratives, the show captures the spirit of today’s youth while grounding them in cultural context. The show has already begun to receive attention from celebrities and stakeholders across Nigeria’s creative landscape. Its positive reception signals a growing interest in high-quality, locally produced children’s content. More importantly, it marks a turning point in how stories for younger audiences are imagined and shared. As the episodes continue to roll out, *Temi and the Labalaba* Band positions itself as more than just a series. It becomes a reflection of what is possible when creativity meets purpose in children’s programming. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/temi-and-the-labalaba-band-makes-bold-nta-debut/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/temi-and-the-labalaba-band-makes-bold-nta-debut/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/temi-and-the-labalaba-band-makes-bold-nta-debut/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/temi-and-the-labalaba-band-makes-bold-nta-debut/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/temi-and-the-labalaba-band-makes-bold-nta-debut/?share=linkedin) - **Categories:** Drama, Nollywood, Nollywood News, TV **Tags:** Anthill Studios, Children Entertainment, film, Nigerian Television Authority, nollycritic, nollywood, Nollywood 2025, NTA, Temi and the Laba laba band, Youtube --- ### [New Nollywood Movies and Series to See in May 2025](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-may-2025/) **Published:** May 2, 2025 **Author:** Michael Arowoselu **Excerpt:** May is packed with a diverse lineup of Nollywood films and series, offering everything from thrilling action to heartfelt drama and romantic intrigue. **Content:** May is packed with a diverse lineup of [Nollywood](https://nollycritic.com/?s=nollywood) films and series, offering everything from thrilling action to heartfelt drama and romantic intrigue. Whether you’re looking for a gripping mystery, a wedding-themed comedy, or an intense psychological drama, there’s something for every viewer this month. Here are the Nollywood movies and series you won’t want to miss! #### *Ori (Rebirth)* — May 1 A woman must confront the shadows of her past and unlock the power within her to reclaim her true identity. Will she rise above the darkness and embrace her fate? The film stars Muyiwa Ademola, Ibrahim Chatta, Dele Odule, Omowunmi Dada, Toyin Abraham and many others. Coming to cinemas nationwide on May 1st! #### *After 30* — May 9 Directed by Omorinsojo Spaine, *After 30* is sequel to the *Before 30*. Four Nigerian women tackle love, friendship, and societal pressures that arise in their lives after their 30s. As they chase career dreams and personal growth, they challenge the outdated belief that a woman’s worth is tied to her relationship status. This bold drama celebrates modern women redefining life on their own terms. Premieres via Prime Video on May 9, 2025. #### *Silas Wan Japa* — May 9 Follow the unstoppable Silas as he hustles, stumbles, and fumbles his way toward the ultimate dream to “japa” by any means necessary! Directed by Darasen Richards, The film features Mr Funny as Silas, Mercy Johnson-Okojie, Deyemi Okanlawon, Mercy Eke, Akin Lewis and many others. Silas Wan Japa will premiere in cinemas on May 9, 2025. #### *Reverse* — May 16 *Reverse*, written and produced by Linda Ikeji and co-produced by Dami Dawson, is distributed by Nile Entertainment. The gripping drama tells the emotional story of a young girl whose simple act of courage turns her world upside down. After witnessing a storekeeper assaulting a little boy in a grocery store, she steps in to intervene; unaware that the series of events she sets in motion will forever alter the course of her life. The film boasts a powerful ensemble cast, featuring some of Nollywood’s finest talents including Hilda Dokubo, Antar Laniyan, Susan Pwajok, Kalu Ikeagwu, Yvonne Jegede, and many more. #### *The Fire and the Moth* — May 16 In Taiwo Egunjobi’s crime drama, Violence and mayhem ensue after a smuggler escapes with a rare Ife bronze head into a gritty western Nigerian town. The film stars: Tayo Faniran, Jimmy Jean Louis, Ini Dima-Okojie and many others. Premieres on Prime Video, May 16. #### *Raji and the Beast* — May 16 In the heart of the river, where shadows dance and secrets lurks…. A sand miner’s life takes an unexpected turn when he finds a forgotten box. This Darasen Richards adventure drama features; Lateef Adedimeji, Odunlade Adekola, Uzor Arukwe, Omowumi Dada, Akin Lewis and many others. [Raji And The Beast will](https://www.instagram.com/explore/tags/rajiandthebeast/) hit cinemas nationwide May 16. #### *My Mother is a Witch* — May 23 Niyi Akinmolayan’s **My Mother is a Witch** delves into the fractured bond between a mother and daughter, set against a tapestry of memory and misunderstanding. The story follows a fashion editor, who returns from London to her Nigerian roots in Benin, only to face lingering childhood wounds tied to her mother. The film features Efe Irele, Mercy Aigbe, Timini Egbuson and many others. My Mother is a Witch hits cinemas nationwide on May 23rd, 2025. #### *Imported Wives* — May 30 Pascal Atuma’s *Imported Wives* centers on a man living in Canada who retums to Nigeria to find a wife, bringing her back to Canada with high hopes for their future. But once the couple settles in, tensions rise, and the reality of their mamiage becomes unclear, as cuitural differences, personal expectations, and the weight of migration reveal unexpected challenges. This universal tale resonates across culitures, from Chinese to Japanese, Indian to African, capturing the real-life intricacies and effects of migration on marriages worldwide. The film features Omoni Oboli, Nancy Isime and many others. Premieres in cinemas on May 30, 2025. #### *The Party* — May 30 *The Party*, is scheduled to premiere on [Netflix](https://www.netflix.com/browse) on May 30, 2025. Directed by Yemi ‘Filmboy’ Morafa and produced by Judith Audu, the film centers on the mysterious death of a young man during an extravagant Lagos gathering. This tragic event sets off a tense investigation filled with unexpected revelations and complex motives. Leading actors include Kunle Remi, Kehinde Bankole, Shaffy Bello, Bimbo Manuel, and Femi Branch. Supporting roles feature Mide Martins, Yomi Fash-Lanso, Kelechi Udegbe, Uzor Arukwe, and Ghanaian actor James Gardiner Netflix subscribers worldwide will be able to watch *The Party* starting May 30, 2025. As May unfolds, these films promise to offer audiences a rich tapestry of Nollywood stories that entertain, challenge, and inspire. This list will be updated as more Nollywood titles are announced! ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-may-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-may-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-may-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-may-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-nollywood-movies-and-series-to-see-in-may-2025/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** After 30, Imported Wives, My Mother is a Witch, nollycritic, nollywood, Ori, Ori (Rebirth), Prime Video, Raji and the Beast, Reverse, Silas wan Japa, The Fire and the Moth, The Party --- ### [The Party: Shocking Secrets Unfold in New Nollywood Thriller](https://nollycritic.com/the-party-shocking-secrets-unfold-in-new-nollywood-thriller/) **Published:** May 20, 2025 **Author:** Fisayo Adekoya **Excerpt:** The Party, Directed by Yemi ‘Filmboy’ Morafa, centers on the mysterious death of a young man during an extravagant Lagos gathering. **Content:** [Nollywood’s](https://nollycritic.com/?s=nollywood "Nollywood’s") newest thriller, *The Party*, is scheduled to premiere on [Netflix](https://www.netflix.com/browse "Netflix") on May 30, 2025. Directed by Yemi ‘Filmboy’ Morafa and produced by Judith Audu, the film centers on the mysterious death of a young man during an extravagant Lagos gathering. This tragic event sets off a tense investigation filled with unexpected revelations and complex motives. From the trailer and promotional materials, viewers are introduced to a glamorous party scene buzzing with music, influential guests, and high energy. Yet, the joyous atmosphere takes a dark turn when a sudden death occurs. This incident triggers a ripple of suspicion and intrigue, as those present grapple with secrets they would rather keep hidden. As the story progresses, the film appears to delve into deeper themes beyond the surface mystery. It explores the consequences of silence, betrayal, and the spiritual cost of keeping dangerous secrets. The narrative seems to invite viewers to question how power dynamics and hidden truths shape the lives of the characters involved. The ensemble cast brings together some of Nollywood’s finest talents. Leading actors include Kunle Remi, Kehinde Bankole, Shaffy Bello, Bimbo Manuel, and Femi Branch. Supporting roles feature Mide Martins, Yomi Fash-Lanso, Kelechi Udegbe, Uzor Arukwe, and Ghanaian actor James Gardiner, all contributing to the layered storytelling. Behind the camera, the film benefits from a skilled creative team. Stephen Okonkwo penned the screenplay, while Jonathan Kovel serves as director of photography. Adekunle Bryan is responsible for editing, and Tyanx handled sound design. The project is produced under COTS Productions, with executive production by Ope Ajayi. Distribution is managed by Cinemax NG. *The Party* exemplifies Nollywood’s growing presence on international streaming platforms like Netflix. By combining thrilling storytelling with culturally rich themes, the film adds depth to the Nigerian film industry’s global footprint. It promises to captivate audiences seeking a suspenseful and thought-provoking cinematic experience. Netflix subscribers worldwide will be able to watch *The Party* starting May 30, 2025. For fans of mystery and drama, this release is definitely one to watch. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-party-shocking-secrets-unfold-in-new-nollywood-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-party-shocking-secrets-unfold-in-new-nollywood-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-party-shocking-secrets-unfold-in-new-nollywood-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-party-shocking-secrets-unfold-in-new-nollywood-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-party-shocking-secrets-unfold-in-new-nollywood-thriller/?share=linkedin) - **Categories:** Drama, Nollywood, Nollywood News, TV **Tags:** cinemax, film, Judith Audu, Kehinde Bankole, kunle remi, Netflix, Netflix movies 2025, nollycritic, nollywood, Nollywood 2025, nollywood 2025 releases, Nollywood on Netflix, Shaffy Bello, The Party, Yemi Morafa --- ### [10 Classic Nollywood Films That Traumatised a Generation](https://nollycritic.com/10-classic-nollywood-films-that-traumatised-a-generation/) **Published:** May 14, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Once upon a time, Nollywood haunted! Well, they still do horror just not like the past anymore. These weren’t just movies with creepy... **Content:** Once upon a time, [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") haunted! Well, they still do horror just not like the past anymore. Long before today’s influencer comedies and glossy love stories, Nigerian cinema had a thriving horror scene. It was loud, spiritual, unapologetically superstitious, and absolutely terrifying. These weren’t just movies with creepy music and fake blood. They were sermons. Cautionary tales. Cultural warnings wrapped in spiritual warfare and questionable CGI. But for all their low-budget chaos, they stuck. They traumatised kids, gave parents new reasons to panic, and warped our sense of what was real. Some of us still flinch at cats. Some can’t see a yam in peace. Some can detect a “Joy” by a whiff (catch the *Juju Stories* reference here?) And to this day, there’s a generation that won’t walk past a roadside shrine without side-eyeing it. Here are 10 of the most unforgettable, nightmarish Nollywood horror films that scarred us for life, sometimes hilariously, often disturbingly. ##### *Koto Aye* (1989) This Yoruba-language classic was a fever dream of witches, rituals, eerie chants and those iconic, jarring Nollywood sound effects. The film was so intense and realistic for its time that rumours began to spread when some cast members died in real life due to their connections with the film. People genuinely believed they were hunted by the spirits they portrayed. Its infamous witch dance scene, set to loud, unrelenting drums, left many scarred and deeply fearful of old women in white. ##### *Agbara Nla* (1992) Mount Zion’s Christian horror epic still sits heavy in our collective memory. With its over-the-top spiritual battles and utterly strange visuals, like demons in glittering face paint or literal human sacrifices, it made sure you never looked at sin the same way again. Its heaven-and-hell sequences were so unhinged that many children feared they’d already missed the rapture. And if you’ve ever heard “Power belongs to God” screamed with reverb in your sleep, blame this one. ##### *Nneka the Pretty Serpent* (1994), *Karishika* (1996), and *Sakobi*: The Snake Girl (1998) These three are grouped because they followed the same terrifying blueprint: beautiful women from the marine kingdom sent to destroy powerful men. Nneka transformed into a cat. In Karishika someone birthed a yam. Sakobi ate a man’s soul. They cemented the belief that women who were too beautiful, too bold, or too mysterious were probably spiritual threats. It’s also why a generation grew up referring to some women as “snakes” or “mami wata.” ##### *Blood Money* (1997) If you’ve read Akinola the Squirrel as a kid, you might have heard this similar narrative told to you by your grandma in the evening. In *Blood Money*, a child picks money off the ground and turns into a chicken who was soon wheeled off to a ceremony. That was enough to scar us. *Blood Money* didn’t just warn against greed amongst other things, it practically threatened anyone who ever picked a Naira note off the road. It fed into urban legends about ritual killings and spiritual pacts. The film is part of why even now, some people cross the road suspiciously if they see money on the floor. https://www.youtube.com/watch?v=dQOiCuFeKcU ##### *Oracle* (1998) This one turned ordinary household figurines into objects of suspicion. *Oracle* made you question every shadow at night. With its flying demonic creatures and dark, village-encoded spiritual messages, it convinced us that if you were out after dark without serious prayers and maybe a bodyguard, you were playing with fire. The paranoia was instant. Everyone knew someone who swore they saw “something” fly past their window. ##### *Igodo* (1999) Epic and heavy. This was less horror and more mythic drama, but it traumatised in a different way. A group of brave men go on a journey to retrieve a sacred sword to save their village. They get hunted and killed one by one. The hero sacrifices himself. It felt unfair. Some watched this and got their first taste of sorrow and hopelessness. The painful message stinging: even the chosen one might die. And he did. ##### *End of the Wicked* (1999) No other film did child witch hysteria like this films. Kids licking human flesh, summoning demons, and eating off people in their sleep. This was the blueprint for many churches to start witch-hunting children. The worst part was how seriously people took it. It wasn’t just a movie. It became “evidence” for spiritual attacks. Schools, churches, and homes turned paranoid. Some children were actually beaten, abandoned, or exorcised in real life. ##### *Last Burial* (2000) Based on a real story, this film was the stuff of funeral nightmares. A man makes a spiritual covenant that his burial rites should not be handled by the church. But his family disobeys. Midway into the funeral, he wakes up inside the coffin. He refuses to die again and starts killing anyone who tries to bury him properly. Yes, pastors eventually win, but it left us all confused. Did the man’s last wish not matter? This film planted deep spiritual anxiety in many. What if your burial goes wrong? ##### *Egg of Life* (2003) and *Odum na Akwa Eke* (Year unknown) Both are spiritual quests into the evil forest. In *Egg of Life*, a prince’s life depends on retrieving a sacred egg, so seven virgins are sent. They start dying, one by one. Only one survives, marries the prince, and lives. *Odum na Akwa Eke* flipped the script. This time, it’s a princess, and seven male warriors are sent for a spiritual machete to destroy evil. The trauma? Watching characters you’ve grown to love die off painfully, realising that spiritual duty might mean no reward, no survival, just sacrifice. These films weren’t just stories, they were spiritual events. They blurred the line between fiction and belief, between horror and religious doctrine. And while many of us can now laugh at the poor CGI, dramatic acting, and ridiculously loud soundtracks, we can’t deny their impact. Nollywood horror once held a mirror to our fears, our beliefs, and our culture. But we’ve lost something. Somewhere along the way, we swapped raw spiritual horror for polished but soulless thrillers. The loud sounds, the unnerving chants, the terrible effects that somehow still felt real — they’re gone. And while the industry is growing and evolving, the horror genre hasn’t recovered its true roots. Which Nollywood horror film traumatised you the most? What scenes still live rent-free in your head? Let us know, and let’s hope someday, someone brings back that unfiltered, spine-tingling terror that once defined Nollywood horror. Not with fancy effects, but with stories that make you pray before bed. Just like the old days. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/10-classic-nollywood-films-that-traumatised-a-generation/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/10-classic-nollywood-films-that-traumatised-a-generation/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/10-classic-nollywood-films-that-traumatised-a-generation/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/10-classic-nollywood-films-that-traumatised-a-generation/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/10-classic-nollywood-films-that-traumatised-a-generation/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** 90s Nollywood, Agbara Nla, Blood Money, child witches, Christian horror films, Egg of Life, End of the Wicked, Helen Ukpabio, Igodo, Karishika, Koto Aye, Last Burial, Mercy Johnson, Mount Zion Films, nigerian cinema, Nigerian folklore, Nigerian horror films, Nneka the Pretty Serpent, nollycritic, nollywood, Nollywood classics, Nollywood horror, Nollywood trauma films, Odum na Akwa Eke, Ologbo Iya Agba, Oracle, Sakobi: The Snake Girl, spiritual warfare, The Maid, Yoruba horror films --- ### [AMVCA 2025: What Are We Really Celebrating?](https://nollycritic.com/amvca-2025-what-are-we-really-celebrating/) **Published:** May 13, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Every year, AMVCA walks in with the promise that the African audience, not critics, not elites, gets to reward the best of their screen **Content:** *Our take on missed marks, masked merit, and the blurred line between audience and artistry.* --- Every year, the [**Africa Magic Viewers’ Choice Awards** ](https://www.dstv.com/africamagic/en-ng/show/amvca "Africa Magic Viewers' Choice Awards ")(AMVCA) walks in with the promise that the African audience, not critics, not elites, gets to reward the best of their screen. And every year, it walks out leaving many of us wondering: who, exactly, is this for? The 2025 edition wasn’t an exception. It was a stunning night—celebratory, well-dressed, star-studded. But behind the red carpet glitz was a familiar ache: the feeling that even when AMVCA tries to get it right, it still misses the point. ##### The Viewers’ Choice That Sometimes Forgets the Viewers Let’s be clear. The [AMVCA](https://nollycritic.com/amvca-2025-see-the-full-list-of-winners-and-nominees/ "AMVCA") is not the Oscars. It was never meant to be. It’s built around viewership, popularity, resonance, those real-world markers that let people feel seen. That’s what makes its legacy meaningful. But somewhere in the chase for artistic credibility, AMVCA started drifting. And in 2024, it made a structural shift: non-voting categories. These were meant to honour technical and creative excellence like Best Movie, Best Director, Best Writing, separate from the populist vote. It’s a good idea. On paper. But it’s also where things started getting weird. ##### Nominating Ghost Films Here’s the uncomfortable truth: several of this year’s nominated films had no audience. Take *Mai Martaba*, a regional release, shown in a handful of cinemas in northern Nigeria. Its nomination? Best Indigenous Language (West Africa) and Best Director categories. That’s fine. But when you start to see other titles, such as *Freedom Way*, *The Man Died*, *Skeleton Coast*, *Phoenix Fury*, *Agemo*, and *Legend of the Vagabond Queen of Lagos*, which were largely confined to film festivals or had minimal theatrical releases, it becomes clear that the nominations don’t reflect what audiences have actually engaged with. These aren’t household names. These are festival darlings, boutique projects, and limited-release titles that most audiences haven’t seen. And look, cinema doesn’t have to be mainstream to be good. But when your viewers’ choice platform honours films viewers couldn’t access, something is off. ##### Overlooked Excellence: The Case of The Weekend It’s baffling that *The Weekend*, Daniel Oriahi’s slow-burning, audience-backed film that actually played in cinemas and grossimg ₦8 million in Nigerian cinemas, and trended in critical circles, didn’t win a thing. Not Best Director. Not Best Movie. Not Best Screenplay. Nothing. Despite nominations for Best Director, Best Writing, and Bucci Franklin nominated as Best Lead Actor, the film did not secure any awards. This omission is particularly striking given the film’s accessibility and positive reception, suggesting a disconnect between critical acclaim and award recognition. Oriahi had two solid films in the mix, *A Ghetto Love Story* and *The Weekend*. Both had runs that matter. *The Weekend* premiered at Tribeca. It made its rounds in Nigerian cinemas. It had reach. And more importantly, it had conversation. But instead, Best Director went to Awam Amkpa for *The Man Died*, a project only seen at a select number of private screenings. If that’s not the panel hijacking the narrative from the viewers, I don’t know what is. ##### Mercy Aigbe Deserved That Win. But, come. Let’s Talk. Yes, Mercy Aigbe won Best Supporting Actress. And yes, she earned every bit of that applause for her role in *Farmer’s Bride*. It was textured, vulnerable, controlled. I remember the cinema reacting in waves when she hit her emotional peak in the third act. You couldn’t miss it, this was an actress working at her best. But why was Darasimi Nadi for *Aburo* nominated in the same category? Look, Darasimi is a bright star. She worked hard this past year. From *Aburo* to *A Father’s Love*, to *Summer Rain*, she was everywhere. But she didn’t belong in that particular lineup. And when you force a seat at a table that someone hasn’t quite grown into, you hurt their credibility. That’s not a slight, it’s a critique of the panel’s curation, not her potential. ##### Gabriel Afolayan’s Win: A Beautiful Contradiction Gabriel Afolayan won Best Supporting Actor for *Inside Life*, and… it’s complicated. Under six minutes of screen time. A glorified cameo, really. But even in that short stint, he made it count. His performance landed with clarity and depth. He proved that brevity doesn’t always mean insignificance. Still, Abimbola Kazeem had more screen time. Was more consistent. Yet, even if his performance was technically stronger, it didn’t have the same sting Gabriel delivered. So yes, it’s contradictory. But in this case, it’s a contradiction that oddly makes sense. ##### The Trailblazer Award: Where’s the Trail? Then came Kayode Kasum, winning the Trailblazer Award. Was he deserving? Sure. He’s directed a few standout pieces, and he’s been in the game. But “trailblazer”? That’s a word with weight. It’s for the new ones charging ahead. Darasimi Nadi fit that brief better this year. She was everywhere, on YouTube, in cinemas, on the festival circuit. *Agemo*, *Aburo*, *A Father’s Love*, *Tokunbo*, *The Switch*, *Weekend Away*, and many more. Child actors don’t typically dominate an industry cycle. But she did. So what’s the criteria? AMVCA needs to define that award. This isn’t a handout, it’s a title that should mean something. ##### So, What Now? This year’s AMVCA was not a disaster. It had wins that felt good. It honoured some excellent work. But it also reinforced an old problem: the widening gap between audience participation and institutional judgement. You can’t be a viewers’ choice platform and shut viewers out of the process, especially in the categories that matter most. Let’s be clear: Introducing non-voting categories wasn’t a mistake. It was a step toward balance. But when the films nominated in those categories haven’t passed through the public eye, when most people haven’t heard of them or had a chance to watch them, it chips away at trust. Viewers begin to question the system that was supposedly built to empower their voice. Accountability and transparency matter. If the awards aim to honour excellence, they must also honour access. A film might not be voted on by the public, but it should at least be *known* to them. That’s the bare minimum for credibility. The AMVCA doesn’t need to be perfect. But it needs to feel honest. When viewers stop recognising the stories being awarded, when the room feels colder than the screen, they start to tune out, not just from the ceremony, but from the industry it celebrates. That’s the real risk. Until AMVCA figures out how to blend viewership and artistry without turning one into collateral damage, the night will keep ending with people asking: wait, what just won? ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/amvca-2025-what-are-we-really-celebrating/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/amvca-2025-what-are-we-really-celebrating/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/amvca-2025-what-are-we-really-celebrating/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/amvca-2025-what-are-we-really-celebrating/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/amvca-2025-what-are-we-really-celebrating/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** A Father’s Love, A ghetto love story, Aburo, Africa Magic Viewers Choice Awards, Agemo, Awam Amkpa, Bolanle Austen-Peters, Daniel Oriahi, Darasimi Nadi, Farmer’s Bride, Femi Adebayo, Freedom Way, Gabriel Afolayan, House of Ga’a, Inside Life, Kayode Kasum, Legend of the Vagabond Queen of Lagos, Lisabi, Mai Martaba, Mercy Aigbe, MVCA 2025, nigerian cinema, nollywood, Phoenix Fury, Princess On A Hill, seven doors, Shining Star, Skeleton Coast, Summer Rain, the man died, The Switch, The Weekend, Tokunbo, Weekend Away --- ### [77: The FESTAC Conspiracy Selected for Exclusive Cannes Preview](https://nollycritic.com/77-the-festac-conspiracy-selected-for-exclusive-cannes-preview/) **Published:** May 13, 2025 **Author:** Fisayo Adekoya **Excerpt:** FESTAC ’77, the much-anticipated Nigerian historical film, has been selected for an exclusive preview at the 2025 Cannes Film Festival. **Content:** *[ *77: The FESTAC Conspiracy* ](https://nollycritic.com/77-the-festac-conspiracy-heres-what-we-know-so-far/ "FESTAC ’77,")*, the much-anticipated Nigerian historical film, has been selected for an exclusive preview at the[ 2025 Cannes Film Festival](https://www.festival-cannes.com/en/ " 2025 Cannes Film Festival"). This announcement marks a significant step forward for African cinema, placing a Nigerian story at the center of one of the world’s most prestigious film platforms. Produced by Adonis Production and distributed by FilmOne Entertainment, the film explores the historic Second World Black and African Festival of Arts and Culture (FESTAC ’77), held in Lagos in 1977. The story revisits the event’s cultural importance and its influence on African identity, weaving together themes of heritage, ambition, and unity. Set against the backdrop of one of the largest cultural gatherings in African history, the film blends artistic storytelling with historical substance. With its inclusion in the Cannes lineup, **[ *77: The FESTAC Conspiracy* ](https://nollycritic.com/77-the-festac-conspiracy-heres-what-we-know-so-far/ "FESTAC ’77,")*,* stands as more than just a cinematic production, it represents a growing wave of African films that are claiming space on the global stage. Over the past decade, African filmmakers have steadily pushed the boundaries of scale, vision, and narrative strength. This selection signals international recognition of those efforts. Importantly, the film’s production reflects a commitment to high standards and compelling storytelling. From the detailed costumes and set design to the careful casting and cinematography, each element was designed to transport viewers into the spirit of the 1977 festival. This attention to detail helps capture not just the facts of history, but the emotions and complexities surrounding that moment in time. It brings to life the creative energy, the tensions, and the hope that defined FESTAC ’77. Meanwhile, its Cannes preview is more than a moment of prestige, it’s an invitation for international audiences to experience Africa through African eyes. It also reaffirms the capacity of Nigerian cinema to engage with historical narratives while reaching global markets. Over the years, many African stories have been told from external perspectives. However, with projects like*[ *77: The FESTAC Conspiracy*](https://nollycritic.com/77-the-festac-conspiracy-heres-what-we-know-so-far/ "FESTAC ’77,")*, there’s a growing shift toward telling these stories authentically and with bold creative direction. The selection further reinforces the strides that Nigerian filmmakers are making in production value. The industry, once limited in reach, is now competing on a global scale with improved technical standards and more ambitious storytelling. By focusing on authenticity and excellence, films like this are reshaping how African cinema is perceived worldwide. As *[*77: The FESTAC Conspiracy* ](https://nollycritic.com/77-the-festac-conspiracy-heres-what-we-know-so-far/ "FESTAC ’77,")*,prepares for release in 2025, its presence at Cannes will serve as a catalyst for continued growth. Not only does it celebrate a significant cultural event from the past, but it also points to the future of African cinema, one that is unafraid to take up space, challenge stereotypes, and offer something original to global audiences. Through this milestone, the film reinforces that Africa’s stories are not only worth telling—they are worth celebrating on the world’s biggest stages. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/77-the-festac-conspiracy-selected-for-exclusive-cannes-preview/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/77-the-festac-conspiracy-selected-for-exclusive-cannes-preview/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/77-the-festac-conspiracy-selected-for-exclusive-cannes-preview/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/77-the-festac-conspiracy-selected-for-exclusive-cannes-preview/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/77-the-festac-conspiracy-selected-for-exclusive-cannes-preview/?share=linkedin) - **Categories:** Blog, Drama, Movies, Nollywood, Nollywood News **Tags:** african cinema, cannes, Cannes Film Festival, Festac '77, film, FilmOne, Filmone Studios, nigerian cinema, nollycritic, nollywood, Ramsey Nouah --- ### [Nollywood’s AMVCA Underdogs: Will 2025 Be Their Year?](https://nollycritic.com/nollywoods-amvca-underdogs-will-2025-be-their-year/) **Published:** May 8, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The Africa Magic Viewers' Choice Awards (AMVCA) is back and bigger than ever. Set for Saturday, May 10, 2025, at Eko Hotel and Suites in Lagos **Content:** #### The 2025 AMVCAs Are Here, And the Stakes Have Never Been Higher The **Africa Magic Viewers’ Choice Awards** ([AMVCA](https://filmfreeway.com/AMVCA "AMVCA")) is back and bigger than ever. Set for Saturday, May 10, 2025, at Eko Hotel and Suites in Lagos, this 11th edition of the awards spans four days, from May 7 through May 10, celebrating the full spectrum of African storytelling, fashion, culture, and music. One exciting addition this year? A brand-new category: Best Music Score, finally giving credit to the composers and sound designers who help shape the emotional tone of African cinema. But here’s what really has fans talking: the nominations list. This year, a handful of actors and actresses who have never taken home an AMVCA trophy have finally earned nominations. For others, the snubs just keep coming. So, in the spirit of giving flowers where they’re due, we’re highlighting notable Nollywood stars who, surprisingly, have yet to win an AMVCA. Some are finally getting a shot in 2025. Others? ##### Uzor Arukwe Best known for his charismatic roles in *Sugar Rush*, *Smash*, *Hire a Woman*, and *Size 12*, Uzor Arukwe has been turning in strong performances for years. In 2020, he was nominated twice—once in the comedy category and again in drama—but went home empty-handed. He’s now back with a nomination for **Best Supporting Actor** in *Suspicion*. With consistent performances in both film and television, Arukwe remains one of the industry’s most dependable actors who deserves a win. ##### Chioma Akpotha Chioma Akpotha began her career in the early 2000s and quickly became a household name with films like *On Bended Knees* and *Games Men Play*. With a rich catalog and powerful on-screen presence, it’s almost shocking that she’s never been an AMVCA winner. She has finally been nominated in 2025 for Best Lead Actress for *Seven Doors*, a film that has already picked up buzz across the industry. It could finally be the year she gets her flowers from the Academy. ##### Iretiola Doyle A force in both classic and contemporary Nollywood, Ireti Doyle brings poise and gravitas to her roles. She’s known for standout performances in *Fifty*, *The Arbitration*, and most recently *The Origin: Madam Koi Koi*, which got her a nomination in 2024. This year, she’s nominated for **Best Supporting Actress** for her role in *All’s Fair in Love*. While she’s received recognition, an actual AMVCA win has always remained out of reach, making her a sentimental favorite for 2025. ##### Adedimeji Lateef Adedimeji Lateef is one of Nollywood’s most versatile actors, known for seamlessly shifting between comedy, drama, and historical epics. From his breakout in Kudi Klepto to critically acclaimed roles in *Ayinla* and *Progressive Tailors Club*, Lateef has long captured audiences but remained absent from the AMVCA winners’ list. In 2025, he makes his debut in the nominations with *Lisabi: The Uprising,* scoring nods for **Best Lead Actor** and **Best Indigenous Film** (West Africa). For many fans, this recognition is long overdue. ##### Ini Edo From her early breakout in the early 2000s to her co-production and role in 2023’s Shanty Town, Ini Edo has maintained longevity and relevance. Despite several performances that received audience and industry praise, she has never won an AMVCA. Her role in *Shanty Town* (the film alone garnering 10 nominations) sparked online discussions about her being snubbed yet again in 2023. Still, she’s widely seen as overdue for a win. ##### Bimbo Akintola With a career dating back to the ’90s, Bimbo Akintola has starred in some of Nollywood’s most iconic productions. Her role in 93 Days was BAFTA-worthy, and her recent performance in *The Black Book* earned her a Best Supporting Actress nomination in 2024. However, she still hasn’t claimed an AMVCA trophy. With the short film, Freedom Way, which she played a role, she still doesn’t get a nomination. Given her commanding performances and industry respect, she’s frequently mentioned among those who deserve to be honored. ##### Uche Jombo An actress, producer, and writer, Uche Jombo was a key player in early 2000s Nollywood with films like Games Women Play, Lies Men Tell, and Damage. Despite this, she has never been nominated for or won an AMVCA. Many argue she has contributed just as much behind the scenes as she has in front of the camera, and a nomination feels overdue. ##### Patience Ozokwor Known affectionately as “Mama G,” Patience Ozokwor is a legend in Nollywood. Though she received the **AMVCA Industry Merit Award** in 2023, she has never won a competitive award category. Considering her impact on the portrayal of villainous and comedic mother figures in African cinema, her absence from competitive wins feels like a gap the awards have yet to fill. ##### Joke Silva An industry matriarch, Joke Silva was nominated in 2024 but has never won a competitive AMVCA award. With decades of acting, producing, and mentoring under her belt, she is considered one of the most distinguished figures in Nollywood. A win for her would be a win for the culture. ##### Adunni Ade A Nigerian-American actress known for her roles in both Yoruba and English-language films, Adunni Ade shone in 2021’s Soólè. Despite critical acclaim, the film was overlooked by the AMVCAs. She has yet to receive any nomination, making her one of the most prominent contemporary actresses still waiting for AMVCA recognition. #### Who Are You Rooting For? Now that some of Nollywood’s most consistent talents are finally in the AMVCA spotlight, we want to hear from you: Who do you think deserves a win this year? For those still without nominations, are you still rooting for them? Who did we miss that should have made this list?Join the conversation and get ready for the big night: Saturday, May 10, 2025. The 11th edition of the AMVCA promises surprises, celebration, and hopefully some long overdue wins. *Stay locked in with NollyCritic for all your [AMVCA](https://nollycritic.com/see-our-2025-amvca-critics-and-audience-predictions/ "AMVCA") coverage, behind-the-scenes gist, and red carpet moments on all our social media handles.* ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywoods-amvca-underdogs-will-2025-be-their-year/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywoods-amvca-underdogs-will-2025-be-their-year/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywoods-amvca-underdogs-will-2025-be-their-year/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywoods-amvca-underdogs-will-2025-be-their-year/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywoods-amvca-underdogs-will-2025-be-their-year/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** 93 Days, Adedimeji Lateef, Adunni Ade, All's Fair in Love, AMVCA 2025, Bimbo Akintola, Blackberry Babes, Chioma Akpotha, Ebube Nwagbo, Femi Adebayo, Freedom Way, Games Women Play, Ini Edo, Ireti Doyle, Jelili, Joke Silva, king of thieves, Lisabi The Uprising, No Way Through, Oge Okoye, Patience Ozokwor, seven doors, Shanty Town, Soólè, Sugar Rush, suspicion, the black book, The Origin: Madam Koi Koi), Uche Jombo, Uzor Arukwe --- ### [Before 30 Recap: Everything You Need to Know Before After 30](https://nollycritic.com/before-30-recap-everything-you-need-to-know-before-after-30/) **Published:** May 8, 2025 **Author:** Uju Okosieme **Excerpt:** It’s been nearly a decade since we last saw Temi and her friends navigate life, love, and Lagos in Before 30. The show aired on Africa Magic in 2015, **Content:** It’s been nearly a decade since we last saw Temi and her friends navigate life, love, and Lagos in *Before 30*. The show aired on Africa Magic in 2015, left us with many unanswered questions, and then vanished. But now, with the sequel film [*After 30* ](https://nollycritic.com/after-30-see-the-trailer-for-the-new-before-30-sequel/ "After 30: See The Trailer For the New Before 30 Sequel")arriving on Prime Video on May 9th, it’s the perfect time to revisit the seven-episode journey that started it all. ##### Episode 1 – The Countdown Begins *Before 30* begins with Temi, a successful lawyer, attends her cousin’s wedding in Durban, where she’s reminded of society’s pressure to marry before turning thirty. Her closest friends—Nkem, Aisha, and Ama—are also present. Back in Lagos, Temi gets ready for a romantic dinner with her boyfriend Ayo, fully expecting a proposal. Instead, he asks for a break, shattering her expectations and setting her on a quest to find a new partner before her milestone birthday. ##### Episode 2 – Starting Over After a salon session, the girls suggest a night out, but Aisha hesitates—her husband, Sheriff, wouldn’t approve. They convince her to come anyway. Meanwhile, Temi takes initiative and asks out a man named David. Their date goes well until his mother, who lives with him, becomes an awkward hurdle. When Temi expresses her concerns, David’s response is underwhelming, casting doubt on the budding relationship. ##### Episode 3 – Breaking Points and New Secrets Temi prepares to end things with David, but her mother is already dreaming of wedding bells. At a lunch with her friends, Ama introduces her boyfriend, Usha and confesses she lied about being a virgin. The girls encourage honesty. Temi finally breaks up with David, much to her mum’s disappointment. Meanwhile, Aisha withholds sex from Sheriff, hoping to spark change. Ama opens up to Usha, but the relationship ends. Sheriff, however, apologises to Aisha and all is right in their world—at least for now. ##### Episode 4 – Crossing Lines Temi spots Akin at the market, then meets him again at work. He’s a client at her law firm, and they begin to connect over lunch. Sparks fly. Temi introduces him to the girls, and they share their first kiss. Meanwhile, Ama believes she’s killed someone in a car accident. Nkem urges her to go home, but Ama insists on finding the victim’s family and funding the funeral. Nkem, fed up with her freeloading boyfriend Seyi, ends things after a tense confrontation. ##### Episode 5 – Complications Akin reveals he’s still legally married but separated, and asks Temi to handle his divorce. She’s conflicted and turns to the girls for advice. Nkem’s relationship with Emeka is going well, even though her attempt to test his loyalty with Ama’s help didn’t go as planned. Temi agrees to manage Akin’s divorce and meets his ex, Ekua, who offers insight into their failed marriage. Temi then introduces Akin to her parents. Meanwhile, Emeka tells Nkem he wants to abstain till marriage. ##### Episode 6 – Cracks in the Facade Ama gets invited to an exhibition and shares the invite with the girls. At the event, Temi meets Obi. Aisha shows up with Sheriff, but their tension is palpable. Nkem confides in Temi about Emeka, unsure if she deserves him. ##### Episode 7 – Heartbreak and Hard Choices Ayo resurfaces, asking Temi to accompany him to a wedding. They share a kiss afterwards, much to her mother’s disapproval. Nkem is blindsided when Emeka suddenly cuts things off. Aisha reveals that she and Sheriff had a threesome on vacation and now suspects he wants more. Temi meets Ayo to clarify things, but Akin sees them together and walks away upset. Sheriff’s behaviour escalates when he arranges another threesome without Aisha’s consent. She finally stands up for herself and leaves. Temi, Aisha, and Nkem each face heartbreak in different ways. Temi asks her mother for help reconciling with Akin. Meanwhile, she visits Emeka to find out why he ghosted Nkem, and learns that he found out she once slept with his cousin. He asks Temi to keep it quiet to avoid hurting Nkem. ##### Final Thoughts and Expectations for *After 30* *[Before 30](https://www.imdb.com/title/tt8320472/ "Before 30")* had a lot going for it. The music was top-notch—we were introduced to emerging artists like Kaliné, and the show made sure to highlight who was behind each track. The cast was impressive too. Many of them weren’t household names at the time but have since made major strides in Nollywood. What stood out most was the way the series used dialogue to explore different personality traits and friendship dynamics. However, it was very Temi-centric. While we got glimpses into Aisha, Ama, and Nkem’s lives, it wasn’t quite enough to connect deeply with them. From the *After 30* trailer, it looks like this new project is set to give the other women more screen time and character depth, which is a great direction to take. One thing we appreciated was the way the show tackled everyday issues in marriage through Aisha’s character, showing both small grievances and bigger moral dilemmas. And a fun fact for the fans—series creator BB Sasore even makes a quick cameo in Episode 6. Despite a few flaws in the writing and story flow, *Before 30* still holds up ten years later. It left us on a cliffhanger—Temi torn between men and no resolution in sight. We’re more than ready for *After 30* to bring closure to the story that left us hanging all those years ago. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/before-30-recap-everything-you-need-to-know-before-after-30/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/before-30-recap-everything-you-need-to-know-before-after-30/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/before-30-recap-everything-you-need-to-know-before-after-30/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/before-30-recap-everything-you-need-to-know-before-after-30/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/before-30-recap-everything-you-need-to-know-before-after-30/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** After 30, Anee Icha, bb sasore, Before 30, Beverly Naya, Damilola Adegbite, Meg Otanwa, Nemsia Studios, Prime Video --- ### [The Annual Film Mischief 2025 Returns with Bold New Theme](https://nollycritic.com/the-annual-film-mischief-2025-returns-with-bold-new-theme/) **Published:** May 7, 2025 **Author:** Fisayo Adekoya **Excerpt:** The Annual Film Mischief (TAFM) is returning in 2025, and this time, it’s offering more than a film festival, it’s curating an experience. **Content:** The [Annual Film Mischief ](https://filmfreeway.com/filmratsmischief "Annual Film Mischief ")(TAFM) is returning in 2025, and this time, it’s offering more than a film festival, it’s curating an experience. With *Reclaiming Self* as its theme, this year’s edition leans into the personal. It focuses on identity, healing, and the journey of embracing one’s creative truth. Since it launched in 2022, TAFM has grown into one of Africa’s most essential spaces for indie filmmakers. It’s become a platform for bold storytelling and fresh perspectives, championing filmmakers whose voices are often left out of larger conversations. Each edition has carried its own pulse, but this year introduces a more intimate rhythm. The 2025 festival is expanding its vision. Alongside carefully selected film screenings, it will feature wellness activities, fitness sessions, art showcases, and live performances, all built around the idea of centring the whole creative. It’s an intentional shift that acknowledges where stories come from: lived experience, emotional depth, and cultural memory. Over the years, TAFM has built a reputation not only for its strong curation, but for its community-first mindset. It’s a space that gives room for voices still in process, for creators learning to stand firm in their craft and calling. In 2025, that mission continues, only now, with more depth, more care, and more room to breathe. Set to hold from October 9th to 30th, TAFM will run across four cities, Lagos, Abuja, Accra, and Dar es Salaam. Each location will be led by a regional manager, allowing the festival to stay rooted in the local while moving as a united force. This approach continues TAFM’s commitment to accessibility and inclusion, giving creatives and audiences in different regions a chance to engage on their own terms. Filmmakers are encouraged to submit work that reflects themes of self-discovery, cultural resilience, and emotional honesty. [Films](https://nollycritic.com/?s=film "Films") that push past expectations—whether political, social, or artistic—are welcome. What matters most is that the story is told with intention. The [Annual Film Mischief](https://filmfreeway.com/filmratsmischief "Annual Film Mischief ") has always positioned itself as more than just a space to screen films. That focus remains. Workshops, networking events, and mentorship opportunities will run alongside the programming. These are not add-ons, they’re core to what TAFM offers: tools, access, and genuine connection. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/05/TAFM-18-1024x683.jpeg?ssl=1) ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/05/TAFM-114-1024x577.jpeg?ssl=1) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-annual-film-mischief-2025-returns-with-bold-new-theme/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-annual-film-mischief-2025-returns-with-bold-new-theme/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-annual-film-mischief-2025-returns-with-bold-new-theme/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-annual-film-mischief-2025-returns-with-bold-new-theme/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-annual-film-mischief-2025-returns-with-bold-new-theme/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** african cinema, African filmmakers, Bold Storytelling, film, Film Community, Filmmakers, Indie Filmmakers, nollycritic, TAFM 2025, The Annual Film Mischief --- ### [Red Circle: See The Trailer For Nora Awolowo's New Thriller](https://nollycritic.com/red-circle-see-the-trailer-for-nora-awolowos-new-thriller/) **Published:** May 6, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The official trailer for Red Circle was released on 3 May 2025, offering a first look at the upcoming Nigerian crime thriller... **Content:** The official trailer for *[Red Circle](https://nollycritic.com/red-circle-bukky-wright-returns-to-nollywood-in-new-thriller/ "Red Circle")* was released on 3 May 2025, offering a first look at the upcoming Nigerian crime thriller ahead of its scheduled cinema release on 6 June. Directed by Akay Mason and produced by Rixel Studios, *Red Circle* follows the story of a journalist caught in the middle of a dangerous investigation. Folu Storms stars as Fikayo Holloway, a reporter looking into a powerful crime syndicate operating in Lagos. The trailer shows her digging into a trail of corruption, drugs and murder, all tied to an influential businessman who uses money and violence to keep his secrets buried. As Fikayo’s investigation deepens, the threat to her life and her loved ones becomes clear. The film was written by Abdul Tijani-Ahmed, who also co-produced the project with Nora Awolowo. The cast includes Bukky Wright, Timini Egbuson, Tobi Bakre, Lateef Adedimeji, Omowunmi Dada, Mike Afolarin, Femi Branch, Ruggedman and Debo Macaroni. Scenes from the trailer suggest a mix of fast-paced action and psychological drama, with Lagos serving as both the setting and a source of tension. Filmed on location in Lagos, the story explores the risks journalists face when exposing powerful figures, and how truth-seeking can come at a heavy cost. The trailer has sparked interest online for its polished visuals and tense atmosphere, though full reactions will depend on how the film lands with audiences next month. *[Red Circle](https://www.imdb.com/title/tt32634351/?ref_=mv_close "Red Circle")* will be released in Nigerian cinemas on 6 June 2025. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/red-circle-see-the-trailer-for-nora-awolowos-new-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/red-circle-see-the-trailer-for-nora-awolowos-new-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/red-circle-see-the-trailer-for-nora-awolowos-new-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/red-circle-see-the-trailer-for-nora-awolowos-new-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/red-circle-see-the-trailer-for-nora-awolowos-new-thriller/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** bukky wright, Debo Macaroni, Femi Branch, Lateef Adedimeji, Mike Afolarin, nollycritic, nollywood, Omowunmi Dada, Red circle, Ruggedman, Timini Egbuson, Tobi Bakre --- ### [Nigerian Filmmakers Who Directed and Acted in Their Own Films](https://nollycritic.com/nigerian-filmmakers-who-directed-and-acted-in-their-own-films/) **Published:** May 5, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The tradition of Nigerian directors acting in their own productions remains strong. Here, wearing multiple hats is practically an art form. **Content:** The tradition of Nigerian directors acting in their own productions remains strong. Here, wearing multiple hats is practically an art form. While it’s hard enough to direct a film, some decided, “Why not act in it too?” Here’s a look at Nigerian directors who didn’t just call the shots from behind the camera but also stepped in front of it taking full creative control by directing and acting in the same projects. ##### Biodun Stephen [Biodun Stephen](https://nollycritic.com/?s=biodun+stephen "Biodun Stephen") is one of the most active Nigerian directors who regularly features in her own films. In her most recent, she plays a prostitute in *I am Anis* (2025). She directed and appeared in *Mother’s Love* (2019), where she had a supporting on-screen role; *Butterflies* (2021), where she featured briefly as a background voice; *Love Unusual* (2021), where she again lent her voice in a minor but deliberate cameo; and *Pain and Beyond* (2022), where she played a small yet visible character. In *Picture Perfect* (2016), she appeared as a camerawoman. In *Breaded Life* (2021), she played a minor role. In *Sista* (2022), she voiced a school authority. In *Big Love* (2023), she voiced the radio presenter, and in *Small Talks* (2023), she added voice background commentary. Her filmography reflects her personal stamp across her stories, often inserting herself into small but symbolically meaningful roles. Her subtle but deliberate appearances have become a signature of her productions. ##### Kunle Afolayan [Kunle Afolayan ](https://www.imdb.com/name/nm1875051/ "Kunle Afolayan ")has long been regarded as a director who blends technical precision with narrative richness, and he often inserts himself into his own films. He directed and starred in *Irapada* (2006), a suspense thriller steeped in traditional beliefs, and *The Figurine* (2009), a psychological mystery where he played the lead role, Sola. He made brief but meaningful appearances in *Phone Swap* (2012), *The CEO* (2016), and *Ijogbon* (2023), often serving as a narrative connector. In *Aníkúlápó* (2022), he portrayed a respected elder in the king’s council while managing the film’s grand vision as director and producer. ##### Funke Akindele She directed and starred in *Your Excellency* (2019), playing Kemi Ajadi in a satirical political comedy. In *Omo Ghetto: The Saga* (2020), she reprised her dual roles as Ayomide and Lefty, while also serving as co-director. She returned with another blockbuster hit in *Battle on Buka Street* (2022), playing Yejide, a strong-willed food vendor in a rivalry-driven family drama. In *A Tribe Called Judah* (2023), she took on the role of Jedidah Judah, a matriarch leading a band of sons through a chaotic heist plot, again co-directing the film. In *Finding Me* (2025), she portrayed Tinuke while sharing directorial duties. She also directed and starred in the original *Omo Ghetto* (2010) and has consistently contributed to the *Jenifa* franchise, especially in the long-running *Jenifa’s Diary* series, where she acts, writes, and co-directs. ##### Ramsey Nouah Ramsey Nouah successfully transitioned from leading man to director with *Living in Bondage: Breaking Free* (2019), where he played Richard Williams, a manipulative cult leader and driving force of the film’s tension. The movie served as both a continuation of a Nollywood classic and a showcase of Ramsey’s evolution as a filmmaker capable of handling high-concept suspense. He also plays a significant role in *Tokunbo* (2024) which he also directed. ##### Stephanie Linus Stephanie Linus (formerly Stephanie Okereke) is another key figure. She directed and starred in *Through the Glass* (2008), making her directorial debut with an international release. She later directed and featured prominently in *Dry* (2015), a film that earned critical acclaim both within Africa and internationally for its powerful social message. Her work firmly placed her among pioneering Nigerian directors and actors. ##### Femi Adebayo Femi Adebayo has directed and acted in a range of major Yoruba and mainstream Nollywood projects. He directed and played the title character in *Jelili* (2011), a comedic hit that captured local audiences with its exaggerated but heartfelt portrayal of a job-hopping village clown. He reprised this role in the sequel *Survival of Jelili* (2019), which he also directed. In *King of Thieves (Ògúndábède)* (2022), he took on the commanding role of Agesinkole, a mythical bandit terrorizing a Yoruba kingdom, while co-directing the epic and managing its production. Femi extended this director-actor synergy to the television space in the period drama *Seven Doors* (2024), where he portrayed King Adejundoye while directing the series. Earlier in his career, he directed and featured in culturally resonant Yoruba-language films like *Sonto Alapata*. His dual involvement in these projects often gives his work a distinct mix of cultural authenticity, comedic timing, and narrative control. ##### Toyin Abraham Toyin Abraham is an actress, filmmaker, and creative lead who often directs or supervises the direction of her own works. In *Imade* (2023), she was officially credited as both director and lead actress. She played dual leading roles in the spiritual drama *Ijakumo: The Born Again Stripper* (2022), where she was story originator, producer, and behind-the-scenes creative driver. In *The Ghost and the Tout Too* (2021), she reprised her signature comedic role while overseeing many directorial choices. She returned to her roots in *Alakada: Bad and Boujee* (2024), serving as lead actress and screenwriter, deeply involved in the production’s vision and tone. Her creative imprint is visible across every layer of her film output. The tradition of Nigerian directors acting in their own productions remains strong. These creatives demonstrate a rare depth of versatility. Their ability to balance directorial duties with strong screen presence continues to define Nollywood’s innovation and resilience. As the industry matures, this blend of skills ensures Nigerian stories are delivered with authenticity, precision, and deep personal investment. In Nollywood, this phenomenon is often rooted in both passion and practicality. But does this dual role of actor-director come with risks? Could it affect the objectivity of a director who is also playing the lead character? Or is it, in fact, a signature of creative ownership; a director fully immersed in their story from the inside out? We’d love to hear what you think. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nigerian-filmmakers-who-directed-and-acted-in-their-own-films/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nigerian-filmmakers-who-directed-and-acted-in-their-own-films/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nigerian-filmmakers-who-directed-and-acted-in-their-own-films/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nigerian-filmmakers-who-directed-and-acted-in-their-own-films/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nigerian-filmmakers-who-directed-and-acted-in-their-own-films/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** 30 Days in Atlanta, A Simple Lie, Alakada: Bad and Boujee, Anikulapo, Ayo Makun, Battle on Buka Street, Before the Light, Big Love, Biodun Stephen, Breaded Life, Butterflies, Desmond Elliot, Dry, Femi Adebayo, Funke Akindele, Ijakumo: The Born Again Stripper, Ijogbon, Imade, Introducing the Kujus, Irapada, Jelili, Jenifa’s Diary, king of thieves, Kunle Afolayan, Living in Bondage: Breaking Free, Love Unusual, Merry Men, Mother Love, Nigeria, Nigerian Filmmakers, nollycritic, nollywood, Nollywood directors, Ogundabede, Omo Ghetto: The Saga, Pain and Beyond, phone swap, Picture Perfect, Ramsey Nouah, Reloaded, seven doors, Sista, Small Talks, Sonto Alapata, Stephanie Linus, Survival of Jelili, The Figurine, The Ghost and the Tout Too, Through the Glass, Tope Adebayo Salami, Toyin Abraham --- ### [After 30: See The Trailer For the New Before 30 Sequel](https://nollycritic.com/after-30-see-the-trailer-for-the-new-before-30-sequel/) **Published:** April 30, 2025 **Author:** Shalom O. Obisesan **Excerpt:** fter 30, a follow-up film featuring the original cast, is set to premiere at the 2025 NollywoodWeek Film Festival in Paris this May. **Content:** Nearly a decade after *[Before 30](https://www.imdb.com/title/tt8320472/ "Before 30")* captured the realities of modern womanhood in Lagos, the story continues. *After 30,* a follow-up film featuring the original cast, is set to premiere at the 2025 [NollywoodWeek](https://nollycritic.com/nollywoodweek-here-are-the-2025-official-festival-selections/ "NollywoodWeek") Film Festival in Paris this May. The film reunites Damilola Adegbite, Beverly Naya, Meg Otanwa, and Anee Icha as four women navigating the messy, beautiful, and sometimes brutal terrain of life in their thirties. Directed by Omorinsojo Spaine and co-written by Spaine, Bibi Ukpo, and BB Sasore, *After 30* picks up where the 2015 drama series left off—only now, the race to get married before the big 3-0 is over. *After 30* shifts attention to life beyond that milestone, and there are more challenges: career shifts, motherhood, changing friendships, and redefining what success actually looks like. Set in Lagos, the story remains rooted in familiar terrain but takes a deeper dive into the internal journeys of its characters. There are no dramatic overhauls or forced reinventions, just four women facing the consequences and possibilities of choices made and paths taken. The premiere will take place at Cinéma L’Arlequin between 7 and 11 May, as part of the festival’s twelfth edition. NollywoodWeek Paris continues to be a vital platform for showcasing Nigerian storytelling to international audiences, and *After 30* fits neatly into its mission. Plot details have not yet been fully revealed but the trailer gives a brief glimpse to what should be expected. However, the return of the original cast and a continued focus on contemporary Nigerian womanhood suggest that *After 30* will carry forward the spirit of the original while opening up space for new conversations. *After 30*, will premiere on Prime Video, May 9, 2025. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/after-30-see-the-trailer-for-the-new-before-30-sequel/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/after-30-see-the-trailer-for-the-new-before-30-sequel/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/after-30-see-the-trailer-for-the-new-before-30-sequel/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/after-30-see-the-trailer-for-the-new-before-30-sequel/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/after-30-see-the-trailer-for-the-new-before-30-sequel/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** After 30, Anee Icha, bb sasore, Before 30, Beverly Naya, Bibi Ukpo, Damilola Adegbite, Meg Otanwa, nigerian cinema, Nigerian Film, nollywood, nollywoodweek, NollywoodWeek Film Festival 2025, NollywoodWeek Paris, Omorinsojo Spaine --- ### [The Unwritten Hierarchy of Nollywood Extra Roles](https://nollycritic.com/the-unwritten-hierarchy-of-nollywood-extra-roles/) **Published:** April 25, 2025 **Author:** Ikenna Churchill **Excerpt:** Behind Nollywood films' award-winning actors and suspenseful plots is a less visible but equally vital army of labour: the background extras, **Content:** Behind [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") films’ award-winning actors and suspenseful plots is a less visible but equally vital army of labour: the background extras, or “waka pass”, as they are more popularly referred to locally. They populate the bustling markets, raucous parties, and everyday street scenes, giving Nigeria’s filmic landscapes their lifelike quality. Although typically in the background, they are at the centre of Nollywood films’ immersive quality, providing the necessary background against which the foreground action unfolds. Over time, as the Nigerian film industry became an international phenomenon, a defacto though obvious stratification began to develop within this cast of actors—one that continues to shape access, exposure, and professional possibility for these largely faceless actors. The story of Nollywood’s background actors began with the industry’s inception in the early 1990s. This was when there was a huge shift from expensive celluloid film production to less expensive video technology, largely through VHS camcorders. The economic woes of Nigeria in the 1980s had made celluloid production increasingly tricky, making way for the development of a cheaper and more accessible medium. This transition democratised filmmaking, allowing the creative surge that defined Nollywood’s first decade. Groundbreaking films of the era, such as Living in Bondage (1992) and Glamour Girls (1994), exploited the use of background actors to establish a sense of realism for Nigerian existence, populating marketplaces, parties, and residential areas to forge a visual text with which Nigerian audiences could engage. The necessity to rapidly and economically produce very similar Nigerian settings in these early productions meant that filmmakers frequently employed readily available individuals in the vicinity of shooting locations as extras. While applicable to its immediate purpose, such a practical shortcut must have established an informal network of engaging and compensating these background performers. It set the stage for the unwritten hierarchy that would emerge. Even in these initial stages, background performers were important in placing the stories in familiar Nigerian settings. Films like ‘Living in Bondage’ and ‘Glamour Girls’ created benchmarks on how extras would visually embody the liveliness of Nigerian life. The utilisation of “found locations” for filming and the incorporation of locals as extras in these movies suggest that casting was often an ad-hoc process, potentially involving individuals who were present at the shooting location. This informal recruitment mode was probably accountable for the lack of codified and fluid roles and compensation for background actors in the early years. The background actor situation in Nollywood is currently more organised, albeit still informal. There has been a hierarchy, and individuals have fit into various levels based on their visibility and the experience they have gained. At the lower rung are the “day players,” who land occasional roles in one-off productions. Further up are the “regular extras,” who turn into familiar faces in multiple productions, including popular shows such as ‘Skinny Girl in Transit’ or films such as ‘Chief Daddy (2018)’. At the pinnacle of this unofficial hierarchy are those who are dubbed in the industry as “background celebrities” — extras who have gained substantial recognition and even fans despite rarely, if ever, being assigned dialogue. The fact that there are these different strata points to a type of specialisation and prestige within the background acting community. Consistent availability and the ability to convincingly portray background roles are likely variables that cause an extra to move up these informal ranks toward more opportunity and a higher rank within this informal hierarchy. Several factors explain this emergent hierarchy. Experience also plays a part, with newcomers being put in large crowd scenes, while more seasoned extras will appear nearer to the leading actors or in the foreground of a shot. Specialisation also comes into play; individuals who build a reputation for convincingly portraying a particular type of role, such as market stall holders or office workers, make themselves invaluable to casting directors. Industry longevity also raises an extra’s status, with those having worked on dozens of productions from the early days of video to the latest streaming projects achieving an almost legendary status within industry ranks. On top of this, the increasing influence of social media has added another stratum to this hierarchy. Some extras have been able to build personal brands on platforms like Instagram and TikTok. This internet visibility can translate into greater demand for their services and perhaps a higher position in the unofficial pecking order. The phenomenon of “background celebrities” is one of the most unique aspects of Nollywood. Although they do not have any dialogue, these actors have gained some degree of popularity and fame within the industry and among viewers. This can be attributed to the close-knit structure of Nollywood and its dedicated fan base, in which frequent appearances and recognisable faces, even in silent roles, can lead to a measure of fame within the Nigerian movie industry. Far from being space fillers, Nollywood background actors perform significant roles and functions that are worthwhile contributions to the completed work. Their primary function is to provide realism and dimension to scenes by portraying ordinary people going about everyday life. This can range from filling in big crowd scenes, such as concerts or markets, to being featured extras that perform small actions that bring realism to the scene. Examples include a featured extra handing over a drink in a bar scene or walking through a market carrying fruit. Some background actors are also employed as stand-ins or body doubles for lead actors. The fundamental task of all extras is to take direction carefully from the production staff, like assistant directors, to perform every scene without a hitch. Further, individuals with special abilities, such as dancing, musicians, or expertise in specific professions, are generally in demand for shooting scenes requiring those individual skills. Payment for Nollywood extras has improved somewhat. In the earlier days of the industry, payment was occasionally shorter than lunch money. However, with the increasing professionalisation of Nollywood, particularly in big-budget productions like ‘King of Boys (2018)’ or ‘The Milkmaid (2020)’, background actors can get regularised payment, albeit it is generally still on the low end. Despite this development, payment remains irregular, especially for those new to the industry. ![grind](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/02/grind.jpeg?resize=640%2C360&ssl=1)Extras in *Grind (2025)*There is anecdotal proof of some actors being paid as little as ₦90,000 for a month’s work on set. More established actors getting speaking roles are paid far more, but the lack of standardised rates for extras leaves many vulnerable to underpayment and financial insecurity. Working conditions for Nollywood extras are usually challenging. Extras often work long hours, spending many hours on set, sometimes from dawn to early morning. The second most crucial issue is the lack of formal credits in the final film production, which limits their professional exposure and ability to build a portfolio. There is also tough competition for parts, with many individuals vying for limited positions. In addition to these problems, extras may face other issues, such as unpredictable on-set treatment, potential lack of production organisation, and infrastructural issues, such as power outages that may disrupt shooting schedules. These rigorous and somewhat insecure working conditions indicate improved treatment and greater formalisation of background actors’ roles in Nollywood. Nollywood directors and producers mostly appreciate the immense value of background actors in making their films successful. Properly directed supporting actors are seen as valuable in contributing to a project’soverall production value and verisimilitude, like Kunle Afolayan’s strategic use of extras in the period film ‘October 1 (2014)’ for historical authenticity. Similarly, in movies where a specific social class is portrayed, such as ‘The Bling Lagosians (2019)’, extras are employed to maintain the desired ambience, such as the decadent high-society lifestyle. Lastly, background actors that are strategically positioned are said to add production value as they breathe life into believable and compelling worlds that audiences buy into. Some directors go so far as to hire extras directly from moving crowds, highlighting their immediate utility in adding realism to the scene. Casting and directing of extras in Nollywood is normally carried out by casting directors who have the duty of looking for individuals who fall under the unique requirements of a scene. Physical appearance, age, sex, and having a particular “look” are often vital considerations in being selected. On set, while the director may have the overall idea of how extras are to be utilised in a scene, the coordination and direction of such actors tend to be left to assistant directors. This suggests a hierarchical framework whereby the director’s interaction with extras can be minimal, with the AD team managing the logistics of their involvement in each shot. The increasing professionalisation of Nollywood, particularly since the 2000s, has changed how background actors are recruited. Films like ‘Lionheart (2018)’, ‘The Wedding Party (2016)’ and ‘The Meeting (2012)’ demonstrated the difference that good incorporation of background actors could make in production quality. There is a growing trend for maintaining lists of reliable background actors, changing from the former method of simply using whoever was available. This is also partly driven by the rise of streaming services, which have increased demand for higher production values and, by extension, expectations of background performances. Background actors in Nollywood are also increasingly exposed to international audiences through these streaming services. The increased production level for streaming services can provide additional work for background actors. But with that also comes the pressure of meeting the greater expectations of an international market. As Nollywood continues taking over the world, the traditional “waka pass” system faces new pressures and opportunities. The growth of the industry and the streaming boom have generated discussion of officially recognising and regulating the background actors’ profession, a far cry from the early days’ unofficial practices when a meal voucher was possibly the only thing one could receive. The Actors Guild of Nigeria (AGN), a guild body for screen actors, exists to promote actors’ welfare, although its specific efforts with regard to background actors require examination. There is growing advocacy within the industry for good contracts and fair treatment for all creatives, including background actors. Yet the lack of a robust industry. structure remains one of the main hindrances to formalising these roles and according to fair treatment and compensation regularly. Underpayment and the lack of standard payment practices also remain hindrances to progress in this direction. Comparing the plight of background actors in Nollywood to how such actors are treated in other large film industries like Hollywood and Bollywood reveals similarities and some pronounced differences. Where compensation and payment are concerned, Nollywood extras earn lower and less secure incomes than those in Hollywood, especially those covered by unions like SAG-AFTRA. Non-union rates exist in Hollywood and can vary, but the union provides a level of protection and regulation that is less visible for Nollywood extras. Bollywood, just like Nollywood, also appears to have a system where extras can be extremely underpaid. Unionisation and recognition also differ very much. Hollywood has the luxury of having strong unions like SAG-AFTRA that offer standards for pay, working conditions, and even the possibility of obtaining credits for background actors. While [Nollywood](https://www.primetake.cc/blog-posts/the-complete-guide-to-getting-into-nollywood "Nollywood") has the Actors Guild of Nigeria (AGN), its specialised role of agitating for background actors is not plainly outlined in the materials. Ordinarily, extras in Nollywood are not credited for the work, in contrast to Hollywood, where featured extras can be credited. In Bollywood, as in Nollywood, extras are ordinarily uncredited and considered less significant to the production. Treatment of extras on set is variable across all three industries. While some individuals report positive experiences, others have experienced poor treatment and long hours. The stronger union protections in Hollywood are perhaps a more effective mechanism for guaranteeing fair treatment for unionised extras than in Nollywood and Bollywood, where these protections appear weaker for background actors. ASPECTNOLLYWOODHOLLYWOODBOLLYWOODPay[It tends to be low and erratic](https://scrollforth.ng/is-a-career-in-nollywood-worth-it "It tends to be low and erratic")[More formalised, especially with unionisation](https://www.wrapbook.com/blog/how-to-pay-background-actors "More formalised, especially with unionisation")[it tends to be low](https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/be-a-bollywood-extra/articleshow/6097618.cms "it tends to be low")UnionisationActors Guild of Nigeria ExistsStrong union representation (SAG- AFTRA) for extrasUnionisation less prominent for extrasCreditsNot typically offered[Featured extras possible](https://actingmagazine.com/2025/01/do-extras-get-acting-credits/ "Featured extras possible")[Not typically offered](https://www.outlookindia.com/art-entertainment/spotlighting-extras-and-below-the-line-cast-in-bombay-cinema--news-251515 "Not typically offered")On-Set Treatment[It can be gruelling long hours](https://www.zikoko.com/money/hustleprint-how-to-become-an-actor/ "It can be gruelling long hours")[Varied experiences, some protection through the union](https://www.backstage.com/magazine/article/make-living-extra-380/ "Varied experiences, some protection through the union")[Varied experiences, long hours reported](https://www.reddit.com/r/BollyBlindsNGossip/comments/ewqebb/has_anyone_worked_as_an_extra_in_any_movie_what/?rdt=46699 "Varied experiences, long hours reported")Background actors are a very important aspect of Nollywood and critical to the industry’s narrative and visual credibility. Although there is an unofficial ranking of these “waka pass” actors, their working conditions and payment also remain insecure. The evolution of Nollywood, particularly the rise of streaming platforms, holds out the promise of more jobs and pressures for the improvement of standards of performance. There is a growing recognition of the need to tackle the fate of these unseen workers, with arguments continuing to formalise their labour and treatment. Comparisons to more established film industries like Hollywood highlight the benefits of unionisation and standard practices in achieving equal pay and recognition for background actors. As Nollywood continues its global ascent, it is worth looking beyond the celebrities and acknowledging the vital contributions of market traders, party attendants, and office receptionists – the living canvas of “waka pass” actors who help bring to life the rich and peculiar world of Nigerian cinema. Perhaps it is time, after all, for their backstory to be given due regard in the larger narrative of Nollywood’s success. ## Author - ![Ikenna Churchill](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/e312d6884f18aca2f95d030201b2d6e7.jpg?resize=80%2C80&ssl=1) [Ikenna Churchill](https://nollycritic.com/author/sknypipo_bc/ "Ikenna Churchill") [ ](mailto:lumide93@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-unwritten-hierarchy-of-nollywood-extra-roles/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-unwritten-hierarchy-of-nollywood-extra-roles/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-unwritten-hierarchy-of-nollywood-extra-roles/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-unwritten-hierarchy-of-nollywood-extra-roles/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-unwritten-hierarchy-of-nollywood-extra-roles/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Actors Guild of Nigeria, nollycritic, nollywood, Nollywood extras --- ### [AMVCA 2025: See the Full list of Nominees](https://nollycritic.com/amvca-2025-see-the-full-list-of-nominees/) **Published:** March 23, 2025 **Author:** Michael Arowoselu **Excerpt:** AMVCA is an award show presented by MultiChoice recognizing outstanding performances in television, film, entertainment, and now in digital content creation **Content:** The nominees for the 2025 AMVCAs are in! AMVCA is an award show presented by [MultiChoice](https://www.dstv.com/africamagic/en-ng/show/amvca) recognizing outstanding performances in television, [film](https://nollycritic.com/the-best-10-nollywood-films-of-2023/), entertainment, and now in digital content creation throughout Nollywood and the entire African content. Here’s the full nominees list of 2025 AMVCA: **Best Director** Robert O Peters – Skeleton Coast Norman Maake – Inkabi Bolanle Austen-Peters – House of Ga’a Awam Amkpa – The Man Died Daniel Emeka Oriahi – The Weekend Femi Adebayo, Adebayo Tijani, Tope Adebayo – Seven Doors **Best Movie** Skeleton Coast Suspicion Lisabi: The Uprising Inkabi House of Ga’a Freedom Way Christmas in Lagos Farmer’s Bride **Best Writing (Movie):** The Weekend (Egbemawei Dimiyesi Sammy, Vanessa Kanu, Frederick O. Anyaebunam JNR) Skeleton Coast (Omolola Lamikanra) Freedom Way (Blessing Uzzi) Phoenix Fury (Ifeoma N Chukwuogo) A Ghetto Love Story (Victoria Eze) Christmas In Lagos (Jadesola Osiberu) House Of Ga’a (Tunde Babalola) **Best Documentary:** Dundun OYO (On Your Own) Women of Salt: The Resilience of Ebonyi’s Women Walvis Tale I Will Remember You **Best Digital Content:** Elozonam Ogbolu, Hoviare Freedom, Chiamaka Uzokwe Taaooma Ariyiikedimples, Brainjotter Iyo Prosper Adokiye Jide Pounds Ibitoye **Best MultiChoice Talent Factory:** Everything Light Touches The Immersive Alarm Deadbeat Nwananga Rivals in Time Gone **Best Scripted M-Net Original:** All Mine My Fairytale Wedding *Italo* The Caller Uriri Kam U Stay **Best Scripted M-Net Original:** Style Magnate Skillers (The Builders Show) Ebuka Turns Up Africa Wa Mikele? (Forever?) Uzoamaka Tries Palmwine ****Best Scripted Original**** **Series**: Inside Life Seven Doors Princess On A Hill Cheta’M Roses & Ivy **Best Unscripted M-Net Original:** Pastor Wants a Wife Zambia Overall Best Husband Material The Queens of Kopala Nigerian Idol **Best Indigenous Language (West Africa):** Lisabi: The Uprising Kaka Anikulapo: The Rise of the Spectre Mai Martaba Seven Doors **Best Indigenous Language (East Africa):** The Caller *Empty Grave* Makosa ni Yangu *Sabotage* Wa Milele (Forever?) **Best Indigenous Language (Southern Africa):** The Vow *Mwizukanji* Walvis Tale Man of Gold Lukas **Best Indigenous M-Net Original:** The Caller Show Me The Way Ebighi Ebi Subterranea Mai Shayi Onye Agbata Obim Amoanimaa’s Era **Best Short Film:** Brukaci What are You Truly Afraid Of In Bloom: Afefe The Incredible Sensational Fiancee of Seyi Ajayi Sukari **Best Supporting Actress:** Tina Mba (Suspicion) Ireti Doyle ( All’s Fair in Love) Teniola Aladese (A Night in 2005) Ini Dima Okojie (Skeleton Coast) Mercy Aigbe (Farmer’s Bride) Omoni Oboli (Wives on Strike 3) Darasimi Nadi (Aburo) Meg Otanwa (Inside Life) **Best Lead Actor:** Adedimeji Lateef (Lisabi: The Uprising) Femi Adebayo (Seven Doors) Stan Nze (Suspicion) Bimbo Manuel (Princess on a Hill) Thapelo Makoena (Skeleton Coast) Femi Branch (House of Gaa) Bucci Franklin (The Weekend) Gideon Okeke (Tokunbo) **Best Lead Actress:** Bimbo Ademoye (Anikulapo: Rise of the Spectre) Hilda Dokubo (Wives on Strike 3) Uzoamaka Aniunoh (Phoenix Fury) Uche Montana (Thin Line) Uzoamaka Onuoha (Agemo) Gbubemi Ejeye (Farmer’s Bride) Chioma Chukwuka (Seven Doors) **Best Supporting Actor:** Mike Afolarin (House of Gaa) Uzor Arukwe (Suspicion) Femi Jacobs (Freedom Way) Aliu Gafar (Seven Doors) Richard Mofe-Damijo (Christmas in Lagos) Adedayo Adebowale (Lisabi) Gabriel Afolayan (Inside Life) Efa Iwara (Princess on a Hill) **Best Cinematography:** Agemo (Papama Tangela) Lisabi (Barnye Emordi, Nora Awolowo) Soft Love (Ebrahim Hajee) Skeleton Coast (Wesley Johnston) Vagabond Queen (Leo Purman) Inkabi (Chuanne Blofield) This is Our Land (Onasis Gaisie, Michael Sefa, Apagnawen Annankra) **Best Editing:** Christmas in Lagos (Martini Akande) Skeleton Coast (Jordan Koen) Soft Love (Holmes Awa, Paballo Modingoane) Lisabi: The Uprising (Anthill Studios) Inkabi (Tongai Furusa) · Princess on a Hill (Laughter Ephraim, Peter Ugbede) ****Best Sound Design:**** Freedom Way ( Ahuura Andrew, Olushola Wilson) Seven Doors (Tolu Obanro, Pius Fatoke, Adam Songbird Lisabi (Tolu Obanro, Bode Odeyemi) Inkabi (Vaugn Philips) Ajakaju (Adam Songbird, Pius Fatoke) Suspicion (Michael Botha, Olaosebikan Okonrende) **Best Score/Music** Inkabi (Seoli Bongani Mashaba) Freedom Way (Ahuura Andrew, Kehinde Alabi, Cobhams Asuquo) Seven Doors (Tolu Obanro) Soft Love (Kolade Morakinyo, Efa Iwara) Skeleton Coast (Chris Letcher) **Best Art Direction:** Christmas in Lagos (Joy Kadiri) Farmer’s Bride (Daniel Okoi) Seven Doors (Tunji Afolayan) Lisabi: The Uprising (Soliu Badu, Ayanmo Yakub) The Man Died (Theo Lawson) Anikulapo Rise of The Spectre (Kunle Afolayan, Soliu Afolabi) **Best Makeup:** Anikulapo Rise of The Spectre (Hakeem Onilogbo) Lisabi (Hakeem Onilogbo) Seven Doors (Hakeem Onilogbo) Inside Life (Kpoudosu Winifred) Suspicion (Tracy Izogie, Adeleke Toluwalase Maigari) Farmer’s Bride (Abejide Oluwatosin Mercy) **Best Costume Design:** Anikulapo Rise of The Spectre (Toyin Ogundeji) House of Gaa (BAP, Yolanda Okereke, Juliana Dede, Gloria Ovu) Lisabi (Toyin Balogun, Oyebade Adedimeji) Phoenix Fury (Opeyemi Sogeke) Christmas in Lagos (Adedamola Adeyemi) **Best Writing in a TV Series:** Tuki? (Louise Kamwangi) Untying Kantai (Abel Mutua Muysoka) Roses and Ivy (Biodun Stephen, Abimbola Akinrinbola) Anikulapo Rise of The Spectre (Sola Dada) Princess on a Hill (Bibi Ukpo, Niyi Adeniji, Sonia Nwosu) Cheta’M (Ifeanyi Barbara Chidi) Seven Doors (Adebayo Tijani, Yinka Laoye, Soyombo-Oluyombo Oluwagbemiga) Africa Magic Viewers’ Choice Awards is an award show presented by MultiChoice recognising outstanding performances in television, film, entertainment and now in digital content creation throughout Nollywood and the entire African content. The annual [AMVCA](https://www.dstv.com/africamagic/en-ng/show/amvca "AMVCA") ceremony for 2025 will be held in Lagos, Nigeria in May and will be broadcast live on all Africa Magic channels. Which Movies/Nominees are you rooting to win big at this years’ AMVCAs? ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/amvca-2025-see-the-full-list-of-nominees/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/amvca-2025-see-the-full-list-of-nominees/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/amvca-2025-see-the-full-list-of-nominees/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/amvca-2025-see-the-full-list-of-nominees/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/amvca-2025-see-the-full-list-of-nominees/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** nollycritic, nollywood --- ### [Long Live Lagos – New Wizkid Documentary Set for Tribeca Premiere](https://nollycritic.com/long-live-lagos-new-wizkid-documentary-set-for-tribeca-premiere/) **Published:** April 22, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Long Live Lagos, a documentary chronicling the rise of Nigerian music superstar Wizkid. Directed by Karam Gill and produced in partnership with HBO **Content:** The **[2025 Tribeca Film Festival](https://tribecafilm.com/films/wizkid-long-live-lagos-2025 "2025 Tribeca Film Festival")**, scheduled to run from 4 to 15 June in New York City, will host the world premiere of *Wizkid: Long Live Lagos*, a documentary chronicling the rise of Nigerian music superstar Wizkid. Directed by Karam Gill and produced in partnership with HBO Documentary Films, the 83-minute feature is a blend of music, politics and personal biography, capturing the cultural force that is Ayodeji Balogun, known globally as Wizkid. Spanning Lagos and London, the documentary tracks Wizkid’s evolution from a teenage sensation in Nigeria to a Grammy-winning global icon reshaping how African music is heard and understood. It is scheduled to debut on 6 June at the OKX Theater, with additional screenings on 7 and 11 June at AMC 19th Street East 6. The [film](https://nollycritic.com/?s=film "film") is part of the ***Expressions of Black Freedom programme***, a segment of the Tribeca Festival spotlighting Black voices shaping the world through art and storytelling. *Wizkid: Long Live Lagos* features rare behind-the-scenes footage, candid interviews and concert performances that showcase the artist’s creative process and political consciousness and social influence. In an interview with Billboard, director Karam Gill described Wizkid as a once-in-a-generation artist who has redefined the sound of pop and changed how Africa is seen worldwide. The documentary explores not only his music but also his influence in challenging outdated narratives around African identity. The title *Long Live Lagos* pays homage to Wizkid’s deep ties to his hometown. The film features appearances from his close collaborators, family and key industry figures such as Femi Kuti, Jada Pollock, Julie Adenuga and Seni Saraki. Through their voices, the documentary reveals the cultural environment that shaped his early years and global perspective. It also includes commentary from Sunday Are, Wizkid’s long-time manager, fashion consultant Karen Binns and journalist Seni Saraki, who all discuss how the artist’s impact extends beyond music into fashion, youth culture and international representation. At its heart, *Wizkid: Long Live Lagos* is a story about reclaiming African identity through global visibility. With a score by Craig Deleon and editing by Joshua Whitaker, the documentary is backed by executive producers from MACRO, HBO and United Talent Agency, ensuring it reaches audiences worldwide. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/long-live-lagos-new-wizkid-documentary-set-for-tribeca-premiere/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/long-live-lagos-new-wizkid-documentary-set-for-tribeca-premiere/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/long-live-lagos-new-wizkid-documentary-set-for-tribeca-premiere/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/long-live-lagos-new-wizkid-documentary-set-for-tribeca-premiere/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/long-live-lagos-new-wizkid-documentary-set-for-tribeca-premiere/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** Adosu Segan, Julie Adenuga, Karen Binns, Long Live Lagos, Matthew Temitope Solomon, nollycritic, nollywood, Seni Saraki, Sunday Are, Tops Bademosi --- ### [8 Nollywood Faith-Based Films You Need to Watch](https://nollycritic.com/8-nollywood-faith-based-films-you-need-to-watch/) **Published:** April 20, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Faith-based Nollywood films are not always about pastors on pulpits or grand miracles unfolding before a congregation. Sometimes, they are about everyday people... **Content:** Faith-based Nollywood films are not always about pastors on pulpits or grand miracles unfolding before a congregation. Sometimes, they are about everyday people grappling with doubt, making choices that test their beliefs, and finding redemption in unexpected places. These films don’t necessarily wear the label of “Christian” cinema, but their themes; hope, grace, second chances, and spiritual awakening, are undeniably rooted in faith. Whether it’s a struggling couple holding on to God’s promises, a prodigal son trying to outrun destiny, or a divine encounter that reshapes a life, these stories reflect the core of Christian faith in ways that feel raw, relatable, and deeply human. We have put together a list of some of the best [Nollywood](https://nollycritic.com/?s=nollywood+ "Nollywood") films that, regardless of how they are coined, embody faith in action. If you haven’t seen them, now is the perfect time to add them to your watchlist. ##### *Something About The Briggs* Why, is it? Oh, yes it is. Released in cinemas on the 31st of January, 2025, [*Something About The Briggs* ](https://nollycritic.com/something-about-the-briggs-a-thoughtful-exploration-of-faith-family-and-love/ "Something About The Briggs ")delves into the complexities of family dynamics, exploring themes of love, marriage, and forgiveness anchored on faith. The film portrays the Briggs family as they navigate decades of tension, and the quest for redemption, offering a candid look at the challenges and triumphs inherent in familial relationships. These themes align with faith-based storytelling, emphasizing moral values and the transformative power of love and understanding. The film features a star-studded cast, including Daniel Etim Effiong, Rita Dominic, Stan Nze, and veteran actress Liz Benson-Ameye, whose performances bring depth and authenticity to the story. *Something About The Briggs* is currently in **cinemas** and we hope soon for its digital release. ##### *The Wait* Adapted from Yewande Zaccheaus’ book, *The Wait* is a deeply emotional and inspiring film that explores themes of faith, patience, and perseverance. The story follows several characters facing life-altering struggles ranging from infertility to career setbacks who find hope in their unwavering trust in God. What makes The Wait a faith-based film is its strong emphasis on divine timing and unwavering belief, even in the face of despair. The film is visually captivating and backed by powerful performances, especially from Nse Ikpe-Etim and Ini Dima-Okojie. It resonates with anyone who has ever had to trust in divine intervention. If you’re looking for an uplifting and thought-provoking watch, *The Wait* is available on **Netflix**. ##### *Chains* Released in 2024, *Chains* is a gospel musical that brings a fresh and dynamic take to faith-based storytelling in Nollywood. Directed by Bright Wonder Obasi, the film revolves around themes of spiritual freedom, redemption, and transformation. Its strong gospel music influences reinforce its faith-based essence, using songs as a medium of worship and spiritual awakening. The musical elements elevate the emotional depth of the story, allowing viewers to connect with the characters’ struggles and victories. It presents faith as an active force that breaks both physical and spiritual chains. While specific streaming platforms have yet to be confirmed, the film had a theatrical run across Nigeria and is expected to be available for wider audiences soon. ##### *Breath of Life* Although its director, BB Sasore, does not categorise it as a faith-based film, *Breath of Life*‘s themes strongly suggest otherwise. The story follows Timi, a man who, after suffering profound personal losses, embarks on a journey of redemption and self-discovery. The film presents faith not in the form of direct religious preaching but through its core message of divine purpose, the importance of grace, and second chances. Set in the 1950s and 1960s, it masterfully integrates Christian values without being overly didactic. The protagonist’s spiritual transformation, the presence of a guiding mentor, and the role of providence in shaping his destiny all align with faith-based storytelling. The film has been widely praised for its outstanding cinematography, period-accurate production design, and compelling performances especially from Wale Ojo. If you enjoy stories of rediscovering faith through life’s trials, *Breath of Life* is streaming on **Amazon Prime Video**. ##### *God Calling* A film that takes faith-based storytelling to a new level, *God Calling* is a unique blend of spirituality, modernity, and visual innovation. The movie follows Sade, a young mother whose life takes a drastic turn after a divine encounter that challenges her entire worldview. The story highlights themes of divine calling, purpose, and the transformative power of faith. What makes *God Calling* special is its ability to depict faith in a relatable and contemporary setting while using breathtaking visual effects to represent supernatural experiences. The film also addresses personal struggles such as depression and loss, showing how faith can lead to healing and purpose. Directed by BB Sasore, *God Calling* sets itself apart with its originality, emotional depth, and technical achievements, making it a must-watch. You can stream *God Calling* on its official website. ##### *The Man of God* *The* [*Man of God* ](https://www.imdb.com/title/tt14990030/)is a modern retelling of the prodigal son’s tale, repackaged for contemporary audiences. It explores the internal conflict of Samuel, a preacher’s son who rebels against his religious upbringing in pursuit of fame, money, and power. However, while the film aims to critique the struggles of faith, it leans heavily on clichés and overly sensational resolutions that weaken its impact. What categorises *Man of God* as faith-based is its focus on spiritual conflict, the consequences of straying from faith, and eventual redemption. However, its execution is flawed, as it attempts to balance an evangelistic premise with broader themes of personal freedom and religious hypocrisy but ultimately feels disconnected from reality. The acting performances particularly from Akah Nnani, Dorcas Shola Fapson, and Atlanta Bridget Johnson are commendable, though the screenplay’s shortcomings limit their depth. While *The* *Man of God* had the potential to be an emotionally resonant faith-based drama, it settles for a glossy exploration of its themes. Nevertheless, it’s still a thought-provoking watch for those interested in faith-based narratives, and it is currently streaming on **Netflix**. ##### *Jọba* Directed by Biodun Stephen, *Jọba* is an emotional story of faith, love, and endurance in the face of trials. It follows a devoted Christian couple struggling with a miscarriage, then infertility, and it doesn’t just end there, worse comes to worst; all these happening and they’re battling to keep their trust in God alive despite these overwhelming challenges. What solidifies *Jọba* as a faith-based film is its focus on the power of prayer, spiritual perseverance, and divine intervention in difficult times. The film highlights how faith is often tested, particularly in marriage, but ultimately shows that unwavering belief can lead to miracles. The performances, especially from Blossom Chukwujekwu and Enado Odigie, are deeply moving, making the film a heartfelt and emotional watch. If you’re looking for a faith-based film that will tug at your heartstrings, *Jọba* is available on **Amazon Prime Video** and Youtube. ##### *Loving Amanda* *Loving Amanda*, written and produced by Laju Iren, is a touching faith-based romance that explores themes of love, forgiveness, and healing. Adapted from a popular novel, the film follows Amanda’s journey as she navigates personal pain, past traumas, and the power of redemption. While it primarily presents itself as a romantic drama, faith plays a central role in Amanda’s healing process. The story showcases how spiritual growth and divine intervention can guide a person toward love and self-acceptance. What makes Loving Amanda a standout faith-based film is its powerful storytelling, deeply emotional performances, and inspiring message about second chances. The cinematography and soundtrack complement the emotional depth of the film, making it a memorable experience. While specific streaming details are limited, it’s a film worth looking out for. These films offer a glimpse into the diversity of stories that Nollywood has crafted around faith, each bringing its unique perspective and narrative style. Have you watched any of these? Which ones resonated with you the most? Share your thoughts in the comments below; we’d love to hear your take! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/8-nollywood-faith-based-films-you-need-to-watch/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/8-nollywood-faith-based-films-you-need-to-watch/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/8-nollywood-faith-based-films-you-need-to-watch/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/8-nollywood-faith-based-films-you-need-to-watch/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/8-nollywood-faith-based-films-you-need-to-watch/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** Breath of Life, chains, God Calling, Joba, nollycritic, nollywood, the man of god, The wait --- ### [AI in Nollywood: Opportunity or Threat to Storytelling??](https://nollycritic.com/ai-in-nollywood-opportunity-or-threat-to-storytelling/) **Published:** April 19, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Over the years, we’ve watched Nollywood shift from home videos and hurried productions to cinema releases, streaming deals, and higher production values. **Content:** Over the years, we’ve watched [Nollywood](https://en.wikipedia.org/wiki/Nollywood "Nollywood") shift from home videos and hurried productions to cinema releases, streaming deals, and higher production values. But now, a new wave is approaching. It’s digital, it’s automated, and it’s intelligent. Artificial Intelligence (AI) is entering global filmmaking, and Nollywood isn’t exempt. The question is: *will these tools elevate our stories or erode their soul?* There’s a temptation to adopt what’s new simply because it’s trending. But in the world of film, we have to ask ourselves: how do we use technology without losing the very thing that makes our stories matter? ##### The State of Nollywood Today There’s no doubt that Nollywood is getting better. We’ve seen noticeable progress. The stories are evolving, the visuals are improving, and many filmmakers are pushing boundaries despite the odds. From where I stand, not as a core industry insider but as someone who observes closely, the effort is visible. But so are the limitations. Some productions are simply constrained by what’s available. Resources are tight, so the team makes do. In many cases, money becomes both a blessing and a curse. Once a budget comes in, expectations skyrocket. Will the film make back the investment? Will it break even? Will it hit cinemas or streaming platforms in time? If production delays, you risk spending even more. And if you start too quickly, you risk cutting corners during production. This is why you’ll find one person wearing multiple hats. The director is also the producer. Sometimes, they’re the lead actor as well. And the department that has suffered the most; the script supervisor is in charge of continuity and slating the clapperboard. That’s not multitasking. That’s survival. But how do you focus on delivering a brilliant performance when you’re also thinking about catering, call sheets and finance? Even when the budget is solid, the problem shifts. With money available, there’s pressure to go for what’s marketable instead of what’s meaningful. In Nollywood, star-studded casts are the go-to formula. Faces sell. Influencers, comedians, popular names—put them all in! Whether or not they can act is secondary. But, when you stack too many of them into one film, it becomes a battle for screen time. Everyone must shine. Everyone must do their thing. So, while the story should be the anchor, it often ends up buried under performances designed to trend and actors struggling to leave their signature. The result? Distraction. One actor is sidelined. A comedian is forcing a punchline. An influencer is grabbing rice at a wedding reception. It becomes noise. And somewhere in the middle of all that noise, the story takes the brunt. ##### Nollywood’s Relationship with Trends Nollywood is aware. We see what’s happening globally (well, we’ll not go into how AI is now accepted into filmmaking processes now. Take for example *The Brutalist* and *Emilia Pérez* at the 2025 Oscars) We know what tools are available, what the industry standard is elsewhere, and what’s being said in film circles around the world. But awareness doesn’t always translate to execution. The issue isn’t whether we know about the trends, it’s whether we know how to apply them with nuance. A good example is the rise of AI-generated imagery. When it became a hot topic, Nollywood quickly jumped on it. Around that time, a film titled *Beast of Both Worlds* was released. It opened with a narrated sequence paired with AI-generated images. It was meant to be a storytelling device, something fresh and visually striking. But to be honest, it came off as lazy. It didn’t feel thoughtful. The visuals looked clearly artificial, and instead of drawing the audience in, they pulled us out of the story. Just because something is trending doesn’t mean it belongs in the work. Filmmaking isn’t about ticking “tech boxes”. If the technology doesn’t serve the story, then it’s just noise. That said, Nollywood also has a knack for taking trends and flipping them into something that works for our context. Publicity is a perfect example. We don’t do trailers and press junkets the way Hollywood does. Instead, we dance. We jump on TikTok trends. We do skits. Look at Funke Akindele—she’s mastered the formula. Create buzz without saying too much about the film. Just let people know it’s coming. Let them see the faces they love. Let them laugh, share and anticipate. It may not appeal to everyone, and it may feel a bit shallow at times, but it’s authentic to our audience. And that matters. Still, each filmmaker must ask: does this approach suit my story? Does it reflect the kind of creative identity I want to build? Authenticity isn’t just about doing what works, it’s about doing what’s true to you. ##### AI in Filmmaking: Tool or Threat? AI is everywhere now. In film, it’s being used to write scripts, generate images, edit scenes, mimic voices and even recreate actors’ faces. For some, it’s a time-saver. For others, it’s the beginning of a creative crisis. Personally, I don’t believe AI should write scripts. There’s something deeply human about storytelling. When we give that to a machine, we lose something vital. We lose the soul of the art. Film is creativity. Creativity is born from authenticity. That authenticity comes from lived experience, emotion, and perspective. AI doesn’t feel. It doesn’t choose words with intention. It doesn’t express; it replicates. It pulls from existing work and remixes it. That’s not creation. That’s duplication with polish. Take the Disney animated film, *Wish* for example. Some people wondered if AI had a hand in the writing. It felt hollow. Then there’s *[Makemation](https://nollycritic.com/see-the-teaser-for-makemation-nollywoods-first-ai-film/ "Makemation")*, a family drama film marketed as an AI-led project. Maybe when it drops, it will give us a better picture of how Nollywood truly sees AI. AI is both a threat and a tool. A few weeks back, and probably still, Ghibli-style AI art has been trending. It’s beautiful, no doubt. But it also feels like a lazy appreciation of Miyazaki’s work. People who’ve never seen his films or even read the books are now recreating his style without context. It’s become aesthetic without meaning. Ironically, Miyazaki himself once said, > “I strongly feel that this is an insult to life itself.” Sadly, it’s his work being copied the most. Some filmmakers have joined the trend, generating AI posters and visuals in that style. At the same time, AI can help. Niyi Akinmolayan once shared how he uses AI to generate storyboards. For directors who don’t know how to sketch or visualise a scene, that’s a big help. It saves time. It saves money. But again, the process of art is also being stripped down. Fewer people are hired. Fewer hands are needed. The unique touch of an illustrator is lost. So should Nollywood embrace AI now? Yes. But wisely. Use it as a tool. Not as a replacement for collaboration. Not as a shortcut around creativity. Let AI serve the vision, not define it. ##### Cultural and Ethical Tensions There’s often a concern that introducing technology like AI and virtual tools into Nollywood could make our films feel less African, less rooted in culture. But the problem isn’t Westernisation. The issue is that AI lacks nuance. It doesn’t naturally understand “Africanness” unless it’s taught to. Even when it tries, it often gets it wrong, because it reflects the perspective of its creators. And who created it? Not Nigerians. Not Africans. Most of the tools we use were developed elsewhere, shaped by different histories, languages and values. There’s a saying that a creation can never rise above its creator. The biases, blind spots and assumptions of the developer are baked into the design. That’s why AI sometimes struggles with understanding our stories, our traditions, our tone. Yes, it’s improving, but only a human being who has lived the culture can express it fully and accurately. There are also ethical issues that Nollywood should not ignore. AI scrapes data from artists, writers and filmmakers without their consent. It borrows styles, images and voices. Someone might say “give me an animation in the style of Ghibli” and the machine delivers it. What happens when an AI starts mimicking the voice or likeness of an actor who never gave permission? What if it’s used to finish a film without the actor ever being on set? AI also learns from what we feed it. Every image, text or idea entered into it becomes part of its system. That’s how private data becomes public. That’s how unique ideas get recycled and sold back to us in new packaging. To keep Nollywood’s voice intact, we have to be intentional. Let ideation, the heart of the creative process, stay with humans. Let machines assist, not initiate. If we let AI decide the themes, the tone, the style, we’ll end up sounding like everyone else. Our strength has always been in our perspective. We can’t afford to lose that now. ##### Where Do We Go From Here? There’s no reason for Nollywood to sit back and wait. AI and virtual production are not passing trends. They’re already changing how films are made globally, and we shouldn’t be left behind. But as we embrace these tools, we have to be clear about our priorities. We should experiment, but do it with sense. Use AI to support the work, not to replace the work. Let it help with storyboards, scheduling, research or visual effects. But let the soul of the story remain human. Let the ideas come from real voices, not recycled data. We’re still growing as an industry. And yes, there will be disruptions. Jobs will shift, processes will change, and some tools will challenge the way we’ve always done things. That’s the nature of change. But growth doesn’t mean imitation. We don’t have to mirror what other industries are doing to be seen as innovative. We can take what’s useful and shape it into something that fits our own rhythm. If we ignore this shift entirely, we risk getting stuck. We risk becoming outdated. But if we rush in without thought, we risk losing the very thing that makes our films ours. So the question isn’t whether to embrace AI and virtual production. The real question is: how do we do it in a way that strengthens our stories instead of stripping them of meaning? That’s the challenge. And that’s the opportunity. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ai-in-nollywood-opportunity-or-threat-to-storytelling/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ai-in-nollywood-opportunity-or-threat-to-storytelling/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ai-in-nollywood-opportunity-or-threat-to-storytelling/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ai-in-nollywood-opportunity-or-threat-to-storytelling/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ai-in-nollywood-opportunity-or-threat-to-storytelling/?share=linkedin) - **Categories:** Blog, Nollywood **Tags:** african film industry, AI in filmmaking, creative ethics, cultural identity, digital filmmaking, film technology, film trends, Makemation, nigerian cinema, Nigerian Filmmakers, nollywood, Nollywood innovation, storytelling, virtual production --- ### [Till Death Do Us Part: Noise, Emotion, and a Quiet Message](https://nollycritic.com/till-death-do-us-part-noise-emotion-and-a-quiet-message/) **Published:** April 18, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Prosper Light’s Till Death Do Us Part doesn’t try to mask what it is. A first film, made with drive, made with what was available **Content:** Prosper Light’s *[Till Death Do Us Part](https://filmfreeway.com/TillDeathDoUsPart539 "Till Death Do Us Part")* doesn’t try to mask what it is. A first film, made with drive, made with what was available. You can feel that. It’s not here to perform mastery. It’s here to speak. And through the rough patches, it does. ## *Till Death Do Us Part* Directed by: Prosper Light Written by: Prosper Light Genre: Mystery, Thriller Released on: March 11, 2025 (YouTube) Language: English ##### The Interfering Guest From the start, sound becomes its own character. But not the helpful kind. The voices aren’t clear. Sometimes you have to guess what’s being said. A phone beep competes with the score. A song turns on, but the autotune makes it feel distant. The sound is trying to do what it’s supposed to do—carry emotion—but it doesn’t always reach. And yet, underneath the uneven delivery, there’s intent. The soundtrack leans into grief. It wants you to pause and feel what’s been lost. The issue is, the songs don’t stay long enough. One fades out, another fades in, each pulling you into a different emotional space. You’re just getting into one, and you’re being nudged into another. That pattern repeats. So when the final emotion does hit, it arrives late. Not because the story lacked depth, but because the sound kept interrupting its own flow. ##### The Crime, Then the Quiet It starts with absence. A man calling. In a tuxedo. No answer. Where is his bride? That unanswered phone leads us into the core of the film: the absence of the bride-to-be. And just like that, you’re not watching a wedding story. You’re watching its shadow. The rest unfolds like memory—fragments, retellings, versions. Each character steps up with their part. The fiancé. A bridesmaid. Later, someone who gets pulled into the story for entirely different reasons. But.. The sound shifts. One moment you’re trying to make out what someone is saying, the next a phone beep or some background score is blasting at the same level. There’s autotune. And not the kind that hides. It sits there, loud and proud, while you’re trying to feel something. There’s an effort to centre the emotion. And even in that chaos, there’s intent. The music is sad, mournful, reflective. You’re beginning to settle into the sadness of one track, and then suddenly, a different shade of sadness cuts in. Start over. Again. Maybe that’s why it feels like nothing touches you until the very end— where it’s message shins through. Because the film keeps starting and stopping the connection before it holds. And, then… The light dims. The structure leans toward investigation. The lighting tells us when we’re in that space. Dark. Confined. But it’s not the kind of investigation that opens doors. It closes them. It shows us what happened, more than it asks us to question it. The film isn’t interested in creating suspicion. It’s more interested in observation. There’s a CCTV. It blacks out. Then returns just in time to give us something, though not enough to figure out what’s really going on. A man is brought in. He’s bloodied, forced to explain. His story has another twist. But that’s when the sound becomes a wall again. Crucial parts are barely audible. What we catch is that he didn’t kill her. And they don’t believe him. ##### Drama Wears the Mask of Mystery *Till Death Do Us Part* is a film dressed like a thriller. A few things suggest it: the mystery, the crime, the silence around the motive. But it doesn’t invite you to solve anything. It simply shows you. This happened. Then this. And then this. There’s no breadcrumb trail. No hidden meaning waiting to be pulled out. Instead, it leaves you with a single direction: watch. There are clues. A CCTV clip that blacks out at just the wrong moment. A man dragged in, tortured, made to confess. Denial. Even a prostitute thrown into the mix. But we’re not being drawn in to solve anything. No one’s asking us to play detective. There’s no bait for suspicion. The film just shows. You either catch it or you don’t. This isn’t a story about catching a killer. It’s a story about the truth making its way out. Each character believes something about Nkem. Some see her as a victim, but someone reveals the contradictions. In the end, no one fully knew her. What they each had was a version. So all that mourning we started with, all that softness painted around her character, gets complicated. And that’s where the film does something. Because it’s not just showing us what happened. It’s showing how people want to remember others. How we clean up their stories, even when they were still hiding something. ##### Something You Can Feel, Even When You Don’t For a short film, *Till Death Do Us Part* moves fast. But not because there’s no space. There’s enough time for emotion to breathe. The problem is it doesn’t stay in one place long enough. A beat starts to build, and then we’re off to the next. What we’re left with are pieces that almost landed. Almost hit. Almost held. There’s time to feel, but the film doesn’t always stay long enough in one emotion. Still, the effort to say something personal is there. Even when the transitions cut short the emotion, even when the rhythm is off, the message presses through. And yet, there’s something about the pace that fits the message. This is not a film about figuring it out. It’s a film about truth—how it hides, how it leaks, how it eventually slips out when no one’s watching. ##### In the End, the Message Holds *Till Death Do Us Part* ends simply. At home. The TV plays. A report says someone saw the killer. A knock follows. That’s the final note. Not dramatic. Just a reminder. Then a line from the director: “In the end, truth finds its way out, no matter how dark the path.” There’s no big twist hidden in that. It’s the film’s spine. Every sound choice, every scene, points toward it. The film isn’t trying to impress with plot. It wants you to sit with the fact that people lie, stories shift, but truth lingers, waiting. The sound might cloud it. The lighting too. The scenes might move faster than they should. But the story is there. The feeling is there. If you sit with it, you’ll see it. Maybe not all at once. But it stays. You can see the movie below: ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/till-death-do-us-part-noise-emotion-and-a-quiet-message/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/till-death-do-us-part-noise-emotion-and-a-quiet-message/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/till-death-do-us-part-noise-emotion-and-a-quiet-message/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/till-death-do-us-part-noise-emotion-and-a-quiet-message/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/till-death-do-us-part-noise-emotion-and-a-quiet-message/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews **Tags:** Akinbode Olajumoke Christina, Ibironke Damaris Ibikunle, nollywood, Oyediran Olumide, Prosper Light, Till Death Do Us Part --- ### [NollywoodWeek: Here are the 2025 Official Festival Selections](https://nollycritic.com/nollywoodweek-here-are-the-2025-official-festival-selections/) **Published:** April 16, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Paris will once again play host to the NollywoodWeek Film Festival, returning for its 12th edition from May 7 to 11, 2025, at Cinéma l'Arlequin. **Content:** Paris will once again play host to the NollywoodWeek Film Festival, returning for its 12th edition from May 7 to 11, 2025, at Cinéma l’Arlequin. This year, Nigerian films are leading the charge with a dynamic and diverse lineup across genres and formats. Organized by Okada Media, the festival has grown into one of the most influential platforms for showcasing Nigerian and African storytelling on the global stage. With over 20 films, including features, shorts, TV series, and animation, NollywoodWeek 2025 offers a deep dive into the creativity shaping today’s Nollywood. ##### Strong Nigerian Films Showing Across Categories Nigerian films are well-represented this year, with a diverse range of films covering drama, romance, comedy, and social commentary. ###### Short Films All short films will be showing on the 8th of May. ***Ekún Ìyàwó: A Tale of a Runaway Bride*** This short film, written and directed by Moses Ipadeola, explores the fate of a diabolical Balogun, determined by the bridal tears of his latest bride during her Ekún Ìyàwó ceremony. ***Obodo Oyibo*** A narrative about Tokunbo and Ose, who emigrate to the United States seeking a better life, only to face unforeseen challenges. Directed by Adenike Adebayo-Esho. ***Screen Test*** Directed by Edith Nwekenta, this film follows David, who receives a life-changing phone call about being cast in the biggest film of his career. Featuring Tope Tedela, and Philip Asaya. ##### Feature-length Films ***After 30*** Screening on 8th May, After 30 is a romantic comedy about four Nigerian women navigating life, love, and societal expectations in their 30s. Directed by Omorinsojo Spaine and featuring Damilola Adegbite, Beverly Naya, Meg Otanwa, and Anee Icha. ***For Amina*** A young girl’s fight for education in a broken system. A social drama directed by Lyndsey F. Efejuku. Will be screening on the 11th of May. ***Blackout*** A psychological thriller about a woman who wakes up in a life she doesn’t recognize. Directed by Okechukwu Oku. Screening on the 8th of May. ***Out in the Darkness*** A raw, emotional look at postpartum depression and the stigma around maternal mental health in Nigeria. Screening on the 10th of May, the film is directed by Sarah Kwaji, featuring Kehinde Bankole and Deyemi Okanlawon. ***Soft Love*** A romantic comedy featuring a South African love guru and a Nigerian photographer, both struggling with heartbreak. Directed by Holmes Okechukwu Awa, it will be screened on the 10th of May. ***The Fire and the Moth*** A crime drama where a stolen Ife bronze head sparks chaos in western Nigeria. Directed by Taiwo Egunjobi. ***The Legend of the Vagabond Queen of Lagos*** An Afro-futurist thriller about resistance, survival, and community. Co-directed by a collective of emerging Nigerian filmmakers. ***The Night of June 7th*** Scheduled for 8th May, *The Night of June 7th* is based on the real-life Apo Six killings, this drama explores police brutality and injustice. Directed by Toka McBaror, written by Linda Ikeji. ***[The Weekend](https://nollycritic.com/the-weekend-finally-a-thriller-that-checks-the-right-boxes/ "The Weekend")*** A suspenseful family thriller where a woman discovers shocking secrets during a visit to her fiancé’s relatives. Directed by Daniel Oriahi. Slated to screen on the 10th of May. ***Trade by Bata*** A cultural body-swap comedy-drama where a spoiled Nigerian-American woman finds herself in the shoes of a village girl. Will screen at the festival on 10th May, the film is directed by Biodun Stephen. For more details on Nollywoodweek short, features, and animation screenings, as well as passes and programming, visit the official festival [website](http://www.nollywoodweek.com/en/les-films "website"). ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywoodweek-here-are-the-2025-official-festival-selections/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywoodweek-here-are-the-2025-official-festival-selections/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywoodweek-here-are-the-2025-official-festival-selections/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywoodweek-here-are-the-2025-official-festival-selections/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywoodweek-here-are-the-2025-official-festival-selections/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** After 30, Blackout, Ekún Ìyàwó: A Tale of a Runaway Bride, For Amina, nollycritic, nollywood, nollywoodweek, Obodo Oyibo, Out in the Darkness, Screen Test, Soft Love, The Fire and the Moth, The Legend of the Vagabond Queen of Lagos, The Night of June 7th, The Weekend, Trade by Bata --- ### [The Best Nollywood Films and Shows of 2025 So Far](https://nollycritic.com/the-best-nollywood-films-and-shows-of-2025-so-far/) **Published:** April 15, 2025 **Author:** Shalom O. Obisesan **Excerpt:** 2025 has so far been a remarkable year for Nollywood. At Nollycritic, have reviewed a total of 31 titles from January to now **Content:** 2025 has so far been a remarkable year for Nollywood, and we are only just entering the second quarter. At **Nollycritic**, wehttps://www.imdb.com/title/tt31593845/ have reviewed a total of **31 titles** from January to now. From cinema premieres to streaming platform releases, we have kept our eyes on the screens to bring you the best of the best. According to the National Film and Video Censors Board (NFVCB), 27 films were officially released in January 2025 alone! The full data for February through March is yet to be published, but it is clear that the industry has been in full swing. Amidst the variety, some films have stood out. In this article, we highlight the highest-rated titles across two broad categories: **Cinema** and **Streaming Platforms**. Streaming platforms include Netflix, Prime Video, Circuits TV, and YouTube. Here are our highest rated Nollywood titles of 2025 first quarter: ###### *Blackout* – 4.2/5 Directed by Okechukwu Oku and written by Ikenna Okpara, *[Blackout](https://nollycritic.com/blackout-this-thriller-is-a-theatrical-masterpiece-a-must-see/ "Blackout")* features Padita Agu, Gideon Okeke, Blossom Chukwujekwu and Nelson Iwu. It tells the story of Judith, a woman who wakes up in a life she doesn’t recognise, trapped in a marriage forged through a spell. This thriller grips from the very beginning with sharp direction, a dark, suspenseful tone, and unforgettable performances, making it our highest-rated cinema film so far this year. ###### *[Something About The Briggs](https://nollycritic.com/something-about-the-briggs-a-thoughtful-exploration-of-faith-family-and-love/ "Something About The Briggs")* – 4/5 Directed and written by Bukola Ogunsola, this drama stars Ariyike Dimples, Daniel Etim Effiong, Stan Nze, Rita Dominic, and Iyabo Ojo. The plot follows Sophie Briggs, a successful lawyer who has no interest in marriage, largely due to the messiness she’s seen in her family’s past. But her convictions are tested when she meets Chuks Obi, a man who challenges everything she thought she believed about love. With an explosive family secret at its core, this film delivers emotionally grounded storytelling and strong performances that elevate its familiar premise. ###### *The Masked King* – 4/5 Directed by Uduak-Obong Patrick and written by Awal Abdulfatai, *[The Masked King](https://nollycritic.com/the-masked-king-the-kingdom-that-ate-its-own/ "The Masked King")* is a historical drama focused on the Efic history set in 19th-century Nigeria that explores betrayal, power, and moral legacy. It stars Daniel Etim Effiong as King Ensa, a ruler whose descent into tyranny forces his mother to confront the cost of loyalty and justice. The film also features Shaffy Bello, Uche Montana, Segun Arinze, Uzor Arukwe, Gideon Okeke, and more. With a budget of N300 million and shot in Calabar and Creek Town, the production spares no effort in creating an authentic, visually striking period piece. It is rich in message and grounded in performance, offering not just spectacle but a strong moral core. It’s a film that blends scale with soul, and easily ranks among the year’s most ambitious and rewarding cinema releases. ###### *Love Lockdown* – 3.5/5 Starring Andrew Yaw Bunting (*Water and Gari*) and Yewanda Osamein, *Love Lockdown* is a relationship drama that explores emotional vulnerability, modern love, and the delicate balance between independence and intimacy. Released in February, it drew audiences in with its layered character work and thoughtful script. While some pacing issues held it back slightly, the film struck a relatable chord and earned its place among the year’s strongest so far. ###### [*Baby Farm* ](https://www.imdb.com/title/tt31593845/ "Baby Farm ")(Limited Series) – 3.85/5 Streaming on Netflix, *Baby Farm* is a socially conscious series that handles difficult themes with nuance. Visually compelling and narratively strong, it tackles the underground baby factory crisis with unflinching honesty. The production impresses with its atmospheric tension and visual storytelling. The subject matter is weighty, but the narrative is handled with sensitivity and restraint, making it one of the strongest streaming projects we’ve seen this year. ###### *Atiko* – 3.85/5 A rich narrative exploring tradition, identity, and modern realities. *Atiko* is a well-executed and engaging story. Streaming on Circuits, the film stands out for its exploration of cultural heritage, generational tension, and spiritual reckoning. It’s visually elegant and thematically ambitious. The first quarter of 2025 has given us a small mix of standout cinema, decent streaming titles, and some misfires. As Nollywood continues to grow and evolve, we are excited to see what the rest of the year will bring. Keep following **Nollycritic** as we continue to bring you honest, insightful reviews of the best (and not-so-best) Nollywood has to offer. *All ratings are based on Nollycritic’s internal review metrics and reflect the opinions of our editorial team.* ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-best-nollywood-films-and-shows-of-2025-so-far/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-best-nollywood-films-and-shows-of-2025-so-far/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-best-nollywood-films-and-shows-of-2025-so-far/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-best-nollywood-films-and-shows-of-2025-so-far/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-best-nollywood-films-and-shows-of-2025-so-far/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** atiko, baby farm, Blackout, Love Lockdown, Netflix, nollycritic, nollywood, Prime Video, something about the briggs, The Masked King --- ### [Grind Season 2 Episode 4 and 5 Review: Two New Episodes, More Drama](https://nollycritic.com/grind-season-2-episode-4-and-5-review-two-new-episodes-more-drama/) **Published:** March 24, 2025 **Author:** Uju Okosieme **Excerpt:** ter the intense ending of episode three, 'Grind' returns with two more episodes, pushing Tarela, Tiwa, and Edesiri further into turmoil. **Content:** After the intense ending of [episode three](https://nollycritic.com/grind-season-2-the-drama-continues-in-episodes-1-to-3/ "Grind Season 2: The Drama Continues in Episodes 1 to 3"), ‘[Grind](https://nollycritic.com/grind-season-2-the-drama-continues-in-episodes-1-to-3/ "Grind")‘ returns with two more episodes, pushing Tarela, Tiwa, and Edesiri further into turmoil. While episode five closes on a tense cliffhanger, the journey to that moment feels somewhat aimless. Let’s break down what happens in these new episodes. ##### Episode 4: Power Plays and Unwelcome Surprises Grind Season 2 episode 5 begins with Tiwa, reeling from her father’s public humiliation at church, finds solace at Kobe’s house. Meanwhile, Tarela meets her new boss, Enado, and sets a boundary—no lap dances—but Enado immediately dismisses her request. Kobe takes the opportunity to get closer to Tiwa, while Tarela opens up to her about her struggles. Ruby resurfaces at Somto’s house, offering to take over drug sales at the club now that he’s been fired. Elsewhere, Nuhu is arrested, and a flashback reveals that Edesiri once had her ex-boyfriend Tony arrested—strongly suggesting she played a role in Nuhu’s downfall. Tarela, upon discovering that Kome’s father borrowed money, confronts her mother at church. Meanwhile, Somto, now jobless, turns to Andre for employment. Edesiri’s aunt calls, once again demanding money. Tiwa’s professor questions her about missing their scheduled meeting. In an attempt to secure a better position for herself, Edesiri pitches herself to Alex as Somto’s replacement—only to discover that Alex is trying to sell the club altogether. Meanwhile, Andre exerts more pressure on Tarela, making it clear she must sell his drugs. The episode ends with Ik attempting to smooth things over with Tiwa after her father’s dramatic outburst. ##### Episode 5: Desperation, Debt, and Dangerous Deals Tarela makes another attempt at JAMB, hoping to create a better future for herself. Meanwhile, Ik confesses his feelings for Tiwa, but she turns him down. Back at home, Tarela faces more hardship. She arrives to find debt collectors threatening Kome’s father. Despite her frustration, she steps in to pay off his debt. When she finally demands that he leave their home, her mother takes his side, forcing Tarela to make a painful decision—she moves out. Andre refuses to negotiate with Tarela over her debt, making it clear that she’s trapped under his control. Meanwhile, Edesiri approaches Chief for money to fund her business idea, but he’s uninterested. On a brighter note, Tarela finally hears from Feso, who asks her out. Meanwhile, Andre brings Somto into the club where Tarela now works. She tries to convince him she has nothing to do with the missing money, but he shuts her down, claiming he has moved on. Tarela’s mother takes her troubling decisions even further by asking Kome’s father to marry her—despite everything. Tarela, disgusted, refuses to have any part in it and warns her mother to stay out of her life. Elsewhere, Edesiri asks Somto for a spot at his new club, but he declines because Tarela works there. Meanwhile, Tarela confides in Feso during their date, revealing that she works at a strip club. Grind Season 2 episode 5 ends with Tarela being invited to what seems like a lucrative job offer from Becca. However, things take a dark turn—it’s a setup, and Tarela finds herself in danger. ##### Dreams vs. Harsh Realities ‘Grind’ continues to follow Tarela, Tiwa, and Edesiri as they struggle to carve out better futures despite relentless setbacks. These new episodes explore the burdens of financial instability, strained relationships, and the dangerous choices they must make to survive. However, while the show introduces new obstacles, it fails to offer any real progress in the characters’ arcs. ##### Emotional Highs and Standout Scenes The cast holds their own across the board, but one standout moment comes from Rose Phillips (Kome). Her emotional response when Tarela decides to move out is one of the most powerful scenes of the episode. Roberta Orioma (Tarela) continues to bring depth to her character, making her struggles feel authentic and relatable. ##### A Visually Appealing but Uneven Execution [*Grind*](https://www.imdb.com/title/tt25966838/ "Grind") remains visually striking, with solid cinematography and engaging colour grading. However, some technical inconsistencies break immersion. For example, Tiwa is meant to be singing in one scene, but it’s clear she isn’t the one providing the vocals. On the other hand, the moment when Tarela leaves Kome behind is beautifully shot, capturing Kome’s emotions in a deeply moving way. These highs and lows make for an uneven viewing experience—some scenes shine, while others feel underdeveloped. ##### Frustrating Characters, Unexplored Motivations Tarela’s mother is becoming insufferable. After everything Tarela has done to support their family, she continues to make baffling choices. Her decision to stand by Kome’s father—even after the loan fiasco—makes her character feel stagnant and frustrating. There’s no growth, just repeated poor decisions, which is starting to feel tiresome. Then there’s Tiwa. Why is every man in love with her? Nothing about her character justifies the constant romantic attention she receives. It’s becoming an overused trope that adds little to the story. Edesiri’s sudden hatred toward Tarela remains baffling. The flashbacks from earlier episodes suggested we’d get an explanation soon, but so far, there’s been no development. This lack of clarity makes her motivations feel weak and underwritten. ##### Verdict Despite a thrilling final scene, these two episodes largely feel like filler. While *Grind* still holds potential, it needs a tighter narrative and stronger character motivations to truly deliver. These episodes earn a 2 out of 5 rating. **Rating**: 2/5 ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/grind-season-2-episode-4-and-5-review-two-new-episodes-more-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/grind-season-2-episode-4-and-5-review-two-new-episodes-more-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/grind-season-2-episode-4-and-5-review-two-new-episodes-more-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/grind-season-2-episode-4-and-5-review-two-new-episodes-more-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/grind-season-2-episode-4-and-5-review-two-new-episodes-more-drama/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews, TV **Tags:** Grind Season 2, nollycritic, nollywood, Prime Video, Reviews, Roberta Orioma --- ### [My Father’s Shadow Makes History at Cannes Festival](https://nollycritic.com/my-fathers-shadow-makes-history-at-cannes-festival/) **Published:** April 11, 2025 **Author:** Fisayo Adekoya **Excerpt:** My Father’s Shadow by Akinola Davies Jr., is the first Nigerian fiction film to secure a place in the official Cannes Film **Content:** *[My Father’s Shadow](https://www.imdb.com/title/tt35695538/ "My Father’s Shadow")*, the debut feature by Akinola Davies Jr., is making history as the first Nigerian fiction film to secure a place in the official Cannes Film Festival lineup. Selected for the prestigious *Un Certain Regard* section, the film’s inclusion highlights a major shift in the global perception of [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood"). While Nigerian films have made waves internationally in recent years, this marks a significant milestone. A homegrown story is finally taking its place at the heart of one of the world’s most respected cinematic events. Set in Lagos during the 1993 Nigerian presidential election, *My Father’s Shadow* follows two young brothers who spend a crucial day with their estranged father. As they navigate the city’s tension-filled streets, the family grapples with emotional distance, uncertainty, and the unrest that shadows the country’s political climate. The story unfolds across the span of one day, yet it captures themes of identity, generational trauma, and the complexities of fatherhood. The choice of setting not only adds urgency to the narrative but also grounds the film in a deeply Nigerian context. The film stars Sope Dirisu, Uzuoamaka Power, and Winifred Efon, whose performances are expected to leave a lasting impression. With Sope Dirisu’s growing recognition from international works like *His House* and *Gangs of London*, the casting reflects a blend of homegrown talent and global appeal. This balance between local storytelling and international resonance may be part of what drew Cannes’ attention. Behind the scenes, *My Father’s Shadow* is the product of collaboration between Fatherland Productions, Element Pictures, Crybaby, BBC Film, and the British Film Institute. Akinola Davies Jr., who co-wrote the script with his brother Wale Davies, brings his distinctive style and perspective to the project. His previous short film, *Lizard*, won the Grand Jury Prize at Sundance in 2021, suggesting a consistent trajectory of excellence. Still, this latest project marks a new level of achievement. MUBI, known for championing auteur-driven cinema, has acquired distribution rights for the film across key regions including North America, the UK, Ireland, and Turkey. Although a theatrical release date has not yet been confirmed, plans are in motion to bring the film to audiences globally after its Cannes premiere. This international backing only reinforces the film’s potential to influence conversations around African cinema on a broader scale. Importantly, the inclusion of *My Father’s Shadow* in Cannes’ *Un Certain Regard* section does more than validate Nigerian storytelling. It signals a growing interest in bold, original voices from regions that have long been underrepresented in major film festivals. Nigerian filmmakers are not just breaking into global platforms. They are reshaping them. As the 2025 Cannes Film Festival approaches, all eyes will be on *My Father’s Shadow*. Its presence is not only a personal victory for Akinola Davies Jr. but also a collective step forward for Nigerian cinema. The film’s success could pave the way for more stories rooted in African realities to gain the global recognition they deserve. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/my-fathers-shadow-makes-history-at-cannes-festival/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/my-fathers-shadow-makes-history-at-cannes-festival/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/my-fathers-shadow-makes-history-at-cannes-festival/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/my-fathers-shadow-makes-history-at-cannes-festival/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/my-fathers-shadow-makes-history-at-cannes-festival/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Akinola Davies Jr., and Winifred Efon, cannes, Cannes Film Festival, My Father's Shadow, nollywood, Sope Dirisu, Winifred Efon --- ### [MTN Partners with Synamedia to Launch New Streaming Platform](https://nollycritic.com/mtn-partners-with-synamedia-to-launch-new-streaming-platform/) **Published:** April 8, 2025 **Author:** Shalom O. Obisesan **Excerpt:** MTN Group, Africa's largest mobile operator, has announced a strategic partnership with video software company Synamedia to develop a new streaming platform **Content:** [MTN](https://www.mtn.ng/ "MTN") Group, Africa’s largest mobile operator, has announced a strategic partnership with UK-based video software company Synamedia to develop a new streaming platform aimed at mobile and fibre subscribers across Africa. This initiative aligns with MTN’s ongoing transformation from a traditional voice and data provider into a comprehensive technology and media company, offering fintech, digital, and entertainment services. MTN’s Group Chief Commercial Officer, Selorm Adadevoh, said the aim is to change how people watch video on the continent. > “We see a unique opportunity to transform video consumption in Africa with high-quality, accessible and relevant content.” he said in a joint statement with Synamedia. The new service will use Synamedia’s cloud-based technology to deliver both live TV and video-on-demand. It will offer various ways to watch: monthly subscriptions, free content with adverts, and ad-supported channels with more personalised advertising. MTN and Synamedia have confirmed that content will be tailored to each country, depending on local viewing habits. Synamedia also expressed confidence in the venture. In the joint release, the company said, > “Together, we will enable MTN to deliver a streaming platform that meets the evolving expectations of viewers in Africa, while offering flexible monetisation options that benefit content creators and advertisers.” This move places MTN in direct competition with established players in Africa’s streaming market. MultiChoice’s Showmax already has a strong presence, while international giants like Netflix, Disney+, [Amazon Prime Video](https://nollycritic.com/?s=AMAZON "Amazon Prime Video") and Apple TV are expanding their reach across the region. MTN’s new platform will need to stand out in terms of content, user experience, and pricing. With a subscriber base of 291 million across 16 African markets, MTN aims to leverage the continent’s rapid smartphone adoption and improving telecommunications infrastructure to meet the increasing demand for video streaming services. The forthcoming service will utilise Synamedia’s cloud-based technologies to deliver both linear television and video-on-demand content. The platform is designed to support various monetisation models, including subscriptions, ad-supported content, and free streaming channels featuring targeted advertising. Additionally, each market will benefit from a curated content strategy, tailored to local cultures, languages, and viewing habits. The partnership is part of MTN’s wider digital push. In the past, the company has launched services like MusicTime! to test its media capabilities. By joining forces with Synamedia, which has experience building scalable cloud-based TV platforms around the world, MTN hopes to fast-track its entry into the video streaming space. No official launch date has been announced yet. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/mtn-partners-with-synamedia-to-launch-new-streaming-platform/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/mtn-partners-with-synamedia-to-launch-new-streaming-platform/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/mtn-partners-with-synamedia-to-launch-new-streaming-platform/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/mtn-partners-with-synamedia-to-launch-new-streaming-platform/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/mtn-partners-with-synamedia-to-launch-new-streaming-platform/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** Africa streaming market, African video streaming, Cloud TV Africa, MTN digital services, MTN entertainment strategy, MTN streaming platform, MTN Synamedia partnership, Nigeria, Showmax, Synamedia Africa --- ### [Stan Nze's Tehilah Brings Faith to the Forefront](https://nollycritic.com/stan-nzes-tehilah-brings-faith-to-the-forefront/) **Published:** April 8, 2025 **Author:** Fisayo Adekoya **Excerpt:** Nollywood actor and filmmaker Stan Nze is stepping into a new light with Tehilah, a heartfelt faith-based drama alongside Blessing Obasi. **Content:** [Nollywood](https://en.wikipedia.org/wiki/Nollywood "Nollywood") actor and filmmaker [Stan Nze](https://nollycritic.com/?s=stan+nze "Stan Nze") is stepping into a new light with *Tehilah*, a heartfelt faith-based drama produced alongside his wife, Blessing Obasi Nze. The official trailer has just dropped, offering viewers an early glimpse into what promises to be a moving and purpose-driven film. Scheduled to premiere on April 20, 2025, *Tehilah* will debut on Love Story Media’s YouTube channel, reinforcing the couple’s commitment to stories that carry emotional and spiritual weight. From the onset, *Tehilah* sets itself apart by leaning into themes not often highlighted in mainstream Nollywood cinema. While many productions focus on romance, crime or comedy, this film chooses a quieter, more intentional path. It draws attention to selflessness, obedience and divine purpose. At the heart of its narrative is a woman who lays down her life for another, a plot that opens the door to both reflection and depth. The newly released trailer introduces this tone clearly. With its emotionally charged moments and purposeful dialogue, it sets expectations for a story that goes beyond surface-level entertainment. While the full experience remains to be seen, the trailer hints at a message-driven film that leans into sincerity more than spectacle. Casting choices also spark interest. Stan Nze features in a lead role, alongside Majid Michel, Ivie Okujaye and Blessing Obasi Nze. Their presence in the trailer alone suggests a blend of strength and familiarity, drawing attention to the project and hinting at performances that could carry the film’s weighty themes with care. Moreover, *Tehilah* places faith at the center of its story. While it doesn’t appear to push religious clichés, it aligns closely with Christian values and questions around sacrifice, purpose and surrender. These universal ideas, though rooted in spiritual belief, are relatable and timely. The story appears to unfold in a way that opens room for both personal connection and deeper thought. The decision to release the film on YouTube adds another layer of relevance. By opting for a digital premiere, the producers are making sure the film is accessible to a broader and more diverse audience. This choice reflects an understanding of how today’s viewers consume content, especially among younger audiences seeking meaning in what they watch. Releasing just weeks after Easter, *Tehilah* arrives at a time when themes of renewal, sacrifice and grace still linger in public consciousness. Without relying heavily on religious framing, it seems to present these truths through a lens of humanity and everyday decisions, making the story easier to digest for viewers from all walks of life. As anticipation builds, *Tehilah* is already positioning itself as more than just a film. It feels like a reminder that love still has power, that purpose can be costly and that stories rooted in faith can still hold relevance on screen. Though the full story will unfold on April 20, the trailer alone suggests that this is a project made with intention, care and heart. https://www.instagram.com/p/DII19mjI1Id/ ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/stan-nzes-tehilah-brings-faith-to-the-forefront/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/stan-nzes-tehilah-brings-faith-to-the-forefront/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/stan-nzes-tehilah-brings-faith-to-the-forefront/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/stan-nzes-tehilah-brings-faith-to-the-forefront/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/stan-nzes-tehilah-brings-faith-to-the-forefront/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News --- ### [Here's How Biodun Stephen Explores The Drama Genre](https://nollycritic.com/heres-how-biodun-stephen-is-redefining-the-drama-genre/) **Published:** April 3, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Some filmmakers entertain. Others move you. But Biodun Stephen? She does both—while making sure you feel every bit of the story she’s telling **Content:** Biodun Stephen does have a unique way of coining drama. Some filmmakers entertain. Others move you. But [Biodun Stephen](https://nollycritic.com/?s=biodun+stephen "Biodun Stephen")? She does both while ensuring we feel every bit of the story she’s telling. Her dramas hit hard, capturing life in its rawest, most personal moments. She crafts her films by pulling us into them, making us live and breathe the emotions on screen. At ***NollyCritic***, we’ve handpicked some of Biodun Stephen’s finest works. Films that showcase her mastery of drama. And we’re not just talking about the genre itself. It’s about how she tells stories, why they resonate, and the way she weaves emotions, relationships, and themes into narratives that stay with us. ##### *I Am Anis: Drama as a Psychological Unravelling* No secret stays buried forever, and *I Am Anis* wrings that truth for all its dramatic weight. With *I Am Anis*, Biodun Stephen tackles the inescapability of the past and the idea of reinvention. What begins as a quiet domestic drama evolves into a psychological exploration of trauma and identity. She infuses mystery into the drama, as secrets unfold slowly, destabilising both characters and audience. Biodun Stephen keeps us inside the emotional claustrophobia of her protagonist’s world, using tension-building devices like flashbacks and fragmented storytelling. She anchors the film on a mother-son dynamic, framing love not as comfort, but confrontation. Her dramatic technique here lies in the unraveling: a character trying to control the narrative of her past, only to find it rewriting itself in the present. *I Am Anis* is available on Circuits. ##### *Joba: The Spiritual as an Emotional Battlefield* Faith isn’t just a belief; it’s a fight, and *Joba* throws its characters into the kind of battle that leaves scars. In *Joba*, faith isn’t abstract—it’s lived, doubted, wrestled with. A couple struggles with infertility, but the real weight of the film isn’t just in their pain, it’s in how their faith stretches, bends, and nearly shatters under pressure. The tension builds in suffocating silences, in the helplessness of waiting, in the unsettling way suffering is framed as a test. And then there’s that moment, the kind of scene that makes you shift uncomfortably because Stephen isn’t afraid to take things to their extreme. She employs religious symbolism and spiritual ambiguity as dramatic devices. It’s not just “what happens” that drives tension, it’s what might happen, and what doesn’t. The drama lingers in prayers that go unanswered, and the resentment that follows. Faith, here, becomes both salvation and a site of struggle. *Joba* is available to stream on YouTube. ##### *Atiko: Mysticism* *and the Fight Against Fate* Fate isn’t always kind, but what happens when you try to rewrite it? *Atiko* follows two women who refuse to accept an unfavorable future, and their choices set the stage for a drama steeped in mysticism and consequence. Stephen blends dramatic storytelling with mysticism, creating a mix that moves between domestic realism and the supernatural. Stephen builds tension with every relationship dynamic, unexplainable actions, every moment of hesitation, and the creeping sense that fate isn’t done with them yet. The drama pulls you in with the slow, unsettling realisation that some choices can’t be undone. Here, Stephen uses the genre’s flexibility to turn personal rebellion into cosmic consequence. *Atiko* is available on **Circuits.tv**. ##### *Ige The Unlikely Oil Merchant*: A **Slo*w Burn Biopic as an Emotional Grind* This is Stephen at her most restrained. No flash, no excessive drama—just a man navigating rejection and ambition. Ige is a slow-burn biopic that leans into dramatic realism, exploring the cost of endurance. *Ige: The Unlikely Oil Merchant* is all about endurance (both ours and the characters)—the slow, unrelenting journey of a man determined to carve out his place in the world. The film’s drama builds not through sharp twists or thrilling moments but through the weight of reality itself. Stephen’s technique is pacing. The drama builds in increments, small failures, stubborn persistence, and emotional grit. We watch Ige evolve, not through revelation, but repetition. That repetition becomes the dramatic engine: the grind of trying, failing, and trying again. It’s a film that asks you to sit with its story, to feel the slow burn of triumph earned the hard way. *Ige: The Unlikely Oil Merchant* is available on **Prime Video**. ##### *Momiwa: The Idealised Mother as Tragic Figure* *Momiwa* presents a maternal figure so selfless she feels mythic. Stephen plays with the “too good to be true” trope and builds the drama in contrasts: love and obligation between a mother’s absence and another’s unwavering presence. The tension is in how the family, torn between gratitude and obligation, is forced to redefine what “mother” truly means. The emotional weight comes from the slow, creeping betrayal. Momiwa, so used to giving, never sees it coming until it’s too late. That’s also what makes the heartbreak hit even harder. A film about love, sacrifice, and the cruelty of being too good, *Momiwa* lingers because we’ve all seen it before: the cruelty of taking goodness for granted. *Momiwa* is available on **Prime Video**. ##### *Roses and Ivy: The Omniscient Storyteller’s Game* This is one of Stephen’s most unsettling works. Evelyn does everything right. Rose takes what she wants. But the story punishes goodness and rewards defiance (or so it seems). *Roses and Ivy* leans into that discomfort. The frustration builds as we watch the story unfold, but there’s something deliberate about how Stephen plays with justice here. She plays the omniscient narrator here, like a puppeteer refusing to satisfy our need for justice. The film draws heavily from biblical allegory, echoing Jacob and Esau. Stephen’s dramatic tool here is manipulation—of audience expectation. The unfairness burns, but that’s the point. She sits above the story like a figure of fate: knowing more, seeing beyond our outrage. The injustice grates at us, but Stephen holds the bigger picture, reminding us that sometimes, what seems unfair is merely part of a story still unfolding. *Roses and Ivy* forces us to sit with that contradiction, questioning whether fairness is ever truly the point. The series is available on **Prime Video**. https://www.youtube.com/watch?v=AymgqL7mgt4&t=15s ##### *The Wildflower: The Slow, Unrelenting Spiral of S*ilence A film that leaves scars and winces. *The Wildflower* doesn’t just tell a story, it forces you to confront it. Rolake’s dream job turns into a nightmare, a family’s home becomes a crime scene, and a young girl’s innocence is shattered. Stephen chooses not to take her drama through the sudden shocks, but in the slow, suffocating buildup of violence, the kind that hides in plain sight. *The Wildflower* builds dread not with jump scares or shock but through silence and complicity. Every warning sign is ignored, and every excuse fuels the next tragedy, making the emotional weight feel unbearable. Stephen strips away any sense of safety, leaving the audience trapped in the same helplessness as the victims, with the gravity of its scenes pushed directly in our faces without a trigger warning. It’s painful, infuriating, and disturbingly real. *The Wildflower* is available on **Netflix**. ##### *Sista: The Emotional Economics of Single Motherhood* Raising children alone is one thing, but watching the man who left “legwork” right back in, expecting to play daddy, is another. *[Sista](https://www.imdb.com/title/tt21206344/ "Sista")* thrives on that unspoken resentment, until it finally bursts. Biodun Stephen turns that quiet storm of frustration into a gripping drama built on years of unspoken resentment, love, and survival. The film captures the emotional labour of motherhood, the cost of pretending for your children. Every sacrifice, every quiet battle, every moment of holding it together for the kids. Kehinde Bankole brings it all to life, her performance so raw and lived-in that it’s impossible not to connect. The film lets emotions simmer, making every interaction heavy with meaning. *Sista* is available on **Prime Video**. ##### *Different Strokes: Marriage as a War of Realities* Four marriages. Four different disasters. *Different Strokes* lays bare just how messy, exhausting, and, at times, deeply unfair it can be. Biodun Stephen uses *Different Strokes* to explore how relationships unravel. Like much of her work, *Different Strokes* cranks everything to the extreme, piling on situations for maximum emotional impact. The dramatic technique here is contrast. By placing these women’s experiences side by side, Stephen exposes the universality of struggle. Some stories are taken to levels you wouldn’t expect, yes, but only to reflect truths too messy for neat storytelling. The film is available on *Prime Video*. ##### *A Simple Lie: Chaos and Plot twists as a Dramatic Tool* Here, drama becomes farce. One lie. Then another. Then everything falls apart. *A Simple Lie* thrives on an avalanche of secrets, where a single desperate fabrication ignites a cascade of shocking revelations. The drama is relentless—every new twist crashes into the next, leaving us gasping at the audacity of it all. Biodun Stephen keeps us locked in one setting, using flashbacks, sharp dialogue to unravel layer upon layer of deception, and sheer emotional mayhem. The characters stumble through a minefield of hidden truths, their tangled relationships barely holding together as past sins resurface. This is drama mixed with comedy: awkward and absurd. She uses humour to cut through tension, revealing just how fragile relationships are when built on secrets. The lie is simple, but the fallout is anything but. It’s ridiculous, entertaining, and familiar. The film is available on **Netflix**. ##### *Strangers: Quiet Resilience as Dramatic Strength* Biodun Stephen’s *Strangers* taps into the emotional weight of real-life struggles, weaving a drama that feels deeply personal and universally resonant. The film follows Adetola Akinjobi (Ade), a boy whose life is shaped by illness, hardship, and the unexpected kindness of strangers. The drama unfolds in the quiet resilience of its protagonist, making every small victory feel monumental. Stephen doesn’t need grand twists or theatrics; she gives us raw, human moments that settle deep into our emotions. The film is available on **Netflix**. ##### *Looking for Baami: The Emotional Tug-of-War of Abandonment* This film tackles the emotional cost of abandonment. A daughter finds her father. He wants no part of it. The drama lies in the imbalance—one person yearning, the other denying. Biodun Stephen distills drama to its rawest form using the search for a father as a window into deeper themes of identity, rejection, and emotional reconciliation. The film thrives on contrast. Ajinde, hardened by the streets, walks into the life of a man who has no idea she exists, forcing both into an emotional standoff neither is prepared for. The realism here isn’t just in the premise but in the nuances of performance. Bimbo Ademoye embodies the weight of a child forced to grow up too soon, while Femi Jacobs’ restrained denial feels frustratingly real. Their push-and-pull mirrors the messy emotions that come with long-lost family ties, making the drama deeply immersive. Stephen’s storytelling, as always, hinges on ordinary people in extraordinary emotional situations, pulling the audience into conflicts that feel both personal and universal. ##### *Breaded Life: Identity Lost and Found Through Suffering* *Breaded Life* is Stephen’s experiment with magical realism. Sunmi loses everything, even recognition. The drama unfolds in his confusion, forcing him, and us, to question what truly defines a person. What makes *Breaded Life* stand out is how Stephen crafts the emotional weight of Sunmi’s journey. She doesn’t give him an easy redemption arc, she flips it. Her technique? Disorientation. There’s no grand gesture, just daily survival. We watch his transformation in the small, painful ways: hunger teaching him humility, rejection forcing him to adapt, love making him rethink what actually matters. She removes the protagonist from everything familiar to rebuild him. And when the truth is revealed, it doesn’t tie things up—it leaves us with questions about ego, family, and memory. And when the film finally pulls back the curtain on the why of it all, Stephen doesn’t aim for a simple resolution. She leaves us sitting with the same question that lingers in all her best dramas: Who are we when everything familiar is stripped away? *Breaded Life* is available on **Netflix**. So, what makes her stories so powerful? It’s the way Stephen taps into emotions we all recognise. She knows how to make us care, how to hold up a mirror to life, and how to make drama matter. Stephen knows that sometimes, to truly connect with a story, it has to make you uncomfortable. It has to push boundaries, go further than expected, and force you to engage with the emotions, no matter how extreme they get. Whether it’s heartbreak, ambition, resilience, or survival, she stretches these themes to their limits, making sure they hit. She stretches the drama by mixing it—merging romance, mysticism, comedy, spirituality, anything! She pulls familiar tropes (single mothers, prodigal lovers, traumatic pasts, false identities) and fills them with emotional truth. Her characters cry, pray, yell, endure, deceive, forgive. She tells stories that remind us of ourselves, our families, and our struggles. And that’s why her films stay with us. Which of these films have you seen? Which ones hit you the hardest? What are some of her best drama films in your opinion? Which techniques stood out? Let’s talk about the magic of Biodun Stephen’s storytelling in the comments section. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/heres-how-biodun-stephen-is-redefining-the-drama-genre/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/heres-how-biodun-stephen-is-redefining-the-drama-genre/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/heres-how-biodun-stephen-is-redefining-the-drama-genre/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/heres-how-biodun-stephen-is-redefining-the-drama-genre/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/heres-how-biodun-stephen-is-redefining-the-drama-genre/?share=linkedin) - **Categories:** Articles, Blog, Drama, Nollywood **Tags:** atiko, Biodun Stephen, different strokes, i am anis, Looking for baami, nollycritic, nollywood, roses and ivy, Sista, Strangers --- ### [Nollywood Movies and Series to See in April 2025](https://nollycritic.com/nollywood-movies-and-series-to-see-in-april-2025/) **Published:** April 2, 2025 **Author:** Fisayo Adekoya **Excerpt:** April is packed with a diverse lineup of Nollywood films and series, offering everything from thrilling action to heartfelt drama and romantic intrigue. **Content:** April is packed with a diverse lineup of [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") films and series, offering everything from thrilling action to heartfelt drama and romantic intrigue. Whether you’re looking for a gripping mystery, a wedding-themed comedy, or an intense psychological drama, there’s something for every viewer this month. With major releases hitting cinemas and streaming platforms. Here are the Nollywood movies and series you won’t want to miss in April 2025! ### Recall — April 4 Kule Afolayan’s *[Recall](https://www.imdb.com/title/tt34476668/ "Recall")* opes up the month of April for Nollywood. Goke’s life is turned upside down when his wife, Anita, wakes up one day with no memory of him or their children. As he desperately tries to help her remember, hidden secrets begin to unravel, challenging everything he thought he knew about their love and marriage. With emotions running high, *Recall* explores the power of love, loss, and the complexities of memory. Starring Sharon Ooja, Olarotimi Fakunle, Bolaji Ogunmola, Jimmy Jean-Louis, Tina Mba, Keppy Ekpenyong, and Bimbo Akintola, *Recall* is directed by Kunle Afolayan. The film will be released in cinemas nationwide on April 4, 2025. ### Osoronga — April 4 Brace yourself as *Osoronga* begins streaming on Prime Video Naija from April 4. This gripping Yoruba-language fantasy thriller offers a peep into the world of mystics, witches, and wizards. Directed by Ibrahim Chatta, the film features an ensemble cast including Ibrahim Chatta, Odunlade Adekola, Yomi Fash-Lanso, Femi Adebayo, Bimbo Akintola, and Fathia Williams Balogun. *Osoronga* promises to take viewers on a perilous journey into the arcane depths of a mysterious witch coven, unraveling secrets bound to ancient powers. > [View this post on Instagram](https://www.instagram.com/reel/DH1HLu1smFR/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Ibrahim Chatta (@ibrahimchatta\_lordthespis)](https://www.instagram.com/reel/DH1HLu1smFR/?utm_source=ig_embed&utm_campaign=loading) ### Family Brouhaha — April 11 When deep-seated family tensions erupt, secrets are exposed, and relationships are tested in *Family Brouhaha*. This drama delves into the chaos that unfolds when loved ones clash, bringing humor, emotion, and unexpected twists along the way. Starring Femi Adebayo, Odunlade Adekola, Bimbo Akintola, and Faithia Williams, *Family Brouhaha* is directed by Femi Adebayo. *Family Brouhaha* will be released in cinemas nationwide on April 11, 2025. ### A Lagos Love Story — April 11 Set against the vibrant backdrop of Lagos, *A Lagos Love Story* follows KK, an Afrobeats superstar who unexpectedly falls for his assistant. As their relationship unfolds, they navigate the complexities of love, fame, and personal discovery, encountering twists, turns, and a touch of magic along the way.​ Directed by Naz Onuzo and co-written with Ozzy Etomi, the film features a star-studded cast including Mike Afolarin as KK, alongside Susan Pwajok, Uche Montana, Chimezie Imo, Veeiye, Linda Ejiofor Suleman, Itele d’Icon, and Kalu Ikeagwu. *A Lagos Love Story* will premiere on Netflix on April 11, 2025. ### Radio Voice — April 11 *Radio Voice* is a compelling drama that follows the journey of a former sex worker who finds a second chance at life through a struggling radio station while battling the ghosts of her past. The film delves into themes of redemption, survival, and self-discovery, offering a poignant narrative that resonates with universal human emotions. ​ Starring Richard Mofe-Damijo (RMD), Nancy Isime, and Timini Egbuson, *Radio Voice* is directed by RMD himself. The film will be released in cinemas nationwide on April 11, 2025. ### Silver Ever After — April 17 Laju Iren’s Silver Ever After is next on our list.As they approach their 25th wedding anniversary, a middle aged couple become empty nesters and are forced to fight for their happily ever after when issues from their past resurface into the present and threaten their future. The film stars Uzor Arukwe and Blessig Jessica Obasi. Silver Ever After premieres on Youtube (Laju Iren TV) by 5 pm on Thursday, April 17th. > [View this post on Instagram](https://www.instagram.com/p/DH5jXGMA0iR/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Laju Iren (@lajuiren)](https://www.instagram.com/p/DH5jXGMA0iR/?utm_source=ig_embed&utm_campaign=loading) ### Aso Ebi Diaries — April 18 *Aso Ebi Diaries* is a vibrant Nollywood drama that delves into the intricate dynamics of friendship, family, and societal expectations within the context of Nigerian culture. The film promises to deliver a rich narrative filled with love, laughter, and the complexities that come with communal celebrations. ​ Directed by Biodun Stephen, the movie features a stellar ensemble cast, including Shaffy Bello, Daniel Etim Effiong, and Nancy Isime. ​The movie is set to premiere in cinemas nationwide on April 18, 2025. ### Makemation — April 18 *Makemation* is a groundbreaking coming-of-age drama that explores the journey of a brilliant and determined young girl from rural Lagos, Nigeria. Despite facing numerous challenges, she leverages artificial intelligence and technological innovations to address some of the continent’s most pressing issues, offering a poignant narrative filled with emotion, humor, and thought-provoking moments. Directed by Michael “Ama Psalmist” Akinrogunde and produced by Toyosi Akerele-Ogunsiji, the film boasts a stellar ensemble cast, including Tomi Ojo, Ibrahim Chatta, Chioma Chukwuka, Ali Nuhu, Yvonne Jegede, Shaffy Bello, and Richard Mofe-Damijo. *Makemation* is set to premiere in cinemas nationwide on April 18, 2025. ### Owambe Thieves — April 18 Set against the backdrop of a severe recession in Nigeria, *Owambe Thieves* follows Cheta and Lola, a young couple struggling to provide for their newborn child. Desperation leads them to an unconventional plan: infiltrating and robbing lavish Lagos weddings attended by the nation’s elite. As they delve deeper into this high-stakes world, they confront moral dilemmas and unforeseen challenges that test their relationship and survival.​ Produced by Eniola Ajao and directed by Adeoluwa Owu (*A Tribe Called Judah*, *Jagun Jagun*), the film promises a gripping narrative of suspense, deception, and drama. *Owambe Thieves* will be released in cinemas nationwide on April 18, 2025. ### Temi and The Laba Laba Band — April 19 *Temi and The Laba Laba Band* is an upcoming family musical sitcom that follows the lives of Temi and her bandmates—Boniface, Barry, Mina, and Razak—as they strive to save a beloved restaurant through their musical endeavors. Set against a backdrop of lively performances and heartfelt moments, the series promises to deliver fun, laughter, unforgettable music, and heartwarming lessons. Directed by Niyi Akinmolayan and produced by Anthill Studios, the show features Temisola as Temi, whose captivating voice aims to resonate with audiences far and wide. The series is scheduled to premiere its first episode on April 19, 2025, aligning with the Easter holiday season. Viewers can catch all the excitement on YouTube and select television stations, making it accessible to a broad audience eager for quality family entertainment. ### Adunni: Ogidan Obinrin — April 25 Yemi Amodu’s Adunni Ogidan Binrin follows the story of Adunni, portrayed by Funmi Ogidan-Bello, a fearless Nigerian woman and a passionate barrister trapped in a land ruled by a ruthless tyrant. She is determined to liberate her people and restore justice to her community. Adunni: Ogidan Binrin hit the cinemas nationwide on April 25, 2025. ### Landline — April 25 Death isn’t the end—it’s just the beginning… again. *Landline* is a mind-bending thriller that takes audiences on a journey where reality blurs, and the afterlife isn’t as distant as it seems. With a gripping narrative and an innovative approach to storytelling, the film promises a thought-provoking and immersive experience. Directed by Dele Doherty, *Landline* features Gabriella Kingsley, Zainab Balogun, and Bucci Franklin, with voice performances by Durotimi Owa, Femi Doherty, Emmanuel Rain, Justin Ben, and Toke Benson. The film, written, produced, and directed by Dele Doherty, will be available for streaming globally on Prime Video starting April 25, 2025. > [View this post on Instagram](https://www.instagram.com/reel/DHoUEUmueT9/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Dele Doherty (@deledoherty)](https://www.instagram.com/reel/DHoUEUmueT9/?utm_source=ig_embed&utm_campaign=loading) As April unfolds, these films promise to offer audiences a rich tapestry of Nollywood stories that entertain, challenge, and inspire. This list will be updated as more Nollywood titles are announced ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-movies-and-series-to-see-in-april-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-movies-and-series-to-see-in-april-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-movies-and-series-to-see-in-april-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-movies-and-series-to-see-in-april-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-movies-and-series-to-see-in-april-2025/?share=linkedin) - **Categories:** Articles, Blog, Drama, Movies, Nollywood, TV **Tags:** A lagos love story, Aso Ebi Diaries, film, Landline, Makemation, Movies to see in April, Movies to see this Easter, Netflix, nollycritic, nollywood, Nollywood 2025, Owambe Thieves, Prime Video, radio voice, recall --- ### [The Bitter Feminist to Premiere at 2025 iRep Festival](https://nollycritic.com/the-bitter-feminist-to-premiere-at-2025-irep-festival/) **Published:** March 28, 2025 **Author:** Fisayo Adekoya **Excerpt:** HardFacts Studios is set to debut The Bitter Feminist at the 2025 iRep International Documentary Film Festival, a platform known for amplifying **Content:** HardFacts Studios is set to debut *The Bitter Feminist* at the 2025 i[Rep International Documentary Film Festiva](https://irepdocufilm.com/ "Rep International Documentary Film Festiva")l, a platform known for amplifying socially relevant storytelling. The five-episode docudrama takes a critical look at feminism, oppression, and resistance in [Nigeria](https://nollycritic.com/?s=nigeria "Nigeria") and across sub-Saharan Africa. By weaving together personal testimonies and historical context, it highlights the struggles women face while confronting deeply ingrained societal norms. Created by Daniel Chukwuemeka and Ijeoma Chinonyerem, the series presents raw, unfiltered narratives that examine gender inequality through the lens of real-life experiences. At its core is the story of Ringret, a young woman from Northern Nigeria who survived rape and forced marriage. Her journey serves as a powerful representation of resilience, standing as a symbol for countless women who continue to fight for their rights despite systemic barriers. Beyond her story, the documentary expands on broader themes that define the reality of many women in Africa. Misogyny, child marriage, restrictive gender roles, consent, and transactional sex are explored in depth, offering a sobering reflection on the structures that perpetuate inequality. By combining personal accounts with critical analysis, *The Bitter Feminist* dissects the ways in which legal, cultural, and institutional frameworks have sustained gender-based oppression for generations. At the same time, it highlights the courage of those who challenge these norms, advocating for a more just and equitable society. Directed by Priye Diri and produced by Isaac Newton Akah, the series fits seamlessly into the ethos of the iRep Festival. This year’s edition, scheduled for March 27 to 30, revolves around the theme “*Freedom: Rights and Responsibility*.” The festival aims to examine the balance between personal liberties and collective duty, making *The Bitter Feminist* a particularly relevant addition to the lineup. As it takes center stage on March 29, the documentary is expected to provoke conversations about the meaning of freedom in a society where many women still struggle for autonomy over their bodies and lives. Moreover, *The Bitter Feminist* does more than document injustice—it sparks dialogue and action. By addressing the often-overlooked intersections of gender, culture, and power, it challenges audiences to question the status quo. Its portrayal of resilience and defiance serves as a call to reimagine societal norms that continue to suppress women’s voices. As the premiere approaches, the anticipation surrounding the film continues to grow. The iRep Festival has long been a space for bold narratives, and this docudrama is poised to leave a lasting impact. By bringing these critical issues to the forefront, *The Bitter Feminist* not only tells important stories but also forces audiences to confront the uncomfortable truths that shape gender relations in Africa. More than just a film, it stands as a compelling statement on the urgent need for change, ensuring that the voices of women are heard, recognized, and, ultimately, respected. See the trailer below! ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-bitter-feminist-to-premiere-at-2025-irep-festival/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-bitter-feminist-to-premiere-at-2025-irep-festival/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-bitter-feminist-to-premiere-at-2025-irep-festival/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-bitter-feminist-to-premiere-at-2025-irep-festival/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-bitter-feminist-to-premiere-at-2025-irep-festival/?share=linkedin) - **Categories:** Blog, Drama, Movies, Nollywood, Nollywood News **Tags:** african cinema, Daniel Chukwuemeka, film, HardFacts Studios, Ijeoma Chinonyerem, iRep Festival, nollycritic, nollywood, Nollywood 2025, The Bitter Feminist --- ### [AMVCA 2025: What This Year’s Nominations Reveal About Nollywood’s Direction](https://nollycritic.com/amvca-2025-what-this-years-nominations-reveal-about-nollywoods-direction/) **Published:** March 27, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The 11th Africa Magic Viewers’ Choice Awards (AMVCA 2025) nominations have been announced, bringing with them discussions, **Content:** The 11th [Africa Magic Viewers’ Choice Awards](https://www.dstv.com/africamagic/en-ng/show/amvca "Africa Magic Viewers’ Choice Awards") (AMVCA 2025) nominations have been announced, bringing with them discussions, reflections, and industry-wide reactions. The AMVCA, regarded as one of the most popular awards in Nollywood, has seen some structural changes in recent years, particularly with the balance between jury-decided and audience-voted categories. These adjustments have shaped this year’s nominations in ways that reflect both expected recognitions and notable omissions. With *Seven Doors* leading with[ **11 nominations**](https://nollycritic.com/amvca-2025-see-the-full-list-of-nominees/ " 11 nominations"), followed closely by *Lisabi: The Uprising* with **10**, and *Skeleton Coast* securing **8**, this year’s selection highlights a strong presence of historical and culturally rooted narratives. While these films have undoubtedly made their mark, the nominations also leave room for discussions about which films and performances were recognized, which were overlooked, and what these choices say about Nollywood’s landscape. ###### The Structure of the Awards: Jury Decisions vs. Audience Influence The AMVCA now follows a hybrid voting system, where some categories are determined by a professional jury while others are open to public votes. Jury-decided categories, which focus on artistic and technical merit, include: **Best Movie**, **Best Director**, **Best Lead Actor** and **Actress**, **Best Supporting Actor** and **Actress**, **Best Cinematography**, **Best Editing**, **Best Writing** (**Movie** and **Series**), **Best Sound Design**, **Best Score/Music**, **Best Art Director**, **Best Makeup**, **Best Costume Design**, **Best Series** (**Scripted** and **Unscripted**), and **Best Documentary**. This shift is intended to prioritize artistic and technical merit, ensuring that winners are selected based on professional evaluation rather than fan-driven popularity. Audience-voted categories emphasize mainstream appeal and engagement, including **Best Digital Content Creator**, **Best Indigenous Language Films** (**West**, **East**, and **Southern Africa**) **Best Indigenous M-Net Original**, **Best Scripted M-Net Original**, **Best Unscripted M-Net Original**, **Best Short Film**, and **Best MultiChoice Talent Factory Film**. This balance is meant to incorporate both industry judgment and audience preferences. Yet, the nominations this year raise concerns about how the jury applies its standards and whether accessibility played a bigger role than artistic merit in some selections. ##### How Lisabi Was Prioritized Over The Uprising: Wives on Strike 3? *Lisabi: The Uprising* was nominated for **Best Movie**, despite being a multi-part project rather than a standalone film. This raises questions about whether the nomination was based on Part 1 alone or if the entire two-part story was considered. If both parts were included, then *Lisabi* is competing on different terms than the other nominees, which had to tell complete narratives within a single runtime. The AMVCA has not clarified how multi-part films are judged in comparison to standalone works. *Wives on Strike 3: The Uprising*, which was not nominated at all, presents an interesting contrast. Unlike *Lisabi*, *Wives on Strike 3* is a sequel but functions as a completely independent film, telling a full story that does not rely on previous installments to make sense. As a film, it was tightly written, engaging, and carried by strong performances, making it a stronger contender than *Lisabi* in terms of narrative cohesion. If *Lisabi* was eligible despite being a multi-part project, then *Wives on Strike 3* should have been considered as well—unless the deciding factor was not about storytelling but accessibility. The AMVCA’s preference for films widely available on streaming platforms like Netflix and Prime Video over theatrical releases or films with limited digital distribution suggests that accessibility played a role in selection rather than just merit. *Wives on Strike 3*, despite its strengths, did not have the same level of streaming visibility as *Lisabi*, which may explain its exclusion. If the AMVCA is shifting toward prioritizing streaming-backed films, then it should clearly define this as part of its selection criteria. Otherwise, strong films that aren’t globally distributed online will continue to be sidelined, not because of their quality but because of how they reach audiences. ##### Why Was The Weekend’s Director Recognized, But Not The Film? Daniel Oriahi was nominated for **Best Director** for his work on *The Weekend*, yet the film itself was not included in **Best Movie**. This creates an inconsistency. If Oriahi’s direction was strong enough to be recognized, then why wasn’t the film itself considered among the best? Best Director and Best Movie nominations are typically linked because a well-directed film is often a strong contender for Best Movie. The fact that Oriahi was nominated while *The Weekend* was left out suggests either the jury saw flaws in other aspects of the film, or there is no clear connection between Best Director and Best Movie selections. If the AMVCA is moving toward separating these categories more distinctly, there should be transparency about how that decision is made. ##### A Shift Away from Box Office Dominance This year’s nominations reflect a significant shift away from recognizing commercially successful films, a departure from past AMVCAs where box office hits often dominated major categories. This year, *Farmer’s Bride* was the only top-grossing film in the **Best Movie** category, while major hits like *Everybody Loves Jenifa* were absent. This change raises the question: should commercial success and audience impact factor into nominations, or should the focus remain solely on artistic merit? While prioritizing quality over popularity is a positive step, completely excluding films that had major cultural impact suggests that mainstream success is being undervalued. ##### Why Streaming Titles Are Dominating Over Cinema Releases One of the clearest patterns in this year’s nominations is the dominance of films backed by streaming platforms like **Netflix** and **Prime Video**. Most of the nominated films were released primarily on digital platforms, while many theatrically released films were almost absent from major categories. At the same time, the treatment of *Mai Martaba* contradicts this pattern. Unlike many of the other nominated films, *Mai Martaba* had only a very limited cinema release, showing in just a few states for a short period, yet it still received a nomination in **Best Indigenous Language Film**. If theatrical presence was a key factor in limiting other cinema films from nominations, then why did *Mai Martaba* qualify despite its minimal release? The inconsistencies in selection suggest that factors beyond just distribution models are at play. Whether funding sources, platform backing, or industry positioning influenced nominations, this year’s trends show that the AMVCA’s selection process is evolving in ways that are not entirely transparent. ##### Films That Were Expected But Did Not Appear Some films that gained critical and industry recognition over the past year were notably missing from the nominations. *With Difficulty Comes Ease*, a film that was widely discussed for its storytelling and emotional depth, did not receive any nominations despite expectations for categories like **Best Movie**, **Best Director**, and **Best Lead Actress**. Similarly, *Phoenix Fury*, a film recognized for its visual approach and strong performances, was left out of categories where it was anticipated to perform well, such as **Best Cinematography** and **Best Writing**. These omissions bring up broader discussions about how the AMVCA is evolving in terms of genre recognition, storytelling styles, and the balance between mainstream and indie productions. While jury decisions are meant to reflect industry expertise, they also shape the larger conversation about what types of films Nollywood prioritizes and celebrates. ##### Performance Categories: New Names and Familiar Faces The acting categories this year featured a mix of well-established actors and some newer names, but there were also notable absences. Wale Ojo, who portrayed Wole Soyinka in *The Man Died*, was expected to be a strong contender for Best Lead Actor, yet he did not make the final list. Similarly, Onyinye Odokoro, whose performance in *Princess on a Hill* was highly regarded, was not included in Best Lead Actress, despite expectations. Meanwhile, for the first time in years, Funke Akindele did not receive a nomination. Whether this was due to submission choices or selection criteria, her absence marks a shift from previous AMVCAs where her films and performances consistently received recognition. ##### Looking Ahead to the AMVCA 2025 Ceremony With the winners set to be announced on May 10, 2025, this year’s AMVCA will provide further insight into how these nominations translate into actual wins. The jury’s decisions so far reflect a growing focus on industry merit, but they also raise ongoing discussions about representation, inclusion, and the types of films Nollywood continues to celebrate. While some films and performances have received the recognition they deserve, others remain absent from the conversation. The balance between artistic recognition and audience engagement, critical acclaim and commercial success, established names and fresh talent is still shifting. Whether this year’s selections represent a progressive step forward or just a restructured version of old patterns will ultimately be determined when the winners are revealed. What remains certain is that the AMVCA continues to be a reflection of Nollywood’s evolving landscape, and as the industry grows, so will the conversations about how its best works are chosen, recognized, and remembered. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/amvca-2025-what-this-years-nominations-reveal-about-nollywoods-direction/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/amvca-2025-what-this-years-nominations-reveal-about-nollywoods-direction/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/amvca-2025-what-this-years-nominations-reveal-about-nollywoods-direction/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/amvca-2025-what-this-years-nominations-reveal-about-nollywoods-direction/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/amvca-2025-what-this-years-nominations-reveal-about-nollywoods-direction/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** AMVCA 2025, Femi Adebayo, seven doors, The Uprising: Wives on Strike, The Weekend --- ### [Azure Studios and Lolia Studios Organise Film Tech Workshop](https://nollycritic.com/azure-studios-and-lolia-studios-orgaise-film-tech-workshop/) **Published:** March 26, 2025 **Author:** Fisayo Adekoya **Excerpt:** Azure Studios is redefining Nollywood’s approach to film technology. In a landmark collaboration with Lolia Studios, the company spearheaded a groundbreaking **Content:** [Azure Studios ](https://azurestudiosng.com/ "Azure Studios ")is redefining [Nollywood’s](https://nollycritic.com/?s=nollywood "Nollywood’s") approach to film technology. In a landmark collaboration with Lolia Studios, the company spearheaded a groundbreaking workshop designed to tackle one of the industry’s most overlooked challenges—data management. Over the course of three days, the event went beyond basic training. It was a strategic move to bridge the gap between production and post-production, ensuring Nigerian filmmakers can compete on a global scale. Participants engaged in hands-on learning, mastering digital imaging, data wrangling, and workflow efficiency under the guidance of industry experts. Leading these sessions were three seasoned professionals, each bringing a unique perspective. Olayinka Kasali, a Digital Imaging Technician (DIT) with a decade of experience on major projects like *Breath of Life* and *Finding Messiah*, broke down advanced digital imaging workflows. Meanwhile, Damilola Adeyeri, whose work spans *Lisabi* and *A Christmas in Lagos*, provided insights into how Nollywood can align with global technical standards. At the same time, Ates Brown, the Creative Lead at Lolia Studios, ensured that attendees grasped the essentials of data management—an aspect often neglected yet critical to post-production success. Beyond technical skills, the workshop fostered collaboration. A panel discussion featuring industry leaders such as Allen Onyige, Awa Holmes, and Adeniyi “Taj” Joseph reinforced the urgency of integrating efficient data practices into Nollywood’s filmmaking process. Through this discussion, their message was clear: the future of Nigerian cinema depends on innovation, precision, and intentional knowledge-sharing. For Azure Studios and Lolia Studios, however, this initiative was about more than just skill-building. The workshop, held in celebration of Women’s Month, underscored the growing influence of women in film technology. More importantly, it marked a shift—not just in technical training but in the industry’s commitment to excellence. As the workshop concluded, one thing was evident: this was just the beginning. The momentum it created signals a new era for Nollywood—one where data management is no longer an afterthought but a cornerstone of production quality. With this breakthrough, Azure Studios is leading the charge toward a more efficient, globally competitive industry. ![azure studios](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/03/IMG_6393-1024x521.jpg?ssl=1) ![azure studios](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/03/IMG_5187-1024x768.jpg?ssl=1) ![azure studios](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/03/IMG_6575-1024x409.jpg?ssl=1) ![azure studios](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/03/IMG_6582-1024x577.jpg?ssl=1) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/azure-studios-and-lolia-studios-orgaise-film-tech-workshop/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/azure-studios-and-lolia-studios-orgaise-film-tech-workshop/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/azure-studios-and-lolia-studios-orgaise-film-tech-workshop/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/azure-studios-and-lolia-studios-orgaise-film-tech-workshop/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/azure-studios-and-lolia-studios-orgaise-film-tech-workshop/?share=linkedin) - **Categories:** Nollywood, Nollywood News **Tags:** Azure Studios, film, Film Industry, Film Tech, From set to storage, Lolia Studios, nigerian cinema, nollycritic, nollywood, Tech in Film, women in film --- ### [A Weekend To Forget: Is This Murder Mystery Amazing or Forgettable?](https://nollycritic.com/a-weekend-to-forget-amazing-or-forgettable/) **Published:** January 16, 2024 **Author:** Uju Okosieme **Excerpt:** The 2023 release, A Weekend To Forget, has finally graced the screens of Prime Video, and after all the buzz, we couldn't wait to dive into this Nollywood murder-mystery. **Content:** The 2023 release, *A Weekend To Forget*, has finally graced the screens of Prime Video, and after all the buzz, we couldn’t wait to dive into this Nollywood murder mystery. In this review, we’ll share our thoughts on the film, leaving out spoilers to let you decide if it’s worth your watch. #### Plot The storyline revolves around a group of friends reuniting for a weekend getaway after years apart. However, things take a dark turn as an unexpected death sets the stage for a murder mystery. While they try to figure out whodunnit, long-buried secrets and unresolved issues come to light. The movie adopts a classic murder mystery plot with well-woven subplots that keep the audience guessing until the final scene. The clever narrative kept us second-guessing our initial suspicions. However, a notable flaw lies in the implied remote setting conflicting with the obvious urban location of the house. #### Acting Featuring an ensemble cast, each character was well crafted, ensuring clarity in their roles and storylines. While some performances outshone others, with Stan Nze delivering a slightly underwhelming performance as Tito, Daniel Etim Effiong and Ini Dima-Okojie stole the show as Shima and Layo respectively. Elozonam’s performance as Ferdy added some depth even though we didn’t fully understand his motivations, whereas Erica Nlewedim’s Ndali, Uche Montana’s Lisa, and Neo’s Bem faced challenges in fully convincing their audience. #### Technical Aspects The cinematography showcased Nollywood’s mastery of capturing visually appealing scenes, with diverse shots enhancing the essence of each moment but it failed to capture the essence of the genre. Its bright scenes were more reminiscent of the romance genre rather than a murder mystery. Damola Ademola’s directorial debut deserves commendation for building suspense effectively. However, the film’s main challenges stemmed from plot issues rather than technical shortcomings. #### Storytelling In terms of storytelling, it distinguishes itself as one of the more meticulously crafted narratives in Nollywood. Despite falling short in execution, it’s apparent that significant effort went into shaping the storyline. Regrettably, the characters lacked a sense of urgency in responding to the unfolding situation. While their lack of emotional connection to the victim might explain this, it raises a crucial question: in the presence of a murderer, wouldn’t a natural concern for one’s safety arise? This concern was inadequately conveyed in the storytelling, and its inclusion would have significantly enhanced the narrative. Additionally, certain scenes, including the supposedly important end credit scene, felt unnecessary and could have been omitted. #### Verdict In conclusion, *A Weekend To Forget* offers a decent experience marred by the highlighted issues. We’d rate it a 2.5 out of 5. If you’ve seen the movie, share your thoughts in the comments. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. *A Weekend to Forget* Trailer ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-weekend-to-forget-amazing-or-forgettable/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-weekend-to-forget-amazing-or-forgettable/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-weekend-to-forget-amazing-or-forgettable/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-weekend-to-forget-amazing-or-forgettable/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-weekend-to-forget-amazing-or-forgettable/?share=linkedin) - **Categories:** Blog, Nollywood, Popular reviews, Reviews **Tags:** A weekend to forget, film, nollycritic, nollywood, Prime Video --- ### [Adire: A Fascinating Tale of Empowerment and Redemption](https://nollycritic.com/adire-a-fascinating-tale-of-empowerment-and-redemption/) **Published:** January 16, 2024 **Author:** Uju Okosieme **Excerpt:** Following its theatrical release in September 2023, Adire has found its way onto Netflix. With glowing reviews from its cinema run, we watched it to share our thoughts with you. Fear not, this review is spoiler-free. **Content:** Following its theatrical release in September 2023, *Adire* has found its way onto Netflix. With glowing reviews from its cinema run, we watched it to share our thoughts with you. Fear not, this review is spoiler-free. #### Plot *Adire* unfolds the compelling tale of a retired sex worker seeking refuge in a small town. Her journey takes a transformative turn as she empowers conservative women through her unique lingerie crafted with adire. However, her presence sparks conflict with the local church’s deaconess. While the plot is straightforward, its underlying message resonates strongly. *Adire* beautifully showcases Nigerian culture, deftly navigating the clash between religious norms and perceived worldly behaviour. Despite its strengths, there were aspects of the plot that could have been stronger. #### Acting Kehinde Bankole’s portrayal of the titular character, Adire, is nuanced and demonstrates notable character growth. Funlola Aofiyebi’s deaconess is a formidable presence, evolving convincingly throughout the film. Yvonne Jegede also gave a standout performance as Salewa and she deserves more recognition in the industry. Though supporting characters fade into the background, the overall ensemble is well-crafted. The male cast members gave commendable performances, however, they didn’t linger as prominently in memory, maybe because of a directorial choice. #### Technical Aspects The film excels in capturing the vibrant essence of Nigerian culture, utilizing picturesque locations to their fullest potential. Adeoluwa Owu’s direction ensures visually stunning shots, creating a vibrant palette of colour and light that enhances the storytelling. #### Story At its core, *Adire* is a heartwarming tale of friendship, love, and second chances. However, its pacing is slow, and certain scenes feel unnecessary. Several crucial aspects could have received more attention, revealing a major flaw in the overall storytelling. For instance, Adire is meant to be a retired sex worker, yet the narrative doesn’t distinctly convey this aspect leaving ambiguity in her character portrayal. This single error ripples through various story elements, significantly diminishing the overall storytelling quality. #### Verdict *Adire* proves to be an enjoyable and enlightening watch, blending entertainment with education. While it falls short in certain areas, particularly the ending, it still stands as a praiseworthy effort. We rate it a 3 out of 5. Have you watched the film? Share your thoughts in the comments below. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. *Adire* Teaser ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/adire-a-fascinating-tale-of-empowerment-and-redemption/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/adire-a-fascinating-tale-of-empowerment-and-redemption/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/adire-a-fascinating-tale-of-empowerment-and-redemption/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/adire-a-fascinating-tale-of-empowerment-and-redemption/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/adire-a-fascinating-tale-of-empowerment-and-redemption/?share=linkedin) - **Categories:** Blog, Nollywood, Reviews **Tags:** Adire, film, Kehinde Bankole, Netflix, nollycritic, nollywood --- ### [Skinny Girl in Transit Returns: A Triumph or a Letdown?](https://nollycritic.com/skinny-girl-in-transit-returns-a-triumph-or-a-letdown/) **Published:** February 3, 2024 **Author:** Uju Okosieme **Excerpt:** Ndani TV's much-loved series, "Skinny Girl in Transit," makes a comeback after a long hiatus of three years. **Content:** Ndani TV’s much-loved series, *Skinny Girl in Transit*, makes a comeback after a long hiatus of three years, much to the delight of fans who had almost lost hope. For those who’ve been longing for the show’s comeback, your patience is rewarded. But be warned: spoilers lie ahead for those yet to catch up on the latest episodes! Diving into the first two episodes of the *Skinny Girl in Transit 7* : ## Episode One This episode welcomes us with a heartwarming scene at the naming ceremony of Tiwa and Mide’s son, setting a beautiful stage for the reunion with beloved characters and the introduction of new faces. The spotlight shines on Shalewa as she navigates her healing journey in therapy, stemming from past entanglements with Mohammed and Kwame. The plot thickens with Mohammed’s attempt to rekindle his connection with Shalewa, culminating in a cliffhanger that teases a possible proposal. A standout moment features Derin playfully thwarting Mide’s eager departure from work, a delightful scene that reconnects us with the series’ charm. ## Episode Two Picking up from the suspenseful ending of the previous episode, the anticipated proposal turns out to be a promise ring from Mohammed to Shalewa. The episode gracefully explores themes of commitment and understanding, particularly through Didi and Editi’s family negotiations over their wedding plans. Shalewa’s candid conversation with Tiwa about her therapy sessions and Mide’s protective response highlights the strength of familial bonds. The comedic attempt of Mummy Tiwa and Wosi to navigate a waist trainer serves as the episode’s comedic highlight, bringing laughter and lightness. ## Acting and Production The break seems to have been a boon, allowing for noticeable enhancements in acting quality. Sharon Ooja’s portrayal of Shalewa is compelling, depicting her character’s struggles with depth and authenticity. The chemistry between Abimbola Craig’s Tiwa and Ayoola Ayolola’s Mide is more palpable than ever, enriching their on-screen relationship. Bisola Aiyeola adds complexity to Didi, showcasing her character’s growth and depth. The technical quality remains high, with meticulous attention to lighting and setting that accentuates the emotional tone of each scene, from the cozy intimacy of home settings to the vibrant energy of urban Lagos. ## Final Thoughts The enduring love between Mide and Tiwa, along with the dynamics within Tiwa’s family, continues to captivate. The evolution of Didi and Editi’s relationship is a testament to the show’s ability to weave growth and understanding through its narratives. While the comedic elements remain a staple, the current storyline surrounding Shalewa and Mohammed leaves room for debate on its impact on Shalewa’s journey to healing. ## Verdict For dedicated followers of “Skinny Girl in Transit,” this season’s opening episodes offer a mix of familiar warmth and new developments. However, the initial pacing might not match the vibrancy of previous seasons, leaving some longing for more. We’re hopeful for an uptick in momentum in the episodes to come. Our rating for these episodes stands at a 6 out of 10, if you have a different opinion let’s hear it in the comments. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/skinny-girl-in-transit-returns-a-triumph-or-a-letdown/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/skinny-girl-in-transit-returns-a-triumph-or-a-letdown/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/skinny-girl-in-transit-returns-a-triumph-or-a-letdown/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/skinny-girl-in-transit-returns-a-triumph-or-a-letdown/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/skinny-girl-in-transit-returns-a-triumph-or-a-letdown/?share=linkedin) - **Categories:** Blog, Nollywood, Popular reviews, Reviews, TV **Tags:** Comedy, NdaniTV, nollywood, SGIT7, Youtube --- ### [Skinny Girl In Transit Episodes 3-4: A Shift in the Spotlight](https://nollycritic.com/skinny-girl-in-transit-episodes-3-4-a-shift-in-the-spotlight/) **Published:** February 17, 2024 **Author:** Uju Okosieme **Excerpt:** NdaniTV has rolled out the next two episodes of "Skinny Girl in Transit," and this time, there's a noticeable change in direction **Content:** NdaniTV has rolled out the next two episodes of “[Skinny Girl in Transit](https://nollycritic.com/skinny-girl-in-transit-returns-a-triumph-or-a-letdown/ "Skinny Girl in Transit"),” this time, there’s a noticeable change in direction. Previously, Mide and Tiwa were at the heart of the story, but now it seems Mohammed and Shalewa are stepping into the limelight. If you’re okay with spoilers, stick around! (And don’t forget to check out our thoughts on the [first two episodes](https://nollycritic.com/skinny-girl-in-transit-returns-a-triumph-or-a-letdown/ "‘Skinny Girl in Transit’ Returns: A Triumph or a Letdown?") if you haven’t yet.) ### Episode 3 Recap This episode of Skinny Girl in Transit dives right back into the drama, with Shalewa feeling out of place and unwelcome at a family event with Mohammed. His family might not ever accept her, leaving her devastated. Meanwhile, Didi and Tiwa have a heart-to-heart at the spa, confirming our suspicions that Didi isn’t too keen on kids. Mide opens up to Tiwa about a woman he will be working with named Grace, sparking jealousy. The episode closes with Mohammed choosing Shalewa over his family, a decision that ironically leads to their breakup. The highlight? Aunty Dupe reveals that she has a man named Mummy Tiwa. ### Episode 4 Recap Shalewa seeks comfort from Tiwa after her breakup, while Didi moves in with Editi. The breakup’s aftermath takes its toll on Shalewa, leading her to quit her job to avoid Mohammed. Tiwa’s appearance at Mide’s meeting with Grace meant to “mark her territory,” injects a dose of drama. In a lighter moment, a public strip tease by one of Derin’s potential baby fathers adds some humour. Didi comes clean to Editi about not wanting children. ### Acting Chioma Okoli as Wosi does a decent job, but we’re hoping for more growth from her character. The performances of Angel and Prince Unigwe as Ene and Toyo, Editi’s children, are enjoyable, albeit brief. The season also benefits from the addition of seasoned actors like Tony Umez, Tana Adelana, and Kunle Remi. ### Final Thoughts It’s refreshing to see Shalewa’s storyline with Mohammed finding closure, as her constant sadness was a departure from the show’s usual upbeat tone. However, the Tiwa and Mide plot feels underdeveloped. Didi’s storyline, focusing on her reluctance to be around kids, feels inconsistent, especially given her rapport with Editi’s children. The comedic elements, particularly from Wosi and their mother, feel stale this season. ### Verdict These episodes might not win over those who aren’t already fans of “Skinny Girl in Transit.” We’re holding out hope for a change in the coming episodes but for now, these get a 5 out of 10 from us. Agree or disagree? Drop your thoughts below. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/skinny-girl-in-transit-episodes-3-4-a-shift-in-the-spotlight/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/skinny-girl-in-transit-episodes-3-4-a-shift-in-the-spotlight/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/skinny-girl-in-transit-episodes-3-4-a-shift-in-the-spotlight/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/skinny-girl-in-transit-episodes-3-4-a-shift-in-the-spotlight/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/skinny-girl-in-transit-episodes-3-4-a-shift-in-the-spotlight/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews, TV **Tags:** nollycritic, nollywood, Skinny Girl In Transit, skinny girl in transit 7 --- ### [Hotel Labamba: A Murder-Mystery Best Left Unsolved](https://nollycritic.com/hotel-labamba-a-murder-mystery-best-left-unsolved/) **Published:** February 21, 2024 **Author:** Uju Okosieme **Excerpt:** Hotel Labamba is sett against the backdrop of a hotel hosting an eclectic mix of guests, the story thickens when one of them is found dead. **Content:** ## *Hotel Labamba* Directed by: Biodun Stephen Written by: Frances Okeke Genre: Comedy/Murder-Mystery Released on: 28th July, 2023 (Cinema) | February 15, 2024 (Prime Video) Language: English and Yoruba We’ll start by acknowledging our general admiration for Biodun Stephen’s creations, but sadly, “Hotel Labamba” falls short of expectations. This is one piece in her [filmography](https://nollycritic.com/the-best-10-nollywood-films-of-2023/ "filmography") you might want to skip, and we’ll tread lightly around spoilers as we share our thoughts. #### Plot Set against the backdrop of a hotel hosting an eclectic mix of guests, the story thickens when one of them is found dead. The race to uncover the murderer ensues, with the police aiming to solve the case discreetly and swiftly. However, the mystery unravels with little surprise, as the culprit becomes apparent before the climax. #### Acting The characters don’t feel real, they’re either over-the-top or not interesting. Bimbo Ademoye, portraying Detective Zizi, fell short of expectations. Adedimeji Lateef’s portrayal of Big Berry bordered on tedious, and Sir Dee’s role as Halil lacked authenticity. The ensemble failed to stand out, with the comedic efforts feeling all too familiar and lackluster. #### Story The story struggles to maintain interest, with the attempted humour clashing awkwardly against the murder mystery backdrop. The supposed twists failed to deliver any genuine surprise. Moreover, the film’s subplots, which are crucial to a compelling whodunnit, were weak and uninspiring. A seemingly random subplot involving Detective Zizi felt out of place and unnecessary. #### Technical Aspects The film’s bright and lively lighting seemed at odds with its murder mystery genre, aligning more with the typical Nollywood comedy vibe. Without prior knowledge of the film’s intended genre, one might easily mistake it for another comedic ensemble. #### Final Thoughts “Hotel Labamba” had the potential to be a memorable addition to the murder mystery genre but was let down by its execution. A successful whodunnit should captivate and suspensefully lead its audience through the narrative, a feat this film did not achieve. #### Verdict This attempt at a murder mystery was largely disappointing,If you’ve yet to watch it, rest assured, that you’re not missing out. We’re eager to hear your thoughts for those who have seen it. Rating: 1.5/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/hotel-labamba-a-murder-mystery-best-left-unsolved/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/hotel-labamba-a-murder-mystery-best-left-unsolved/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/hotel-labamba-a-murder-mystery-best-left-unsolved/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/hotel-labamba-a-murder-mystery-best-left-unsolved/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/hotel-labamba-a-murder-mystery-best-left-unsolved/?share=linkedin) - **Categories:** Articles, Movies, Nollywood, Popular reviews, Reviews **Tags:** Adedimeji Lateef, Bimbo Ademoye, Biodun Stephen, Hotel Labamba, nollywood, Prime Video --- ### [L.I.F.E: Is This Body-Switch Drama Worth Your Time?](https://nollycritic.com/l-i-f-e-is-this-body-switch-drama-worth-your-time/) **Published:** February 21, 2024 **Author:** Uju Okosieme **Excerpt:** L.I.F.E treads the familiar path of body-switch stories, focusing on the intertwined fates of two women caught in an unexpected life swap. **Content:** ## *L.I.F.E* Directed by: Uyoyou Adia Written by: Judith Audu Genre: Mystery Released on: February 15, 2024 (Prime Video) Language: English Heading into this film, our expectations were high, given the stellar line-up featuring Omowumi Dada and Efe Irele, alongside director Uyoyou Adia who tends to think outside the box. Yet, despite these promising elements, L.I.F.E left us wanting more. #### Plot The film treads the familiar path of body-switch stories, focusing on the intertwined fates of two women caught in an unexpected life swap. Although the body-switch trope isn’t new, it’s rare in Nollywood, presenting a unique opportunity that the film, regrettably, doesn’t fully explore. #### Acting The portrayal of the switch between Omowumi Dada’s Ema and Efe Irele’s Yinka felt lackluster, failing to convince us of a genuine transformation. It appeared as though both actors remained anchored in their original characters post-switch. While Eso Dike appears to rehash his typical roles, Tope Olowoniyan’s portrayal of Kevwe stood out. Despite these criticisms, we acknowledge the effort of the cast within the constraints of the script. #### Story The narrative’s buildup to the body switch felt tediously prolonged, with the actual event arriving too late and resolving too quickly to leave any meaningful impact. The characters’ boring reactions and slow response to their situation were felt disjointed. The fleeting nature of the swap, lacking in depth or significant life lessons, underscored a missed opportunity to delve into the rich emotional potential the genre offers. #### Technical Aspects Visually, L.I.F.E aligns with the polished aesthetic typical of Nollywood productions, though it’s marred by minor yet noticeable lapses in editing, such as a message received by Ema which was addressed to Yinka. #### Final Thoughts While the film aspires to convey a meaningful message about life and contentment, it falls short in execution. The drawn-out anticipation for the body switch and its lackluster enactment left us disengaged, with the film’s climax feeling unearned. Additionally, the integration of dance, intended as a key plot element, failed to impress. #### Verdict There are numerous body-switch movies with a set formula, that this one just failed to use. We’d love to hear your opinions if you’ve seen it. Rating: 2/5 ⭐⭐ Rating: 2 out of 5. https://www.youtube.com/watch?v=eXJqRkduFF0&ab_channel=OfficialJAPTV ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/l-i-f-e-is-this-body-switch-drama-worth-your-time/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/l-i-f-e-is-this-body-switch-drama-worth-your-time/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/l-i-f-e-is-this-body-switch-drama-worth-your-time/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/l-i-f-e-is-this-body-switch-drama-worth-your-time/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/l-i-f-e-is-this-body-switch-drama-worth-your-time/?share=linkedin) - **Categories:** Movies, Nollywood, Popular reviews, Reviews **Tags:** Efe Irele, Eso Dike, L.I.F.E, nollywood, Omowumi Dada, Prime Video, Tope Olowoniyan, Uyoyou Adia --- ### [Skinny Girl In Transit: Why Episodes 5 & 6 Fall Flat](https://nollycritic.com/skinny-girl-in-transit-why-episodes-5-6-fall-flat/) **Published:** March 1, 2024 **Author:** Uju Okosieme **Excerpt:** We dove into the newest episodes of Skinny Girl in Transit, and sadly, our enthusiasm hasn't sparked up. The unfolding of Shalewa's storyline **Content:** We dove into the newest episodes of *Skinny Girl in Transit,* and sadly, our enthusiasm hasn’t sparked up. The unfolding of Shalewa’s storyline leaves much to be desired, and the Mide and Tiwa narrative seems to lurk in the background, much like before. Read on if you don’t care about spoilers. Also, if you missed our previous review, check it out [here](https://nollycritic.com/skinny-girl-in-transit-episodes-3-4-a-shift-in-the-spotlight/ "Skinny Girl In Transit Episodes 3-4: A Shift in the Spotlight"). First-time reader? Be sure to check out other reviewed episodes here. #### Episode 5 Recap This episode starts on a funny note, with Didi and Editi resorting to lies upon an unexpected visit from Editi’s uncle. Derin eyes Dewumi, portrayed by Kunle Remi, as a potential sperm donor. Yet, the episode meanders without a standout moment to cling to. #### Episode 6 Recap The episode begins with Mummy Tiwa’s lackluster attempts at playing cupid for Shalewa and Elijah. Derin’s proposition to Dewumi about becoming her sperm donor takes an unexpected turn. Meanwhile, Shalewa declines Elijah’s offer to hang out, and Aunty Dupe introduces her son, Ayo, to her new partner. Much like the previous episode, nothing stands out. #### Final Thoughts It’s refreshing to see Shalewa stepping out of her gloom, choosing self-reflection over rushing into another romance. However, Editi’s uncle’s interference in his and Didi’s cohabitation feels misplaced, not to mention the fact that the uncle looks about the same age as Editi. #### Verdict *[Skinny Girl in Transit](https://nollycritic.com/skinny-girl-in-transit-returns-a-triumph-or-a-letdown/ "Skinny Girl in Transit")* tries to juggle multiple story arcs, but without a unifying thread, it feels disjointed. The brief runtime of each episode doesn’t allow these narratives the depth they need. Similar to the earlier seasons’ focus on Tiwa and Mide, a central storyline could have lent some much-needed cohesion. Regrettably, we’re rating these episodes a 4 out of 10, we could have done without a new season. Share your thoughts in the comments. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/skinny-girl-in-transit-why-episodes-5-6-fall-flat/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/skinny-girl-in-transit-why-episodes-5-6-fall-flat/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/skinny-girl-in-transit-why-episodes-5-6-fall-flat/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/skinny-girl-in-transit-why-episodes-5-6-fall-flat/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/skinny-girl-in-transit-why-episodes-5-6-fall-flat/?share=linkedin) - **Categories:** Blog, Nollywood, Reviews, TV **Tags:** nollywood, SGIT7, Skinny Girl In Transit, Youtube --- ### [Silence: Navigating the Shadows of Truth and Deception](https://nollycritic.com/silence-navigating-the-shadows-of-truth-and-deception/) **Published:** March 3, 2024 **Author:** Uju Okosieme **Excerpt:** "Silence" landed on our radar with its compelling cast and intriguing premise, necessitating a deep dive. The 2023 film, directed by Yemi Morafa **Content:** ## *Silence* Directed by: Yemi Morafa Written by: Anthony Joseph Genre: Drama Released on: 15th February, 2024 (Prime Video) Language: English *Silence* landed on our radar with its compelling cast and intriguing premise, necessitating a deep dive. The 2023 film, directed by Yemi Morafa and starring Ade Laoye, Tope Tedela, and Efa Iwara, premiered on Prime Video on February 15th. While it took us a moment to get around to it, we’re here now to dissect and discuss. #### Plot *Silence* unfurls the story of Dapo (played by Tope Tedela) and Teni (played by Ade Laoye), a couple whose surface-level bliss masks deeper secrets, and their friend Bode (played by Efa Iwara). The plot thickens with Dapo’s mysterious death following an accident, unveiling layers of hidden truths. The film teases us with glimpses into the couple’s life and their dynamics with Bode, setting a tone reminiscent of “To Freedom” but with its distinct narrative currents. #### Acting The trio of Efa Iwara, Tope Tedela, and Ade Laoye truly stepped up to the plate, with Laoye shining brilliantly as the antagonistic Teni. Stephanie ZIbili, in the role of Ibiye, and Chimamanda Unigwe, portraying Teni and Dapo’s daughter Fadeke, delivered performances that, while decent, didn’t quite leave a lasting impact. #### Story While the plot mirrors elements of *To Freedom*, its intrigue lies not in the storyline’s novelty but in the journey to its climax. The narrative’s strength is in its varied perspectives, especially the contrasting recollections between Teni and Bode, offering a nuanced look into the characters’ dynamics. The film’s exploration of narrative reliability and memory bias adds layers to its storytelling. #### Technical Aspects The film’s cinematography effectively mirrors its thematic essence, although it wasn’t without flaws. Notably, there were moments where the sound editing faltered, detracting from the overall experience with sync issues and audio repeats in certain scenes. #### Final Thoughts *Silence* is the kind of film that engages its audience, prompting us to piece together the puzzle as the story unfolds. Although Teni’s reveal as the abuser didn’t come as a shock, given the narrative’s direction, the portrayal of her abusive behaviour as a consequence of her upbringing underpins problematic stereotypes about gender and violence. #### Verdict *Silence* offers a compelling look at complex societal themes, making for an engaging watch. However, viewers sensitive to its darker themes might approach it with caution. Have you watched it? We’re eager to hear your views. Rating: 3/5 ⭐⭐⭐ Rating: 3 out of 5. https://www.instagram.com/iamefaiwara/reel/C3XDfhvNX2W/ ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/silence-navigating-the-shadows-of-truth-and-deception/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/silence-navigating-the-shadows-of-truth-and-deception/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/silence-navigating-the-shadows-of-truth-and-deception/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/silence-navigating-the-shadows-of-truth-and-deception/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/silence-navigating-the-shadows-of-truth-and-deception/?share=linkedin) - **Categories:** Movies, Nollywood, Reviews **Tags:** Ade Laoye, Drama, efa Iwara, Movie Review, nollywood, Prime Video, Silence, Tope Tedela --- ### [A Green Fever: A Thriller That Almost Had It All](https://nollycritic.com/a-green-fever-a-thriller-that-almost-had-it-all/) **Published:** March 3, 2024 **Author:** Uju Okosieme **Excerpt:** We couldn't resist watching A Green Fever after seeing a couple of good reviews, we just had to form our own opinions and fill you in. **Content:** ## *A Green Fever* Directed by: Taiwo Egunjpbi Written by: Isaac Ayodeji Genre: Thriller Released on: 28th February, 2024 (Prime Video) Language: English We couldn’t resist watching [*A Green Fever* ](https://nollycritic.com/the-most-anticipated-nollywood-movies-of-2024/ "A Green Fever ")after seeing a couple of good reviews, we just had to form our own opinions and fill you in. This 2023 film, brought to life under the direction of Taiwo Egunjobi and birthed by BB Sasore’s Nemsia Films, landed on Prime Video on February 26th, promising a blend of intrigue and stellar performances. #### Plot *A Green Fever* spins a tale of a man and his daughter taking shelter in a military officer’s residence, under the guise of seeking help for her illness. But as the story unfolds, the layers of deceit peel away, revealing that nobody is as they appear, and secrets lurk in every corner. #### Acting The cast truly shines here. Temilolu Fosudo, embodying Kunmi, nails the role with a compelling display of unease. William Benson, as Colonel Bashiru, fits his role like a glove, adding depth to the narrative. Chukwu Martin, though silent, delivers a powerful performance as Chinaza. Young Darasimi Nadi does a good job as Kunmi’s daughter, while Ruby Okezie as Matilda captures the innocence and naivety of her character perfectly. #### Story The plot grips you, with a tension that builds steadily rather than overwhelming you at the climax—a common pitfall in many Nollywood productions. Yet, this balanced pacing might be its Achilles’ heel, as the ending leaves us wanting more, feeling somewhat unresolved. #### Technical Aspects Visually, the film strikes the right chord. The lighting and tone create an atmosphere brimming with mystery, while the set pieces transport us back to the ’80s, enhancing the film’s overall ambiance. #### Final Thoughts “A Green Fever” keeps you guessing, pondering the true motives behind Kunmi’s arrival and the reality of his daughter’s illness. The revelation, though surprising, left us yearning for a more elaborate conclusion. #### Verdict While the film concludes on an open-ended note, a bit more closure would have been satisfying. It’s a must-watch for those who appreciate Nollywood’s evolving storytelling prowess. Have you seen it? Do you share our sentiments? We’d love to hear your thoughts. Rating: 3.5/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-green-fever-a-thriller-that-almost-had-it-all/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-green-fever-a-thriller-that-almost-had-it-all/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-green-fever-a-thriller-that-almost-had-it-all/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-green-fever-a-thriller-that-almost-had-it-all/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-green-fever-a-thriller-that-almost-had-it-all/?share=linkedin) - **Categories:** Movies, Nollywood, Popular reviews, Reviews **Tags:** A Green Fever, nollywood, Prime Video, Reviews, Taiwo Egunjobi, Thriller, William Benson --- ### [Iwájú: A Vibrant Journey Through A Lagos of Tomorrow](https://nollycritic.com/iwaju-a-vibrant-journey-through-a-lagos-of-tomorrow/) **Published:** March 4, 2024 **Author:** Uju Okosieme **Excerpt:** The much-anticipated collaboration between Walt Disney Animation Studios and Kugali, "Iwájú," has made its debut and we're here to share our thoughts on this groundbreaking series. **Content:** ## *Iwájú* Directed by: Ziki Nelson Written by: Halima Hudson, Fikayo Adeola Genre: Sci-Fi, Drama, Adventure Released on: 28th February, 2024 (Disney+) Language: English The much-anticipated collaboration between Walt Disney Animation Studios and Kugali, “Iwájú,” has made its debut, and we’re here to share our thoughts on this groundbreaking series. #### Plot The plot revolves around Tola, a privileged young girl, and Kole, a genius in technology from a contrasting socio-economic background. Their journey through a technologically advanced Lagos unveils a series of secrets and dangers, threading a story that’s as much about friendship as it is about societal divides. #### Acting The series is brought to life by an impressive roster of talent, including Dayo Okeniyi (Tunde), Ireti Doyle (Mrs Usman), Weruche Opia (Otin), Bisola Aiyeola (Happiness), Shaffy Bello (Madame), Kehinde Bankole (Mama Kole) and Femi Branch (Bode). The voice acting is notable for its subtlety; big names do not overshadow the narrative but enhance it, allowing the animation to shine. Simisola Gbadamosi, as Tola, and Siji Soetan, as Kole, deliver performances that are both authentic and engaging, capturing the essence of their characters with every line. #### Story What we particularly admired was the story’s rootedness in a futuristic Lagos that didn’t stray too far from reality. Initially, the inclusion of everyday Lagos challenges—traffic, hawkers, and power outages—in a futuristic setting seemed jarring. Yet, this decision ultimately grounded the narrative, making it relatable to its Nigerian audience. The divide between the island and the mainland serves as a critical plot element, and while it isn’t something we think should be promoted it’s not far-fetched. #### Technical Aspects The animation stands out for its vibrant use of colour and meticulous attention to detail, capturing the spirit of Lagos in a way that’s both imaginative and true to life. The characters look orignal, and the overall quality of the animation is also impressive as expected from a “Disney” production. #### Final Thoughts “Iwájú” offers a delightful viewing experience, presenting a story with universal appeal in a unique setting. While it may not leave a lasting impact, its charm and lightheartedness make it a worthy watch. #### Verdict “Iwájú” is straightforward in its storytelling, avoiding unnecessary complexity in favour of a clear, impactful narrative. It’s a significant step forward for representation in animation, and we’re excited to see what future collaborations will bring. Rating: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/iwaju-a-vibrant-journey-through-a-lagos-of-tomorrow/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/iwaju-a-vibrant-journey-through-a-lagos-of-tomorrow/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/iwaju-a-vibrant-journey-through-a-lagos-of-tomorrow/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/iwaju-a-vibrant-journey-through-a-lagos-of-tomorrow/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/iwaju-a-vibrant-journey-through-a-lagos-of-tomorrow/?share=linkedin) - **Categories:** Nollywood, Popular reviews, Reviews, TV **Tags:** Dayo Okeniyi, Disney, Disney+, Femi Branch, Ireti Doyle, Iwaju, Kugali, Reviews --- ### [Skinny Girl in Transit: Episodes 7 and 8 Disappoint](https://nollycritic.com/skinny-girl-in-transit-episodes-7-and-8-disappoint/) **Published:** March 16, 2024 **Author:** Uju Okosieme **Excerpt:** We've reached episodes 7 and 8 in "Skinny Girl in Transit" Season 7, and our excitement has dimmed. We hoped for a turnaround **Content:** We’ve reached episodes 7 and 8 in “[Skinny Girl in Transit](https://nollycritic.com/skinny-girl-in-transit-returns-a-triumph-or-a-letdown/ "Skinny Girl in Transit")” Season 7, and our excitement has dimmed. We hoped for a turnaround, but we’re throwing in the towel now. Spoiler alert for those who’d rather watch first – you should stop here. #### Episode 7 Recap Dewunmi accepts Derin’s proposal, with conditions, while Mide and Tiwa consider the idea of moving. This episode takes us into Aunty Dupe’s living room, where the introduction of Charles (Tony Umez) and his daughter, Jess, complicates her relationship with her son, Ayo. Elsewhere, Derin and Dewunmi’s trip to a shooting range and the ongoing development of Shalewa and Elijah’s relationship unfold. However, the standout moment was Jess’s cutting comeback to Ayo’s prying. #### Episode 8 Recap The episode begins with Didi attempting to patch things up with Ene, alongside Elijah’s sweet gesture to Shalewa. Meanwhile, Charles’s unsuccessful efforts to connect with Ayo lead to the end of his romance with Aunty Dupe. The standout moment for us comes when Derin faces the truth about not being prepared for motherhood, underscored by her challenges in looking after her nephew, Tide. #### Final Thoughts This season’s depiction of Wosi leaves much to be desired; her storyline seems scattered, and her behaviour is puzzling. Also, something about the interaction between Shalewa and Elijah doesn’t feel genuine—whether it’s due to the acting or the characters themselves is hard to pinpoint. #### Verdict As the season edges closer to its conclusion without significant narrative progress or memorable moments, it’s challenging to remain invested. The latest episodes fail to recapture the original charm and humour that defined “Skinny Girl in Transit,” resulting in a viewing experience that feels both rushed and lackluster. Unfortunately, we’re giving these episodes a 4 out of 10. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/skinny-girl-in-transit-episodes-7-and-8-disappoint/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/skinny-girl-in-transit-episodes-7-and-8-disappoint/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/skinny-girl-in-transit-episodes-7-and-8-disappoint/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/skinny-girl-in-transit-episodes-7-and-8-disappoint/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/skinny-girl-in-transit-episodes-7-and-8-disappoint/?share=linkedin) - **Categories:** Blog, Nollywood, Reviews, TV **Tags:** NdaniTV, nollywood, Reviews, SGIT7, Skinny Girl In Transit, Youtube --- ### [Japa!: An Interesting Genre Exploration For Nollywood](https://nollycritic.com/japa-an-interesting-genre-exploration-for-nollywood/) **Published:** March 18, 2024 **Author:** Uju Okosieme **Excerpt:** We recently crossed 'Japa!' off our watchlist, and Isioma Osaje's first venture into directing, and boy, do we have some insights for you! **Content:** ## Japa! Directed by: Isioma Osaje Written by: Naz Onuzo Genre: Comedy, Sci-Fi, Drama Released on: March 8, 2024 (Prime Video) Language: English and Igbo We’ve recently crossed ‘Japa!’ off our watchlist, the latest offering from Inkblot and I[sioma Osaje](https://nollycritic.com/isioma-osajes-japa-set-to-premiere-on-prime-video/ "sioma Osaje")‘s first venture into directing, and boy, do we have some insights for you! This 2024 flick landed on Prime Video on March 8th, and we couldn’t wait to jump in. #### Plot The story follows Mezu, who discovers he’s caught in a bewildering time loop in Nigeria on the day he’s supposed to leave. His colleague, Kamsi, finds herself trapped in the same loop. This premise intrigued us—how would they navigate such a complex narrative? To our surprise, the filmmakers structured the plot impressively; they skillfully transformed what could have been convoluted chaos into something clear and coherent through thoughtful storytelling. Our main issue with the plot lies in the unclear reasoning behind choosing Kamsi to “restore the order of things,”, especially since Zino, who seemingly stood at the heart of the overarching problem, barely contributed to the narrative. #### Acting Jidekene Achufusi and Adesua Etomi-Wellington were great as Mezu and Kamsi. Blossom Chukwujekwu gave us a good Tobe, Seun Ajayi’s Sola might not stick in your memory, and it felt like Layi Wasabi’s Wasiu was just there for laughs. Mofe Duncan as Zino, however, seemed a tad underexplored, a missed opportunity given his significant role. Nonetheless, we loved the chemistry between Mezu and Kamsi. #### Story At its core, the time loop disrupts Mezu’s emigration plans, weaving a narrative that challenges the allure of greener pastures abroad with a call to cherish home. The film cleverly intertwines a modern story with the richness of Igbo culture. However, Mezu’s overly hectic pre-departure schedule did raise eyebrows, straying from typical Nigerian last-day rituals. We’re also still wondering why he would collect 1.2 million naira in cash on his car sale. #### Technical Aspects The film’s vibrant colour palette breathes life into the plot. No technical errors particularly stood out for us. #### Final Thoughts Originality shines through in ‘Japa!’, marrying humour with a breezy narrative. While there’s room for tightening up the acting and story, the film is an enjoyable ride. It steers clear of heavy drama but promises a genuinely good time. #### Verdict Despite the film receiving a lukewarm reception from many, we found ourselves thoroughly entertained and resonating with its portrayal of the Nigerian pursuit of a better life abroad. Therefore, we’re assigning it a 3 out of 5 rating. We’re eager to hear your views if you have any to share. Rating:3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/japa-an-interesting-genre-exploration-for-nollywood/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/japa-an-interesting-genre-exploration-for-nollywood/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/japa-an-interesting-genre-exploration-for-nollywood/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/japa-an-interesting-genre-exploration-for-nollywood/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/japa-an-interesting-genre-exploration-for-nollywood/?share=linkedin) - **Categories:** Articles, Movies, Nollywood, Popular reviews, Reviews **Tags:** Adesua Etomi-Wellington, Blossom Chukwujekwu, inkblot, Japa, Japa!, Jidekene Achufusi, Prime Video, Reviews --- ### [Small Talk: A Nollywood Comedy That Sticks to the Script](https://nollycritic.com/small-talk-a-nollywood-comedy-that-sticks-to-the-script/) **Published:** March 18, 2024 **Author:** Uju Okosieme **Excerpt:** We watched Biodun Stephen's 'Small Talk' so you don't have to. Read on to find out what we think about the film. **Content:** ## ‘Small Talk’ Directed by: Biodun Stephen Written by: Biodun Stephen Genre: Comedy Released on: March 1, 2024 (Prime Video) Language: English We watched Biodun Stephen’s ‘Small Talk’ so you don’t have to. Read on to find out what we think about the film. #### Plot ‘Small Talk,’ directed by Biodun Stephen, dives into the lives of Baba Dee, his boss, and his boss’s wife following a robbery that sets off a series of comedic yet convoluted events. The film endeavours to weave humour into its storyline, steering clear of the darker themes typical of mysteries. With a cast predominantly of Nigerian skit-makers, it attempts to draw laughs while unfolding its plot, albeit with mixed results. #### Acting The casting predominantly features Nigerian skit-makers, which sets a distinct tone for the film. Unfortunately, Lasisi Elenu’s portrayal of Officer Okoh Emma misses the mark, lacking the subtlety needed for the role. Mr. Macaroni’s interpretation of Baba Dee delivers surprisingly well, considering the exaggerated nature of his character. Moet Abebe’s performance as Eneh, paired with Taye Arimoro’s Seyi, needs more chemistry to make their interactions believable and engaging. A notable issue is the actors’ adoption of accents not native to them, intended to add a layer of humour; however, this attempt falls flat, coming across as more irksome than amusing. #### Story The narrative holds promise, weaving an interesting story that could have benefited from stronger performances. This is another Biodun Stephen attempt at marrying comedy with mystery. While it’s not a murder mystery like [Hotel Labamba](https://nollycritic.com/hotel-labamba-a-murder-mystery-best-left-unsolved/ "“Hotel Labamba”: A Murder-Mystery Best Left Unsolved"), the combination still struggles to find its footing, with the comedic elements often undermining the suspense integral to a mystery narrative. #### Final Thoughts ‘Small Talk’ attempts a challenging fusion of comedy and mystery with a cast known more for their skit-making than cinematic roles. The outcome is a film that feels basic and underwhelming, marred by performances that don’t quite hit the mark and comedic attempts that detract from the plot’s intrigue. #### Verdict Despite its shortcomings, *Small Talk* does convey a meaningful message, hinting at the potential that could have been realized with a more cohesive blend of story and performance. We’re giving it a 1.5 out of 5. This is Biodun Stephen’s poorest movie. You can stream the movie on Prime Video. Rating: 1.5/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/small-talk-a-nollywood-comedy-that-sticks-to-the-script/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/small-talk-a-nollywood-comedy-that-sticks-to-the-script/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/small-talk-a-nollywood-comedy-that-sticks-to-the-script/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/small-talk-a-nollywood-comedy-that-sticks-to-the-script/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/small-talk-a-nollywood-comedy-that-sticks-to-the-script/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Biodun Stephen, Lasisi Elenu, Mr Macaroni, Prime Video, Small Talk --- ### [The Two Aishas: A Saga of Friendship and Forgiveness](https://nollycritic.com/the-two-aishas-a-saga-of-friendship-and-forgiveness/) **Published:** March 18, 2024 **Author:** Uju Okosieme **Excerpt:** The Two Aishas’ ventures into the turbulent waters of political intrigue and personal vendettas in Northern Nigeria, presenting a story of friendshi and betrayal. **Content:** ## ‘The Two Aishas’ Directed by: Shareefah Abiola-Andu Written by: Biodun Stephen Genre: Drama Released on: March 1, 2024 (Prime Video) Language: English and Hausa ‘The Two Aishas’ ventures into the turbulent waters of political intrigue and personal vendettas in Northern Nigeria, presenting a story of friendship, betrayal, and the quest for reconciliation against a backdrop of political rivalry. While the film aims to weave a complex narrative around these themes, it encounters significant setbacks that detract from its potential impact. ##### Plot The plot revolves around Aisha Yusuf, who finds herself embroiled in a political and personal crisis following a bitter fallout with her best friend. A rift erupts when Aisha’s husband unexpectedly secures the gubernatorial ticket over her friend’s husband, catapulting the story into a narrative about repairing shattered bonds and navigating the treacherous terrain of political ambition. ##### Acting Regrettably, the cast struggles to meet the anticipated mark, rendering a series of performances that lack the necessary vigour and depth. Despite the presence of notable talents such as Rahama Sadau and Maryam Booth, who take on the roles of Aisha Jibril and Aisha Yusuf respectively, alongside Paul Utomi and Akeem Ogara, the overall acting fails to resonate. Particularly, Shushu Abubakar’s portrayal of their friend Halima falls significantly short, failing to capture the essence and complexity expected of her character. This pervasive shortfall in dynamic performances detracts from the film’s ability to effectively convey its thematic intentions and fully engage its audience on the intended emotional journey. ##### Story ‘The Two Aisha’s’ harbours a strong message, touching on themes of forgiveness, unity, and the destructive nature of the political rivalry. Yet, how the film presents its narrative and themes is flawed. The storyline suffers from predictability and lacklustre revelations, such as the anticlimactic disclosure of Aisha’s “fake fall” and the unconvincing manner in which Ibrahim’s innocence concerning the tax scandal is revealed. These elements contribute to a sense of dissatisfaction with the film’s attempt to surprise or engage the viewer meaningfully. ##### Final Thoughts Despite its ambitions to offer a poignant look at the complexities of friendship and politics, ‘The Two Aishas’ struggles to deliver a compelling or polished cinematic experience. The film’s execution does not do justice to the potentially rich narrative it seeks to explore, resulting in a viewing experience that feels both underdeveloped and uninspired. ##### Verdict Given the shortcomings in acting, storytelling, and overall impact, ‘The Two Aishas’ earns 2 out of 5 stars. While the premise suggests a meaningful exploration of personal and political dynamics, the film fails to capitalize on its thematic potential, leaving much to be desired in both execution and resonance. The movie is available to stream on Prime Video. Rating: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-two-aishas-a-saga-of-friendship-and-forgiveness/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-two-aishas-a-saga-of-friendship-and-forgiveness/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-two-aishas-a-saga-of-friendship-and-forgiveness/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-two-aishas-a-saga-of-friendship-and-forgiveness/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-two-aishas-a-saga-of-friendship-and-forgiveness/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** nollywood, Prime Video, Rahama Sadau, Reviews, Shareefah Abiola-Andu, The Two Aishas --- ### [It Blooms in June: A Poignant Journey of Growth and Awakening](https://nollycritic.com/it-blooms-in-june-a-poignant-journey-of-growth-and-awakening/) **Published:** March 19, 2024 **Author:** Uju Okosieme **Excerpt:** Kayode Azeez's It Blooms in June might just be one of the most underrated movies of 2024. It Blooms in June is produced by Dotun Olakunri  **Content:** ## ‘It Blooms in June’ Directed by: Kayode ASzeez Written by: Gabriel Odigiri Genre: Drama Released on: February 23, 2024 (Prime Video) Language: English Kayode Azeez’s *It Blooms in June* might just be one of the most underrated movies of 2024. *It Blooms in June* is produced by Dotun Olakunri and Steve Gukas the founders of the First Features project. The project is an initiative to nurture and empower a new generation of visionary film directors by providing them with adequate training and funding for their first[ feature films](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-march/ " feature films"). ##### Plot At the heart of ‘It Blooms in June’ lies a poignant story that many will find relatable. The film intricately explores the relationship between Lanre (Femi Jacobs) and his daughter, Mira (Susan Pwajok), as they grapple with loss and the ensuing growth that reshapes their lives. Set against their voluntary isolation, the narrative delves into themes of familial bonds and the rites of passage into adulthood, making it a universal tale of love, loss, and coming of age. ##### Acting Susan Pwajok’s transition from her role in *The Johnsons* to Mira was one we eagerly anticipated. However, her portrayal felt too reminiscent of her television persona, lacking the departure we had hoped for. The dynamic between Mira and Ebisinde (Kem Ajieh Ikechukwu) struggled to convey the authenticity of first love, which was disappointing. Conversely, Femi Jacobs and Kiki Omeili delivered exceptional performances as Lanre and Joanna, offering a more compelling and watchable chemistry than that of the younger couple. The depiction of the father-daughter relationship between Lanre and Mira was a highlight, beautifully capturing their deep bond. ##### Story The film’s narrative is heartwarming and straightforward, with its fair share of predictability, save for a surprising twist when Mira’s escape from her sheltered life leads to unexpected danger. This moment, initially jarring, ultimately serves to weave the story’s threads into a cohesive resolution. ##### Technical Aspects The visual presentation of ‘It Blooms in June’ is stunning, with a careful selection of locations and a keen eye for detail, notably in the expression of Mira’s character through her personal spaces and the creative use of a teddy bear to mirror her emotions. However, the film’s subtitles, particularly the Yoruba translations, were a consistent source of frustration. ##### Final Thoughts The decision of the parents to abandon their emerging relationship in favour of their children’s storyline felt uninspired and detracted from the narrative’s depth, especially given the lacklustre connection between the young lovers. ##### Verdict ‘It Blooms in June’ presents a beautiful, if familiar, story executed with considerable care and attention to detail, earning it a solid 3 out of 5 stars. We’d love to hear your thoughts if you’ve also watched the film. Rating: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/it-blooms-in-june-a-poignant-journey-of-growth-and-awakening/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/it-blooms-in-june-a-poignant-journey-of-growth-and-awakening/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/it-blooms-in-june-a-poignant-journey-of-growth-and-awakening/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/it-blooms-in-june-a-poignant-journey-of-growth-and-awakening/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/it-blooms-in-june-a-poignant-journey-of-growth-and-awakening/?share=linkedin) - **Categories:** Articles, Blog, Movies, Reviews **Tags:** Blog, Femi Jacobs, It Blooms in June, Kiki Omeili, movies, Prime Video, Reviews, Susan Pwajok --- ### [Dead Serious: It's Not The Comedic Love Story You Expected](https://nollycritic.com/dead-serious-its-not-the-comedic-love-story-you-expected/) **Published:** March 28, 2024 **Author:** Uju Okosieme **Excerpt:** After catching up on Moses Inwang's latest film, 'Dead Serious', now available on Showmax, we couldn't resist sharing our take. Shall we? **Content:** ## “Dead Serious” Directed by: Moses Inwang Produced by: David Rukeme Genre: Comedy/Drama Released on: 14 February 2024 (Showmax) Language: English After catching up on Moses Inwang’s latest film, ‘Dead Serious’, now available on Showmax, we couldn’t resist sharing our take. Shall we? ##### Plot What initially drew us to “Dead Serious” was the intriguing casting choice of Sharon Ooja and Emmanuel ‘Sabinus’ Ejekwu as love interests. Expecting a lighthearted romantic comedy, we were eager to see how their dynamic would unfold on screen. However, what we got was far from what we anticipated. The loss of a beloved character spiraled into a dark exploration of suicide, a theme that the movie handled with a disappointing lack of sensitivity. ##### Acting Sharon Ooja’s portrayal of Amara in “Dead Serious” left us conflicted. While it was refreshing to see her in a different role, her chemistry with Emmanuel ‘Sabinus’ Ejekwu’s Johnny felt forced and unconvincing. This lack of authenticity detracted from our engagement with their characters, making it impossible to invest emotionally in their journey. Deyemi Okanlawon’s performance as Deremi remains consistent with his previous roles, lacking depth and originality. In contrast, Nkem Owoh delivers a great performance as always but it didn’t add much to the film. Notably, popular online skit makers, Emmanuel ‘Sabinus’ Ejekwu (Johnny), Toyin ‘Tomama’ Albert (Vero), and Michael ‘Nasboi’ Bolaji (Pato), who played significant roles, avoid the trap of simply reprising their familiar online personas. ##### Story One aspect of the story that particularly troubled us was the handling of suicide. What began as a quirky exploration of love and loss took a dark turn, delving into themes of self-harm without the necessary sensitivity or nuance. The abrupt shift left us feeling unsettled and questioning the film’s intentions. ##### Technical Aspects While ‘Dead Serious’ had moments of humour and drama, glaring technical shortcomings detracted from the overall viewing experience. One notable flaw was the portrayal of scenes where Johnny’s character attempted to end his life by jumping from bridges and buildings. Unfortunately, these sequences appeared amateurishly executed and blatantly fake, failing to suspend disbelief and pulling us out of the narrative. Additionally, the car crash scene lacked authenticity and failed to deliver the impact it intended, further diminishing the film’s credibility. Such lapses in visual realism undermined the film’s attempts to convey the gravity of its subject matter, contributing to our disappointment with its overall execution. ##### Final Thoughts In conclusion, ‘Dead Serious’ failed to live up to its potential, delivering a disjointed and unsatisfying viewing experience. The lack of chemistry between the lead characters, coupled with the mishandling of sensitive themes, left us feeling disappointed and disconnected from the story. While the comedic performances added some fun to the film, they were not enough to salvage its flaws. Ultimately, ‘Dead Serious’ missed the mark, leaving us questioning its direction and impact. ##### Verdict From its disjointed plot to its mishandling of sensitive themes, the film left us feeling underwhelmed and dissatisfied. While it had moments of humour and charm, they were overshadowed by its deeper flaws. Ultimately, we have to give this a 1 out of 5. If you have seen the film, we’d love to hear your thoughts. **Rating**: 1/5 ⭐ Rating: 1 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/dead-serious-its-not-the-comedic-love-story-you-expected/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/dead-serious-its-not-the-comedic-love-story-you-expected/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/dead-serious-its-not-the-comedic-love-story-you-expected/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/dead-serious-its-not-the-comedic-love-story-you-expected/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/dead-serious-its-not-the-comedic-love-story-you-expected/?share=linkedin) - **Categories:** Articles, Movies, Popular reviews, Reviews **Tags:** Dead Serious, Deyemi Okanlawon, Moses Inwang, Nkem Owoh, nollywood, Reviews, Sabinus, Sharon Ooja, Showmax --- ### [The Kuju's Again: A Sequel We Never Saw Coming](https://nollycritic.com/the-kujus-again-a-sequel-we-never-saw-coming/) **Published:** March 29, 2024 **Author:** Uju Okosieme **Excerpt:** We'll be honest, we never anticipated another installment in The Kuju’s saga. While the first film was enjoyable, it didn't necessarily scream "sequel-worthy. **Content:** ## *The Kuju’s Again* Directed by: Biodun Stephen Written by: Mannie Oiseomaye Genre: Drama Released on: November 27, 2023 (Cinemas) Language: English We’ll be honest, we never anticipated another installment in The Kuju’s saga. While the first film was enjoyable, it didn’t necessarily scream “sequel-worthy.” But alas, [Nollywood](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-march/ "Nollywood") loves its sequels, so here we are reviewing another Biodun Stephen film. ##### Plot The Kuju clan convenes at a hotel resort to celebrate the traditional wedding of Mauyon (Kunle Remi) and Lily (Sophie Alakija). However, what begins as a joyous occasion quickly spirals into chaos when simmering tensions collide with unforeseen events, including the disappearance of both money and individuals. The movie starts with the family celebrating Mauti (Femi Jacobs) and Pamela’s (Mimi Onalaja) daughter’s birthday and Mauyon announcing his engagement to Lily. Predictably, this announcement triggers arguments and eventually leads to a blow-up from Maupe (Ronke Odusanya), which, while unexpected, isn’t entirely surprising given the Kuju family’s penchant for drama. From there, Mauyon and Lily enlist the family’s help to plan their big day. ##### Acting The approach of the actors in this sequel differs from the first movie. While there’s some improvement in acting and character interpretation, overall, there’s nothing remarkable about their performances. Don Jazzy’s debut in a feature film leaves much to be desired, with his performance feeling more like a portrayal of himself rather than a fully fleshed-out character. ##### Story While each character had their storyline, contributing to the overall narrative without overcrowding it, there remained room for improvement in terms of storytelling. The decision to introduce ambiguity in the gambling subplot and the missing money, which drove much of the conflict, felt lacking in clarity. By the time these elements were revealed, they failed to evoke the intended shock, rendering the ambiguity somewhat ineffective. Despite evident growth from the previous film, it was disappointing to see Timini Egbuson’s character, Maugbe, repeating the same mistakes. One would expect a bit more character development in this regard. ##### Technical Aspects While the cinematography impresses with captivating visuals, the film suffers from poor lighting in some scenes, detracting from its overall impact. Furthermore, continuity issues, such as Lily’s flawless makeup immediately after a bath, appear out of place and undermine the realism of certain sequences. Additionally, occasional inconsistencies in the dialogue were observed, further detracting from the viewing experience. ##### Final Thoughts Bisola Aiyeola’s depiction of Mausi consistently exudes anger without clear justification, leaving viewers puzzled. Similarly, Don Jazzy’s character’s sudden display of generosity towards the Kuju family, motivated by his interest in Mausi, feels contrived, especially considering his role in their financial troubles. While some jokes land effectively, others come off as forced, contributing to the film’s problem of excessive filler scenes that remain unresolved. ##### Verdict Ultimately, The Kuju’s Again offers little beyond generic sequel fare. While it’s marginally better than most sequels, it fails to deliver anything remarkable. If you need mindless entertainment, it’s worth a watch, but don’t expect anything groundbreaking. Currently streaming on Prime Video, this sequel earns a 2 out of 5. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-kujus-again-a-sequel-we-never-saw-coming/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-kujus-again-a-sequel-we-never-saw-coming/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-kujus-again-a-sequel-we-never-saw-coming/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-kujus-again-a-sequel-we-never-saw-coming/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-kujus-again-a-sequel-we-never-saw-coming/?share=linkedin) - **Categories:** Articles, Blog, Movies, Reviews **Tags:** Bimbo Ademoye, Biodun Stephen, Bisola Aiyeola, Femi Jacobs, Mimi Onalaja, Prime Video, Ronke Odusanya, Sophie Alakija, the kujus again, Timini Egbuson --- ### [Skinny Girl In Transit Concludes With A Disheartening Finale](https://nollycritic.com/skinny-girl-in-transit-concludes-with-a-disheartening-finale/) **Published:** March 29, 2024 **Author:** Uju Okosieme **Excerpt:** The curtains have fallen on Season 7 of Skinny Girl in Transit ten episodes later, we can't help but feel a tinge of disappointment. **Content:** The curtains have fallen on Season 7 of [Skinny Girl in Transit](https://nollycritic.com/skinny-girl-in-transit-episodes-7-and-8-disappoint/ "Skinny Girl in Transit") ten episodes later. Having tuned in faithfully, we can’t help but feel a tinge of disappointment. Whether the show’s quality took a nosedive, or we outgrew it, remains uncertain. Nonetheless, let’s delve into our observations. #### **Episode 9 Recap** In this episode, Didi, Shalewa, Derin, and Tiwa gather for a girls’ night, a setup reminiscent of *The Men’s Club*, where key story points are revealed as the ladies share personal updates. Derin reveals her change of heart about single motherhood, leading to a rift with Dewunmi. Shalewa recounts Elijah’s attempted kiss amid his possible departure from Lagos. Didi also discusses her clashes with Editi over parenthood and her fallout with Ene. However, the episode lacks progression, with no significant story advancements. #### **Episode 10 Recap** The episode unfolds with Didi leaving Editi, sparking confrontations and reconciliations. Meanwhile, Tiwa and Mide contemplate relocation while dealing with a medical emergency involving Tide. Aunty Dupe and Charles reconcile thanks to Ayo’s intervention. Shalewa makes her move with Elijah, while Editi attempts to win Didi back. However, the storyline takes an unexpected turn as Mide engages in infidelity. #### **Final Thoughts** The comedic moments featuring Mummy Tiwa and Woli consistently fail to land, while even emotionally charged scenes such as Tide’s hospitalization lack impact. The sudden narrative turn with Mide’s infidelity feels jarring after seven seasons of character development; while infidelity is not uncommon in Nigerian narratives, the introduction of Grace feels like a lazy writing choice. Nonetheless, amidst the mediocrity, Didi and Editi’s storyline shines. #### Verdict Disappointingly, the season of “Skinny Girl in Transit” fails to deliver the anticipated intrigue, concluding on a lackluster note. Despite attempts to evoke anticipation with Mide’s betrayal, it feels forced and unsatisfying. With a rating of 2 out of 5, it’s evident that the series may have overstayed its welcome, leaving us questioning if it should have ended sooner, perhaps with season 6. Rating: 2/5 ⭐⭐ Rating: 2 out of 5. > [Skinny Girl in Transit Returns: A Triumph or a Letdown?](https://nollycritic.com/skinny-girl-in-transit-returns-a-triumph-or-a-letdown/) ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/skinny-girl-in-transit-concludes-with-a-disheartening-finale/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/skinny-girl-in-transit-concludes-with-a-disheartening-finale/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/skinny-girl-in-transit-concludes-with-a-disheartening-finale/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/skinny-girl-in-transit-concludes-with-a-disheartening-finale/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/skinny-girl-in-transit-concludes-with-a-disheartening-finale/?share=linkedin) - **Categories:** Articles, Blog, Popular reviews, Reviews, TV **Tags:** NdaniTV, nollywood, Reviews, SGIT, SGIT7, Skinny Girl In Transit --- ### [Afamefuna Shines A Spotlight On The Igbo Apprenticeship Culture](https://nollycritic.com/afamefuna-shines-a-spotlight-on-the-igbo-apprenticeship-culture/) **Published:** March 31, 2024 **Author:** Uju Okosieme **Excerpt:** After hearing rave reviews during its cinema run last year, we eagerly anticipated watching 'Afamefuna', hoping to join the chorus. **Content:** After hearing rave reviews during its cinema run last year, we eagerly anticipated watching ‘Afamefuna’, hoping to join the chorus of Nigerians who deeply admired it. Our expectations were high and they did not disappoint. Let’s get into our review. ‘Afamefuna’ is now streaming on Netflix. ## *Afamefuna*: An Nwa Boi Story Directed by: Kayode Kasum Written by: Anyanwu Sandra Adaora Genre: Drama Released on: November 26, 2023 (Cinema), March 29, 2024 (Netflix) Language: Ibo and English ##### Plot ‘[Afamefuna](https://nollycritic.com/see-the-nominees-for-the-10th-edition-of-the-amvca/ "Afamefuna")‘ delves into the intricate world of the Igbo apprenticeship system, intertwining a tale of mystery and cultural exploration. Following the mysterious death of a friend, a prominent figure finds himself entangled in a web of complex histories, prompting a compelling interrogation by the authorities. ##### Acting The film boasts a stellar ensemble cast, with Segun Arinze and Stan Nze delivering standout performances as CSP Gidado and Afam, respectively. Kanayo O Kanayo’s portrayal of Odogwu is a perfect fit, while Alex Ekubo shines as Paul. However, Atlanta Bridget Johnson’s portrayal of Amaka falls short of leaving a lasting impression, lacking the depth seen in other characters. It’s refreshing to witness the emergence of new talents, with the actors portraying their younger selves matching each actor perfectly. ##### Story ‘Afamefuna’ presents an authentic Nigerian narrative, rooted in the rich traditions of Igbo culture. The story’s simplicity allows for easy immersion, offering audiences a relatable and engaging experience. It’s a commendable move towards preserving and celebrating indigenous storytelling in Nollywood. ##### Technical Aspects The film’s impeccable lighting and vibrant colour palette contribute significantly to its visual allure, effectively setting the mood across various scenes. The meticulous attention to detail enhances the overall aesthetic appeal, making every frame visually captivating. The location and costumes are also impressive. ##### Final Thoughts ‘Afamefuna’ is a testament to Igbo culture’s richness and depth, offering a rare glimpse into its intricacies on the silver screen. The narrative unfolds seamlessly, maintaining a steady pace without succumbing to unnecessary filler scenes. It’s a welcome addition to the cinematic landscape, deserving praise for its compelling storytelling and cultural representation. ##### Verdict With its breathtaking visuals and compelling storyline, ‘Afamefuna’ earns high praise as a captivating exploration of Igbo culture in [Nollywood](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-march/ "Nollywood"). It’s a beautiful cinematic experience that resonates long after the credits roll. ‘Afamefuna’ receives a 4 out of 5 rating from us. We’d love to see your thoughts in the comment section if you have watched the movie. **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/afamefuna-shines-a-spotlight-on-the-igbo-apprenticeship-culture/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/afamefuna-shines-a-spotlight-on-the-igbo-apprenticeship-culture/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/afamefuna-shines-a-spotlight-on-the-igbo-apprenticeship-culture/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/afamefuna-shines-a-spotlight-on-the-igbo-apprenticeship-culture/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/afamefuna-shines-a-spotlight-on-the-igbo-apprenticeship-culture/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** afamefuna, Alex Ekubo, Igbo, Kanayo O Kanayo, Netflix, nollywood, Segun Arinze, Stan Nze --- ### [Bank Alert: A Hilarious Misadventure in Money Matters](https://nollycritic.com/bank-alert-a-hilarious-misadventure-in-money-matters/) **Published:** April 15, 2024 **Author:** Uju Okosieme **Content:** Okey Bakassi’s ‘Bank Alert’, released in cinemas in November 2023, recently premiered on Prime Video. We. watched it and we have thoughts. Let’s talk about it. There might be a few spoilers ahead so if you don’t want spoilers this is your sign to stop reading, ## *Bank Alert* Directed by: Akay Ilozobhie Produced by: Okey Bakassi and Wingonia Ikpi Genre: Comedy Released on: April 2024 (Prime Video) Language: English ##### Plot A former crypto manager, Sammy finds himself unemployed after exposing company fraud. Facing financial struggles, he inexplicably receives a massive sum of money in his bank account. The plot’s credibility falters as such a transfer should raise suspicions because the account was made active minutes before the transfer. Additionally, Sammy’s decision-making, like embarking on a solo rescue mission for his kidnapped daughter, lacks coherence. ##### Acting The ensemble cast delivers average performances, with no standout moments. Casting choices like Tina Mba as Kate Henshaw’s mother feel mismatched. Okey Bakassi’s portrayal of Sammy brings some humour, while Kanayo’s Uche feels out of sync with the character. Uzor Arukwe’s Modestus falls into a familiar archetype, and Kate Henshaw’s Jade comes across as underwhelming. [Bolanle Ninalowo](https://nollycritic.com/bolanle-ninalowo-to-star-as-oba-agunbiade-in-asiri-ade/ "Bolanle Ninalowo")‘s portrayal of Janta is weird and we don’t understand the thought process behind it. ##### Storytelling At its core ‘Bank Alert’ is a story about familial bonds. We like the idea behind the story but it falls short due to its poorly planned narrative. Unrealistic plot elements, like the money transfer and questionable character decisions, highlight persistent issues within Nollywood storytelling. ##### Technical Aspects The lack of proper subtitles on [Prime Video](https://www.primevideo.com/ "Prime Video") continues to be a glaring issue. However, the film’s vibrant visuals help maintain engagement despite technical shortcomings. ##### Final Thoughts ‘Bank Alert’s’ attempt at humour often feels forced, with predictable comedic elements, like the Kanayo joke, failing to land effectively. We understand that the Janta character was supposed to be a comedic element and he was crucial to the story however it was off-putting and detracts from the overall viewing experience. ##### Verdict While it offers some entertainment value, the film’s evident flaws warrant a modest rating of 2 out of 5. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/bank-alert-a-hilarious-misadventure-in-money-matters/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/bank-alert-a-hilarious-misadventure-in-money-matters/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/bank-alert-a-hilarious-misadventure-in-money-matters/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/bank-alert-a-hilarious-misadventure-in-money-matters/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/bank-alert-a-hilarious-misadventure-in-money-matters/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Bank Alert, Bolanle Ninalowo, Kanayo O Kanayo, Kate Henshaw, nollycritic, nollywood, Okey Bakassi, Prime Video, Tina Mba, Uzor Arukwe --- ### [Postcards: A Journey Through Love and Identity](https://nollycritic.com/postcards-a-journey-through-love-and-identity/) **Published:** May 6, 2024 **Author:** Uju Okosieme **Excerpt:** Postcards from the director of Namaste Wahala, takes viewers on a cultural exploration set in Mumbai, offering a blend of Nigerian and Indian perspectives. **Content:** ## *Postcards* Directed by: Hamisha Daryani Ahuja Produced by: Hamisha Daryani Ahuja Genre: Drama Released on: 3 May, 2024 (Neflix) Language: English/Hindu *[Postcards](https://nollycritic.com/postcards-new-nollywood-bollywood-series-heads-to-netflix/ "Postcards")*, the latest series from the director of Namaste Wahala, takes viewers on a cultural exploration set in Mumbai, offering a blend of Nigerian and Indian perspectives. We’re going to give a brief rundown of each episode so you can skip past that if you do not want any spoiler ##### Plot In this episodic adventure, we follow four Nigerians navigating life’s challenges and joys in the vibrant city of Mumbai. From health crises to career aspirations, each character embarks on a personal journey of self-discovery and acceptance. This is a typical plot with multiple characters, different lives, and one connecting thread. Sola Sobowale’s, Aunty Bunmi, who ties the whole story together is the life of the party with the best intentions but she is completely alone with a distant brother, played by Richard Mofe-Damijo, and a son, played by Tobi Bakre, who never returns her calls. ###### Episode 1 Introduces Aunty Bunmi, a Lagos socialite, and her son Yemi, who has dreams of becoming a dancer. Aunty Bunmi’s health issues prompt a trip to India for surgery, while Yemi seizes an opportunity to dance in a Bollywood film. ###### Episode 2 Yemi’s expectations clash with reality upon arrival in Mumbai. Meanwhile, Aunty Bunmi’s brother Olumide, a successful businessman, enters the picture. We also meet Siddhart (Rajniesh Duggall), Aunty Bunmi’s doctor, and his wife Zainab (Rahama Sadau), who start having issues over their plans for children. ###### Episode 3 Olumide encounters someone from his past, while conflicts escalate between Zainab and Siddharth. Zainab confides in her friend Isioma (Nancy Isime) and Bolu (Ibrahim Suleiman) urges Yemi to contact his mum who has been trying to see him. ###### Episode 4 Struggles intensify for Zainab and Siddharth, and Aunty Bunmi faces emotional turmoil upon learning she needs surgery and not being able to reach Yemi. Yemi faces job insecurity, after a confrontation with Ronny. ###### Episode 5 Zainab attempts to confront Kareena, leading to an unexpected reconciliation with Siddharth. Yemi’s career turns positive, while Olumide grapples with personal revelations. ###### Episode 6 Everything comes to a head at Olumide’s 60th birthday, where connections deepen, and secrets come to light. Yemi’s revelation surprises Aunty Bunmi, while Zainab finally tells Siddharth she’s pregnant. ##### Acting We like the diverse ensemble cast and they all deliver commendable performances, with Sola Sobowale, Rahama Sadau, and Rajniesh Duggall standing out. Their portrayal adds depth and authenticity to the storyline. ##### Story While *Postcards* skillfully intertwines multiple plotlines, the story remains relatively straightforward, lacking standout elements aside from its fusion of Nigerian and Indian cultures. This cultural amalgamation provides a fresh and intriguing perspective, enriching the narrative with rich insights into the shared experiences and differences between the two cultures. ##### Technical Aspects *Postcards* captivate with its visually stunning cinematography, boasting vibrant colours and skillful lighting that draw viewers into the heart of its narrative. Despite minor continuity issues, the series maintains a high standard in cinematography, delivering visually striking and emotionally resonant scenes. Additionally, the music enriches the viewing experience. ##### Final Thoughts The series demonstrates significant improvements from *[Namaste Wahala](https://www.imdb.com/title/tt12423052/ "Namaste Wahala")* while retaining the director’s signature simplicity in storytelling. However, the conclusive nature of the finale leaves us uncertain about the possibility of a second season. ##### Verdict *Postcards* offer an entertaining and culturally enriching viewing experience. With its straightforward storyline, stunning visuals, and strong performances, it earns a solid 3 out of 5 rating. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/postcards-a-journey-through-love-and-identity/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/postcards-a-journey-through-love-and-identity/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/postcards-a-journey-through-love-and-identity/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/postcards-a-journey-through-love-and-identity/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/postcards-a-journey-through-love-and-identity/?share=linkedin) - **Categories:** Blog, Nollywood, Popular reviews, Reviews, TV **Tags:** Hamisha Daryani Ahuja, Netflix, nollycritic, nollywood, Postcards, Rahama Sadau, Reviews, Richard Mofe-Damijo, Sola Sobowale, Tobi Bakre --- ### [Water and Garri: So Beautiful Yet So Dull](https://nollycritic.com/water-and-garri-so-beautiful-yet-so-dull/) **Published:** May 12, 2024 **Author:** Uju Okosieme **Excerpt:** Water and Garri has been highly anticipated, especially with Tiwa Savage's debut as a lead actress. Meji Alabi makes his first foray into filmmaking **Content:** *Water and Garri* has been highly anticipated, especially with Tiwa Savage’s debut as a lead actress. Directed by Meji Alabi, who is making his first foray into filmmaking, this movie is now available for streaming on Prime Video. Let’s get into it. ## *Water and Garri* Directed by: Meji Alabi Written by: Comfort Emmanuel, Genre: Drama Released on: May 10, 2024 (Prime Video) Language: English, Yoruba #### Plot [*Water and Garri* ](https://nollycritic.com/water-and-garri-see-tiwa-savage-in-the-official-trailer/ "Water and Garri ")follows Aisha ([Tiwa Savage](https://en.wikipedia.org/wiki/Tiwa_Savage#Discography "Tiwa Savage")), who reluctantly returns to her hometown a decade after her brother’s passing upon learning of her cousin’s demise. The premise tells us that the town has a gang issue but the credibility of this is only supported by the emphasis placed on this aspect by characters within the film. #### Performances There’s an indescribable quality about the acting that feels off, and it’s difficult to pinpoint the exact issue. It may be the dialogue delivery, but the acting falls flat overall. The lack of chemistry between Aisha and Kay (Andrew Bunting) further detracts from the overall performance. The characters also lacked originality in the fictional world of the film. #### Story The film feels cluttered with numerous events, yet it lacks a coherent narrative direction. It’s unclear what story the filmmakers are trying to convey, with certain developments feeling disjointed and abrupt. Despite attempts to depict the town as plagued by gang activity, these efforts fall short, as random shots of men on bikes fail to substantiate the existence of a genuine gang issue. Also, we do not understand why the lead character, Aisha remains in Eastside when it goes against her wants and needs. On the other hand, if she leaves Eastside, there is no story to tell. This clearly shows how empty the story of the film is. #### Technical Aspects The visual presentation of this movie is undeniably captivating, showcasing evident effort in its creation. The harmonious blend of colours and lighting contribute to a warm and inviting atmosphere. The lighting might be one of the finest jobs we have seen in a Nollywood movie. However, despite the plot’s emphasis on escalated violence within the town, the visuals fail to align with this narrative. Instead, they evoke a sense of safety and comfort, contradicting the intended mood and themes of the story. #### Final Thoughts The casting choices for the younger versions of the characters felt mismatched. While the original music, as expected with Tiwa Savage, stood out as a highlight. However, it seemed as though they just thought of all the negative plot elements they could include and included them. Originally conceived as a short film, it might have fared better in a condensed format. Additionally, the scene with Aisha’s grandmother mixing garri felt forced, as though they were only trying to incorporate the movie’s title. Moreover, the plot twist was foreseeable from a distance, diminishing its impact. #### Verdict While we understand the filmmakers’ attempt to create ambiguity surrounding the location and culture depicted in the movie, there was a notable deficiency in execution. Honestly, presenting viewers with beautiful scenery and imagery might have been a more enjoyable experience than presenting a movie that fails to evoke emotions or establish a connection with the characters. In this case, the visuals carried much of the burden, ultimately leading us to give *Water and Garri* a rating of 1.5 out of 5. **Rating:** 1.5/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/water-and-garri-so-beautiful-yet-so-dull/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/water-and-garri-so-beautiful-yet-so-dull/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/water-and-garri-so-beautiful-yet-so-dull/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/water-and-garri-so-beautiful-yet-so-dull/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/water-and-garri-so-beautiful-yet-so-dull/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Popular reviews, Reviews, TV **Tags:** Andrew Bunting, Meji Alabi, nollywood, Prime Video, Tiwa Savage, water and garri --- ### [A Father's Love: A Heartfelt Exploration of Paternity and Family Dynamics](https://nollycritic.com/a-fathers-love-a-heartfelt-exploration-of-paternity-and-family-dynamics/) **Published:** June 6, 2024 **Author:** Uju Okosieme **Excerpt:** Natives Filmworks released two movies, 'Kill Boro' and 'A Father’s Love', on the same day on Prime Video. While 'Kill Boro' garnered some buzz **Content:** Natives Filmworks released two movies, ‘Kill Boro’ and ‘A Father’s Love’, on the same day on Prime Video. While ‘[Kill Boro](https://nollycritic.com/kill-boro-a-powerful-tale-of-family-and-redemption/ "Kill Boro")‘ garnered some buzz, ‘[A Father’s Love](https://m.imdb.com/title/tt32515701/?language=es-mx "A Father’s Love")‘ seemed to slip under the radar, with minimal promotion and no trailer. Intrigued, we decided to give it a watch and share our thoughts. Here’s what we think. ## *A Father’s Love* Directed by: Sebastian Ukwa Written by: Sifa Asani Gowon Genre: Drama Released on: May 31, 2024 (Prime Video) Language: English, Pidgin English and Hausa #### Plot Already overwhelmed with problems, David faces the daunting task of caring for three children, one of whom suffers from Sickle Cell Anemia, and the daily struggle to make ends meet. His challenges escalate when a baby is mysteriously abandoned in his taxi. The baby’s arrival in his taxi strains credibility—how could David not notice a passenger with a baby? Despite this, the plot device sets the stage for a compelling story. #### Story Though not entirely new, the narrative in ‘A Father’s Love’ resonates deeply with the Nigerian experience. The abandonment of the baby in David’s taxi adds a fresh twist to the storyline. One of the standout moments is David’s visit to a radio station to share his plight, showcasing his desperation, hope for a solution, and the relatable thought process of an average person. However, the plot’s convenience in leading David to the precise location for a DNA test felt too contrived. Despite these minor hitches, the story is well-constructed and thoughtfully planned, offering a refreshing departure from the usual Nollywood fare. #### Performances Some actors in Nollywood consistently deliver strong performances, and ‘A Father’s Love features a few of these reliable talents. David Jones David, in the role of David, brings depth and authenticity to his character, especially in scenes where he grapples with his mounting pressures. Yvonne Jegede, portraying Ladi, matches his intensity, particularly in their confrontational scenes. Their chemistry and emotional exchanges add a significant layer of depth to the film. The [child actors](https://nollycritic.com/nollywood-child-actors-a-new-generation-with-great-potentials/ "child actors"), Beloved Osagie and[ Darasimi Nadi](https://nollycritic.com/nollywood-child-actors-a-new-generation-with-great-potentials/ " Darasimi Nadi"), portraying Kauna and Tani, respectively, though not prominently featured, deliver standout performances in their heartfelt phone conversation scene with their dad. Additionally, comedian Funnybone’s portrayal of Panshak provides much-needed comic relief, balancing the film’s heavier moments with well-timed humour. The Performance of the women claiming to be mothers in the third act is cringeworthy. #### Technical Aspects The film boasts several noteworthy technical elements. The scene where David checks his safe for any remaining money is compellingly captured, adding depth to his financial struggles. Additionally, the film’s look and colour, occasionally felt mismatched with the film’s tone. While wide pan shots were utilized effectively to establish settings, their frequency seemed excessive at times, detracting from the overall visual narrative. However, the portrayal of David’s emotional turmoil following the revelation at the hospital was exceptionally poignant, showcasing the film’s ability to convey raw human emotion. The film fails to deliver the timely heartfelt music that is needed to elevate emotional dramas. #### Final Thoughts Much like ‘Kill Boro’, a significant portion of ‘A Father’s Love’ is in pidgin, which adds an authentic touch to the dialogue and characters. The film’s unexpected revelation that David isn’t the biological father of any of the children is a shocking twist that ties in well with its title and overarching themes. Paternity fraud is a prevalent issue in Nigeria, and the film’s exploration of this topic is both timely and relevant, prompting viewers to reflect on the societal implications of such issues. #### Verdict At two hours, the film feels a bit stretched, with some scenes dragging on longer than necessary. A tighter edit could have enhanced the pacing and overall impact. Nonetheless, *A Father’s Love* is an enjoyable, feel-good movie that tackles important issues with sensitivity and depth. The strong performances, particularly from David Jones David and Yvonne Jegede, elevate the film, making it a compelling watch. We’d rate it a 2.5 out of 5, applauding the cast and crew for delivering a heartfelt story that resonates with its audience. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-fathers-love-a-heartfelt-exploration-of-paternity-and-family-dynamics/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-fathers-love-a-heartfelt-exploration-of-paternity-and-family-dynamics/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-fathers-love-a-heartfelt-exploration-of-paternity-and-family-dynamics/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-fathers-love-a-heartfelt-exploration-of-paternity-and-family-dynamics/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-fathers-love-a-heartfelt-exploration-of-paternity-and-family-dynamics/?share=linkedin) - **Categories:** Drama, Movies, Nollywood, Reviews **Tags:** A Father's Love, David Jones David, film, nollycritic, Prime Video, Reviews, Sebastian Ukwa, Steve Gukas, Yvonne Jegede --- ### [A Song From The Dark: Another Horror That Fails To Scare](https://nollycritic.com/a-song-from-the-dark-another-horror-that-fails-to-scare/) **Published:** July 16, 2024 **Author:** Uju Okosieme **Excerpt:** A song from the dark popped up on our radar right before its release, sparing us the long wait filled with anticipation. **Content:** [*A Song From The Dark* ](https://nollycritic.com/a-song-from-the-dark-set-for-prime-video-release/ "A Song From The Dark ")popped up on our radar right before its release, sparing us the long wait filled with anticipation. With numerous positive reviews from film festival screenings, we were eager to see what this Nigerian-British supernatural horror film had in store, especially since we’ve been questioning the vitality of the horror genre in Nollywood. ## *A Song From The Dark* Directed by: Ogo Okpue Written by: Ogo Okpue Genre: Horror Released on: July 12, 2024 (Prime Video) Language: English and Igbo ##### Plot After the mysterious death of her husband, a woman hires a reluctant spirit hunter to expel an evil spirit tormenting her family. Unknown to the spirit hunter, the family has a dark secret they have sworn to keep hidden at all costs. The plot instantly engages, promising a blend of classic Nollywood supernatural elements set against a contemporary backdrop. ##### Story The narrative is unique and unfolds in a way that keeps us captivated. Rather than laying everything out from the start, the film reveals details gradually, allowing viewers to piece the mystery together. When the story finally comes together, it feels satisfying rather than surprising, thanks to well-placed hints throughout the film. ##### Performances Brielle Olaleye, the young actress who plays Ash, delivers a standout performance in her brief moment on screen. Although he is a ghost most of the time, [Wale Ojo](https://en.wikipedia.org/wiki/Wale_Ojo "Wale Ojo")‘s portrayal of Magnus is powerful, especially in the scene where he takes his own life. The scene where Anioji possesses Sammy is another highlight, with compelling acting that anchors this pivotal moment. Vanessa Vanderpuye excels as Ashionye, Nse Ikpe-Etim brings depth to Isioma, and Peace Oseyenum’s depiction of Anioji is memorable. ##### Technical Aspects The film’s lighting and colour grading are effectively executed, avoiding glaring technical flaws. The overall film look is genre-befitting. Generally, the visual effects are somewhat believable but seemed a bit excessive with some scenes looking like clips from a sci-fi movie. The subtitles occasionally fell short, a recurring issue with Prime Video releases. ##### Final Thoughts We enjoyed how the film seamlessly integrated traditional lore from the start. That said, the choice of setting—a remote house—felt cliché and convenient for the plot. While the plot twist wasn’t overly shocking, it was well-integrated and made sense within the story’s context. Every story element contributed to the larger narrative, ensuring nothing felt out of place but the film, like many Nollywood horrors in recent years fails to scare its viewers. ##### Verdict A Song From The Dark offers a gripping and refreshing take on Nigerian horror by blending familiar Nigerian tropes with supernatural elements in a unique setting. The attention to detail is also commendable but shreds the elements of mystery in the film. *A Song From The Dark* gets a 3 out of 5 rating, and if you haven’t seen it yet, it’s now streaming on Prime Video. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-song-from-the-dark-another-horror-that-fails-to-scare/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-song-from-the-dark-another-horror-that-fails-to-scare/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-song-from-the-dark-another-horror-that-fails-to-scare/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-song-from-the-dark-another-horror-that-fails-to-scare/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-song-from-the-dark-another-horror-that-fails-to-scare/?share=linkedin) - **Categories:** Articles, Blog, Movies, Popular reviews, Reviews **Tags:** A song from the dark, Horror, nollywood, Nse Ikpe-Etim, Ogo Okpue, Prime Video, Supernatural --- ### [The Beads: An Intriguing Time Loop Drama](https://nollycritic.com/the-beads-an-intriguing-time-loop-drama/) **Published:** July 17, 2024 **Author:** Uju Okosieme **Excerpt:** The Beads' just hit Prime Video and arrived with little promotion—a trend that's become all too common on the platform. **Content:** ‘[The Beads’](https://nollycritic.com/nollywood-movies-and-series-to-see-in-july-2024/ "The Beads'") just hit Prime Video and arrived with little promotion—a trend that’s become all too common on the platform. Despite this, the film caught our attention, thanks to its impressive cast of Nollywood stars. Let’s see whether it lived up to its potential or fell flat as just another star-powered endeavour. ## *The Beads* Directed by: Moyinoluwa Ezekiel. Produced by: Akinbayo Morakinyo Genre: Drama Released on: June 12, 2024 (Prime Video) Language: English and Yoruba ##### Plot The story follows a young woman, ensnared in a paradox of life and longing for release. The film opens with a wedding ceremony where the bride appears to take her own life, then rewinds to unravel the events leading to that moment. The day before her wedding, the bride’s grandmother gifts her beads that promise a successful marriage, a pivotal plot element that drives the story forward. ##### Story The narrative follows Ranti, the bride, as bizarre occurrences unfold on her wedding day. After being shot at the ceremony, she finds herself in a dreamscape, waking up on the wedding day again, stuck in a time loop. As this was not hinted at in the synopsis, it was a nice surprise. The film keeps us engaged as each repeated day reveals more puzzle pieces. ##### Performances The acting in ‘The Beads’ is a mixed bag. Temitope Aremu’s portrayal of Irene falls flat, and Chioma Omeruah’s Adanna comes off as overly exaggerated, a common pitfall when Nollywood incorporates comedy. Juliana Olayode’s character, Shade, has the same issue with an illogical scene involving ice and hot tea. The collision scene between Adanna and Zainab Balogun’s Ranti was poorly executed. However, Zainab Balogun delivers a strong performance, the actress doesn’t star in many films but is always memorable. Segun Arinze does not disappoint as Mr Obi. The chemistry between Zainab Balogun and Idowu Philips, who plays Ranti’s grandmother, is spot-on and enjoyable to watch. ##### Technical Aspects Every time Ranti wakes up, she reacts to the way she died before starting her day anew. This detail added a fresh layer to the repetitive sequence, ensuring that each loop brought new revelations and variations. It’s commendable that they paid attention to these nuances. However, the bright pictures, while visually appealing, occasionally clashed with the film’s tone and atmosphere. The film’s look is quite poor, it appears as something that was filmed in the 2010s. Sound design and lighting also do not compensate for its appearance, the film appears to be technically below average. ##### Final Thoughts The beads being the catalyst for the time loop is somewhat believable for the genre. The emphasis on the taboo of the groom seeing the bride before the wedding by Ranti’s aunties and friends felt out of place, it’s a Western custom and they were having a traditional wedding. When the time loop occurs for the first time, Ranti immediately tells her grandmother she’s been reliving the day. In most time-loop films, there’s usually a period of confusion before the characters realize what’s happening. This quick jump was jarring, particularly because the second time it happens, she tells her friends it’s the second occurrence. However, her conversation with her grandma suggests it has happened multiple times. The film unfortunately lacks an overall technical quality. ##### Verdict A lot of thought was put into its story, while this should be a given it is not always the case. Despite low initial expectations, it proved to be an enjoyable watch, earning it a solid 2.5 out of 5. If you’re in the mood for a unique Nollywood film, ‘The Beads’ is now streaming on Prime Video. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-beads-an-intriguing-time-loop-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-beads-an-intriguing-time-loop-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-beads-an-intriguing-time-loop-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-beads-an-intriguing-time-loop-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-beads-an-intriguing-time-loop-drama/?share=linkedin) - **Categories:** Articles, Blog, Movies, Reviews **Tags:** nollywood, Prime Video, Segun Arinze, The Beads, Zainab Balogun --- ### [KM 17: A Promising Plot Undermined by Execution And Poor Pacing](https://nollycritic.com/km-17-a-promising-plot-undermined-by-execution-and-poor-pacing/) **Published:** August 2, 2024 **Author:** Uju Okosieme **Excerpt:** A title like KM 17, which gives no context, and a strong cast, we were intrigued to see what Trino Motion Pictures' latest offering was all about. **Content:** With a title like *[KM 17](https://www.imdb.com/title/tt32909899/# "KM 17")*, which gives little or no context, and a strong cast, we were intrigued to see what Trino Motion Pictures’ latest offering on [Prime Video ](https://nollycritic.com/prime-video-cuts-funding-in-africa-and-middle-east/)was all about. ## KM 17 Directed by: Lyndsey Efejeku Written by: Oluchi Afurobi, Julie Ako Genre: Thriller Released on: July 26, 2024 (Prime Video) Language: English ##### Plot The synopsis reads: “A haunting tale of two sisters and a taxi driver’s deadly obsession with resurrection.” However, like the film’s name, it reveals very little, a common issue with Nollywood movie synopses. The plot takes too long to get to the story’s heart, and it struggles to hold our attention for a thriller. ##### Story The film had potential with a creative story, due to its unique storyline but several elements didn’t add up. For instance, Cheeka confronting the cab driver without a plan, Ada failing to run after being let out of the car, and the unclear method Dorigho plans to use to resurrect his mother. ##### Performances Casting Toni Tones (Cheeka) and Theresa Edem (Ada) as sisters was a brilliant choice, and both delivered decent performances. Blossom Chukwujekwu, playing Dorigho, brought a unique touch to his role, though his accent could have been improved. Though brief, Tonia Okojie’s portrayal of the girls’ mother was memorable. ##### Technical Aspects The colour-grading effectively set a suspenseful tone, and the score reinforced it. The film was shot to draw attention to important details, like Cheeka’s discomfort upon realizing who the cab driver was. However, the blood in the scene after the officers were shot was poorly done. Furthermore, some of the car/taxi scenes is a bit off-putting. It seemed like a poorly executed green screen. ##### Final Thoughts Cheeka’s realization of their mother’s death was too abrupt, detracting from the emotional impact of the scene. The plate number on the windows felt out of place, making us wonder if it was meant to be part of their fictional world. Since plate numbers aren’t usually engraved like that, it was too obvious. The villain being an insane man with mummy issues was both crazy and believable, adding a layer of authenticity to his character. However, the final scene left us puzzled—why didn’t Cheeka shoot him immediately after getting the gun? Also, the film’s slow pace does more harm than good. ##### Verdict Sadly, this movie didn’t leave a lasting impression, other than a sense of boredom once the credits rolled. There is not much to say about it, very underwhelming. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/km-17-a-promising-plot-undermined-by-execution-and-poor-pacing/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/km-17-a-promising-plot-undermined-by-execution-and-poor-pacing/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/km-17-a-promising-plot-undermined-by-execution-and-poor-pacing/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/km-17-a-promising-plot-undermined-by-execution-and-poor-pacing/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/km-17-a-promising-plot-undermined-by-execution-and-poor-pacing/?share=linkedin) - **Categories:** Articles, Blog, Movies, Reviews **Tags:** Blossom Chukwujekwu, KM17, Prime Video, Theresa Edem, Toni Tones --- ### [With Difficulty Comes Ease: A Strong Tale of Loss and Faith](https://nollycritic.com/with-difficulty-comes-ease-a-strong-tale-of-loss-and-faith/) **Published:** August 4, 2024 **Author:** Uju Okosieme **Excerpt:** With Difficulty Comes Ease, the latest offering from Nemsia Studios—the same team behind the award-winning Breath of Life—naturally piqued our interest. **Content:** [*With Difficulty Comes Ease*,](https://www.rottentomatoes.com/m/with_difficulty_comes_ease "With Difficulty Comes Ease,") the latest offering from Nemsia Studios—the same team behind the award-winning *Breath of Life*—naturally piqued our interest. We couldn’t wait to see what this film had in store. ## *With Difficulty Comes Ease* Directed by: Korede Azeez Written by: Korede Azeez Genre: Drama Released on: August 1, 2024 (Prime Video) Language: English and Hausa #### Plot The film follows Zainab as she navigates life after her husband’s death. She’s beset by financial difficulties after her brother-in-law and his wife abscond to Canada with her late husband’s money, a hostile mother-in-law who disdains her for being childless, and a pregnancy she chooses to keep secret till she finds help in Rayyan. Despite facing separate struggles, Zainab and Rayyan’s stories connect through the strained familial relationships that arise after they convert to Islam. #### Story We need more narratives that reflect the authentic Nigerian experience, and this film delivers just that. This film focuses on the societal challenges faced by a recently widowed woman. The issues presented are relatable to any Nigerian audience, and Zainab being Muslim adds complexity to the story. The story unfolds at a measured pace, building steadily without rushing to a resolution. The film embraces several themes and sub-themes from loss, corruption, and religion with authenticity and originality, making it a compelling drama. Shedding light on the lives of religious converts, administrative corruption, and Widowhood in Northern Nigeria. #### Performances Uzoamaka Anuinoh and Michelle Dede were perfectly cast as sisters. Anuinoh delivers a heartfelt performance as Zainab, drawing us into her character’s struggles. Caleb Richards, who plays Rayyan, delivered his strongest performance yet. Michelle Dede, who doesn’t act as frequently, shines as Nene, providing a solid performance. A standout moment was when Zainab repeatedly said “It’s his” in Hausa to her mother-in-law, which was deeply moving. #### Technical Aspects *With Difficulty Comes Ease* has a decent picture quality, with colour grading that matches the film’s tone. The setting, locations, and props also look very original and convincing. Unfortunately, the general use of music in the film is quite disappointing. The film failed to use a compelling soundtrack to elevate its emotional scenes. Furthermore, whilst some transitions of scenes in the film seem well thought out, others appear to be very disjointed. #### Final Thoughts Every event in the film felt believable. While [Nollywood](https://www.rottentomatoes.com/m/with_difficulty_comes_ease "Nollywood") sometimes veers into implausibility by trying to do too much, this story remained simple and direct, addressing topical issues like how religion affects family relationships. Nemsia Studios demonstrates their commitment to exploring faith in films with titles like *God Calling* and *Breath of Life* that focus on the Christian faith, and now *With Difficulty Comes Ease* on the Muslim faith. The film ticks nearly all boxes of originality making it a compelling and informative heartfelt drama. However, the resolution should have come a bit earlier, the film appears overstretched with a runtime of 1hr48mins. #### Verdict *With Difficulty Comes Ease* is enjoyable and emotional, delivering a strong story with commendable performances. Korede Azeez has carefully created a niche. The film is currently on Prime Video. **Rating** 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/with-difficulty-comes-ease-a-strong-tale-of-loss-and-faith/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/with-difficulty-comes-ease-a-strong-tale-of-loss-and-faith/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/with-difficulty-comes-ease-a-strong-tale-of-loss-and-faith/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/with-difficulty-comes-ease-a-strong-tale-of-loss-and-faith/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/with-difficulty-comes-ease-a-strong-tale-of-loss-and-faith/?share=linkedin) - **Categories:** Articles, Blog, Movies, Reviews **Tags:** Korede Azeez, Michelle Dede, Nemsia Studios, Prime Video, Uzoamaka Anuinoh, With Difficulty Comes Ease --- ### [All of Us: A Disappointing Mystery with Uninspired Performances](https://nollycritic.com/all-of-us-a-disappointing-mystery-with-uninspired-performances/) **Published:** September 3, 2024 **Author:** Uju Okosieme **Excerpt:** Enioluwa Adeoluwa’s All of Us - a highly anticipated venture into the world of movies has finally arrived, and naturally, we had to check it **Content:** Enioluwa Adeoluwa’s *[All of Us](https://nollycritic.com/all-of-us-set-to-premiere-on-youtube-this-august/ "All of Us")* – a highly anticipated venture into the world of movies has finally arrived, and naturally, we had to check it out. If you haven’t seen the show yet, this is your cue to step away—spoilers lie ahead. The series is now streaming on [YouTube](https://www.youtube.com/watch?v=K35zrOk98co "YouTube"). ## All of Us Directed by: Orire Nwani Produced by: Enioluwa Adeoluwa Genre: Murder-Mystery Released on: September 1, 2024 (YouTube) Language: English, Yoruba, Hausa, Igbo ##### Plot *All of Us* follows a straightforward whodunit format, gradually revealing the details of the fateful night as the story unfolds. While it’s designed to keep viewers guessing, something is missing that prevents it from hooking viewers. We’re introduced to a new school year and the cast of characters, including the new student, Chinasa. Layla’s mother secretly reconnects with her ex-husband, and Elijah struggles with the expectations of his preacher father. Ahmad, Elijah, and Efe plan their back-to-school party while Isaac tries to uncover their plans. Layla secretly dates a teacher, Marcus, and invites him to the party. The episode ends on a shocking note, with the group standing over Marcus’ lifeless body. Despite the tragedy, life at school continues. The students are on edge, and news of Marcus’ death hits the airwaves. Isaac grows suspicious and probes Victory for information. The police begin interrogating the students, heightening the tension. Diane pressures Layla to withdraw from the head girl race, and Isaac uncovers a suspicious message on Victory’s phone. Victory, Layla, and Ahmad confess to Isaac what happened at the party, hoping to prevent him from exposing their secret. The police intensify their investigation, questioning the students at home and involving their families. Chinasa is accused of being involved in Marcus’ death by Isaac, and everyone finds out about Layla’s relationship with Marcus. The group confronts Chinasa, accusing her of killing Marcus, leading to a physical altercation with Layla. Chinasa reveals that she attacked Marcus after catching him attempting to assault Shalewa, and they urge her to tell the police the truth. Chinasa is arrested when her involvement in Marcus’ death is confirmed, but the episode ends with the revelation that Ahmad had drugged Marcus before his run-in with Chinasa. ##### Story The story offers little that’s new, as high school dramas like this have become quite common. Additionally, much of the dialogue falls short of expectations, failing to add depth to the narrative. For a mystery driven plot, the level of suspence in the series is quite low. ##### Performances The performances are largely underwhelming, which isn’t surprising given the cast has more internet personalities than seasoned actors. This is a significant letdown for a whodunit, a genre that relies heavily on strong acting to keep viewers engaged. However, a few bright spots stand out: Angel Unigwe shines as Chinasa when her role in Marcus’ death is revealed, and Jemima Osunde effectively conveys Diane’s turmoil as news of Marcus’ death hits the airwaves. Enioluwa Adeoluwa gives us an interesting Isaac, while Tobe Ugeh delivers a lackluster portrayal of Ahmad. The casting of Priscilla Ojo and Enioluwa Adeoluwa as twins works well, likely benefiting from their real-life friendship. However, the more experienced actors seem to be phoning it in, perhaps only appearing to support the project rather than to deliver memorable performances. ##### Technical Aspects The cinematography is very far from exceptional. There are several scenes where the lighting is inconsistent, flickering awkwardly between dark and bright. The colour grading appear to be inconsistent in some scenes. The general sound design is also poor. On a positive note, the use of original music in the series is a highlight, adding some much-needed flair to the production. ##### Final Thoughts We appreciate the inclusion of different Nigerian languages and cultural elements, thereby adding a layer of authenticity to the show. The portrayal of various family dynamics is another strong point, offering viewers relatable moments. However, certain aspects of the series are puzzling—such as the police asking students if a teacher shared their phone password. The subplots add nothing, and the lack of character development leaves us detached from the story. ##### Verdict With just four episodes, *All of Us* is a quick watch, but it ultimately falls short of expectations. It’s worth a look if you’re seeking something to pass the time, but don’t expect to be blown away. We’re giving it a 1.5 out of 5 rating. **Rating**: 1.5/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/all-of-us-a-disappointing-mystery-with-uninspired-performances/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/all-of-us-a-disappointing-mystery-with-uninspired-performances/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/all-of-us-a-disappointing-mystery-with-uninspired-performances/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/all-of-us-a-disappointing-mystery-with-uninspired-performances/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/all-of-us-a-disappointing-mystery-with-uninspired-performances/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** all of us, Angel Unigwe, Iyabo Ojo, Jemima Osunde, nollycritic, nollywood, Priscilla Ojo, Tobe Ugeh, Youtube --- ### [The Smart Money Woman Season 1 Recap: Watch Here](https://nollycritic.com/the-smart-money-woman-season-1-recap-watch-here/) **Published:** September 30, 2024 **Author:** Uju Okosieme **Excerpt:** The Smart Money Woman Season 2 is set for a Youtube this month. Here's to give you a full recap of what happened in season 1. **Content:** *[The Smart Money Woman](https://www.imdb.com/title/tt12428002/ "The Smart Money Woman")* Season 2 is set for a Youtube this month, but do not fret we are here to give you a full recap of what happened in it’s first season. It’s been far too long since we were first introduced to Zuri, Adesuwa, Lara, Tami, and Ladun. With Season 2 just around the corner on YouTube, it’s the perfect time to revisit the key moments from Season 1 as we prepare to reunite with the Smart Money tribe. ##### Episode 1 The season opens with the girls discovering that Zuri’s ex-boyfriend, Olumide, is engaged. Devastated, Zuri confronts him, only to leave more upset. Meanwhile, her finances are in disarray—she can’t pay her service charge, her car is acting up, and she’s on the brink of losing her job. Desperate, she turns to friends and family for loans, but help is not forthcoming. Elsewhere, Tami meets Bobby, and Lara’s younger brother announces he wants to quit school to play football, which prompts her to kick him out of the house. The episode ends with the girls catching up over lunch. ##### Episode 2 In this episode, Zuri reluctantly asks her older brother Efosa for money but instead gets a much-needed wake-up call about her financial habits. Meanwhile, Adesuwa confronts her husband about his absence the previous night, leading to a fight that is quickly interrupted by his mother. Zuri begins tightening her spending and decides to sell her car. Zuri faces more pressure at work, and at a friend’s kid’s birthday party, Tami faces marriage pressure from older aunties while the girls discover that their host, Banke, is financially struggling. ##### Episode 3 A family emergency strikes when Zuri’s mother needs money due to an accident at home, but Zuri can’t help. Meanwhile, Tami’s fashion business faces challenges when her tailors quit, and she has to hire less-skilled replacements. Zuri narrowly avoids being fired during a company downsizing. The girls celebrate Adesuwa’s promotion, sharing financial advice over drinks. Zuri continues selling her designer items as she learns to manage her finances better, while Adesuwa juggles a workout session with Zuri and Lara as tensions rise in her marriage. ##### Episode 4 Zuri’s work presentation is a success, and she spends time with Tsola, who is also heading to Benin. Tami goes on a disappointing date with Andrew, while Zuri visits family in Benin and reconnects with her newly engaged friend, Ifueko. Tami invites the girls out on a club date with Bobby, but ends up being the only one having fun. Lara reveals that a married man is pursuing her, which angers Adesuwa. Meanwhile, Soji continues to distance himself from Adesuwa, who is trying to save their relationship. ##### Episode 5 Zuri’s company signs a deal with Tsola’s, and he asks her out on a date. Excited, Zuri goes all out to prepare, but Lara scolds her and the girls for overspending. Zuri has a fantastic time on the date, while Ladun’s father-in-law passes away, plunging her family into financial turmoil as they discover he died bankrupt and without a will. This stirs up emotional memories for Lara, whose own father passed away in a similar situation, prompting Tami to ask her father if he has a will—he doesn’t. Adesuwa tries once again to discuss finances with Soji, but he shuts her down. ##### Episode 6 Ladun’s family begins planning a lavish funeral despite their financial troubles, and her suggestions for a simpler service aren’t well received. Meanwhile, Tsola and Zuri grow closer, discussing finances as their relationship deepens. Tami’s love life hits a snag when her date with Andrew is interrupted by Bobby, causing Andrew to discover she’s been dating both men. Zuri pitches a new idea to her boss, while Adesuwa pushes for a partnership at work and considers new career opportunities. Soji’s actions grow more reckless, and Adesuwa’s frustration mounts. ##### Episode 7 Zuri’s boss approves her pitch, and Tsola takes her on a celebratory date. However, tension arises when he advises her not to buy a new car just because her income is increasing, leading to an argument. The drama escalates as Adesuwa discovers Soji has emptied their joint account and run off with Chinasa. The girls rally around Adesuwa as she deals with the betrayal. Lara finds out her brother has continued to waste money, forcing her to cut ties with both him and her mother. Tsola and Zuri reconcile after their argument, and he surprises her with a trip to South Africa. Soji’s misdeeds catch up with him when he ends up in jail after a fight, but Adesuwa refuses to bail him out. ##### Final Thoughts and Expectations While *[The Smart Money Woman](https://nollycritic.com/arese-ugwus-the-smart-money-woman-set-for-october-release/ "The Smart Money Woman")* Season 1 had its share of questionable acting and a few continuity issues, it remains an enjoyable and educational watch, even on a second viewing. The show expertly balances entertainment with financial lessons, seamlessly promoting businesses without feeling overly commercial. As we look ahead to *[The Smart Money Woman](https://nollycritic.com/arese-ugwus-the-smart-money-woman-set-for-october-release/ "The Smart Money Woman")* Season 2, the trailer has given us plenty to anticipate. Ladun seems to be less prominent this season, and new love interests are on the horizon. However, it also hints at loss within the group, leaving us anxious about what’s coming. With a blend of fun, drama, and valuable financial insights, we can’t wait to embark on the next chapter of ‘The Smart Money Woman’ journey. Still want to see it? You can watch Season 1, Episode 1 below! ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-smart-money-woman-season-1-recap-watch-here/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-smart-money-woman-season-1-recap-watch-here/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-smart-money-woman-season-1-recap-watch-here/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-smart-money-woman-season-1-recap-watch-here/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-smart-money-woman-season-1-recap-watch-here/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Arese Ugwu, Ebenezer Eno, Ini Dima-Okojie, Lala Akindoju, nollycritic, Osas Ighodaro, The smart money woman, Toni Tones, Youtube --- ### [Life and Dirt: Promising Supernatural Thriller That Struggles to Deliver](https://nollycritic.com/life-and-dirt-promising-supernatural-thriller-that-struggles-to-deliver/) **Published:** October 12, 2024 **Author:** Uju Okosieme **Excerpt:** ovi's long-awaited series 'Life and Dirt' has finally premiered on Prime Video. With a stellar cast including Bovi, Chidi Mokeme, and Dorcas Shola Fapson **Content:** Bovi’s long-awaited series [‘Life and Dirt](https://www.imdb.com/title/tt33363825/ "'Life and Dirt")‘ has finally premiered on Prime Video. With a stellar cast including Bovi, Chidi Mokeme, and Dorcas Shola Fapson, this show has generated buzz for a while. With an intriguing mix of crime, supernatural elements, and family drama, the series certainly had the potential to make waves. Spoilers ahead – here’s what we thought after watching. ## *Life and Dirt* Directed by: James Abiibi and Bovi Ugboma Written by: Bovi Ugboma Genre: Thriller Released on: October 3, 2024 (Prime Video) Language: English ##### Plot The series follows Yo, who manages three businesses for his mentor. Ajazi grooms Yo to take over, but things turn dark when Yo joins a supernatural fellowship led by Nene, forcing him to make life-altering choices. Yo’s journey takes him from a regular business hustler to a desperate man trying to survive after making it big. Meanwhile, Chief Obi and his daughters, Nkem and Ijeoma, face family tensions around marriage, control, and pressure to have children. Nkem’s violent marriage to Dennis, Ijeoma’s pregnancy, and hidden betrayals lead to unexpected clashes. Ajazi, as it turns out, is tied deeply into the unfolding chaos, and the revelation that Ijeoma’s baby is his, not Yo’s, adds a final twist to the narrative. By the end, Nkem attempts to have her sister’s baby eliminated, but her plan goes wrong, and she meets a violent end at Dennis’ hands. ##### Story The show takes familiar themes of lust for wealth, betrayal, and supernatural elements and gives them a fresh spin. Some of the dialogue employed in the film, particularly for “Nene” is quite commendable. The story, whilst brilliant and somewhat novel in the Nollywood thriller genre is laden with plot holes. Perhaps more time should have been spent on developing the script. While some episodes drag in pacing, the overall story remains intriguing, building suspense with well-placed foreshadowing that pays off later. However, the final episode feels rushed. The urgency is understandable, but it left some aspects feeling underdeveloped. Despite that, the show does a good job of keeping the audience on their toes, with twists and suspense, the supernatural elements, particularly the fellowship and Nene’s power, are underexplored, which might frustrate viewers looking for more clarity. ##### Performances Dorcas Shola Fapson delivers a solid performance as Ijeoma, although she’s playing a character type we’ve seen from her before. She shares strong chemistry with Bovi, though Bovi himself feels somewhat miscast. His comedic background makes it hard to buy into his weighty character of Yo, especially in emotionally compelling scenes. A more seasoned dramatic actor may have brought more weight to the role. Chidi Mokeme and Kanayo O. Kanayo provide steady, reliable performances, exactly what you’d expect from veterans like them, though nothing particularly groundbreaking. Shaffy Bello, on the other hand, brings a refreshing change of pace, stepping out of her usual roles to deliver a strong, nuanced performance that adds an extra layer to the cast. ##### Technical Aspects The show is decent with its technical execution. The cinematography is clean and dynamic, and the color grading fits the darker tone of the story. Visually, ‘Life and Dirt’ manages to hold up well, creating an atmospheric backdrop that complements the narrative. Some of the outdoor scenes are excellently executed, particularly the scene where Yo and Ajazi walk in the middle of a crowd. The sound also manages to heighten tension in key scenes. However, the film’s struggle to project wealth and affluence is highlighted in the set design and props employed in the show. The cars used in the show looked like they were on sale at a dealership, the absence of plate numbers on the vehicles subdues the believability and overall authenticity. ##### Final Thoughts ‘Life and Dirt’ presents a unique storytelling style that manages to be engaging but leaves viewers with some frustrating questions. For example, why did Yo visit a native doctor for help with Nene when we are made to understand that she is very powerful? Why did Nene forgive him for trying to murder her? Why did Nkem decide to help Yo by sending an attacker to Ijeoma? Yo’s rapid shift from prison to nearly being buried alive, then to the hospital, is confusing, even in a supernatural context. While some loose ends are tied up, others are glossed over, making the stakes unclear. Yo’s actions, particularly his impulsiveness in trying to force Ijeoma to abort the baby, felt misjudged. In several key moments, he overreacts in ways that don’t always make sense. The story also makes us question Ijeoma’s decisions—why does she still choose to keep the baby despite all the drama with Yo? Especially because she never wanted a child in the first place? And why didn’t Ajazi, knowing Nene’s rule, take greater care to prevent such an outcome? By the end, we’re left with a sense of closure and curiosity about what could come next if the show gets a second season. ##### Verdict While ‘Life and Dirt’ delivers a compelling narrative with enough twists to keep viewers engaged, it has shortcomings. The uneven pacing, poor character performances, and numerous plot holes prevent it from reaching its full potential. Despite these flaws, the show still manages to entertain, earning a 2.5 out of 5 rating from us. ‘Life and Dirt’ is now streaming on Prime Video. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/life-and-dirt-promising-supernatural-thriller-that-struggles-to-deliver/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/life-and-dirt-promising-supernatural-thriller-that-struggles-to-deliver/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/life-and-dirt-promising-supernatural-thriller-that-struggles-to-deliver/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/life-and-dirt-promising-supernatural-thriller-that-struggles-to-deliver/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/life-and-dirt-promising-supernatural-thriller-that-struggles-to-deliver/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews **Tags:** Bovi, Chidi Mokeme, Dorcas Shola Fapson, Life and Dirt, nollycritic, Prime Video, Reviews, Shaffy Bello --- ### [At Ease: A Powerful Look at PTSD in Soldiers that Fails to Engage](https://nollycritic.com/at-ease-a-powerful-look-at-ptsd-in-soldiers-that-fails-to-engage/) **Published:** October 23, 2024 **Author:** Uju Okosieme **Content:** “At Ease”, written by Stephanie Dadet and directed by Seun Richards, is another heartfelt drama from the First Feature projects. This year has seen several First Feature projects from Natives Filmworks and Michelangelo Productions—”[Kill Boro](https://nollycritic.com/kill-boro-a-powerful-tale-of-family-and-redemption/ "‘Kill Boro’: A Powerful Tale of Love, Family and Redemption")“, “[It Blooms in June](https://nollycritic.com/it-blooms-in-june-a-poignant-journey-of-growth-and-awakening/ "‘It Blooms in June’: A Poignant Journey of Growth and Awakening")“, and “[A Father’s Love](https://nollycritic.com/a-fathers-love-a-heartfelt-exploration-of-paternity-and-family-dynamics/ "‘It Blooms in June’: A Poignant Journey of Growth and Awakening").” We enjoyed those films overall, and now we turn to “At Ease”*,* the latest in the lineup, directed by Seun Richards. Here’s our take on it. ## *At Ease* Directed by: Seun Richards Written by: Stephanie Dadet Genre: Drama Released on: October 16, 2024 (Prime Video) Language: English ##### Plot “At Ease” follows the story of Major Agbo, a 35-year-old Nigerian Army veteran, as he battles severe PTSD after surviving a bomb blast in Northern Nigeria, leading to a downward spiral of nightmares, hallucinations, and personal loss. As he hits rock bottom, Agbo finds solace in therapy and the unwavering support of his loved ones, embarking on a transformative journey of redemption and healing. ##### Story The concept is intriguing, shedding light on the PTSD soldiers face and its impact on families—something rarely depicted in Nigerian cinema. It’s refreshing to see a film tackle mental health, especially since it’s often overlooked in our society. The story is fairly straightforward, but like other First Feature projects, it wraps up a little too easily after a two-hour journey that could have been more gripping. ##### Performances Anee Icha as Lara was a bright spot, delivering a compelling performance, especially in moments of emotional tension. However, Samuel Asa’ah’s portrayal of Ifeanyi was somewhat lackluster. His performance made it hard to connect with Ifeanyi’s struggles, which might have been intentional, as PTSD is often hard to fully grasp. That said, it made for a more distant experience as a viewer. The scene where Ifeanyi reacts to a loud fan noise—a key moment for PTSD representation—was underwhelming, with Samuel Asa’ah’s acting missing the mark. On the other hand, Anee Icha shines in her confrontation scene when she finds out about Ifeanyi’s plan to return to active duty. Their breakfast-in-bed scene, where they open up to each other, was the first time Ifeanyi felt more human, creating a brief but much-needed emotional connection. ##### Technical Aspects Some technical inconsistencies detracted from the overall experience, notably the continuity issues with a scar on Ifeanyi’s face. In some scenes, it was very prominent, while in others, it was barely noticeable. It may seem minor, but details like these impact immersion and should have been handled better. ##### Final Thoughts A couple of mistakes stood out like Anee Icha mistakenly calling their son Ifeanyi instead of Nnamdi—a simple yet glaring error. Major Agbo as the sole survivor of the blast appears miraculous, it would have been more realistic if he was far from the range of the blast. We did appreciate the clever double meaning of the title, “At Ease”*,* which works both as a military command and as a metaphor for Ifeanyi’s emotional state. However, many moments felt like they were included just for the sake of it, like the bar fight and the altercation at Nnamdi’s school. These scenes didn’t seem to deepen the story, and part of that might come from the lack of a strong emotional connection with Ifeanyi’s character. Asa’ah’s performance could have done more to bridge that gap. ##### Verdict While “At Ease” is an interesting film with a relevant theme, it falls short of being truly engaging. For what promised to be a heartfelt drama, there was no catharsis in the third act. The emotional impact the filmmakers were aiming for doesn’t fully land, and at times the pacing felt unnecessarily stretched. Overall, it’s a decent film but one that struggles to hold attention throughout especially with its long runtime. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/at-ease-a-powerful-look-at-ptsd-in-soldiers-that-fails-to-engage/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/at-ease-a-powerful-look-at-ptsd-in-soldiers-that-fails-to-engage/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/at-ease-a-powerful-look-at-ptsd-in-soldiers-that-fails-to-engage/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/at-ease-a-powerful-look-at-ptsd-in-soldiers-that-fails-to-engage/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/at-ease-a-powerful-look-at-ptsd-in-soldiers-that-fails-to-engage/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews **Tags:** Anee Icha, Asa’ah Samuel, At Ease, First features project, nollycritic, nollywood, Prime Video, Seun Richards, Stephanie Dadet --- ### [Soft Love: A Charming Romcom That Delivers Heartfelt Humour and Chemistry](https://nollycritic.com/soft-love-a-charming-romcom-that-delivers-heartfelt-humour-and-chemistry/) **Published:** October 31, 2024 **Author:** Uju Okosieme **Excerpt:** 'Soft Love', a vibrant collaboration between Nigeria and South Africa directed by Holmes Awa, recently landed on Prime Video. **Content:** ‘[Soft Love’](https://www.imdb.com/title/tt33889574/ "Soft Love'"), a vibrant collaboration between Nigeria and South Africa directed by Holmes Awa, recently landed on Prime Video. Produced by Nemsia Studios, the creative team behind ‘[Breath of Life](https://nollycritic.com/amvca-2024-full-winners-list-live-annoucements/ "AMVCA 2024: See The Full List of Winners For The 10th Edition")‘, ‘[With Difficulty Comes Ease](https://nollycritic.com/with-difficulty-comes-ease-a-strong-tale-of-loss-and-faith/ "“With Difficulty Comes Ease”: A Strong Tale of Loss and Faith")‘, and ‘[A Green Fever](https://nollycritic.com/a-green-fever-a-thriller-that-almost-had-it-all/ "“A Green Fever”: A Thriller That Almost Had It All")‘, this film offers a refreshing break from the action-heavy fare Nollywood has leaned on lately. ## Soft Love Directed by: Holmes Awa Written by: Paballo Molingoan\]e Genre: Romantic Comedy Released on: October 26, 2024 (Prime Video) Language: English ##### Plot The story focuses on Zandi, a South African love guru who loses faith in romance after being abandoned on her wedding day. Just as she decides to give up on love, she meets Edward, a Nigerian photographer with relationship scars of his own. Their blossoming romance is woven into a broader narrative, from how TK approaches her relationship with Benji to Edward’s strained family connections and artistic aspirations. These side plots are interwoven naturally, adding texture without overwhelming the central story. ##### Story Despite the classic rom-com structure, ‘Soft Love’ manages to feel fresh and enjoyable. The story unfolds at a good pace, gradually introducing pivotal details. While some elements are predictable, which is expected in this genre, there are some surprises, such as Zandi’s involvement in Edward’s job loss, keeping the story engaging. ##### Performances The film opens with the over-the-top scene of Dumi escaping his wedding to Zandi, setting a comedic tone. Cindy Mahlangu (Zandi) and Efa Iwara (Edward) shine in their respective roles, with palpable chemistry and humour in their banter. Their first meeting, full of back-and-forth, was particularly engaging. Rosemary Zimu gives a spirited performance as TK, and the friendship between TK and Zandi feels authentic. Dorcas Shola Fapson is once again typecast as Amaka, yet Carol King as Mrs. Obi and Genoveva Umeh as Chioma bring a warm family dynamic. Moreover, the sibling bond between Edward and Chioma felt genuine; we especially enjoyed the scene where they confronted Amaka. ##### Technical Aspects ‘Soft Love’ is visually appealing, with its bold and vibrant shots that accentuate the rom-com genre. It is clear that a lot of thought was put into its production design. Both the South African and Lagos locations are beautifully showcased, adding an aesthetic appeal. Music choices, including the track Love and Hate by Efa Iwara and Deborah Prest, underscore the film’s emotional beats and fit seamlessly with the plot. ##### Final Thoughts ‘Soft Love’ keeps things lively with scenes that spark genuine laughter, like Zandi’s first attempt at pounded yam and egusi or the chaotic arrest scene. However, few parts of the film is unoriginal and cringy. it’s puzzling why Zandi was present when Edward and Chioma confronted Amaka, as it felt like a moment for just the family. Edward calling his mother “mama the mama” is quite cringey giving their affluence. There seemed to be o motivation for Edward to break into Zaid’s car other than to help with plot. If her key was missing, why break into the car? Furthermore, pushing a Nigerian man outside your house in his underwear for no reason at all deserves some sort of reaction but Edward doesn’t seem to mind at all. Beneath its romance, the film explores deeper questions about love, friendship, sexuality and self-discovery, aligning with Nemsia Studios’ approach to meaningful emotional storytelling. ##### Verdict ‘Soft Love’ brings both laughs and romance with standout chemistry between its leads. A refreshing rom-com with engaging performances, playful humour, and a well-paced story, it keeps you watching from start to finish ‘Soft Love’ leaves us hopeful for more thoughtful, well-crafted romances like this. ‘Soft Love’ is currently streaming on Prime Video. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/soft-love-a-charming-romcom-that-delivers-heartfelt-humour-and-chemistry/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/soft-love-a-charming-romcom-that-delivers-heartfelt-humour-and-chemistry/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/soft-love-a-charming-romcom-that-delivers-heartfelt-humour-and-chemistry/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/soft-love-a-charming-romcom-that-delivers-heartfelt-humour-and-chemistry/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/soft-love-a-charming-romcom-that-delivers-heartfelt-humour-and-chemistry/?share=linkedin) - **Categories:** Articles, Blog, Movies, Reviews **Tags:** Cindy Mahlangu, efa Iwara, Genoveva Umeh, Holmes Awa, Nemsia Studios, Prime Video, Reviews, Soft Love --- ### [The Smart Money Woman Season 2: Episode 1 And 2 Review](https://nollycritic.com/the-smart-money-woman-season-2-episode-1-and-2-review/) **Published:** November 4, 2024 **Author:** Uju Okosieme **Excerpt:** 'The Smart Money Woman' has returned for a second season, and a we’re eager to catch up with Zuri, Tami, Lara, Adesuwa, and Ladun **Content:** Arese Ugwu’s finance-centric series ‘The Smart Money Woman’ has returned for a second season, and after a couple of years, we’re eager to catch up with Zuri, Tami, Lara, Adesuwa, and Ladun. Before diving in, note that this review contains spoilers for the first two episodes. If you need a refresher on season one, you can find our recap [here](https://nollycritic.com/the-smart-money-woman-season-1-recap-watch-here/ "‘The Smart Money Woman’ Season 1 Recap: Watch Here"). ##### Episode 1 Season 2 of ‘The Smart Money Woman’ opens with Zuri, Tami, Adesuwa, and Lara enjoying a beach party, with Ladun now residing in Canada. Surprisingly, Bobby is still in the picture. Zuri stumbles upon Banke cheating on her husband Gbadebo with Dimeji. Meanwhile, Tami’s cousin introduces her to Sabrina, who wastes no time making a move on Bobby. Adesuwa tells the group about her struggles since her split from Soji. Lara grapples with her mother’s ongoing battle with cancer. Banke tries to bribe Zuri into silence with a discounted Hermès bag. Tami gears up for her new clothing line launch and plans to bring Sabrina on board as an influencer. Zuri proposes a joint property investment to her friends. Sadly, the episode concludes with Lara losing her mother. ##### Episode 2 Lara mourns her mother’s passing while her friends support her. Adesuwa attends therapy to deal with her lingering pain over Soji’s betrayal. Tsola finds himself accused of fraud on social media, and Soji encounters professional troubles. Zuri turns down her mother’s plea for 1 million naira to fund a church prayer for her marriage, while her mother resorts to asking a friend for the money. Adesuwa’s mother pressures her to reconcile with Soji. Zuri faces a dilemma when her boss asks her to buy land owned by her ex, Olumide’s, family. Meanwhile, the friends rally to help Lara pay off her mother’s funeral debts. ##### Plot Shows like ‘The Smart Money Woman’ juggle multiple plot lines. The main arcs include Adesuwa navigating life after Soji’s betrayal, Zuri’s ongoing pursuit of financial independence, Tami’s efforts to launch her new clothing line, and Lara’s emotional journey through her mother’s death. Side stories, such as Banke’s affair with Dimeji and her family’s financial troubles, add complexity. While the 45 to 50-minute episodes pack in a lot, which at times feels disjointed, we expect these plot threads to weave together as the season progresses. ##### Story Much like the previous season, the story stays engaging and keeps your interest, although the episodes occasionally feel a bit drawn out. We’re eager to see how the story unfolds as the season progresses. ##### Performances There hasn’t been a standout acting moment so far, but Toni Tones deserves recognition for her powerful, emotional portrayal of Lara, particularly in the scenes where she learns of her mother’s death and the funeral. ##### Technical Aspects The show is visually captivating, with its vibrant aesthetics intact. However, sound inconsistencies sometimes make dialogue difficult to follow, and editing glitches—like abrupt black screens with only audio—disrupt the viewing experience. ##### Final Thoughts Some details raised questions: Why calculate their net worth and their finances in dollars when the show is set in Nigeria? Also, the characters plan to catch a boat to the beach but end up at The Good Beach, which doesn’t require a boat ride. On a positive note, the casting choice of Deola Awodehin as Adesuwa’s mother is spot on—they share a striking resemblance. Plus, the fashion in the show continues to impress. Episodes 1 and 2 stay true to the show’s established tone, delivering a mix of finance lessons and drama. Despite feeling overly long at times, the episodes are enjoyable and leave us curious about what’s next. We’re rating these episodes a solid 3 out of 5 stars. ‘The Smart Money Woman’ Season 2 airs two new episodes every Thursday on YouTube. Don’t miss it! ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-smart-money-woman-season-2-episode-1-and-2-review/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-smart-money-woman-season-2-episode-1-and-2-review/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-smart-money-woman-season-2-episode-1-and-2-review/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-smart-money-woman-season-2-episode-1-and-2-review/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-smart-money-woman-season-2-episode-1-and-2-review/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Popular reviews, Reviews, TV **Tags:** nollycritic, nollywood, Reviews, The smart money woman, Toni Tones, Youtube --- ### [The Smart Money Woman Season 2: Episode 3 And 4 Review](https://nollycritic.com/the-smart-money-woman-season-2-episode-3-and-4-review/) **Published:** November 10, 2024 **Author:** Uju Okosieme **Excerpt:** he financial and emotional rollercoaster continues in 'The Smart Money Woman' Season 2 as we dive into Episodes 3 and 4. The latest episodes deliver drama **Content:** The financial and emotional rollercoaster continues in ‘[The Smart Money Woman](https://nollycritic.com/the-smart-money-woman-season-2-episode-1-and-2-review/ "The Smart Money Woman")‘ Season 2 as we dive into Episodes 3 and 4. The latest episodes deliver drama, finance lessons, and new character dynamics that keep the story moving. Here’s what went down, but beware of spoilers if you haven’t watched yet! ##### Episode 3 Tami hits a roadblock when her father denies her request for 4 million naira to invest in real estate with her friends. Meanwhile, Lara discovers her company’s financial instability, prompting her to resign. Adesuwa faces her own setback when she’s unable to secure a loan due to Soji’s unresolved debt, and Chinasa starts seeing Soji’s true colours. The ladies regroup at a power brunch, where Zuri confronts Tsola about the rumours surrounding him. Dimeji is revealed as the mastermind behind the smear campaign against Tsola while continuing his affair with Banke. Meanwhile, Tami realizes the scale of funding needed for her collection and seeks help from Bobby, who is also getting closer to Sabrina. Zuri meets with Seni about securing his family land for her company, only for him to make a pass at her. ##### Episode 4 Tami, Zuri, and Adesuwa refine their plans to invest in real estate. Tami’s collection launch is a hit, boosted by influencer marketing. Seni surprises Zuri with roses at her office, securing a meeting with his father for her project. Lara’s job hunt hits a rough patch, and Adesuwa finds herself entangled in Soji’s financial mess again. Tsola struggles to counter the false accusations against him but loses key investors. Tami seeks a loan for her business but is denied, and things worsen when her father cuts off her financial support. This leaves her disheartened, but her friends rally around her, offering solutions and much-needed encouragement. ##### Plot These episodes mirror the format of the first season but with a busier storyline and more characters. Each character has a key plot line, making the narrative feel dense and, at times, overwhelming. However, the show still manages to hold interest by balancing personal drama and financial challenges. ##### Story Episodes 3 and 4 oare more streamlined than the first two, with a tighter focus on the characters’ financial journeys. The storytelling remains engaging, especially in highlighting realistic money management issues. Tami’s struggle as a small business owner and her financial hurdles resonate well with viewers, making her journey one of the most relatable aspects of the show. ##### Performances The main cast delivers steady performances, though nothing particularly memorable stands out but the real low point is the child actor playing Sj, Oluwadunbarin Fasoranti, whose performance feels weak and unconvincing. Thankfully, his scenes are limited. ##### Technical Aspects Visually, [‘The Smart Money Woman](https://www.imdb.com/title/tt12428002/ "'The Smart Money Woman")‘ continues to impress with its stylish sets and vibrant fashion. However, sound issues persist, making it hard to hear dialogue clearly at times. Additionally, there are noticeable errors in subtitles and typos in the on-screen text, which detract from the overall polish. ##### Final Thoughts The flashback scenes featuring Lara are unconvincing because Toni Tones plays both the young and adult versions and it’s just not believable that she is preparing to go to the university. Banke’s character continues to be overly antagonistic, often coming off as needlessly mean. Additionally, the reveal that Dimeji is behind the smear campaign against Tsola was underwhelming—we’re hoping for a twist that adds more depth to this storyline. Lastly, Zuri’s storyline is a bit muddled; she repeatedly mentions working with Olumide, but all we’ve seen so far are her meetings with Seni. ##### Verdict [‘The Smart Money Woman](https://www.imdb.com/title/tt12428002/ "'The Smart Money Woman")”s fashion continues to be a major highlight, but the increasing number of plot lines may lead to a less cohesive story if they don’t start tying together soon. We’re giving Episodes 3 and 4 a rating of 2.5 out of 5 stars. Despite its flaws, the show’s themes and financial lessons keep us curious about what’s next. Catch new episodes every Thursday on YouTube. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-smart-money-woman-season-2-episode-3-and-4-review/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-smart-money-woman-season-2-episode-3-and-4-review/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-smart-money-woman-season-2-episode-3-and-4-review/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-smart-money-woman-season-2-episode-3-and-4-review/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-smart-money-woman-season-2-episode-3-and-4-review/?share=linkedin) - **Categories:** Articles, Blog, Reviews, TV **Tags:** Ini Dima-Okojie, Kemi Lala Akindoju, nollycritic, Osas Ighodaro, Reviews, The smart money woman, Toni Tones, Youtube --- ### [Move Like A Boss: Absurd Plot, Little Payoff](https://nollycritic.com/move-like-a-boss-absurd-plot-little-payoff/) **Published:** November 11, 2024 **Author:** Uju Okosieme **Excerpt:** ‘Move Like a Boss,’ a spin-off of Biodun Stephen’s 2023 film ‘Donkey Curse,’ quietly hit Prime Video. We missed it during its initial cinema run.. **Content:** [‘*Move Like a Boss*](https://www.imdb.com/title/tt33046411/ "‘Move Like a Boss"),’ a spin-off of [Biodun Stephen’s](https://nollycritic.com/muri-and-ko-see-the-official-trailer-for-biodun-stephens-new-film/ "Biodun Stephen’s") 2023 film ‘*Donkey Curse*,’ quietly hit Prime Video. We missed it during its initial cinema run, but now that it’s streaming, we decided to check it out. Here’s our honest take. ## *Move Like A Boss* Directed by: Ekene Mekwunye Produced by: Tim McManus Genre: Drama/Comedy Released date: November, 2024 (Prime Video) Language: English ##### Plot The film centres around Joko, who is forced to protect her father’s business from greedy family members while he’s away on a vague “pilgrimage and self-awakening” journey. Joko hatches an outrageous plan, donning a prosthetic mask to impersonate her father and maintain control of the company. The premise itself is far-fetched and difficult to believe, even in the context of a Nollywood comedy. The idea that anyone—let alone close family members and friends—would be fooled by a mask is just too unrealistic. It’s a bizarre plot that feels out of touch, making it hard to stay invested. ##### Story Joko’s impersonation scheme is the central focus, but the execution is flawed. The prosthetic mask looks awkward and not convincing enough to fool people who have known her father for years. This glaring plot hole makes it hard to take the story seriously. It’s an idea that might have worked in a farce or a parody, but here it falls flat and feels poorly thought out. ##### Performances The performances are lacklustre across the board. Yemi Solade, usually a strong presence, delivers an underwhelming performance that’s far below his usual standard. Victor Osuagwu’s return to the screen is notable, but his role feels like a recycled version of characters he’s played before, offering little that’s new. The film is filled with over-the-top dramatic scenes, but instead of adding humour, they drag the movie down with exaggerated acting and irrelevant moments. The climax, where Joko’s father finally shows up, is a major letdown. It’s supposed to be the high point of the movie, but the scene is so anticlimactic that it leaves you wondering why you invested your time watching. ##### Technical Aspects On a positive note, the film’s visuals are appealing, and the colour grading complements the comedic tone. However, there are technical issues that shouldn’t still be present in Nollywood films—like noticeable camera shakes in some scenes. The soundtrack features just two main songs that play repeatedly throughout, and while they fit the genre, they often feel misplaced and disrupt the flow of the movie. Joko’s unrealistic mask had a noticeable clip during the club scene, creating a cringy atmosphere. ##### Final Thoughts It’s hard to believe that a Nigerian parent would leave on a trip without telling their child where they’re headed, yet that’s what happens here. The constant repetition of “clause 33G” quickly becomes annoying, and scenes like Colorado bringing a car to Aunty Wura add nothing but unnecessary filler. This kind of overdone comedy is wearing thin in Nollywood, and ‘*Move Like a Boss*’ does little to offer something new. ##### Verdict After watching, it’s clear why this film flew under the radar—it’s a disappointing comedy that fails to stand out. If you’re looking for something to watch with time to spare, it might be worth a look but don’t expect much. Overall, it’s an unremarkable effort that earns a rating of 1 out of 5 stars from us. You can catch ‘*Move Like a Bos*s’ streaming on Prime Video. **Rating**: 1/5 ⭐ Rating: 1 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/move-like-a-boss-absurd-plot-little-payoff/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/move-like-a-boss-absurd-plot-little-payoff/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/move-like-a-boss-absurd-plot-little-payoff/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/move-like-a-boss-absurd-plot-little-payoff/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/move-like-a-boss-absurd-plot-little-payoff/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Move Like A Boss, Nancy Isime, Prime Video, Reviews, Yemi Solade --- ### [The Smart Money Woman Season 2: Episodes 5 & 6 Review](https://nollycritic.com/the-smart-money-woman-season-2-episodes-5-6-review/) **Published:** November 17, 2024 **Author:** Uju Okosieme **Excerpt:** We’re three weeks into Season 2 of The Smart Money Woman, and once again, we’re eager to catch up with our favourite characters. **Content:** We’re three weeks into Season 2 of *[The Smart Money Woman](https://nollycritic.com/the-smart-money-woman-season-2-episode-1-and-2-review/ "The Smart Money Woman")*, and once again, we’re eager to catch up with our favourite characters. You should skip the breakdown below if you haven’t seen these episodes. ##### Episode 5 Zuri kicks off her birthday celebrations with calls from her mother and Tsola but promptly returns all the gifts from her ex, Olumide. After a long job search, Lara finally secures a position. The girls celebrate Zuri’s birthday with a spa day, during which Adesuwa discusses her plans to divorce Soji. Meanwhile, Soji spends time with Sj, and Tsola surprises Zuri with a birthday dinner that ends with a party. Awkwardly, Olumide is at the same restaurant and sends drinks over. Zuri then catches Banke and Dimeji hooking up. Later, Adesuwa runs into Soji at the club and questions who’s looking after Sj, leading her to rush over to Chinasa’s place when Sj gets trapped in a room. Adesuwa finally decides to proceed with the divorce. ##### Episode 6 Adesuwa begins her divorce proceedings, and the girls show up to support her. Tsola continues trying to fix his damaged reputation. Lara starts her new job but quickly faces hostility from a colleague who tries to tarnish her image. Dimeji sows seeds of distrust during a game with Tsola. An article about Zuri, Seni, and Olumide goes viral, sparking an argument between Zuri and Tsola. Lara pitches a proposal to her new boss and sets up dinner with Deji. The girls continue their real estate investment plans, while Tami rejects her dad’s suggestion to take an accounting job. Bobby’s date with Tami reveals a different side to him, and Adesuwa takes her frustrations out through cooking. Tsola later confronts Zuri about her work dealings with Olumide’s family. ##### Plot A major plot point continues to be Banke’s affair with Dimeji, but her reckless behaviour feels unrealistic. She’s constantly cheating while her husband isn’t far away. We get that she’s lost respect for him due to his financial struggles, but the blatant disregard doesn’t quite fit. ##### Story These episodes flow better than the previous ones, without feeling overloaded with plot lines. The pacing feels much more balanced this week. ##### Performances While Eso Okolocha as Tsola and Osas Ighodaro as Zuri share some sweet moments, their romantic scenes often border on cringe. The supporting actors, particularly the extras, are exhausting to watch and detract from the main performances. The scene where Adesuwa rushes to help Sj was disappointingly flat and could have used stronger acting. However, Kemi Lala Akindoju shines in the following confrontation scene where she slaps Soji and lets out her pent-up frustration. ##### Technical Aspects The Smart Money Woman’ maintains its visually appealing aesthetic, and there’s a noticeable improvement in the sound quality compared to earlier episodes. It’s not perfect, but it’s better. ##### Final Thoughts We noticed that the voice on the phone at the start of Episode 5 wasn’t the actress who plays Zuri’s mum. The finance discussions dive a bit deeper this time around, which we appreciated. Zuri’s constant run-ins with Dimeji and Banke feel oddly convenient. Chinasa’s realization of Soji’s true character is a highlight after everything that took place in season one. On the flip side, Olivia’s hairstyle falls into outdated stereotypes for domestic workers. Finally, Tsola’s jealousy over Zuri’s work with Olumide feels like an unnecessary drama, especially since she hasn’t actively been working with Olumide. ##### Verdict These episodes are enjoyable and leave us looking forward to what’s next. It’s going to be hard to say goodbye when ‘The Smart Money Woman’ wraps up. We’re giving Episodes 5 and 6 a solid 3 out of 5 stars. You can catch the episodes on YouTube every Thursday. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-smart-money-woman-season-2-episodes-5-6-review/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-smart-money-woman-season-2-episodes-5-6-review/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-smart-money-woman-season-2-episodes-5-6-review/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-smart-money-woman-season-2-episodes-5-6-review/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-smart-money-woman-season-2-episodes-5-6-review/?share=linkedin) - **Categories:** Articles, Blog, Reviews, TV **Tags:** Ini Dima-Okojie, Kemi Lala Akindoju, nollycritic, Osas Ighodaro, Reviews, The smart money woman, Toni Tones, Youtube --- ### [The Smart Money Woman Season 2: Episodes 7 & 8 Review](https://nollycritic.com/the-smart-money-woman-season-2-episodes-7-and-8-review/) **Published:** November 30, 2024 **Author:** Uju Okosieme **Excerpt:** Episodes 7 and 8 of 'The Smart Money Woman' are here, bringing us closer to the season’s conclusion. If you haven’t watched these episodes yet, you might want to skip ahead to avoid spoilers. **Content:** Episodes 7 and 8 of ‘[The Smart Money Woman](https://nollycritic.com/the-smart-money-woman-season-2-episode-3-and-4-review/ "The Smart Money Woman")‘ are here, bringing us closer to the season’s conclusion. If you haven’t watched these episodes yet, you might want to skip ahead to avoid spoilers. ##### Episode 7 Zuri turns to her friends for advice about her breakup with Tsola while Tami discovers through an Instagram Live that Bobby has been spending time with Sabrina. Zuri tries to reach out to Tsola but gets no response. Meanwhile, Tsola invites Dimeji to join a group of investors he’s putting together. Lara steps in to help Tami organize her finances and advises her to create a business plan. Zuri firmly rejects Seni’s advances, which leads him to sabotage her company. Adesuwa proceeds with her divorce plans, and Soji is served the papers, further straining his relationship with Chinasa. Zuri pushes through professional challenges, securing the deal with Alhaji Sanni despite Seni’s interference. On a date with Deji, Lara pitches a business proposal. Meanwhile, Dimeji contacts Franchesca after she retracts her negative article about Tsola under threat. Later, Tami turns to Tsola for help with her business plan and tries to discuss the breakup with him, but he remains cold. Tami spends time with Dimeji, sparking tension with Banke, who eventually gets caught with him by Senami. In a surprising turn, Zuri’s landlord discovers her subletting scheme, landing her at the police station. Tsola and Tami come to her rescue. ##### Episode 8 Tsola tries to resolve Zuri’s police station ordeal, but her landlord intends to escalate the matter. Eventually, Zuri is released, much to the landlord’s dismay. Tami goes on a TV interview to discuss her struggles in the fashion industry, leading to a heartfelt reconciliation with her father, who promises to keep funding her business. Adesuwa discovers her maid Olivia fell for a fraudulent investment she had warned her against. Adesuwa raises Olivia’s salary and sets up a savings plan. Adesuwa also ventures back into dating. Tsola’s appearance at Tami’s fashion showcase with a date irks Zuri and her friends. The event also stirs conflict, with Adesuwa confronting Lara for inviting Deji, a married man, and Sabrina demanding payment from Tami mid-showcase despite prior agreements. The long-anticipated reveal of Banke and Dimeji’s affair finally happens, with Banke accusing Zuri of exposing them. The drama culminates in Gbadebo, Banke’s husband, asking her to leave after orchestrating the exposure. Meanwhile, Tsola confronts Zuri about being deceptive and not informing him of the affair. ##### Plot The show continues to juggle numerous plotlines, some of which feel irrelevant. For instance, Tami’s cousin Demi and her open relationship with Ochuko seem disconnected from the main story. While Demi is Tami’s cousin, this subplot lacks any significant impact or tie-ins. ##### Story As with previous episodes, these two feel stretched out, with several seemingly unnecessary events. The Zuri-Tsola breakup is particularly overworked, with Tsola’s additional grievances—like Zuri not disclosing Banke and Dimeji’s affair—only making the breakup seem more contrived. ##### Performances There weren’t any standout performances in these episodes, but certain moments stood out for the wrong reasons. Demi holds her own during her argument with Ochuko, but Ochuko’s lackluster performance drags the scene down. Similarly, the fight scene between Tsola and Dimeji could have been more intense. The show’s large cast means a surplus of extras, many of whom fail to deliver compelling performances. While their screen time is limited, the lack of effort is noticeable and distracting. ##### Technical Aspects The series maintains its vibrant visual style, but recurring issues with the screen occasionally going black and inconsistent sound quality persist. While the sound is slightly improved compared to earlier episodes, it still needs work. ##### Final Thoughts The Zuri-Tsola breakup feels unnecessarily forced, and ironically, the breakup blues make their relationship somewhat engaging this season. Zuri’s efforts to mend things feel one-sided, with Tsola seemingly overreacting and doing too much to justify the split. It feels like the breakup was shoehorned into the story to add conflict to Zuri’s life, and it simply doesn’t land. Banke’s reckless affair with Dimeji dragged on far too long, but the revelation was satisfying. Gbadebo being the one to expose them was a surprising and well-executed twist. ##### Verdict Despite the heavy drama, the financial lessons in these episodes remain a highlight. We appreciate seeing Tami’s growth as a businesswoman, especially compared to her journey in Season 1. It underscores the importance of financial literacy, a central theme of the series. These episodes earn a rating of 2.5 out of 5. You can watch ‘The Smart Money Woman’ every Thursday on YouTube. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-smart-money-woman-season-2-episodes-7-and-8-review/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-smart-money-woman-season-2-episodes-7-and-8-review/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-smart-money-woman-season-2-episodes-7-and-8-review/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-smart-money-woman-season-2-episodes-7-and-8-review/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-smart-money-woman-season-2-episodes-7-and-8-review/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews, TV **Tags:** Ini Dima-Okojie, Kemi Lala Akindoju, nollycritic, Osas Ighodaro, The smart money woman, Toni Tones, Youtube --- ### [The Smart Money Woman Season 2: Episodes 9 & 10 Review](https://nollycritic.com/the-smart-money-woman-season-2-episodes-9-10-review/) **Published:** December 1, 2024 **Author:** Uju Okosieme **Excerpt:** The final episodes of the second season of 'The Smart Money Woman' dropped recently, and there’s a lot to unpack. Let's delve right in **Content:** The final episodes of the second season of ‘[The Smart Money Woman’](https://nollycritic.com/the-smart-money-woman-season-2-episodes-5-6-review/ "The Smart Money Woman'") dropped recently, and while we’re sad to see the show end, there’s a lot to unpack. Let’s dive into the highs and lows of the season’s conclusion. If you haven’t watched the episodes yet, beware of spoilers ahead. ##### Episode 9 Zuri continues adjusting to life post-breakup while focusing on building her financial portfolio. She and the girls finally secure the property deal they’ve been working on. During their discussions, Zuri reveals details of her final argument with Tsola. Meanwhile, Zuri’s mom seeks help from a prophetess, reflecting her struggle to process Zuri’s single status. Tami spends time with Bobby, while Zuri and Lara attend an event where Tsola shows up with his new girlfriend. Chinasa moves on from Soji by bringing another man home and asking Soji to leave. Zuri tries to mediate between Lara and Adesuwa, whose friendship is strained after an earlier disagreement. Tami’s suspicions about Bobby deepen after she finds a message from Sabrina on his phone, leading her to confront her cousin Demi about Sabrina and Bobby dating. Lara has a tense confrontation with a girl her brother brought home after noticing she was wearing a dress her late mother gifted her. Elsewhere, Soji approaches Adesuwa to beg for reconciliation, but she firmly tells him to leave. A financial complication arises when Ifueko calls Zuri about her mom owing money, adding to the tension. While out with the girls, Adesuwa and Lara’s unresolved issues boil over into an argument. Later, Bobby visits Tami but is met with a frosty reception. The highlight of the episode is Tsola showing up at Zuri’s home, and apologizing for his behavior. His persistence pays off as they finally have an open and heartfelt conversation about their feelings. ##### Episode 10 This season of ‘[The Smart Money Woman’](https://nollycritic.com/the-smart-money-woman-season-2-episodes-5-6-review/ "The Smart Money Woman'") wraps up with Zuri, Tami, Lara, and Adesuwa traveling to South Africa for a financial conference featuring Arese Ugwu, the author of The Smart Money Woman. Bobby makes a last-ditch effort to win Tami back by visiting her hotel room and attempting to woo her during a night out with the girls, but she remains distant. Lara meets a charming gym-goer named Khosi and agrees to go on a date with him. The girls attend a session where they reflect on their strengths and weaknesses, offering a moment of vulnerability and connection which leads to Lara and Adesuwa making amends. Lara’s date with Khosi is followed by a fun night out with the girls. The season concludes with Tsola surprising Zuri in Cape Town, where he proposes in a beautifully scenic location, bringing their tumultuous story to an emotional end. ##### Plot These final episodes resolve many of the plotlines introduced earlier in the season, though some remain unresolved and feel unnecessary in hindsight. Certain storylines seem included purely for shock value or filler, which detracts from the overall impact. ##### Story While the story holds enough intrigue to keep viewers engaged, it’s clear the season struggles with a lack of substantive material. With much of the source material from Arese Ugwu’s book already explored in Season 1, many of this season’s storylines feel like they’re grasping at straws. The conflicts, particularly Zuri and Tsola’s breakup, often feel contrived and lack genuine depth. ##### Performances The supporting cast remains a weak point, with subpar performances from side actors detracting from key scenes. For example, the scene where Lara and her brother, Yemi, open up about their grief over their mother has potential but falters due to Andrew Agozie’s unconvincing portrayal of Yemi. Fortunately, Toni Tones’ strong performance as Lara salvages the scene and gives it emotional weight. The standout moment comes during the girls’ emotional group session in South Africa. It’s one of the best-written and acted scenes of the season, showcasing strong chemistry and vulnerability from the main cast. ##### Technical Aspects Visually, ‘[The Smart Money Woman’](https://nollycritic.com/the-smart-money-woman-season-2-episodes-5-6-review/ "The Smart Money Woman'") ends on a high note. The vibrant cinematography and picturesque South African locations add an extra layer of polish to the final episodes. The proposal scene between Tsola and Zuri is a standout, thanks to its stunning backdrop and thoughtful shot composition. However, the season still struggles with technical inconsistencies, such as sound quality issues, which have been a recurring problem throughout. ##### Final Thoughts The Tsola-Zuri storyline feels unnecessarily prolonged, with Tsola’s behavior—bringing a new girl into spaces where Zuri is present—coming off as inconsistent and poorly thought out. His eventual apology feels abrupt as if the writers struggled to resolve their conflict organically. Similarly, Tami’s serious approach to her relationship with Bobby feels out of place, given how unserious he seems throughout the season. Zuri’s mom turning to a prophetess is an annoying but relatable subplot that reflects a common Nigerian experience. On the other hand, the Lara-Adesuwa argument overstayed its welcome, dragging on for far too long. The season’s conclusion, with Tsola’s proposal, feels overdue, and their relationship struggles could have been replaced with a more meaningful conflict. ##### Verdict Season 2 of ‘T[he Smart Money Woman](https://www.imdb.com/title/tt12428002/ "he Smart Money Woman")‘ had its moments, but it’s clear the show struggled with uneven writing and weak supporting performances. While the core themes of financial literacy and empowerment remain compelling, the execution fell short of the promise shown in Season 1. The entire season is now available to stream on YouTube. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-smart-money-woman-season-2-episodes-9-10-review/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-smart-money-woman-season-2-episodes-9-10-review/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-smart-money-woman-season-2-episodes-9-10-review/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-smart-money-woman-season-2-episodes-9-10-review/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-smart-money-woman-season-2-episodes-9-10-review/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews **Tags:** Ini Dima-Okojie, Kemi Lala Akindoju, Osas Ighodaro, The smart money woman, Toni Tones, Youtube --- ### [Mo Abudu's EbonyLife Set to Open New London Creative Hub](https://nollycritic.com/mo-abudus-ebonylife-set-to-open-new-london-creative-hub/) **Published:** March 21, 2025 **Author:** Fisayo Adekoya **Excerpt:** The EbonyLife Group is set to establish a groundbreaking cultural and creative hub in the heart of London. The company, led by Mo Abudu, has acquired **Content:** The [EbonyLife](https://ebonylifeplace.com/ "EbonyLife") Group is set to establish a groundbreaking cultural and creative hub in the heart of London. The company, led by [Mo Abudu](https://nollycritic.com/?s=mo+abudu "Mo Abudu"), has acquired a prime property on Wandsworth Road, a location that places it minutes from the West End and near the new American Embassy. This marks a major step in expanding opportunities for African creatives on a global scale. Scheduled to open in the fourth quarter of 2025, EbonyLife Place London will serve as a vibrant center for African storytelling, offering platforms for film, theatre, music, art, fashion, and cuisine. At the core of this initiative is EbonyLife Cinemas London, a 180-seater theatre dedicated to showcasing African films, particularly Nollywood productions. This will be the first African cinema of its kind in the city, creating a dedicated space for African filmmakers to reach international audiences. Beyond cinema, the hub will introduce Turaka London, a dining experience that brings Nigerian cuisine to the capital. Art exhibitions will provide a platform for African artists to present their work, while a curated retail space will showcase the continent’s leading fashion brands. Theatre productions, concerts for emerging artists, and creative workshops will further solidify the venue’s role in amplifying African talent. EbonyLife Place London is also designed to foster professional connections. Through membership programs, networking opportunities, and industry seminars, creatives will have access to global opportunities while working within a space that prioritizes African narratives. Mo Abudu emphasized that this expansion is not just about business growth but about ensuring African creatives have a stronger presence on the international stage. With London serving as a key cultural hub, EbonyLife Place is positioned to celebrate and elevate African storytelling in an environment that encourages innovation and collaboration. As the project moves forward, anticipation continues to build for what promises to be a defining space for African arts and entertainment in the United Kingdom. > [View this post on Instagram](https://www.instagram.com/reel/DHdW5sztgdp/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Ranks Africa (@ranksafrica)](https://www.instagram.com/reel/DHdW5sztgdp/?utm_source=ig_embed&utm_campaign=loading) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/mo-abudus-ebonylife-set-to-open-new-london-creative-hub/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/mo-abudus-ebonylife-set-to-open-new-london-creative-hub/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/mo-abudus-ebonylife-set-to-open-new-london-creative-hub/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/mo-abudus-ebonylife-set-to-open-new-london-creative-hub/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/mo-abudus-ebonylife-set-to-open-new-london-creative-hub/?share=linkedin) - **Categories:** Blog, Nollywood News **Tags:** EbonyLife Place, london, Mo Abudu, nollycritic, nollywood --- ### [GUY: A Bold Indie Series About Life and Identity](https://nollycritic.com/guy-a-bold-indie-series-about-life-and-identity/) **Published:** March 20, 2025 **Author:** Fisayo Adekoya **Excerpt:** Indie filmmaker ‘Chukwu Martin introduces GUY, a limited series set to debut on YouTube. Known for his experimental approach to storytelling, **Content:** Indie [filmmaker](https://nollycritic.com/?s=filmmaker "filmmaker") ‘Chukwu Martin introduces *GUY*, a limited series set to debut on YouTube. Known for his experimental approach to storytelling, Martin brings a raw and reflective take on loneliness, creative stagnation, and the search for identity. The series follows an ailing artist struggling to find his place in an uncertain world, navigating everyday encounters that feel both fleeting and deeply personal. Unlike conventional productions, *GUY* embraces an unfiltered indie aesthetic. Scenes unfold naturally, prioritizing authenticity over polish. The dialogue is unforced, the emotions unguarded. Every moment lingers just long enough to make viewers feel like quiet observers in the characters’ lives. The series strips storytelling down to its essence; no distractions, just people and their truths. The project came to life almost spontaneously. During a conversation with Ifebusola and Adedolapo Boluwatife, Martin casually shared his rough idea. That discussion turned into action, and within a week, three episodes had been filmed. The goal was simple: to experiment, to capture something real, and to let the story take shape as naturally as possible. These first episodes serve as a template, with hopes of expanding further. *GUY* features a lineup of talented actors who bring its intimate, unscripted feel to life. The cast includes ‘Chukwu Martin, Ethan Abanikannda, Oladiran Afolabi, Maureen Vincent, Kareem Temitope, Adedolapo Boluwatife, Tinuola Nwachukwu, Usman Abiodun, and TobeChukwu. Their performances ground the series, making each interaction feel deeply personal. Behind the scenes, a tight-knit team ensured *GUY* maintained its vision. Cinematography by Ifebusola captures the essence of each scene, allowing simplicity to shine. Olaoluwa Babatunde’s sound design enhances the atmosphere without overpowering the story. Usman Abiodun and JayJayOluwa handled behind-the-scenes work, while Oladahunsi Olumide, Ifebusola, and Martin led executive production. The project embodies the spirit of indie filmmaking—creative, collaborative, and unafraid to break convention. At its core, *GUY* is a meditation on human connection, creative struggle, and the spaces people occupy. It doesn’t seek to entertain in the traditional sense. Instead, it offers a window into lives that feel real, familiar, and often overlooked. Every frame holds a quiet weight, making the smallest interactions feel profound. As *GUY* prepares for its [YouTube](https://youtu.be/6dMJwtXM-og?si=Ydvf-soRjEdiSTLu "YouTube") release , it stands as an experiment in storytelling, a snapshot of life, and a reminder that some of the most compelling stories are the ones told simply, without pretense. See the teaser below! ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/guy-a-bold-indie-series-about-life-and-identity/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/guy-a-bold-indie-series-about-life-and-identity/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/guy-a-bold-indie-series-about-life-and-identity/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/guy-a-bold-indie-series-about-life-and-identity/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/guy-a-bold-indie-series-about-life-and-identity/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** Adedolapo Boluwatife, Chukwu Martin, Ethan Abanikannda, Guy, Kareem Temitope, Maureen Vincent, nollycritic, nollywood, Oladiran Afolabi, Tinuola Nwachukwu, Usman Abiodun --- ### [See the Teaser For Makemation Nollywood’s First AI Film](https://nollycritic.com/see-the-teaser-for-makemation-nollywoods-first-ai-film/) **Published:** March 18, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood is stepping into new territory with Makemation, Africa’s first feature film centred on artificial intelligence. Scheduled to hit cinemas **Content:** [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") is stepping into new territory with *[Makemation](https://makemation.com/ "Makemation")*, Africa’s first feature film centred on artificial intelligence. Scheduled to hit cinemas on Good Friday, **18 April 2025**, the film blends entertainment with technology, telling a story of resilience, innovation, and hope. ##### A Story of Determination and Innovation *Makemation* is a coming-of-age drama that follows a brilliant yet impoverished young girl in Lagos, Nigeria. Despite the struggles of poverty, she secures a place at the country’s most prestigious tech school. Faced with numerous obstacles, she must prove her genius and find solutions to save her family. The film explores how young Africans, particularly girls, are using technology and AI to address real-world challenges. According to its creators, *Makemation* aims to inspire young minds by showcasing STEM education, digital skills, gender equality, and financial literacy, all through the lens of an emotionally engaging and humorous tale. ##### Cast and Production The film features an ensemble cast of Nollywood actors. Richard Mofe-Damijo stars as Chief Abiye Douglas, while Shaffy Bello plays Professor Aarin Orazulike. Chioma Chukwuka takes on the role of Ginika Sodangi, and Ibrahim Chatta plays Jato Sodangi. Tony Umez appears as Dr Layi Jejelaiye, while Ali Nuhu portrays Football Coach Gyang. Other notable cast members include Wunmi Toriola, Tomi Ojo, Chimezie Imo, Jude Chukwuka, Jide Kosoko, Yvonne Jegede, and many more. Produced by Rise Interactive Studios, the film is led by Toyosi Akerele-Ogunsiji as Producer, Executive Producer, Production Designer, and Co-Screenwriter. Michael “AMA Psalmist” Akinrogunde directs and co-produces, while Richard Mofe-Damijo and Shaffy Bello serve as Co-Executive Producers. Technical support comes from Klink Studios (camera and grip equipment) and Jungle Filmworks (lighting and electrical equipment). ##### Technology and AI in the Film *Makemation* stands out as one of Nollywood’s first films to focus on artificial intelligence. The story merges traditional African storytelling with themes of technology and innovation, reflecting the increasing role of AI in modern society. The film also explores how young people in Africa are engaging with technology to create solutions in their communities. The film was officially launched by Lagos State Governor Babajide Sanwo-Olu, highlighting its relevance to both the Nigerian film industry and the country’s growing tech sector. ##### Trailer Release and Audience Expectations The official trailer for *Makemation* has been released, giving audiences a first look at the film’s visuals and themes. While details on the full storyline remain under wraps, the trailer suggests a mix of drama, humour, and technology-driven storytelling. The film’s unique focus on AI and innovation has generated interest, and many are eager to see how it will be executed on screen. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-teaser-for-makemation-nollywoods-first-ai-film/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-teaser-for-makemation-nollywoods-first-ai-film/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-teaser-for-makemation-nollywoods-first-ai-film/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-teaser-for-makemation-nollywoods-first-ai-film/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-teaser-for-makemation-nollywoods-first-ai-film/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** african cinema, AI in film, Ali Nuhu, artificial intelligence, Chimezie Imo, Chioma Chukwuka, digital skills, financial literacy, gender equality, Ibrahim Chatta, Jide Kosoko, Jude Chukwuka, Jungle Filmworks, Klink Studios, Lagos film industry, Makemation, Michael “AMA Psalmist” Akinrogunde, nigerian cinema, Nigerian film industry, Nigerian tech industry, nollywood, Nollywood 2025, nollywood movies, Nollywood sci-fi, Richard Mofe-Damijo, Rise Interactive Studios, Shaffy Bello, STEM education, technology in Nollywood, Tomi Ojo, Tony Umez, Toyosi Akerele-Ogunsiji, Wunmi Toriola, Yvonne Jegede --- ### [Owambe Thieves Unveils Betrayal and Survival This Easter](https://nollycritic.com/owambe-thieves-unveils-betrayal-and-survival-this-easter/) **Published:** March 13, 2025 **Author:** Fisayo Adekoya **Excerpt:** Nollywood is set to deliver an electrifying cinematic experience as Owambe Thieves arrives in cinemas nationwide on Friday, April 18, 2025. **Content:** [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") is set to deliver an electrifying cinematic experience as *Owambe Thieves* arrives in cinemas nationwide on Friday, April 18, 2025. Produced by Eniola Ajao and directed by [Adeoluwa Owu](https://www.imdb.com/name/nm6147513/ "Adeoluwa Owu"), the filmmaker behind *A Tribe Called Judah* and *Jagun Jagun*, the film blends gripping drama with the vibrant energy of Nigeria’s beloved Owambe culture. At its core, *Owambe Thieves* tells the story of a struggling married couple who, in a desperate bid to survive, take a high-stakes risk. However, their decision sets off a chain of events that quickly spirals beyond their control. What initially seems like a clever scheme soon entangles them in a dangerous web of power, betrayal, and unforeseen consequences. With each twist and turn, they are forced to confront the cost of their choices, making audiences question just how far people will go when their backs are against the wall. The film boasts a stellar cast, bringing together some of Nollywood’s finest talents. Eniola Ajao, Zubby Michael, Sola Sobowale, Odunlade Adekola, and Wunmi Toriola deliver compelling performances, while Femi Branch and Ikechukwu Onunaku add depth and intensity to the narrative. Additionally, social media sensations such as Papaya Ex, Denrele Edun, and Tolani Baj bring a fresh dynamic, merging mainstream entertainment with digital-age influence. This diverse ensemble ensures a captivating on-screen experience that blends traditional storytelling with modern-day appeal. Beyond its thrilling plot, *Owambe Thieves* captures the essence of Nigerian celebrations, showcasing the extravagant fashion, infectious music, and lively atmosphere that define Owambe parties. The fusion of high-energy scenes with nail-biting tension creates a film that is as entertaining as it is thought-provoking. With backing from industry giants Anthill Studios, Lighthouse Pictures, and FilmOne Studios, *Owambe Thieves* is set to make an impact at the box office. The combination of a compelling story, powerful performances, and high production value promises an unforgettable cinematic ride. As the premiere date draws closer, excitement builds for a film that not only delivers suspense and drama but also highlights themes of survival, ambition, and the unpredictability of human nature. Moviegoers should prepare for a thrilling journey that will leave them entertained and reflecting long after the credits roll. See the teaser below! ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/owambe-thieves-unveils-betrayal-and-survival-this-easter/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/owambe-thieves-unveils-betrayal-and-survival-this-easter/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/owambe-thieves-unveils-betrayal-and-survival-this-easter/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/owambe-thieves-unveils-betrayal-and-survival-this-easter/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/owambe-thieves-unveils-betrayal-and-survival-this-easter/?share=linkedin) - **Categories:** Drama, Movies, Nollywood, Nollywood News **Tags:** Anthill Studios, Eniola ajao, film, Filmone Studios, Movies to see this Easter, nigerian cinemas, nollycritic, nollywood, Nollywood 2025, Odunlade Adekola, Owambe Thieves, Papaya ex, Sola Sobowale, Wunmi Toriola, Zubby Michael --- ### [Grind Season 2: The Drama Continues in Episodes 1 to 3](https://nollycritic.com/grind-season-2-the-drama-continues-in-episodes-1-to-3/) **Published:** March 11, 2025 **Author:** Uju Okosieme **Excerpt:** The long-awaited second season of 'Grind' is finally here, with the first three episodes now streaming on Prime Video. After the dramatic fallout **Content:** The long-awaited second season of ‘[Grind](https://nollycritic.com/?s=grind "Grind")‘ is finally here, with the first three episodes now streaming on Prime Video. After the dramatic fallout between Tarela and Edesiri at the end of [Season 1](https://nollycritic.com/grind-season-1-recap-everything-you-need-to-know-before-season-2/ "Grind Season 1 Recap: Everything You Need to Know Before Season 2"), we’re eager to see the consequences of their fight unfold and how this season sets up new conflicts. ##### Episode 1 [*Grind* Season 2](https://www.imdb.com/title/tt25966838/ "Grind Season 2") opens with Tarela in prison, blamed not only for her fight with Edesiri but also for Edesiri’s theft. Gossip swirls about her alleged crimes while her mother and sister struggle with the consequences of her imprisonment. In a pivotal moment, Tarela thwarts an attack in prison, earning her unexpected leverage. Meanwhile, Tiwa tries to get Somto to intervene, but he refuses. A former stripper, Ruby, returns to the club, requesting her old spot. Chief Femi questions Tiwa about the whereabouts of both Tarela and Edesiri. During a prison visit, Tarela’s mother delivers a stern lecture while updating her on their dire living conditions. To help, Tarela grants her mother access to her ATM card—an action that will have repercussions. Through flashbacks, we see a painful moment from Edesiri’s past: her boyfriend Tony pimped her out for money, only for her to catch him with another woman later. Though she confides in Tarela, she withholds the full truth. Tarela secretly calls Andre for help with the assistance of an inmate she previously saved. However, her mother betrays her trust by withdrawing over ₦30,000 from her savings. Andre visits Tarela, but he is not who she was expecting. Elsewhere, Tiwa visits her mother’s grave and has another cold encounter with her father. Meanwhile, Andre confronts Somto at the club, and the club’s elusive owner finally returns. With his influence, Andre secures Tarela’s release—but not without conditions. As the episode closes, Edesiri finally wakes up in the hospital. ##### Episode 2 Back home, Tarela reunites with Kome and her mother, only to discover the betrayal of her trust regarding her savings. A confrontation ensues. Meanwhile, Somto visits Edesiri in the hospital. Tiwa, struggling academically, is kicked out of class for poor attendance. Andre visits Tarela, making it clear that his help comes with expectations. Desperate to reclaim stability, Tarela heads to the club to ask Somto for her job back, but he coldly turns her away. Elsewhere, Wole shows up at the club looking for Tarela, while Kobe intervenes when Elder Kola harasses Tiwa. At a high-paying party, Tarela grows frustrated with the men’s behavior, only to be reminded by the other girls to “get with the program.” Edesiri returns to the club and is livid when she finds out Somto has reinstated Ruby. She finally admits to stealing the money, not Tarela, and uses her knowledge of Somto’s theft to blackmail him into getting rid of Ruby. She also learns that Tarela has been released. Laura confronts Somto about the club’s missing funds and ends things with him. Meanwhile, a shocking development occurs: Kome’s father reappears, unannounced. ##### Episode 3 Tarela warns her mother not to let Kome’s father back into their lives, but her mother refuses to listen. Tensions rise further when Tarela, struggling financially, takes another job at a party. However, after making a scene over her payment, she is thrown out. Edesiri, on the other hand, tries to rekindle her relationship with Nuru, but after sleeping together, he rejects her. Stranded after being kicked out of the party, Tarela meets Feso, who offers her a ride. She hesitantly accepts his invitation to stay the night at his place. At Kome’s school, her teacher raises concerns about her declining academic performance. Meanwhile, Tarela’s mother takes her estranged husband to secure a loan, unaware of his true intentions. In an attempt to rebuild her life, Tarela auditions at a new club and secures a job. Elsewhere, Kome’s father gambles away the borrowed money. In a tense reunion, Edesiri arrives at Tarela’s house at her mother’s request. However, Tarela is in no mood to mend fences. Meanwhile, Tiwa’s efforts to surprise her father on his birthday backfire spectacularly. Just as she sets up a celebration in church, Elder Kola informs her father about her job at the club. In front of the entire congregation, he exposes her secret and banishes her from the church. ##### Plot This season seamlessly picks up from where the last left off, diving deep into the fallout from Tarela and Edesiri’s fight, which had been brewing throughout Season 1. The show continues to explore themes of survival, betrayal, and ambition, revealing how these women navigate a world that constantly pushes them to the edge. The first three episodes set the stage for the new season by reintroducing familiar conflicts while expanding on new ones. Tarela’s struggle to regain control of her life, Edesiri’s attempts to reclaim power, and Tiwa’s battle for independence create a layered narrative that promises more drama and tension. ##### Story While ‘Grind’ maintains its signature gritty storytelling, the structure remains somewhat chaotic. Much like the first season, the storylines feel disconnected at times, as multiple plot threads run parallel without clear cohesion. However, there’s a noticeable improvement in pacing and character development, suggesting that these arcs may eventually converge meaningfully. One of the strongest elements this season is the use of flashbacks to provide deeper insight into Tarela and Edesiri’s past, giving more context to their complicated friendship. Hopefully, as the season progresses, the story will tighten its focus and deliver a more cohesive narrative. ##### Performances The casting of Adaibe Obioma and Hilary Okotie-Eboh as young Edesiri and young Tarela, respectively, is well done, adding authenticity to their backstory. Seun Akindele’s portrayal of Alex feels exaggerated and unnecessary—a weak attempt at an Americanized caricature that fails to impress. On the brighter side, Roberta Orioma’s Tarela remains a standout, delivering a compelling performance. Tamara Sindio-Apaun as Tiwa and Roseanne Chikwendu as Edesiri also bring depth to their roles, making their characters feel lived-in and relatable. ##### Technical Aspects There’s a clear visual improvement inn Grind this season. The cinematography and color grading are bright and engaging, making the show visually appealing. However, the implied prison fight scene was underwhelming—poorly shot and lacking believability. On the other hand, the first meeting between Tarela and Edesiri post-fight was captured beautifully. Their silence spoke volumes, conveying tension and history without the need for excessive dialogue. ##### Final Thoughts One of the most striking elements of this season is how it expands on the backstories of Tarela and Edesiri, showing the origins of their friendship and the hardships that shaped them. That being said, Tarela’s mother continues to cement herself as one of the worst parents on the show. Her decision to withdraw from Tarela’s savings, despite knowing her daughter’s plans for a better future, is infuriating. Meanwhile, Tiwa’s father remains equally detestable, proving once again that religious self-righteousness can be just as cruel as outright neglect. ##### Verdict These first three episodes of *Grind* set the stage for what’s to come—clearing up some loose ends from Season 1 while laying the groundwork for new conflicts. Though the pacing still needs refinement, the show is showing promise. We’re cautiously optimistic about where ‘Grind’ is headed next, and these first three episodes have earned a rating of 3 out of 5 from us. **Rating**: 3/5 ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/grind-season-2-the-drama-continues-in-episodes-1-to-3/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/grind-season-2-the-drama-continues-in-episodes-1-to-3/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/grind-season-2-the-drama-continues-in-episodes-1-to-3/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/grind-season-2-the-drama-continues-in-episodes-1-to-3/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/grind-season-2-the-drama-continues-in-episodes-1-to-3/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews, TV **Tags:** Grind Season 2, nollycritic, nollywood, Prime Video, Reviews, Roberta Orioma, Uzor Arukwe --- ### [Netflix Set to Release ‘A Lagos Love Story’ Soon](https://nollycritic.com/netflix-set-to-release-a-lagos-love-story-soon/) **Published:** March 11, 2025 **Author:** Fisayo Adekoya **Excerpt:** Netflix is set to expand its Nollywood catalog with the highly anticipated film A Lagos Love Story, directed by Naz Onuzo. **Content:** [Netflix](https://www.netflix.com/ "Netflix") is set to expand its Nollywood catalog with the highly anticipated film *A Lagos Love Story*, directed by[ Naz Onuzo](https://nollycritic.com/?s=naz+onuzo " Naz Onuzo"). This romantic drama promises to deliver an engaging narrative that explores modern relationships in the bustling city of Lagos. With a stellar cast and a strong production team, the film is expected to captivate audiences both in Nigeria and beyond. The cast features a mix of seasoned actors and rising stars, including Jemima Osunde, Susan Pwajok, Mike Afolarin, Chimezie Imo, Uche Montana, Veeiye, Ihuoma Linda Ejiofor, and Ibrahim Suleiman. Each actor brings depth to their roles, portraying the complexities of love, heartbreak, and connection in a fast-paced urban setting. The film’s characters are expected to navigate personal and societal challenges, making the story both relatable and emotionally compelling. Behind the scenes, *A Lagos Love Story* is backed by an experienced team of executive producers: Naz Onuzo, Damola Ademola, and Zulumoke Oyibo. With Onuzo also co-writing the screenplay alongside Ozzy Etomi, the film is set to balance romance, drama, and authenticity. While the full plot remains undisclosed, the title suggests an intimate look at love in Lagos—a city known for its vibrant energy, cultural richness, and evolving social dynamics. Netflix’s growing investment in Nollywood continues to boost the industry’s global reach. Over the years, the streaming platform has introduced Nigerian films to an international audience, helping to showcase the depth of storytelling within the industry. By supporting films like *A Lagos Love Story*, Netflix reinforces its commitment to African narratives, providing filmmakers with the platform to create high-quality productions that resonate with viewers worldwide. As excitement builds, *A Lagos Love Story* is poised to be a standout addition to Netflix’s Nollywood lineup. The film’s mix of romance, compelling performances, and strong creative direction make it one to watch. While the official release date is yet to be announced, anticipation remains high for what promises to be an unforgettable cinematic experience. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/netflix-set-to-release-a-lagos-love-story-soon/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/netflix-set-to-release-a-lagos-love-story-soon/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/netflix-set-to-release-a-lagos-love-story-soon/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/netflix-set-to-release-a-lagos-love-story-soon/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/netflix-set-to-release-a-lagos-love-story-soon/?share=linkedin) - **Categories:** Blog, Drama, Movies, Nollywood, Nollywood News **Tags:** A lagos love story, film, Jemima Osunde, Love in Lagos, Mike Afolarin, Naz Onuzo, Netflix, netflix movies, netflix naija, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Susan Pwajok, Veeiye --- ### [Filmhouse Women Spark a New Era in Nigerian Cinema](https://nollycritic.com/filmhouse-women-spark-a-new-era-in-nigerian-cinema/) **Published:** March 8, 2025 **Author:** Fisayo Adekoya **Excerpt:** For many years, the industry was dominated by men. However, Filmhouse has challenged that norm by placing talented women in key decision-making positions. **Content:** [Filmhouse Group](https://www.filmhouseng.com/about-us "Filmhouse Group") is rewriting the rules of Nigeria’s film industry by harnessing the power of female leadership. Women now hold 50% of the company’s top roles, and their influence has transformed how films are produced, distributed, and marketed. Over the years, Filmhouse has grown from a single-screen cinema in 2012 to 55 screens across 11 locations, which speaks volumes about its innovative approach and strategic vision. For many years, the industry was dominated by men. However, Filmhouse has challenged that norm by placing talented women in key decision-making positions. Chief Content Officer Ladun Awobokun, for example, is pioneering a more inclusive film slate that highlights female-led narratives. Meanwhile, Chief Marketing Officer Mojisola Oladapo has launched creative campaigns that effectively engage diverse audiences. In addition, other senior executives have strengthened departments such as finance, public relations, and business management. Their combined efforts have propelled the company forward and redefined success in Nollywood. Moreover, the impact of these leaders extends far beyond Filmhouse itself. Their work is reshaping how films are conceptualized and brought to audiences. By emphasizing diverse storytelling and challenging traditional norms, they are setting new standards for the industry. As Nigerian cinema garners more international attention, the strategic advantage of gender diversity becomes ever more apparent. Not only do these women improve business outcomes, but they also cultivate a work environment that nurtures creativity and inspires future generations. Furthermore, this shift toward inclusive leadership has resulted in a dynamic, forward-thinking approach that benefits everyone involved. Challenges are met with innovative solutions, and every decision made at Filmhouse reflects a commitment to excellence. In this way, the company is not only a leader in the entertainment sector but also a trailblazer in demonstrating how gender parity can drive growth and sustainability. In conclusion, Filmhouse Group’s dedication to empowering women is setting a new benchmark in the Nigerian [film](https://nollycritic.com/?s=film "film") industry. The company’s evolution shows that when women lead, the entire industry thrives. As Nollywood continues to evolve, the vision and passion of these female leaders will undoubtedly shape the future of cinema, ensuring that Nigeria remains at the forefront of creative innovation and cultural influence. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/filmhouse-women-spark-a-new-era-in-nigerian-cinema/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/filmhouse-women-spark-a-new-era-in-nigerian-cinema/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/filmhouse-women-spark-a-new-era-in-nigerian-cinema/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/filmhouse-women-spark-a-new-era-in-nigerian-cinema/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/filmhouse-women-spark-a-new-era-in-nigerian-cinema/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News, TV **Tags:** cinema innovation, female leadership, film, filmhouse, gender diversity, International womens day, nigerian cinema, nollycritic, nollywood, women empowerment, women in film --- ### [Forget the Spotlight, These Women Are Nollywood’s Real MVPs](https://nollycritic.com/forget-the-spotlight-these-women-are-nollywoods-real-mvps/) **Published:** March 8, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood thrives on the work of countless professionals behind the scenes, and these women have been instrumental in shaping the industry **Content:** Nollywood thrives on the work of countless professionals behind the scenes, and these women have been instrumental in shaping the industry even though they don’t always take centre stage. Their dedication and expertise have brought some of Nollywood’s most remarkable stories to life. Their work speaks for itself, and it’s time to give them the recognition they deserve. So, for this **[International Women’s Day](https://www.internationalwomensday.com/)**, we’re flipping the script and shining the light on the women behind the scenes: the composers, editors, cinematographers, animators, and producers who keep the industry running. They deserve their flowers, and we’re here to give them just that. ##### Kaline Akinkugbe Njoku – The Maestro of Nollywood’s Sound If a film’s story is its soul, then the score is the heartbeat—and Kaline Akinkugbe Njoku knows exactly how to make Nollywood’s heart thump! A film composer, singer, songwriter, and pianist, Kaline is a Berklee College of Music graduate with a BMus in Film Scoring, blending jazz, R’n’B, Hi-life, and soul into powerful cinematic music. Her work spans some of Nollywood’s biggest films, including *The Wedding Party 2* (2017), *The Royal Hibiscus Hotel*, *Banana Island Ghost*, *Eyimofe* (2020), and *Breath of Life* (2023), which earned her a nomination for **Best Soundtrack** at the **2024 AMVCAs**. She has also scored TV projects like *The Men’s Club*, *B430*, and the documentary series *King Women*, proving that whether it’s a blockbuster, a heartfelt drama, or a gripping series, Kaline’s music makes every story hit just right. ##### Victoria Akujobi – The Post-Production Genius Behind Nollywood’s Finest If there’s anyone who knows how to turn raw footage into cinematic gold, it’s Victoria Akujobi. A film editor, producer, colorist, and Head of Production at Anthill Studios, she’s been shaping Nollywood stories for over a decade. She has edited major films like *The Wedding Party 2* (2017), *Chief Daddy* (2018), *Oloture* (2019), and *Prophetess* (2021), proving her mastery in post-production. Her brilliance has been recognized with an AMVCA win for **Best Editing in 2015** for *Reflections* (2014), cementing her reputation as one of Nollywood’s top editors. But she’s not just an editor—she’s also a producer, with credits on *Elevator Baby* (2019), *Fishbone* (2020), *Prophetess* (2021), *Day of Destiny* (2021), *Hey You!* (2022), and *Casa de Novia* (2024). As a colorist, she’s worked on *Therapy* (2020) and *Progressive Tailors Club* (2021), ensuring every frame looks just right. Whether she’s cutting scenes, producing films, or perfecting visuals, Victoria Akujobi is an undeniable force behind the scenes. ##### Ema Edosio – The Cinematic Rebel Ema Edosio isn’t here to play by the rules—she’s here to change the game. A director, writer, producer, cinematographer, and editor, she’s one of Nollywood’s most exciting voices, known for telling raw, authentic stories with a bold visual style. She made waves with *[Kasala!](https://nollycritic.com/kasala-the-film-that-gave-nollywood-a-comedy-makeover/ "Kasala!")* (2018), a kinetic, street-smart comedy that became an instant cult favorite. Then came *Otiti* (2022), a deeply personal drama that further cemented her reputation for capturing the heart of everyday Nigerian life. But her impact doesn’t stop there. Ema has also directed TV projects like *The Governor* (2016) and *Skinny Girl in Transit* (2015), worked as a cinematographer on *Amaka’s Kin: The Women of Nollywood* (2016), and even edited *Kasala!* herself. Her work earned her the **Sisterhood Award for Best Film Director of the Year**, further solidifying her status as one of Nollywood’s most innovative filmmakers. Whether she’s behind the camera or in the editing suite, Ema Edosio is proof that Nollywood’s future belongs to the storytellers who dare to do things differently. ##### Isioma Osaje – The Industry Powerhouse Who Does It All If there’s anyone who has her hands in everything Nollywood, it’s Isioma Osaje. Producer? Check. Director? Check. Talent manager? Check. First assistant director? Check. She’s the brains behind hit films like *Up North (2018),* *The Set Up (2019*), *Your Excellency (2019),* and *[Japa](https://nollycritic.com/japa-an-interesting-genre-exploration-for-nollywood/ "Japa") (2024),* making sure stories get told the right way. But producing isn’t where it stops. Isioma has stepped behind the camera as a director, helming *Japa (2024),* [*Radio Voice*,](https://nollycritic.com/rmd-partners-with-nile-entertainment-for-two-new-films/ "Radio Voice,") and the upcoming *Finding Me* (2025), proving she knows how to run the show. And if you think that’s all, she’s also been first assistant director on *Omo Ghetto: The Saga* (2020), *Your Excellency* (2019), and *Love Is War* (2019)—making sure everything runs smoothly behind the scenes. Whether she’s managing stars, shaping productions, or calling the shots herself, Isioma Osaje is a one-woman industry, and Nollywood is better for it. ##### Abisola Omolade – The Architect of Nollywood’s Visual Brilliance Production design isn’t just about making things look good, it’s about creating worlds that feel real, immersive, and unforgettable. And if you’ve seen *King of Boys* (2018), *Blood Sisters* (2022), or *Over the Bridge* (2023), then you’ve witnessed Abisola Omolade’s genius at work. Her vision and attention to detail earned her the **Best Art Direction** award at the **2024 AMVCAs** for *Over the Bridge*, proving that she’s one of the best in the game when it comes to crafting striking cinematic environments. Abisola Omolade’s creativity doesn’t stop at film—she was the art director for *Orah*, which screened at **TIFF 2023**, and played a major role in executing the record-breaking Hilda Baci Cookathon. Beyond production design, she’s also a fashion critic and journalist, shaping conversations around African fashion. Whether in film, television, fashion, or live events, Omolade isn’t just designing sets—she’s creating cultural moments that last. ##### Nora Awolowo – The Visual Storyteller Who Doesn’t Miss Cinematographer, director, editor—Nora Awolowo is the definition of versatility. She won an **AMVCA** for her documentary *Baby Blues (2023),* which tackled postpartum depression. She has also directed and shot impactful films like *Life at the Bay (2019),* *Symphonies (2019),* and *David (2021)*. Then there’s her upcoming film, *Red Circle (2024),* where she worked as both cinematographer and producer, and *What Are You Truly Afraid Of? (2024)* where she handled directing, cinematography, and production. She served as director of photography for Lisabi: The Uprising and *Lisabi: A Legend is Born* (2024), now streaming on Netflix, proving once again that she’s one of Nollywood’s most dynamic filmmakers. ##### Adebimpe Adebambo – Nollywood’s Animation Queen Animation in Nollywood is still in its early days, but Adebimpe Adebambo is already making sure it has a strong foundation. Whether it’s bringing characters to life in *Ìjàpá and Friends (2021)* or designing costumes for the ambitious Disney+ project *Iwaju (2023),* she’s proving that Nigerian animation has a bright future—and she’s one of the ones leading the charge. Her expertise isn’t just in animation—she’s also skilled in visual effects and concept art, making her a key player in Nollywood’s expanding digital storytelling. ##### Esther Kemi Gbadamosi – The Animator Elevating Nigerian Stories Stop motion animation is an art form that takes time, patience, and an incredible amount of skill. Luckily, Esther Kemi Gbadamosi has all three! She doesn’t just make stop motion films—she does it by hand, crafting each frame, each character, each pieces meticulously using clay models and set designs. A filmmaker, writer, cinematographer, and editor with over 12 years of experience, she is the CEO of Radioxity Media and a leading voice in Nigerian animation. Her stop-motion short films, *Kolese* (2022), *Tomati* (2021), among others are evidence of her excellence, Her work has earned multiple awards, including **Best Director (Female)** at the **Independent Short Awards** for *Omolara: A Docudrama on Coastal Poverty* (2019) and an Honorable Mention for **Best Drama Short** at the same event. Another is *No One Hears Us*, which screened at **AFRIFF 2024**, winning **Best Stop Motion Animation** at the **Lifanima Animation Awards**. She’s proving that Nollywood animation isn’t just growing—it’s evolving. ##### Uyoyou Adia – The Director Who’s Redefining Nollywood Storytelling Uyoyou Adia isn’t just making films—she’s making statements. A director, writer, producer, and actress, she has been steadily carving a space for herself in Nollywood with bold, refreshing stories. She directed *Charge and Bail* (2021), *Hey You!* (2022), and *Casa de Novia* (2024), films that showcase her ability to blend drama, romance, and humour while keeping things undeniably authentic. Her 2024 slate alone is proof of her versatility. She helmed *L.I.F.E.*, a mystery drama exploring the journey of an ambitious dancer, and The Silent Intruder, a psychological thriller that has already gained critical acclaim. Her short film *The Hotel Room* (2024) was also an official selection at AFRIFF 2024. With past projects like *The Sessions* (2020) and *Dangerous Hope* (2023), which addressed themes of loss and survival, she continues to push storytelling boundaries. Whether behind the camera or shaping stories from the page, Uyoyou Adia is redefining what modern Nollywood looks like. Great cinematographers make you forget they even exist—you’re too busy being captivated by the visuals they create. That’s exactly what Hannah Enyidiya Sampson does. Whether she’s working as a camera assistant on Kemi Adetiba’s upcoming film, *To Kill a Monkey*, or taking charge of cinematography in *The Order of Things (2021),* she’s proving that the future of Nollywood’s visual language is in good hands. ##### Roberta Orioma – The Actress Who’s Also a Boss Behind the Scenes As an actress, writer, producer, and director, Roberta Orioma is proving that great storytelling isn’t limited to one role. She starred as Tarela in *Grind* (2023), a series she also wrote and produced, bringing an unfiltered look into the highs and lows of Lagos’ entertainment scene. And the journey isn’t over—*Grind* Season 2 drops on March 7, 2025, on Prime Video, promising even more drama. But that’s just one piece of her story. Her short film *Why We Never Were* (2024) saw her wearing multiple hats as the writer, executive producer, and actress, reflecting her commitment to authentic storytelling. With credits spanning projects like *Symphony* (2022), *Naked Woman* (2022), and *Roli and Zehra* (2021), Roberta is proving she’s not just here to perform, she’s here to create! **These women are Nollywood’s backbone—it’s time they got their flowers**! As we celebrate International Women’s day, we the women who make others shine. They build the worlds, shape the narratives, and craft the images that define Nollywood. Their work might happen behind the scenes, but their impact is undeniable. But now, we turn it over to you. **Who are the women behind the scenes doing incredible work that deserve recognition?** **Who did we miss? Who else should be getting their flowers?** Let’s know in the comments! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/forget-the-spotlight-these-women-are-nollywoods-real-mvps/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/forget-the-spotlight-these-women-are-nollywoods-real-mvps/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/forget-the-spotlight-these-women-are-nollywoods-real-mvps/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/forget-the-spotlight-these-women-are-nollywoods-real-mvps/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/forget-the-spotlight-these-women-are-nollywoods-real-mvps/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Abisola Omolade, Adebimpe Adebambo, Dolapo Adigun, Ema Edosio, Esther Kemi Gbadamosi, Isioma Osaje, IWD, Kaline Akinkugbe Njoku, Nora awolowo, Roberta Orioma, Victoria Akujobi, women --- ### [RMD Partners with Nile Entertainment for Two New Films](https://nollycritic.com/rmd-partners-with-nile-entertainment-for-two-new-films/) **Published:** March 6, 2025 **Author:** Fisayo Adekoya **Excerpt:** Richard Mofe-Damijo (RMD) has secured an exclusive global release deal with Nile Entertainment for two films under RMD Productions. **Content:** [Richard Mofe-Damijo (RMD)](https://en.wikipedia.org/wiki/Richard_Mofe-Damijo "Richard Mofe-Damijo (RMD)") has secured an exclusive global release deal with[ Nile Entertainment](https://nollycritic.com/?s=nile+entertainment " Nile Entertainment") for two films under RMD Productions. This partnership ensures that *Radio Voice* and *[Revelations](https://www.imdb.com/title/tt32333054/ "Revelations")* will reach audiences across Nigeria, Africa, and beyond. The first title, *Radio Voice*, is set to hit cinemas on April 11. This gripping drama explores themes of second chances and redemption, offering a story that is both thought-provoking and emotionally charged. As the release date approaches, anticipation continues to build, with fans eager to see RMD’s latest work on the big screen. Following that, *Revelations*, a bold cross-cultural film shot in Utah, USA, will premiere in August 2025. This film delves into resilience and redemption, weaving a powerful narrative that resonates across cultures. With its international setting and compelling storyline, *Revelations* is expected to make a strong impact. This partnership marks a major milestone for RMD Productions, pushing Nollywood storytelling further onto the global stage. By teaming up with Nile Entertainment, RMD ensures these films will not only captivate African audiences but also reach new international markets. For [Richard Mofe-Damijo](https://en.wikipedia.org/wiki/Richard_Mofe-Damijo "Richard Mofe-Damijo (RMD)"), this is more than just making movies—it’s about crafting stories that inspire and connect people worldwide. As *Radio Voice* and *Revelations* hit theaters, audiences can expect powerful storytelling, emotional depth, and an unforgettable cinematic experience. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/rmd-partners-with-nile-entertainment-for-two-new-films/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/rmd-partners-with-nile-entertainment-for-two-new-films/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/rmd-partners-with-nile-entertainment-for-two-new-films/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/rmd-partners-with-nile-entertainment-for-two-new-films/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/rmd-partners-with-nile-entertainment-for-two-new-films/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** film, nile entertainment, nollycritic, nollywood, Nollywood 2025, radio voice, Revelations, Richard Mofe-Damijo, RMD productions --- ### [Nollywood Movies and Series to See This March 2025](https://nollycritic.com/nollywood-movies-and-series-to-see-this-march-2025/) **Published:** March 3, 2025 **Author:** Fisayo Adekoya **Excerpt:** March is shaping up to be an exciting month for Nollywood lovers, packed with thrilling action, emotional drama, and gripping storytelling. **Content:** March is shaping up to be an exciting month for [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") lovers, packed with thrilling action, emotional drama, and gripping storytelling. Whether you’re in the mood for a fast-paced adventure, a thought-provoking drama, or a historical epic, this lineup has something for everyone. With cinema blockbusters and streaming exclusives dropping all month long, here are the Nollywood movies and series you won’t want to miss! #### Grind (Season 2) — March 7 The highly anticipated second season of *[Grind](https://www.imdb.com/title/tt25966838/ "Grind")* returns with more drama, ambition, and high-stakes decisions as Tarela navigates Lagos’ entertainment scene. After a gripping first season, the stakes are even higher as she faces new hurdles, deeper conflicts, and unexpected turns that will test her determination. Starring Eso Dike, Harriet Akintola, Uzor Arukwe, Tamara Sindio-Apaun, Daniel Abua, and Roberta Orioma. *Grind* is directed by Orire Nwani and Joshua Tso-Tso, with production led by Josh Olaoluwa and Roberta Orioma. The series will premiere on Prime Video on March 7, 2025. #### Suky — March 7 This action-packed thriller follows Suky, a man caught in a world of crime, power, and survival. As he fights to escape his past, he must confront dangerous enemies and make impossible choices that could change his fate forever. Starring Tobi Bakre, Femi Adebayo, Bimbo Ademoye, Olarotimi Fakunle, Itele D Icon, and Boma Akpore, *Suky* is produced by Nemsia Studios. The film will premiere on Prime Video on March 7, 2025. #### **The Cartel — March 7** A gripping action thriller, *The Cartel* takes audiences deep into the dangerous world of drug trafficking, power struggles, and betrayal. As rival factions clash, secrets unravel, and loyalties are tested in a battle for survival. Starring Bolanle Ninalowo, Broda Shaggi, Clarion Chukwurah, Eniola Badmus, Chika Ike, and Nkechi Blessing, *The Cartel* is produced by Elvis Chucks and features cinematography by Oscar Award-winning Lance Gewer. The film will be released in cinemas nationwide on March 7, 2025. ### Shaping Us — March 8 After years of trying, Ara and Biodun are finally expecting a child. But on the night of their celebratory dinner with friends, Ara receives the results of a paternity test she secretly ordered—unleashing a storm of emotions that threatens to upend everything. Starring Uzoamaka Aniunoh, Bucci Franklin, and James Gardiner, *Shaping Us* is directed by Kambili Ofili. The film will be available for streaming on Apple TV, Amazon Prime, YouTube, Tubi, Google Play, and Africa Magic Showmax starting March 8, 2025. #### Red Line — March 14 Directed by Teco Benson, *Red Line* is a gripping drama that delves into the complexities of power, corruption, and the pursuit of justice within the Nigerian university system. The story centers on a male student who accuses a female lecturer of sexual harassment, setting off a chain reaction that reveals a web of corruption. As the case gains attention, Dr. Adeleke, a women’s rights activist and head of the department, steps in to expose the truth and bring justice to light. The film features a stellar cast, including Shaffy Bello, Adunni Ade, Norbert Young, Sam Dede, and Tony Akposheri. Produced by Eno Udo and distributed by Tribe Nation Theatrical Distribution, *Red Line* is set to be released in cinemas across Nigeria on March 14, 2025. #### Finding Me — March 16 Written, directed and produced by Funke Akindele herself, the film titled “Finding Me” features Funke Akindele, Shaffy Bello, Dele Odule, Sharon Ooja, Tina Mba, Dakore Egbuson-Akande, Omoni Oboli, Omowunmi Dada, Efe Iwara, Joseph Benjamin, Femi Adebayo Salami, Emeka Nwagbaraocha, and AbdulGafar Abiola. The film follows the theme of self discovery annd will stream on Prime Video from March 16. > [View this post on Instagram](https://www.instagram.com/reel/DGvIuYKNmIa/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Olufunke Akindele (@funkejenifaakindele)](https://www.instagram.com/reel/DGvIuYKNmIa/?utm_source=ig_embed&utm_campaign=loading) #### I Am Anis — March 21 Inspired by true events, *I Am Anis* follows the tumultuous journey of Anisola Williams as her life unravels in a single day. Forced to confront buried secrets and painful truths, she embarks on a path of self-discovery and redemption. Starring Shaffy Bello, Tina Mba, Charles Inojie, Debo Adedayo (Mr. Macaroni), and Martha Ehinome Orhiere, *I Am Anis* is written and directed by Biodun Stephen. The film will premiere on Circuits TV on March 21, 2025. #### The Artifact — March 21 This action-packed adventure follows the son of a deceased museum curator and his three friends as they embark on a quest across Nigeria to recover precious stones taken from a stolen artifact. Their journey entangles them in a dangerous web involving a former senator, an African art recovery agency, and a notorious international art thief known as “The Mist.” Starring Adeoluwa Akintoba, Kunle Remi, Gabriel Afolayan, Bimbo Manuel, Sola Fosudo, Okey Uzoeshi, Wendy Lawal, Sharon Rotimi, Debrah Jalmet, and Godspower Nwogwugwu, The Artifact: Stones of Fatima is directed and produced by Tolu ‘LordTanner’ Awobiyi, with a screenplay by Attah Ayegba Victor. The film will be released in cinemas nationwide on March 21, 2025. #### Baby Farm — March 21 Baby Farm is perhaps one of the most anticipated Nollywood show of 2025! Adanna, a pregnant woman, unsuspectingly entrusts her twin babies to a renowned NGO, only to find herself trapped in a sinister baby farm operation. The series features a diverse cast, including Rita Dominic, Jenny Stead, Langley Kirkwood, Onyinye Odokoro, Genoveva Umeh, Joseph Benjamin, Ruby Akubueze, Folu Storms, Kiki Omeili, Tope Tedela, Osereme Inegbenebor, Adeola Awodein, Iveren Antiev, Maggie Osuome, Uzoamaka Onuoha, and Celia Okechukwu. The series is set to stream worldwide from 21 March via Netflix. #### The Masked King — March 28 *The Masked King* is a historical thriller that explores themes of betrayal, power, and destiny. The narrative follows King Ansa, whose treachery against his subjects forces his mother to make a heart-wrenching decision: remain loyal to her son or alter his fate for the greater good of the people. The film boasts an impressive ensemble cast, including Daniel Etim-Effiong, Shaffy Bello, Uche Montana, Gideon Okeke, Uzor Arukwe, Segun Arinze, and Jude Chukwuka. Produced by Fitofilms in collaboration with 7eventh Studio, *The Masked King* is scheduled for a nationwide cinema release on March 28, 2025, with an exclusive premiere on March 22, 2025. #### Labake Olododo — March 28 Set against the rich backdrop of Yoruba tradition, *Labake Olododo* tells the story of a courageous woman who rises against oppression in her community. As she fights for justice, she must navigate political schemes, betrayal, and the weight of tradition. Starring Bukunmi Oluwasina, Femi Adebayo, Odunlade Adekola, and Ibrahim Chatta, *Labake Olododo* is directed by Biodun Stephen. The film will be released in cinemas nationwide on March 28, 2025. March promises an exciting lineup of Nollywood films and series, with stories spanning action, drama, and suspense. Whether you’re heading to the cinemas or streaming from home, these releases offer something for every movie lover. Stay tuned for more updates on Nollywood’s biggest releases this year. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-movies-and-series-to-see-this-march-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-movies-and-series-to-see-this-march-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-movies-and-series-to-see-this-march-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-movies-and-series-to-see-this-march-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-movies-and-series-to-see-this-march-2025/?share=linkedin) - **Categories:** Articles, Blog, Drama, Movies, Nollywood, TV **Tags:** cartel, film, Grind, i am anis, labake olododo, Must watch movies, nollycritic, nollywood, nollywood movies, Nollywood movies to see 2025, Nollywood mvies recommendations, Nollywood series, Prime Video, redline, Suky, The Artifact --- ### [Finding Me: What We Know About Funke Akindele’s New Film](https://nollycritic.com/finding-me-what-we-know-about-funke-akindeles-new-film/) **Published:** March 5, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The countdown has begun! Funke Akindele revealed that she is back with another major project; Finding Me. The upcoming film, which she wrote, directed, **Content:** The countdown has begun! [Funke Akindele](https://nollycritic.com/?s=funke+akindele "Funke Akindele") revealed that she is back with another major project*; Finding Me*. The upcoming film, which she wrote, directed, and produced, is set to premiere exclusively via **[Amazon Prime Video](https://www.primevideo.com/ "Amazon Prime Video")** on **March 17, 2025**. ##### *Finding Me* – A Journey of Self-Discovery While official plot details are still under wraps, Akindele has described *Finding Me* as a journey of self-discovery—whether that means finding love, confidence, balance, money, or even trouble! That’s a pretty broad spectrum, but if you know anything about Akindele’s storytelling, there’s bound to be a mix of comedy, drama, and heartfelt moments. Oh, and speaking of comedy, industry sources hint that *Finding Me* leans towards the romantic comedy side (ShockNG). ##### A Star-Studded Cast If there’s one thing Akindele doesn’t skimp on, it’s bringing big names to the screen. The cast list is stacked with some of Nollywood’s finest, including: Shaffy Bello, Dele Odule, Sharon Ooja, Tina Mba, Dakore Egbuson-Akande, Omoni Oboli, Omowunmi Dada, Efe Iwara, Joseph Benjamin, Femi Adebayo Salami, Emeka Nwagbaraocha, and AbdulGafar Abiola (The Cute Abiola). ##### Funke Akindele’s Signature Marketing Moves Akindele has mastered the art of building hype, and she’s been dropping Instagram teasers to get people talking. She recently posted transition videos featuring Shaffy Bello, Joseph Benjamin, and Femi Adebayo, showing them switching from formal outfits to *Finding Me*-branded T-shirts. It’s a simple but effective way to stir curiosity. Given how she promoted *Everybody Loves Jenifa*, *A Tribe Called Judah,* *Battle on Buka Street*, and *Omo Ghetto: The Saga*, we can probably expect more engaging content before the film drops. ##### A Prime Video Exclusive—A Strategic Move? Unlike her past blockbusters that took over cinemas, *Finding Me* is heading straight to streaming on Amazon Prime Video. This marks another major partnership between Akindele’s FAAN Productions and a global streaming platform, reflecting the growing shift of Nollywood towards digital distribution. Akindele is no stranger to owning the December box office, with hits like *Battle on Buka Street* (December 2022) and *A Tribe Called Judah* (December 2023) drawing record-breaking numbers. Even *Everybody Loves Jenifa* followed that trend, hitting cinemas on December 13, 2024. But while December has been a key release window for her, it’s not the only one she has explored. She’s already tested different release strategies, particularly with streaming. In September 2023, she debuted *She Must Be Obeyed* on Prime Video, showing a clear interest in the platform beyond cinema releases. More recently, she starred in *Reel Love*, which premiered in cinemas on February 14, 2025—a move timed perfectly for Valentine’s Day. Now, *Finding Me* is taking a similar leap by skipping cinemas entirely for a March 2025 streaming debut. But, just because it’s a Prime Video exclusive… ##### Will Everyone Be Able to Watch? In recent times, Nollywood fans in the diaspora have struggled to access Nigerian films on streaming platforms due to regional restrictions. Even big-budget Nollywood exclusives haven’t always been available worldwide on day one. When *Gangs of Lagos* premiered as a Prime Video exclusive in April 2023, many international viewers expected seamless access. However, due to regional licensing agreements, some countries did not get the film immediately, despite its widespread marketing as a global release. The same issue arose with *Hijack ’93*, the 2024 Netflix film based on real-life events. While available in the U.S. and Nigeria, some regions faced delayed access or couldn’t watch it at all. With *Finding Me*, the question remains: will it be globally accessible, or will some regions have to wait? Amazon hasn’t confirmed whether this will be a global release or region-locked, but it’s something to watch out for—especially for fans outside Africa. If the film follows previous trends, it will likely be available in Nigeria, the UK, Canada, and other Nollywood-heavy regions first before expanding further. ##### Mark Your Calendar—March 17, 2025 That’s when *Finding Me* lands on Amazon Prime Video, bringing Funke Akindele’s latest project to screens. Until then, we’ll keep an eye on all of Funke Akindele’s updates about *Finding Me* and bring you everything as it unfolds. There’s bound to be more to uncover before the big day! > [View this post on Instagram](https://www.instagram.com/reel/DGvIuYKNmIa/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Olufunke Akindele (@funkejenifaakindele)](https://www.instagram.com/reel/DGvIuYKNmIa/?utm_source=ig_embed&utm_campaign=loading) ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/finding-me-what-we-know-about-funke-akindeles-new-film/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/finding-me-what-we-know-about-funke-akindeles-new-film/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/finding-me-what-we-know-about-funke-akindeles-new-film/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/finding-me-what-we-know-about-funke-akindeles-new-film/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/finding-me-what-we-know-about-funke-akindeles-new-film/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** Dakore Egbuson-Akande, Dele Odule, Efe Iwara, Emeka Nwagbaraocha, Femi Adebayo Salami, Finding Me, Funke Akindele, Joseph Benjamin, Netflix, nollycritic, nollywood, Omoni Oboli, Omowunmi Dada, Prime Video, Shaffy Bello, Sharon Ooja, Tina Mba --- ### [Grind Season 1 Recap: Everything You Need to Know Before Season 2](https://nollycritic.com/grind-season-1-recap-everything-you-need-to-know-before-season-2/) **Published:** March 4, 2025 **Author:** Uju Okosieme **Excerpt:** wo years after it first premiered in 2023 'Grind' is making a highly anticipated return to Prime Video for season two on March 7. **Content:** Two years after it first premiered in 2023 ‘[Grind](https://nollycritic.com/grind-season-2-arrives-this-march-with-more-drama/ "Grind")‘ is making a highly anticipated return to Prime Video for season two on March 7. To get you ready for the new season, we’ve put together a detailed recap of season one so you can dive back into the drama without missing a beat. ##### Episode 1 We’re introduced to Tarela, a young woman struggling financially. Desperate for money, she turns to her friend Edesiri, who tells her to consider the strip club where she works. Meanwhile, Tarela confronts her deeply religious mother, Teresa, for donating her younger sister Kome’s school fees to the church. Frustrated with her financial instability, Tarela tries to collect the salary she’s owed from her boss but gets nowhere. Pushed to her limit, she snaps, forcibly takes her money, and quits. Edesiri visits Tarela before leaving town and suggests she cover for her at the strip club. Initially hesitant, Tarela eventually agrees under the condition that she won’t give lap dances. Edesiri begins training her to work the pole. On the night of her audition, Tarela is stuck in a long prayer session at home but manages to sneak out. She impresses at the club, securing the job and catching the eye of a wealthy patron, Chief Femi. ##### Episode 2 Tarela’s new boss, Somto, quickly asserts his authority, warning her that she must give lap dances if customers request them or risk being fired. With help from her colleague Tiwa, she negotiates an alternative deal to keep her position. Outside of work, tensions rise in her personal life—her boyfriend, Kelechi, grows frustrated with how little time they spend together. Still, Tarela manages to pay part of their overdue rent, easing some financial pressure. Her conflicts with her mother continue as Teresa prioritizes church donations over their family’s well-being. Meanwhile, Chief Femi expresses interest in Tarela, and she starts developing a better rapport with Somto. ##### Episode 3 Edesiri returns from her trip and immediately wants Tarela gone. She demands that Somto fire her, while Halima, another dancer, openly expresses her dislike for Tarela. Determined to secure her place, Tarela offers to help Somto with bookkeeping in addition to dancing, and he accepts. Elsewhere, Tiwa is blackmailed by a member of her father’s church who has seen her at the club. With Tarela’s help, she turns the tables and blackmails him instead. Tarela meets Wole and Kobe at the club. ##### Episode 4 Tarela’s younger sister, Kome, accidentally breaks a neighbor’s windshield, forcing Tarela to cover the cost. Meanwhile, Kelechi brings up marriage, but Tarela’s response is less than enthusiastic. Edesiri invites Tarela and Tiwa to a private, high-paying party hosted by Wole and Kobe. Tarela gets to know Wole but leaves upon discovering he is engaged. At the same event, Tiwa and Kobe share a moment, but she refuses to take things further. After returning home, Tarela is confronted by her mother for staying out late. Later, she informs Edesiri that she was gifted ₦200,000 for attending the party. Edesiri demands a 50% cut, leading to a heated argument. In retaliation, Edesiri invites Kelechi to the club, exposing Tarela’s secret job. ##### Episode 5 Kelechi, feeling betrayed, breaks up with Tarela. At home, her mother pleads with her to start coming home early and asks for more money to donate to the church, which Tarela ignores. Meanwhile, Halima learns that a girl she sent to a party has gone missing. Kome warns Tarela that it was Halima, not Edesiri, who exposed her secret to Kelechi. Tiwa’s father pressures her into an arranged marriage with Pastor Remi, while Chief Femi continues pursuing Tarela. ##### Episode 6 Tarela opens a provisions shop for her mother, showing her commitment to the family despite their differences. She also shares her desire to return to school and complete her accounting degree. Things heat up when Tarela confronts her mother over neglecting Kome. In a deeply emotional moment, she reveals that she was molested at thirteen under similar circumstances. Meanwhile, Tiwa confides in Tarela about her arranged marriage, and Wole and Tarela decide to continue seeing each other despite his engagement. ##### Episode 7 Wole and Tarela spend the night together, deepening their affair. Meanwhile, Tiwa and Remi begin marriage counseling, but she remains conflicted. Kelechi tries to reconcile with Tarela, but she rejects him, revealing that she has been with Wole. Tensions explode when Wole brings his fiancée, Lola, to the club, and Tarela gives her a lap dance. The night takes an even darker turn when Kobe accuses Tarela of stealing his watch. ##### Episode 8 Tarela is accused of theft but insists that the bracelet in question was a gift from Edesiri—who denies it. Furious, Tarela confronts her. Meanwhile, Lola confronts Wole about his affair with Tarela, demanding that he end it. Elsewhere, Chief Femi offers Edesiri money in exchange for setting up a threesome with Tarela, but Tarela refuses. Feeling betrayed, Edesiri spitefully visits Tarela’s mother to reveal her secret life, leading Teresa to visit the club. ##### Episode 9 Tarela’s mother finds out about her job and prays over the situation, laying down an ultimatum—either she quits or leaves the house. Furious, Tarela confronts Edesiri for exposing her. Tiwa’s father, still adamant about her wedding, unveils a church outreach plan targeting strip clubs—suggested by the same elder who once tried to blackmail Tiwa. Mide and Tiwa end up getting arrested, and her father, outraged, leaves her in jail. Kobe eventually bails her out. Meanwhile, Wole takes Tarela on a boat ride and tries to persuade her to be with him—on the condition that he won’t leave Lola. She refuses, but the offer lingers in her mind. ##### Episode 10 Tiwa finally tells Remi she won’t marry him. Meanwhile, Somto appoints Tarela to oversee the club in his absence, angering Edesiri. Edesiri’s boyfriend, Nuru, plans a surprise proposal but is devastated when Tarela reveals Edesiri’s infidelity. Furious, he breaks up with her. Meanwhile, Somto’s fiancée accuses Tarela of sleeping with him, and Edesiri steals from the club. Grind season 1 reaches a dramatic climax when Somto discovers money missing and accuses Tarela. In a final confrontation, Edesiri admits to stealing to frame Tarela and they begin to fight. The fight ends with Edesiri being rushed to the hospital. ##### Final Thoughts and Expectations ‘Grind’ had a promising premise, but its storytelling often felt disjointed, with subplots appearing out of nowhere. Some conflicts, like Tarela’s rivalry with Halima, lacked proper buildup. Key moments—such as Tarela hitting Halima—were referenced but never shown, leaving gaps in the narrative. The overemphasis on Tarela’s desirability also felt unrealistic—why is every man in the club obsessed with her? The idea that her refusal to give lap dances makes her that much more desirable doesn’t fully land. For Grind Season 2, we hope for a more cohesive, well-thought-out storyline where plotlines serve a clear purpose. From the teasers, it looks bigger and better, with new and returning characters, an expanded club scene, and even more drama. We can’t wait to see what’s next! While you wait for Grind Season 2, you can revisit ‘[Grind](https://www.imdb.com/title/tt25966838/ "Grind")‘ Season 1 on Prime Video. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/grind-season-1-recap-everything-you-need-to-know-before-season-2/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/grind-season-1-recap-everything-you-need-to-know-before-season-2/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/grind-season-1-recap-everything-you-need-to-know-before-season-2/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/grind-season-1-recap-everything-you-need-to-know-before-season-2/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/grind-season-1-recap-everything-you-need-to-know-before-season-2/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, TV **Tags:** Grind, nollycritic, nollywood, Prime Video, Roberta Orioma, Tamara Sindion-Apaun --- ### [Grind Season 2 Arrives This March with More Drama](https://nollycritic.com/grind-season-2-arrives-this-march-with-more-drama/) **Published:** February 27, 2025 **Author:** Fisayo Adekoya **Excerpt:** The highly anticipated second season of Grind, created by Roberta Orioma, is set to premiere on Prime Video on March 7, 2024. **Content:** The highly anticipated second season of *[Grind](https://www.imdb.com/title/tt25966838/ "Grind")*, created by Roberta Orioma, is set to premiere on [Prime Video](https://nollycritic.com/?s=prime+video "Prime Video") on March 7, 2024. Following a gripping first season, the series returns with more drama, ambition, and the relentless pursuit of success in Lagos’ entertainment scene. Season 1 introduced viewers to Tarela, a young woman navigating the challenges of the nightlife and creative industry while trying to build a name for herself. The series resonated with many for its raw depiction of struggle, resilience, and the unspoken sacrifices made in the journey to success. Now, with Season 2, the stakes are even higher as Tarela faces new hurdles, deeper conflicts, and unexpected turns that will test her determination. This season promises to explore more complex themes, shedding light on the price of ambition in a competitive world. Viewers can expect intense character growth, high-stakes decisions, and a deeper dive into the relationships that shape Tarela’s path. With a mix of familiar faces and new additions, the story expands, offering fresh challenges that push each character further than before. Directed by Orire Nwani and Joshua Tso-Tso, with production led by Josh Olaoluwa and Roberta Orioma, *Grind* maintains its commitment to authenticity. The creative team ensures that every moment feels real, capturing the essence of Lagos’ fast-paced entertainment industry. The show’s ability to blend compelling storytelling with social commentary makes it a standout in Nollywood’s evolving television landscape. As the premiere date draws closer, anticipation continues to grow. Fans of the series are eager to see what direction Tarela’s journey takes and how the new season will unfold. *Grind* Season 2 is set to deliver a captivating experience, highlighting both the glamour and the hardships of chasing dreams in a city that never slows down. With just weeks until its release, audiences can prepare for another season filled with ambition, passion, and the harsh realities of making it in Lagos. *Grind* Season 2 lands on Prime Video on March 7. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/grind-season-2-arrives-this-march-with-more-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/grind-season-2-arrives-this-march-with-more-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/grind-season-2-arrives-this-march-with-more-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/grind-season-2-arrives-this-march-with-more-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/grind-season-2-arrives-this-march-with-more-drama/?share=linkedin) - **Categories:** Blog, Drama, Movies, Nollywood, Nollywood News, TV **Tags:** film, Grind Season 2, Grind Series, nollycritic, nollywood, Nollywood 2025, Nollywood series, Orire Nwani, Prime Video, Roberta Orioma --- ### [Mo Abudu's Baby Farm to Premiere on Netflix This March](https://nollycritic.com/mo-abudus-baby-farm-to-premiere-on-netflix-this-march/) **Published:** March 3, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Mo Abudu has released the teaser for Baby Farm, a new limited series from EbonyLife Studios, set to premiere on Netflix on 21 March. **Content:** Mo Abudu has released the teaser for[ *Baby Farm*](https://www.imdb.com/title/tt31593845/ " Baby Farm"), a new limited series from EbonyLife Studios, set to premiere on [Netflix](https://nollycritic.com/see-netflix-africas-latest-slate-of-nollywood-series-movies/ "Netflix") on 21 March. Announcing the project today on Instagram, Abudu described *Baby Farm* as a “twisted thriller” that raises questions about how far people are willing to go to have a child. The series features a diverse cast, including Rita Dominic, Jenny Stead, Langley Kirkwood, Onyinye Odokoro, Genoveva Umeh, Joseph Benjamin, Ruby Akubueze, Folu Storms, Kiki Omeili, Tope Tedela, Osereme Inegbenebor, Adeola Awodein, Iveren Antiev, Maggie Osuome, Uzoamaka Onuoha, and Celia Okechukwu. The story idea comes from Mo Abudu, Heidi Uys, and Darrel Bristow-Bovey, with Abudu as the executive producer. Darrel Bristow-Bovey also wrote the script, while Walt Banger (Juju Stories) and Kayode Kasum directed the series. Other key crew members include costume designer Yolanda Okereke (Blood Sisters), production designer Jacob Gadibia, and director of photography Malcolm McLean (Queen Sono). Kaline Akinkugbe (Breath of Life) composed the music score. Mo Abudu has continued to expand EbonyLife Studios’ reach with recent projects like *Òlòtūré: The Journey* and *A Sunday Affair*. With *Baby Farm*, she teases another suspenseful story that, according to her, will keep viewers on edge. The series is set to stream worldwide from 21 March. See the teaser below; ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/mo-abudus-baby-farm-to-premiere-on-netflix-this-march/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/mo-abudus-baby-farm-to-premiere-on-netflix-this-march/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/mo-abudus-baby-farm-to-premiere-on-netflix-this-march/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/mo-abudus-baby-farm-to-premiere-on-netflix-this-march/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/mo-abudus-baby-farm-to-premiere-on-netflix-this-march/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News, TV **Tags:** Adeola Awodein, baby farm, Folu Storms, Genoveva Umeh, Iveren Antiev, Jenny Stead, Joseph Benjamin, Kiki Omeili, Langley Kirkwood, Maggie Osuome, Mo Abudu, Netflix, nollycritic, nollywood, Onyinye Odokoro, Osereme Inegbenebor, rita dominic, Ruby Akubueze, Tope Tedela, Uzoamaka Onuoha --- ### [Kunle Afolayan’s Recall Brings Love and Memory to the Test](https://nollycritic.com/kunle-afolayans-recall-brings-love-and-memory-to-the-test/) **Published:** March 3, 2025 **Author:** Fisayo Adekoya **Excerpt:** Kunle Afolayan is set to make another mark in Nollywood with Recall, a gripping drama that examines love, memory, and the weight of buried secrets. **Content:** [Kunle Afolayan](https://nollycritic.com/?s=kunle+afolayan "Kunle Afolayan") is set to make another mark in Nollywood with *[Recall](https://www.imdb.com/title/tt34476668/ "Recall")*, a gripping drama that examines love, memory, and the weight of buried secrets. Known for his ability to craft deeply emotional and visually compelling stories, Afolayan takes on a unique premise in this film. *Recall* follows Goke, a devoted husband whose world shatters when his wife, Anita, wakes up with no recollection of him or their children. Suddenly, the life they built together becomes a distant past she cannot recognize. As Goke fights to restore her memory, an unsettling truth looms in the background, threatening to keep them apart forever. Over the years, Afolayan has delivered films that blend rich storytelling with cultural relevance, and *Recall* appears to follow the same path. With themes of love, identity, and emotional endurance, the film presents a story that is both intimate and universally relatable. At its core, it raises a thought-provoking question: if someone forgets everything about the life they shared with you, is love alone enough to bring them back? This conflict between heart and mind sets the stage for a compelling drama that promises to tug at the audience’s emotions. To bring this narrative to life, Afolayan assembles an impressive ensemble cast. *Recall* features talented actors such as Sharon Ooja, Olarotimi Fakunle, Bolaji Ogunmola, Jimmy Jean-Louis, Tina Mba, Keppy Ekpenyong, and Bimbo Akintola. Additionally, veteran Nollywood stars like Patience Ozokwor and Shan George lend their experience to the film, adding depth to the storytelling. The project also introduces new faces, including Milare Ogunmefun as Damilola and Akorede Lawal (Son of the Soil) as Diran, providing a platform for emerging talent. Afolayan’s reputation for creating thought-provoking cinema is well-established. Films like *October 1*, *Citation*, and *Aníkúlápó* have showcased his ability to weave engaging narratives with strong visual storytelling. *Recall* appears to continue that tradition, offering a mix of romance, psychological intrigue, and emotional intensity. Moreover, the film’s cinematography and direction are expected to elevate the story, immersing viewers in the characters’ struggles. As *Recall* prepares for its nationwide release on April 4, anticipation continues to build. Distributed by Cinemax, the film is set to attract both Afolayan’s loyal audience and moviegoers seeking a compelling, thought-provoking drama. With its intriguing premise, stellar cast, and the director’s signature storytelling, *Recall* is poised to leave a lasting impression. Whether love can truly transcend lost memories and hidden truths remains to be seen, but one thing is certain—this film will take audiences on an unforgettable journey. Watch the trailer below: ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kunle-afolayans-recall-brings-love-and-memory-to-the-test/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kunle-afolayans-recall-brings-love-and-memory-to-the-test/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kunle-afolayans-recall-brings-love-and-memory-to-the-test/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kunle-afolayans-recall-brings-love-and-memory-to-the-test/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kunle-afolayans-recall-brings-love-and-memory-to-the-test/?share=linkedin) - **Categories:** Drama, Movies, Nollywood, Nollywood News **Tags:** Bolaji Ogunmola, Box Office, cinemax, film, Golden Effects Pictures, KAP, Kunle Afolayan, Milare Ogunmefun, Must-watch Nigerian movies, nollycritic, nollywood, Nollywood 2025, Olarotimi Fakunle, Patience Ozokwor, recall, Sharon Ooja, Tina Mba --- ### [Malaika: A Chaotic Blend of Drama, Faith, and Spectacle](https://nollycritic.com/malaika-a-chaotic-blend-of-drama-faith-and-spectacle/) **Published:** March 3, 2025 **Author:** Shalom O. Obisesan **Excerpt:** n December 2023, Malaika hit cinemas with high hopes of delivering a feel-good, mystical journey that lived up to its heavenly name **Content:** In December 2023, *[Malaika](https://www.imdb.com/title/tt30054221/ "Malaika")* hit cinemas with high hopes of delivering a feel-good, mystical journey that lived up to its heavenly name—after all, “Malaika” means angel. Now streaming on [Circuits TV](https://nollycritic.com/?s=circuits "Circuits TV"), the film promised a blend of spiritual mysticism, humor, and engaging storytelling that would leave audiences uplifted. However, while it tried to juggle elements of supernatural allure, family drama, and laugh-out-loud moments, it ended up meandering between too many ideas without finding a steady balance. Without further ado, let’s get into the review. P.s: **spoiler alert**! ## *Malaika* Directed by: Steve Sodiya, Toyin Abraham, Kolawole Ajeyemi Written by: Samuel Olasehinde Genre: Drama Released on: February 21, 2025 (Circuits) Language: English, Yoruba ##### Plot The film follows Adetutu as she deals with repeated miscarriages, struggles with her temper, and clashes with her stepdaughter, Chichi. Her husband, Dr Ebuka, is a well-known fertility specialist, yet the couple never actively seeks medical help. Instead, Adetutu turns to a diviner who tells her that her miscarriages are caused by her anger. Meanwhile, Chichi finds comfort with a lower-class family, which helps her see life differently. The film weakens its impact by not clearly defining Adetutu’s struggle. It wants to tell a story about a woman desperate for a child, but by confusing miscarriage with infertility, it makes it harder for the audience to fully connect with her journey. While the plot covers a lot, the film struggles with focus and shifts between different tones. It jumps from family drama to supernatural elements and then to an action-packed climax. But none of these parts feel fully developed. The film also rushes through Adetutu’s journey. Instead of giving the audience time to process her struggles, it quickly moves from personal pain to a sudden resolution. Rather than exploring child loss in depth, *Malaika* shifts into exaggerated twists and moral lessons, making it less about Adetutu’s emotional journey and more about how everything wraps up neatly at the end. ##### Story *Malaika* sets out to explore child loss, family struggles, and personal transformation through Adetutu, a successful but hot-tempered woman under pressure to have children. The film looks at how society treats women who can’t have children, the strain this puts on marriages, and the challenges of raising a stepchild. It also brings in spirituality, as Adetutu turns to traditional beliefs when all else fails. On paper, this is a story about self-discovery and healing. But in execution, the film leans too much on comedy and dramatic twists, making it hard to take its subject seriously. However, there’s a major contradiction. The film calls Adetutu’s struggle “infertility,” but she actually gets pregnant multiple times and suffers miscarriages. Infertility is the inability to conceive, while miscarriage is the inability to carry a pregnancy to term. This mistake makes the film’s central conflict feel misguided. Rather than fully exploring the pain of miscarriage, the film focuses on Adetutu’s anger and her fights with her stepdaughter. It frames her inability to have a child as a personal flaw instead of a medical condition, reducing her struggle to loud arguments instead of deep emotional moments. Meanwhile, Dr Ebuka, a fertility expert, barely engages with his wife’s situation, making his presence feel unnecessary. The film commits to a spiritual resolution but doesn’t build up to it well. When all else fails, Adetutu turns to spirituality. This could have been a powerful shift, but the film rushes through it. Instead of gradually showing her search for answers, the film makes her realisation feel too sudden, making her transformation less believable. ##### Performances Toyin Abraham embodies Adetutu with the emotional volatility expected of a character burdened by personal grief, but her performance occasionally borders on theatrical excess, making it difficult to fully invest in her struggle. Better still, her performance feels exaggerated rather than natural. Emeka Ike, as Dr Ebuka, plays his role with restraint, but the script gives him little to do beyond being a doctor in name only. His character is introduced as a top fertility expert, yet he never really contributes to Adetutu’s struggle. At the very least, he could have addressed the difference between infertility and miscarriage, but the film doesn’t allow that moment to happen. Anyway, Oluwapelumi Olawumi’s portrayal of Chichi effectively conveys teenage angst, though the film’s lack of depth in characterisation limits her arc. Ibrahim Chatta’s role as the folk-singer-turned-spiritual-guide introduces an element of mysticism but does little beyond reinforcing the film’s supernatural leanings. Odunlade Adekola’s appearance as a shady driver feels random, as if he was added just for comedic effect. Anne Kansiime injects humour as Adetutu’s friend, but like many characters in the film, she remains underdeveloped. The film leans so much on humour that it often undercuts the seriousness of the story, making it hard to fully connect with the characters. ##### Technical Aspects *Malaika* looks polished visually, but its technical choices take away from the experience. The sound design is distracting, with loud background music forcing emotions instead of letting the story do the work. The action scenes, especially the martial arts-style fight, feel out of place, making the film seem unsure of what it wants to be. While the cinematography and production design are decent, they don’t do much to elevate the storytelling. The Lagos Light Rail scene is a nice touch, but it feels more like a publicity stunt than an important part of the film. Product placements blur the line between storytelling and advertising. The film tries to mix traditional Yoruba theatre with modern Nollywood, but instead of blending smoothly, it ends up feeling messy and all over the place. ##### Final Thoughts One of the biggest issues with *Malaika* is its failure to define its own conflict. The film repeatedly shows Adetutu losing pregnancies, yet it refers to her condition as infertility rather than miscarriage. This fundamental mistake creates confusion about what the film is actually exploring. Is it about a woman who struggles to conceive, or a woman who cannot carry a pregnancy to term? This mistake weakens the story from the start. If spirituality is meant to be central to the story, then the film should have built it up properly. Instead, Adetutu’s path to spiritual intervention is rushed, leaving little time for the audience to connect with her journey. Rather than gradually showing her struggle to find answers, the film jumps straight to a moment of truth, making it feel unearned. While she fully accepts the spiritual explanation, the lack of buildup makes her transformation feel too easy. By not immersing the audience in her search for answers, the film weakens the very perspective it chooses to centre its story around. The film also struggles with identity—at times, it feels like a family drama, at other times, it leans into comedy, and by the end, it turns into an action-packed rescue mission. This uneven mix makes it difficult to fully engage with its message. ##### Verdict *Malaika* is an ambitious but uneven mix of family drama, comedy, action, and spirituality that struggles to stay focused. While it has entertaining moments, its messy storytelling and exaggerated performances make it a film that values spectacle over depth. It’s best enjoyed with low expectations. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/malaika-a-chaotic-blend-of-drama-faith-and-spectacle/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/malaika-a-chaotic-blend-of-drama-faith-and-spectacle/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/malaika-a-chaotic-blend-of-drama-faith-and-spectacle/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/malaika-a-chaotic-blend-of-drama-faith-and-spectacle/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/malaika-a-chaotic-blend-of-drama-faith-and-spectacle/?share=linkedin) - **Categories:** Articles, Blog, Drama, Movies, Nollywood, Reviews **Tags:** African Storytelling, Anne Kansiime, babalawo, child loss, children, circuits, Emeka Ike, family drama, Film review, Ibrahim Chatta, ircuits TV, medicine, miscarriage, Movie Analysis, Movie Review, nollycritic, nollywood, Nollywood 2025, Nollywood Comedy, Nollywood Review, Odunlade Adekola, Reviews, Spiritual Mysticism, traditional --- ### [I am Anis: Biodun Stephen’s New Film Brings a True Story to the Screen](https://nollycritic.com/i-am-anis-biodun-stephens-new-film-brings-a-true-story-to-the-screen/) **Published:** February 26, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Biodun Stephen is set to release her latest film, I Am Anis, on 21st March 2025, exclusively on Circuits TV Inspired by real events **Content:** [Biodun Stephen ](https://nollycritic.com/?s=biodun+stephen "Biodun Stephen ")is set to release her latest film, *I Am Anis*, on 21st March 2025, exclusively on [**Circuits** **TV** I](http://www.circuits.tv. "Circuits TV I")nspired by real events, the film tells the story of Anisola Williams, whose seemingly perfect life takes an unexpected turn, uncovering long-buried truths. Through this project, Stephen aims to spark conversations around judgment and empathy, using cinema as a platform for change. More than just a film, *I Am Anis* carries a strong social message. “This isn’t just a movie. It’s a campaign to #NudgeDontJudge,” Stephen explains. “In a world where battles between toxicity, inferiority, and superiority persist, the girl struggling to find her way needs nudging, not judgment.” The film stars Shaffy Bello, Tina Mba, Charles Inojie, Toyin Oshinaike, Lina Idoko, Debo Adedayo (Mr Macaroni), Rykardo Agbor, Martha Ehinome, Chimela Nwachukwu, and Karen Spikes. Written by Mannie Oiseomaye and Biodun Stephen, with Stephen also directing and producing, *I Am Anis* is set to make its debut via Circuits TV on March 21, 2024., adding another thought-provoking piece to her body of work. See the trailer below. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/i-am-anis-biodun-stephens-new-film-brings-a-true-story-to-the-screen/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/i-am-anis-biodun-stephens-new-film-brings-a-true-story-to-the-screen/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/i-am-anis-biodun-stephens-new-film-brings-a-true-story-to-the-screen/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/i-am-anis-biodun-stephens-new-film-brings-a-true-story-to-the-screen/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/i-am-anis-biodun-stephens-new-film-brings-a-true-story-to-the-screen/?share=linkedin) - **Categories:** Blog, Drama, Movies, Nollywood, Nollywood News **Tags:** Biodun Stephen, Charles Inojie, Chimela Nwachukwu, circuits, Debo Adedayo (Mr Macaroni), i am anis, Lina Idoko, Martha Ehinome, nollycritic, nollywood, Rykardo Agbor, Shaffy Bello, Tina Mba, Toyin Oshinaike --- ### [Ada Omo Daddy: Is Forgiveness Really Earned or Given?](https://nollycritic.com/ada-omo-daddy-is-forgiveness-really-earned-or-given/) **Published:** February 25, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Ada Omo Daddy presents itself as a family drama about identity, reconciliation, and the weight of long-buried secrets. This revelation shakes her world **Content:** As simple as its premise is[, *Ada Omo Daddy*](https://www.imdb.com/title/tt30454010/ ", Ada Omo Daddy") stutters with its own voice. The story is straightforward: a young woman, on the verge of marriage, is suddenly confronted by a man claiming to be her biological father. This revelation shakes her world, leaving her questioning everything “Who am I? Why was this truth hidden from me?” But while exploring the emotional weight of this identity crisis, the film delivers an unsettling message: even a father who abandoned his child at birth deserves a second chance. A bold, controversial take. ## *Ada Omo Daddy* Directed by: Kazeem Adeoti, Mercy Aigbe, Akay Mason Written by: Yakubu Olawale Genre: Drama Released on: February 21, 2025 (Netflix/Circuits) Language: English, Yoruba ##### Story *Ada Omo Daddy* presents itself as a family drama about identity, reconciliation, and the weight of long-buried secrets. It follows Pero, a young woman preparing for marriage, whose life is turned upside down when a man claiming to be her biological father suddenly appears. The film attempts to explore the emotional turmoil of navigating family loyalties, questioning the meaning of true parenthood, and making space for past mistakes. It sets up a conflict between biological ties and emotional bonds, aiming to show that love and forgiveness can transcend past betrayals. However, the film struggles to ground these ideas in an emotionally honest way. Instead of offering a nuanced examination of parental responsibility, it simplifies its message, suggesting that absent fathers should be welcomed back without question, regardless of the pain they’ve caused. The emotional weight of abandonment is brushed aside in favour of a rushed reconciliation that feels more like an obligation than a meaningful resolution. Rather than a layered story about forgiveness, the film frames manipulation and entitlement as acceptable, diluting its own impact. ##### Plot The film opens with a chaotic and unsettling scene: a woman, desperately running through the night with her baby in her arms. Gunshots echo in the background, hinting at a violent conflict. This moment, filled with fear and urgency, sets the stage for a hidden past. As the film shifts to the present, we meet Pero (Omowunmi Dada), now an accomplished and successful woman, enjoying what seems to be a perfect life. She has just been named Managing Director of her father, Chief Balogun’s (played by Dele Odule), company, and her fiancé, Victor (Tayo Faniran), surprises her with a grand proposal. Pero appears to have everything—love, career, and family stability. But that illusion is shattered when a phone call changes everything. A man named Ifeanyi (Charles Okafor) contacts her, claiming to be her biological father. Initially dismissing him as a fraud, Pero is soon forced to confront the painful truth when undeniable photographic evidence arrives at her doorstep. This revelation sends shockwaves through her family, leading to confrontations with her mother, Mrs. Ireti Balogun (Sola Sobowale), who has spent years shielding her from the truth. Through flashbacks, we learn that Ifeanyi was an abusive and neglectful man, driving Ireti to flee with their infant daughter in a desperate bid for safety. As the wedding preparations continue, so does the tension. Pero struggles with the truth, Ifeanyi insists on being part of her life and her upcoming wedding. Mrs. Ireti, however, resists, knowing Ifeanyi’s past as an irresponsible, abusive, and absent father. Chief Balogun and Mrs Ireti, the man who raised her. The film builds toward a wedding-day climax where the supposed resolution comes in the form of last-minute apology, neatly tying up a conflict that deserved a more thoughtful and honest conclusion. ##### Performances The performances range from compelling to disappointing. Sola Sobowale delivers her usual intensity, portraying a mother torn between protecting her daughter and facing the ghosts of her past. Omowunmi Dada effectively conveys Pero’s internal conflict, though the writing sometimes limits the depth of her character’s emotional journey. Charles Okafor, a veteran actor returning to the screen, does not fully embody the complexity his role requires. His performance lacks the remorse or sincerity needed to make Ifeanyi’s arc believable. Tayo Faniran, who plays Victor, is one of the weakest links in the film. His portrayal is stiff and emotionally detached, making it difficult to invest in his character or his relationship with Pero. The supporting cast, including Chiwetalu Agu and Mercy Aigbe, add moments of entertainment and dramatic intensity. There is an over-reliance on [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") veterans, but experience alone cannot compensate for underdeveloped characters or weak dialogue. ##### Technical Aspects Visually, *Ada Omo Daddy* makes a strong first impression. The cinematography, helmed by Barnabas ‘Barney’ Emordi, successfully highlights the film’s polished aesthetic, presenting a world of wealth and affluence through grand mansions, elaborate décor, and carefully curated costumes. The contrast between Chief Balogun’s luxurious household and Ifeanyi’s more modest living conditions helps reinforce the class divide between the two father figures. The cultural representation is another strong point, with detailed depictions of both Yoruba and Igbo traditions, particularly in the wedding scenes and family gatherings. The Efik-inspired attire worn at the introduction ceremony adds another layer of cultural blending. The sound design and score are a weak point. The film overuses ominous background music in moments that don’t necessarily call for it, making emotional beats feel forced rather than naturally compelling. A perfect example is when Ifeanyi is shown reflecting on his past mistakes. Rather than allowing silence and his body language to convey regret, the heavy-handed music tries too hard to dictate how the audience should feel, ultimately making the moment feel artificial. But what makes this worse is that, upon closer inspection, Ifeanyi’s actual dialogue contradicts the film’s emotional cues. He isn’t genuinely remorseful, he is manipulative, selectively revealing parts of his past that spurs whoever that hears his story to pity. Yet, the swelling music pushes the audience to sympathise with him, making it seem as though his return is aspirational rather than self-serving. Beyond misplaced scoring, the film is overwhelmingly noisy, with background music that is not only excessive but also too loud, frequently drowning out dialogue. In multiple scenes, particularly during family confrontations and group discussions, it becomes difficult to make out what characters are saying. Rather than supporting the performances, the sound mix competes with them, reducing the impact of key emotional exchanges. Given the way the *Ada Omo Daddy* prioritises sound over clarity, it’s puzzling how this issue was not addressed before the film’s theatrical release. One can only imagine how frustrating it must have been for cinema audiences trying to keep up with conversations buried beneath blaring instrumentals. Additionally, continuity errors are noticeable, particularly in the flashback sequences, where character costumes and surroundings fail to convincingly reflect the past. One particularly distracting instance is younger Mrs. Ireti’s flashback, where she is shown wearing an outfits and makeup that don’t align with the supposed time period. Even with these flaws, the wedding scene stands out as one of the film’s strongest visual moments. The attention to detail in capturing the grandeur of a Nigerian wedding: elaborate outfits, lively dance sequences, and the musical performance by Adewale Ayuba, adds authenticity. However, the wedding’s narrative function feels secondary, as if its primary purpose is to showcase spectacle with an afterthought to resolve the film’s deeper emotional conflicts. ##### Final Thoughts One of the *Ada Omo Daddy* ‘s biggest missteps is how it manipulates audience perception through technical choices rather than storytelling. The direction and sound design seem to push an emotional agenda that does not align with the film’s actual events. Ifeanyi’s words and actions paint him as a cunning and opportunistic man, but the filmmakers insist on framing him as a misunderstood father deserving of a second chance. This contradiction is most evident in how the score works overtime to generate sympathy for him, even in moments where he is blatantly lying, guilt-tripping Pero, or twisting the truth to suit his narrative. This raises a crucial question: Are we meant to support him? The film’s messaging suggests we should. Pero forgives him, Chief Balogun embraces him, and the story treats his return as a victory. But for those who are paying attention—those who catch Ifeanyi’s carefully spun deception—the film becomes an unsettling experience. Are we meant to ignore what we’ve just seen and heard? Are we supposed to dismiss Ireti’s trauma simply because Ifeanyi says he has changed? The filmmakers fail to take a clear stance, leaving a frustrating gap between the film’s intent and the reality of its execution. Beyond its storytelling missteps, *Ada Omo Daddy* raises broader concerns about the messages it promotes. It presents a world where absent fathers can reappear at their convenience and be immediately reintegrated into their children’s lives with minimal effort. Ifeanyi, despite his clear faults, is positioned as someone deserving of forgiveness without truly earning it. Meanwhile, Ireti, the parent who stayed, is unfairly villainised for keeping the truth hidden. This framing is not just problematic, it is a reflection of societal biases that often excuse paternal neglect while scrutinising the actions of mothers. The grand wedding finale, instead of delivering an emotionally satisfying resolution, feels more like a spectacle—a moment designed for visual appeal rather than a meaningful conclusion. Instead of offering an introspective, emotionally resonant story, the film opts for surface-level resolution, wrapping up its complex issues in a neat but deeply unearned final act. *Ada Omo Daddy* had the potential to be a tale about how manipulation, entitlement, and societal biases can erode even the strongest family bonds. Instead, it settles for an overly simplistic resolution, one that ultimately suggests that fatherhood is merely about showing up when it’s convenient. And that’s the real tragedy. ##### Verdict While *Ada Omo Daddy* presents an engaging premise and boasts strong visuals, it ultimately fails to deliver a compelling or emotionally honest story. Its resolution feels unearned, its character arcs lack depth, and its technical flaws weaken its overall impact. It may entertain casual viewers with its family drama and cultural aesthetics, but those looking for a well-crafted exploration of identity and reconciliation will likely find it lacking. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ada-omo-daddy-is-forgiveness-really-earned-or-given/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ada-omo-daddy-is-forgiveness-really-earned-or-given/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ada-omo-daddy-is-forgiveness-really-earned-or-given/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ada-omo-daddy-is-forgiveness-really-earned-or-given/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ada-omo-daddy-is-forgiveness-really-earned-or-given/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Ada Omo Daddy, Barnabas Emordi, Charles Okafor, Chiwetalu Agu, Cinema, cultural representation, Dele Odule, Efik, family drama, February 2025, Film review, Igbo, Mercy Aigbe, Netflix, nigerian cinema, Nigerian Film, Nigerian wedding, nollywood, Nollywood veterans, Nollywood wedding, Omowunmi Dada, Sola Sobowale, Tayo Faniran, wedding scenes, Yoruba --- ### [Biodun Stephen’s Aso Ebi Diaries Explores Love and Culture](https://nollycritic.com/biodun-stephens-aso-ebi-diaries-explores-love-and-culture/) **Published:** February 25, 2025 **Author:** Fisayo Adekoya **Excerpt:** Nollywood filmmaker Biodun Stephen is set to deliver another thought-provoking story with Aso Ebi Diaries, which is scheduled for release in cinemas on April 18 **Content:** Nollywood filmmaker [Biodun Stephen](https://nollycritic.com/?s=biodun+stephen "Biodun Stephen") is set to deliver another thought-provoking story with *[Aso Ebi Diaries](https://www.imdb.com/title/tt31866821/ "Aso Ebi Diaries")*, which is scheduled for release in cinemas on April 18, 2025. This highly anticipated film delves into the cultural significance of *Aso Ebi*, a tradition deeply rooted in Nigerian celebrations and festivities. It examines the blend of unity, status, and financial expectations that come with wearing coordinated outfits at major events. *[Aso Ebi Diaries](https://www.imdb.com/title/tt31866821/ "Aso Ebi Diaries")* follows intertwined lives as they navigate the joys and challenges of family bonds, friendships, and societal expectations. By highlighting the layers behind this cultural practice, the film invites audiences to reflect on how traditions shape modern interactions. The concept of *Aso Ebi* extends beyond mere fashion—it often signifies solidarity and collective identity. However, it can also be a source of conflict when financial burdens arise or social pressures take center stage. A stellar cast brings the narrative to life. Featuring Nancy Isime, Kunle Remi, Daniel Etim Effiong, and Jide Kosoko, the film promises engaging performances that showcase the emotional highs and lows of family dynamics. Their portrayals are expected to capture the excitement, tension, and conflicts that arise when tradition clashes with personal aspirations. Each character is expected to add depth to the story, offering a multifaceted look at how individuals balance cultural obligations with personal choices. Biodun Stephen is known for delivering emotionally resonant films that connect with audiences. *Aso Ebi Diaries* follows her signature storytelling style, balancing humor and drama while shedding light on social themes. Her ability to weave intricate narratives ensures that the film will not only entertain but also encourage conversations about cultural norms and expectations. This film, much like her previous works, is anticipated to spark discussion and reflection among viewers. The growing anticipation surrounding *Aso Ebi Diaries* signals its potential impact on audiences. As the premiere date approaches, movie lovers are eager to see how the film portrays the significance of *Aso Ebi* in Nigerian society. The intersection of tradition, modernity, and personal agency remains a relevant topic, making the film’s themes universally relatable. With its engaging plot, strong performances, and cultural depth, *Aso Ebi Diaries* is set to leave a lasting impression. As discussions about tradition and societal expectations continue, the film promises to be both an entertaining and meaningful cinematic experience. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/biodun-stephens-aso-ebi-diaries-explores-love-and-culture/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/biodun-stephens-aso-ebi-diaries-explores-love-and-culture/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/biodun-stephens-aso-ebi-diaries-explores-love-and-culture/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/biodun-stephens-aso-ebi-diaries-explores-love-and-culture/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/biodun-stephens-aso-ebi-diaries-explores-love-and-culture/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** Aso Ebi Diaries, Biodun Stephen, Daniel Etim Effiong, Jide Kosoko, kunle remi, Nancy Isime, nollywood --- ### [Suky: New Movie From Nemsia Studios to Premiere on Prime Video](https://nollycritic.com/suky-new-movie-from-nemsia-studios-to-premire-on-prime-video/) **Published:** February 24, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Nemsia Studios has released the official trailer for its latest action-packed film, Suky. The trailer, shared today, February 24, **Content:** [Nemsia Studios](https://nemsiastudios.com/ "Nemsia Studios") has released the official trailer for its latest action-packed film, *Suky*. The trailer, shared February 24, via the studio’s Instagram account, kicks off an 11-day countdown to the movie’s exclusive premiere on Prime Video on March 7. *Suky* boasts a lineup of some of Nollywood’s finest talents, featuring James Damilare Solomon in the lead role as Suky. Also starring in the film are Tobi Bakre, Femi Adebayo, Bimbo Ademoye, Olarotimi Fakunle, Itele D Icon, and Boma Akpore. Rising child actor Ajibade Abolade portraying the young Suky, while Olakunle Abounce Fawole, Philip Asaya, Williams Benson, and Theodora Omo add to the ensemble. With a reputation for compelling storytelling and high-quality productions, [Nemsia](https://nollycritic.com/?s=nemsia "Nemsia") Studios has become a driving force in Nollywood. The studio is behind major hits like *Breath of Life*, which dominated the 2024 Africa Magic Viewers’ Choice Awards (AMVCA), winning six awards, including Best Movie. Other notable productions from the studio include *Soft Love*, *Before 30*, *Banana Island Ghost*, *God Calling*, and *With Difficulty Comes Ease*. The release of *Suky* is part of Nemsia Studios’ ongoing partnership with Amazon Prime Video, which began in 2022 with an exclusive multi-film deal aimed at bringing African stories to a global audience. While plot details remain under wraps, the trailer teases a high-intensity action thriller, filled with gripping performances, fight sequences, and a captivating storyline. Fans can watch the trailer on Nemsia Studios’ official Instagram page. See the trailer below! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/suky-new-movie-from-nemsia-studios-to-premire-on-prime-video/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/suky-new-movie-from-nemsia-studios-to-premire-on-prime-video/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/suky-new-movie-from-nemsia-studios-to-premire-on-prime-video/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/suky-new-movie-from-nemsia-studios-to-premire-on-prime-video/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/suky-new-movie-from-nemsia-studios-to-premire-on-prime-video/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** action thriller, Africa Magic Viewers’ Choice Awards, african cinema, Ajibade Abolade, Amazon Prime Video, AMVCA, Banana Island Ghost, Before 30, Bimbo Ademoye, Boma Akpore, Breath of Life, Femi Adebayo, God Calling, Itele D Icon, James Damilare Solomon, Nemsia Studios, nigerian cinema, nollywood, Olakunle Abounce Fawole, Olarotimi Fakunle, Philip Asaya, Prime Video, Soft Love, Suky, Theodora Omo, Tobi Bakre, Williams Benson, With Difficulty Comes Ease --- ### [Pascal Atuma’s Imported Wives Explores Love and Marriage](https://nollycritic.com/pascal-atumas-imported-wives-explores-love-and-marriage/) **Published:** February 24, 2025 **Author:** Fisayo Adekoya **Excerpt:** Nigerian Canadian filmmaker Pascal Atuma is set to release his latest film, Imported Wives, in Nigerian cinemas on May 30, 2025. **Content:** Nigerian Canadian filmmaker Pascal Atuma is set to release his latest film, *[Imported Wives](https://www.imdb.com/title/tt30522645/ "Imported Wives")*, in [Nigerian](https://nollycritic.com/?s=Nigerian "Nigerian") cinemas on May 30, 2025. This gripping drama blends humor with social commentary, shedding light on the struggles of love, marriage, and migration. With themes that resonate globally, the film promises to spark conversations about the realities of relocating a spouse abroad. Atuma takes a deep dive into the complexities faced by African men who return home to marry, only to relocate their wives overseas. While the idea seems ideal at first, it often comes with unforeseen challenges. Cultural shocks, shifting power dynamics, and personal growth in a foreign land can put immense pressure on relationships. Many couples find themselves questioning if love is enough to withstand the struggles of migration. The film explores the growing “Japa” trend—the mass movement of Nigerians seeking better opportunities abroad. It highlights not just the excitement of relocation but also the emotional, psychological, and cultural toll it takes on marriages. For some, the dream of a better life turns into a test of love, values, and identity. To bring this story to life, *Imported Wives* features a powerhouse cast. The lineup includes Nancy Isime, Omoni Oboli, Joseph Benjamin, Patience Ozokwor, and Ngozi Nwosu. The movie was filmed over a period of one year and eight months, capturing scenes in both Nigeria and Canada. This blend of locations adds to the authenticity of the narrative, making it even more relatable for audiences who have experienced cross-cultural relationships. Atuma, known for films like *Sweet Revenge* and *My American Son*, has a reputation for telling stories that reflect real-life struggles. With *Imported Wives*, he presents a narrative that is both thought-provoking and entertaining. The film balances humor with drama, ensuring that audiences not only reflect on its message but also enjoy the storytelling. Set for its theatrical debut in Nigeria on May 30, 2025, the film’s international release date will be announced later. As migration continues to shape family dynamics worldwide, *Imported Wives* offers a timely exploration of its impact on love and relationships. It raises important questions—can love truly withstand the pressures of cultural shifts? How much sacrifice is too much? And what happens when the roles in a marriage begin to change? With its compelling story and strong performances, *Imported Wives* is poised to leave a lasting impression. As the release date approaches, expectations are high, and audiences eagerly anticipate what promises to be an engaging and insightful cinematic experience. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/pascal-atumas-imported-wives-explores-love-and-marriage/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/pascal-atumas-imported-wives-explores-love-and-marriage/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/pascal-atumas-imported-wives-explores-love-and-marriage/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/pascal-atumas-imported-wives-explores-love-and-marriage/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/pascal-atumas-imported-wives-explores-love-and-marriage/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** Cross Cultural Love, film, Imported Wives, Nancy Isime, nigerian cinema, nollycritic, nollywood, Nollywood 2025, Nollywood movies to see 2025, Omoni Oboli, Pascal Atuma, Romance movies --- ### [AVAZ: A New Streaming Platform for Nollywood Titles](https://nollycritic.com/avaz-a-new-streaming-platform-for-nollywood-titles/) **Published:** February 21, 2025 **Author:** Fisayo Adekoya **Excerpt:** OTTera has joined forces with Blue Pictures to introduce AVAZ, a new FAST (Free Ad-Supported Streaming TV) channel dedicated to premium Nollywood films **Content:** OTTera has joined forces with Blue Pictures to introduce [AVAZ](https://distribution.bluepicturesng.com/avaztv/ "AVAZ"), a new FAST (Free Ad-Supported Streaming TV) channel dedicated to premium [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") films and TV series. Spearheaded by industry veteran Joy Efe Odiete, AVAZ is set to transform the global distribution of African storytelling, making high-quality Nollywood content more accessible than ever. Currently available on Hisense TV VIDAA Channels, VIDAA TV in South Africa, and AfrolandTV, AVAZ is already gaining traction among viewers. However, this is just the beginning. The platform is actively expanding to more Connected TV services, broadening Nollywood’s reach beyond traditional markets. As streaming continues to redefine the entertainment landscape, AVAZ positions itself at the forefront of this evolution, ensuring that African cinema gains a stronger global presence. This groundbreaking initiative highlights Nollywood’s increasing influence in the digital space. OTTera CEO Stephen L. Hodge expressed enthusiasm about the partnership, emphasizing how AVAZ bridges the gap between premium African content and international audiences. Joy Efe Odiete echoed this sentiment, describing AVAZ as a game-changer that will elevate Nollywood’s status in the global entertainment industry. Unlike conventional streaming platforms that require subscriptions, AVAZ operates on the FAST model. This means viewers can enjoy a vast selection of Nollywood films and series for free, with ad-supported monetization ensuring sustainability. By removing financial barriers, AVAZ makes African storytelling more inclusive, allowing more people to experience the richness of Nollywood’s narratives. At the same time, this model creates fresh revenue opportunities for filmmakers and producers, enabling further investment in high-quality productions. The launch of AVAZ also marks a turning point for Nigerian content creators. As the first FAST channel in Nigeria’s creative industry, it opens new doors for local talent to gain international visibility. With streaming demand growing rapidly, AVAZ provides a platform that not only showcases Nollywood’s finest work but also strengthens its competitive edge in the global entertainment market. Beyond its impact on Nollywood, AVAZ reflects a broader shift in how African content is consumed worldwide. The increasing popularity of FAST channels underscores the demand for diverse storytelling, and AVAZ stands as a testament to Nollywood’s ability to meet that demand. By securing partnerships with key streaming platforms, it ensures that African cinema continues to expand its reach, engaging both loyal audiences and new viewers across different regions. As AVAZ continues its rapid expansion, it sets the stage for a new era in Nollywood’s digital transformation. With its commitment to accessibility, quality, and innovation, the channel is not just redefining African entertainment—it is solidifying Nollywood’s place in the future of global streaming. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/avaz-a-new-streaming-platform-for-nollywood-titles/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/avaz-a-new-streaming-platform-for-nollywood-titles/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/avaz-a-new-streaming-platform-for-nollywood-titles/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/avaz-a-new-streaming-platform-for-nollywood-titles/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/avaz-a-new-streaming-platform-for-nollywood-titles/?share=linkedin) - **Categories:** Nollywood, Nollywood News, TV **Tags:** AVAZ, Blue Pictures, film, Joy Efe Odiete, nollycritic, nollywood, Nollywood 2025, Nollywood streaming Platforms, Nollywood tv, OTTera --- ### [Iyanu Premieres April 5, Bringing Nigerian Myths to Life](https://nollycritic.com/iyanu-premieres-april-5-bringing-nigerian-myths-to-life/) **Published:** February 20, 2025 **Author:** Fisayo Adekoya **Excerpt:** Iyanu, an animated series rooted in Nigerian mythology, is set to premiere on Cartoon Network on April 5, followed by its streaming debut on Max on April 6. **Content:** *Iyanu*, an animated series rooted in Nigerian mythology, is set to premiere on [Cartoon Network ](https://www.cartoonnetwork.co.uk/ "Cartoon Network ")on April 5, followed by its streaming debut on Max on April 6. Created by Nigerian filmmaker Roye Okupe and produced by Lion Forge Entertainment, the series blends tradition, fantasy, and modern animation to bring an unforgettable adventure to life. Adapted from Okupe’s graphic novel *Iyanu: Child of Wonder*, the story follows a young orphan living in the kingdom of Yorubaland. Iyanu longs for an ordinary life, but everything changes when she discovers divine powers unseen since the legendary Age of Wonders. As a growing darkness threatens her world, she embarks on a perilous journey with her friends—Biyi, a fearless adventurer; Toye, a brilliant scholar; and Ekun, a mystical leopard. Together, they must uncover long-buried secrets and embrace their destinies to stop the looming evil. At its core, *Iyanu* is a celebration of Nigerian culture, weaving mythology, history, and music into a vibrant, action-packed narrative. The series also stands out for its commitment to authentic representation, featuring an all-African voice cast. Serah Johnson leads as Iyanu, joined by Okey Jude as Biyi, Samuel Kugbiyi as Toye, and Adesua Etomi-Wellington as Olori. Other notable names include Blossom Chukwujekwu, Stella Damasus, Shaffy Bello, and Ike Ononye, all bringing their characters to life. Roye Okupe, who serves as showrunner and executive producer, has been deeply involved in shaping the adaptation, ensuring it remains true to its roots while delivering an exciting and visually stunning experience. Michael Ouweleen, President of Cartoon Network and Adult Swim, described *Iyanu* as a unique and magical story that audiences will soon experience. Lion Forge Entertainment’s CEO, David Steward II, emphasized the series’ significance in bringing culturally rich narratives to a global audience. Following its U.S. debut, *Iyanu* will expand its reach worldwide. On June 13, the entire first season will be available in 44 African countries on [Showmax](https://nollycritic.com/?s=showmax "Showmax"), while viewers in the United Kingdom and Republic of Ireland can stream it later this summer on ITVX. With compelling characters, breathtaking animation, and a story that bridges the past and the present, *Iyanu* is more than just an animated series—it is a landmark moment for African storytelling in mainstream media. As it makes its way to audiences across the globe, it invites viewers into a world where history, magic, and heroism collide. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/iyanu-premieres-april-5-bringing-nigerian-myths-to-life/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/iyanu-premieres-april-5-bringing-nigerian-myths-to-life/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/iyanu-premieres-april-5-bringing-nigerian-myths-to-life/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/iyanu-premieres-april-5-bringing-nigerian-myths-to-life/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/iyanu-premieres-april-5-bringing-nigerian-myths-to-life/?share=linkedin) - **Categories:** Nollywood, Nollywood News, TV **Tags:** Adesua Etomi-Wellington, Animated series, Iyanu, iyanu child of wonder, Lion forge entertainment, max streaming, nollycritic, nollywood, nollywood animation, Roye Okupe, Serah Johnson --- ### [Anthill Launches New Platform For Children Entertainment](https://nollycritic.com/anthill-launches-new-platform-for-child-entertainment/) **Published:** February 18, 2025 **Author:** Shalom O. Obisesan **Excerpt:** In move to revolutionise children's entertainment in Nigeria, Anthill Studios has announced the launch of Anthill Family, **Content:** In move to revolutionise children’s entertainment in Nigeria, [Anthill Studios](https://www.anthillstudios.com/ "Anthill Studios") has announced the launch of **Anthill Family**, a dedicated division aimed at creating high-quality, culturally relevant content for young audiences. For years, Nigerian children have had limited access to locally produced content, relying mostly on foreign animations and programmes. This has resulted in a lack of representation and storytelling that reflects African values and experiences. [Anthill](https://nollycritic.com/?s=anthill "Anthill") Family seeks to bridge this gap by offering engaging, character-driven, and educational content rooted in African culture. ##### A New Era in Kids’ Programming As part of this initiative, Anthill Family is set to premiere its flagship animated musical series, *Temi & The Labalaba Band (TATLB),* on April 19, 2025. This show follows young Temi and her bandmates as they embark on a journey of self-discovery, creativity, and friendship through music. With its vibrant animation and culturally rich storytelling, *TATLB* is designed to inspire, educate, and empower children across Nigeria and beyond. More than just entertainment, the series introduces young audiences to homegrown narratives that reflect African values and experiences, filling a longstanding gap in Nigeria’s children’s entertainment industry. However, *TATLB* is just the beginning. Anthill Family’s broader mission is to create a long-term ecosystem for children’s content that is not only entertaining but also educational, character-building, and deeply rooted in African heritage. The studio aims to nurture creativity, encourage positive learning, and provide Nigerian children with stories that reflect their identity and everyday experiences. ##### Tapping into an Untapped Market Globally, children’s entertainment is a lucrative industry, driving engagement, consumer products, and long-term audience loyalty. While Nigeria has produced children’s content in the past, such as *Tales by Moonlight* in the 1980s and *Sesame Square* in 2011, research indicates a decline in dedicated programming. A 2015 study by Omotosho, Oyero, and Salawu found that only 3.3% of Nigerian television programmes were geared towards children, accounting for just 2.6% of total airtime. While this study remains one of the most detailed on the subject, more recent developments suggest that the issue persists. In February 2023, the National Broadcasting Commission (NBC) voiced concerns over the lack of attention given to local children’s content. NBC Director-General Balarabe Ilelah noted that many Nigerian broadcasters continue to favour foreign children’s programmes, particularly cartoons, which he claimed often include themes of violence and immorality. The NBC reiterated its mandate from the Nigeria Broadcasting Code, which requires broadcasters to dedicate at least 10% of their total airtime to children’s programmes. However, programme audits indicate that this regulation is widely ignored. Despite these regulatory efforts, industry experts argue that sustained investment and creative development are needed to revitalise Nigeria’s children’s entertainment landscape. With this in mind, **Anthill Family** is stepping in to bridge the gap, offering high-quality, culturally relevant content designed to educate and entertain young Nigerian audiences. Recognising the importance of children’s content, the Nigerian Film and Video Censors Board (NFVCB) has included it in its 2025 agenda, which seeks to strengthen the country’s creative industry. Anthill Studios is calling for greater investment, training, and policy support to ensure Nigerian children’s entertainment thrives on both local and international platforms. With Anthill Family, the future of Nigerian children’s entertainment has arrived once again. The studio is inviting industry leaders, investors, educators, and families to collaborate in shaping a vibrant and educational media space for the next generation. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/anthill-launches-new-platform-for-child-entertainment/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/anthill-launches-new-platform-for-child-entertainment/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/anthill-launches-new-platform-for-child-entertainment/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/anthill-launches-new-platform-for-child-entertainment/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/anthill-launches-new-platform-for-child-entertainment/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** anthill, anthill family, Anthill Studios, nollycritic, nollywood, Temi and the Laba laba band --- ### [The Best Nollywood Netflix Originals You Shouldn't Miss](https://nollycritic.com/the-best-nollywood-netflix-originals-you-shouldnt-miss/) **Published:** February 17, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Whether you’re in the mood for gripping action or just a feel-good movie night, these are the must-watch Nollywood Netflix Originals **Content:** Ever wondered what it would be like if [Nollywood](https://nollycritic.com/?s=nollywood#google_vignette "Nollywood") mastered the art of blending heart-stopping thrillers, deeply emotional dramas, and breathtaking cinematography into one streaming goldmine? Well, wonder no more. Netflix has become a treasure trove of some of the finest Nollywood productions, and the NollyCritic team has taken the time to sift through the catalogue to bring you the absolute best. Whether you’re in the mood for gripping action, socially conscious storytelling, or just a feel-good movie night, these are the must-watch [Nollywood](https://nollycritic.com/?s=nollywood#google_vignette) [Netflix](https://www.netflix.com/ "Netflix") Originals that deserve a spot on your watchlist. If you haven’t seen them yet, now’s the perfect time to catch up! ##### Feature-Length Films: The Best Nollywood Movies on Netflix ##### *The Black Book* If you love a high-stakes revenge thriller with real-world social themes, *The Black Book* is your pick. It offers a bold take on corruption and injustice in Nigeria, following a father’s relentless quest for justice in a system designed to silence the powerless. With Richard Mofe-Damijo leading a stellar cast, intense action sequences, and sharp cinematography, this film is both thrilling and thought-provoking. Plus, its hard-hitting commentary on police brutality and political corruption makes it more than just entertainment. It’s a wake-up call. ##### *Lionheart* A beautifully told story of resilience, family, and the power of women in leadership, *Lionheart* marks Genevieve Nnaji’s directorial debut—and what a debut it is! The film captures the struggles of running a family business while navigating deep-rooted societal expectations. It’s charming, heartfelt, and celebrates Nigerian culture in a way that feels effortlessly authentic. If you’re looking for a warm, feel-good Nollywood film with a universal message, this one is an easy recommendation. ##### *A Naija Christmas* The Christmas genre doesn’t get much Nollywood love, but A Naija Christmas proves just how fun and heartwarming it can be. Kunle Afolayan delivers a story filled with laughter, family drama, and romance, all set against the backdrop of a vibrant Nigerian Christmas. With hilarious performances, a touching story, and a uniquely local take on holiday traditions, this film is a must-watch for anyone who loves a good festive movie—no matter the time of year. ##### *Oloture* Gritty, raw, and deeply unsettling, *Oloture* is a gut-punch. Based on true events, it follows an undercover journalist who infiltrates Nigeria’s human trafficking underworld, only to find herself in a life-threatening situation. The film doesn’t shy away from harsh realities, making it one of the most socially significant Nollywood movies on Netflix. If you’re looking for a film that sparks conversation and stays with you after the credits roll, this is it. ##### *Blood Vessel* Unlike your typical action thriller, *Blood Vessel* takes a deep dive into mystery and crime with a uniquely Nigerian touch. Directed by Moses Inwang, this film follows six strangers who, by sheer circumstance, flee a town devastated by oil pollution and hide aboard an eerie cargo ship. But what should have been an escape quickly turns into a nightmare as secrets unravel and tensions rise. The film’s blend of suspense, emotional depth, and social commentary—particularly its exploration of environmental devastation in the Niger Delta—makes it a must-watch Nollywood thriller. ##### *Anikulapo* Kunle Afolayan once again delivers cinematic excellence with Anikulapo, a visually stunning epic steeped in Yoruba folklore. This film tells the tragic yet mystical story of a traveller who gains the power to resurrect the dead—only to be consumed by his own desires. The rich storytelling, cultural authenticity, and breathtaking cinematography make it a Nollywood masterpiece. If you appreciate deep, traditional storytelling with a fantasy twist, Anikulapo is a must-see. #### Series: The Best Nollywood Shows on Netflix ##### *WAR: Wrath and Revenge* Love revenge plots filled with twists and turns? *WAR: Wrath and Revenge* delivers all that and more. With its intense storytelling and well-developed characters, this series keeps audiences hooked from start to finish. The betrayals, power struggles, and action-packed drama make it the perfect binge-watch for anyone craving a gripping Nollywood thriller. ##### *Blood Sisters* A crime thriller with suspense at every turn, Blood Sisters tells the story of two best friends who become fugitives after a wedding goes horribly wrong. The chemistry between Nancy Isime and Ini Dima-Okojie, combined with its fast-paced storytelling, makes this series hard to stop watching. Dark secrets, unexpected betrayals, and a fresh take on female-driven narratives make *Blood Sisters* one of Nollywood’s best Netflix productions. ##### *King of Boys: The Return of The King* Sola Sobowale’s Eniola Salami is one of Nollywood’s most powerful and complex characters, and her return in this politically charged crime series is nothing short of spectacular. *King of Boys: The Return of The King* dives even deeper into the world of power, revenge, and corruption, proving that the throne isn’t for the weak. If you loved the film, this series expands on the story in ways that are gripping and unforgettable. ##### *Far From Home* Teen drama meets class struggles in *Far From Home*, a series that follows a young man navigating the world of Nigeria’s elite after receiving a scholarship to a prestigious school. It’s a perfect mix of youthful ambition, romance, and mystery, making it a standout among Nollywood’s Netflix offerings. If you’re a fan of coming-of-age stories with depth, this one’s for you. ##### *Seven Doors* Mysterious and thought-provoking, *[Seven Doors](https://nollycritic.com/seven-doors-an-aesthetically-pleasing-cultural-metaphor/#google_vignette "Seven Doors")* takes viewers through interconnected tales that explore fate, morality, and choices. With an eerie, almost supernatural vibe, the series stands out for its unique storytelling style and unpredictable twists. If you enjoy dramas that make you think, *Seven Doors* is a great pick. ##### *Shanty Town* Raw, unapologetic, and deeply immersive, *Shanty Town* pulls viewers into the gritty world of Lagos’ underground crime scene. With strong performances and a gripping storyline, the series exposes the harsh realities of survival in an unforgiving society. If you love stories that feel real, intense, and emotionally charged, this series should be on your watchlist. That’s our list of the best [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") [Netflix](https://www.netflix.com/ "Netflix") Originals, carefully selected by the NollyCritic team! Whether you love heart-racing thrillers, heartfelt dramas, or deep cultural narratives, there’s something here for everyone. Now, we want to hear from you. Which of these films or series have you watched, and which ones are you adding to your list? Did we miss any of your favourites? Let’s keep the conversation going in the comments! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-best-nollywood-netflix-originals-you-shouldnt-miss/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-best-nollywood-netflix-originals-you-shouldnt-miss/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-best-nollywood-netflix-originals-you-shouldnt-miss/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-best-nollywood-netflix-originals-you-shouldnt-miss/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-best-nollywood-netflix-originals-you-shouldnt-miss/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood --- ### [Nollywood Romcoms to See in This Season of Love](https://nollycritic.com/nollywood-romcoms-to-see-this-season-of-love/) **Published:** February 14, 2025 **Author:** Fisayo Adekoya **Excerpt:** Love is in the air, and there’s no better way to celebrate the season than with a lineup of heartwarming Nollywood romantic comedies. **Content:** Love is in the air, and there’s no better way to celebrate the season than with a lineup of heartwarming [Nollywood](https://en.wikipedia.org/wiki/Nollywood "Nollywood") romantic comedies. Whether you’re planning a cozy movie night with your significant other or simply treating yourself to some feel-good entertainment, these films promise to deliver laughter, swoon-worthy moments, and maybe even a tear or two. From modern love stories to timeless tales of romance, here’s a curated list of Nollywood romcoms that deserve a spot on your watchlist. ##### **Reel Love** *Reel Love* is a heartfelt exploration of love, culture, and life’s unexpected turns. Starring Timini Egbuson and T.J. Omusuku, this film dives into the complexities of relationships and the transformative power of love. With its relatable characters and engaging storyline, it’s a must-watch for anyone who enjoys a good love triangle. Catch it in cinemas nationwide from February 14, 2025, just in time for Valentine’s Day! ##### **Tarella** A magical Afro-fantasy retelling of Cinderella, *[Tarella](https://nollycritic.com/?s=tarella "Tarella")* transports viewers to a West African kingdom where an orphaned maiden and a prince navigate trials in their quest for love. Featuring Okawa Shaznay, Timini Egbuson, Richard Mofe-Damijo, and Nengi Hampson, this film beautifully blends tradition, romance, and adventure into a captivating narrative. Mark your calendars for its release in cinemas nationwide from February 7, 2025. ##### Something About the Briggs Released on January 31, 2025, *[Something About the Briggs](https://nollycritic.com/something-about-the-briggs-a-thoughtful-exploration-of-faith-family-and-love/)* offers a candid and comedic look at marriage, blending humor with hard-hitting truths. The film sparks meaningful conversations about love, commitment, and the challenges couples face in today’s world. It’s a perfect mix of laughter and emotional depth that will leave you reflecting on your own relationships. Catch it in cinemas nationwide. ##### **Summer Rain** Set to hit cinemas nationwide from February 7, 2025, This Nollywood movie tells the story of two best friends who realize their bond has evolved into something deeper. Starring Kayode Ojuolape, Genoveva Umeh, Daniel Etim Effiong, and Tina Mba, this film explores the tension, misunderstandings, and emotional crossroads that come with falling in love with someone you’ve known forever. ##### **Love Lockdown** Directed by Lindsey Efejoku, *Love Lockdown* follows Yemi and Zainab as they navigate the highs and lows of their relationship while confined together during a lockdown. Starring Emmanuel Ogundu, Yewande Osamein, Detola Jones, Princess Obichi Marshall, and Chidera Makata, this film is a touching exploration of love’s endurance in challenging times. Catch it in cinemas nationwide from February 7, 2025. ##### **Soft Love** *Soft Love* follows Zandi J, a podcast host navigating heartbreak, and Edward Obi, an ambitious Nigerian photographer who unexpectedly becomes the new focus of her affections. With the support of her witty best friend, Zandi embarks on a journey of self-discovery and romance. This film masterfully balances humor and drama, making it a relatable and heartfelt watch. Stream it on Prime Video. ##### **Dinner at My Place** A romantic proposal takes a hilariously unexpected turn when an uninvited guest crashes dinner, turning a heartfelt moment into chaos. Starring Timini Egbuson, Bisola Aiyeola, and Sophie Alakija, this 2022 romcom is a delightful blend of love, comedy, and unexpected twists that will keep you entertained from start to finish. Watch it on Netflix. ##### **Still Falling** *Still Falling* is a poignant tale of love, forgiveness, and second chances. Starring Daniel Etim Effiong, Sharon Ooja, and Kunle Remi, the film follows two ex-lovers whose lives collide again after years apart. Shot in Abuja, it beautifully portrays the struggles of overcoming pain and embracing healing, making it a deeply emotional yet uplifting watch. Stream it on Prime Video. ##### **The One for Sarah** Directed by Lyndsey Efejoku and starring Beverly Naya, *The One for Sarah* tells the story of a woman healing from an abusive past who is given a second chance at love when she least expects it. This film delves into themes of trauma, resilience, and the journey to rediscovering love and self-worth. Watch it on Netflix. ##### **When Love Happens** Released in 2014, This Nollywood movie follows Mo, a wedding planner whose life takes an unexpected turn when her best friend announces their engagement. Feeling the pressure of being single, she starts documenting her dating experiences through a vlog, leading to a series of hilarious and heartfelt moments. Starring Weruche Opia, OC Ukeje, Beverly Naya, Oreka Godis, and Gideon Okeke, this film humorously explores love, friendships, and the unexpected ways romance finds us. Stream it on Prime Video. ##### **Kambili: The Whole 30 Yards** Kambili Maduka is a carefree, impulsive 28-year-old with one goal—get married before turning 30. But when she’s suspended from work and her boyfriend dumps her, she embarks on a journey of self-improvement to prove she’s responsible enough for marriage. Featuring an all-star cast including Nancy Isime, Jide Kene Achufusi, Sharon Ooja, and Mawuli Gavor, this film delivers a fun yet inspiring take on personal growth and love. Watch it on Netflix. ##### **The Perfect Arrangement** In *The Perfect Arrangement*, Tade Kalejaiye, a young entrepreneur and politician’s daughter, hatches a plan to save her family from financial ruin by entering a staged relationship with Chidi Obikwe, a politician whose career is on the line after a scandal. However, things take an unexpected turn when she finds herself caught in a love triangle between Chidi and his brother, Cheta. Starring Sharon Ooja, Pere Egbi, and Bovi, this film brings drama, romance, and a dash of political intrigue. Stream it on Prime Video. ##### **Big Love** Starring Timini Egbuson and Bimbo Ademoye, *Big Love* follows Adil, a determined young man chasing his dreams, and Adina, an independent woman striving to make ends meet at a graduate training program. Their connection blossoms into romance, but Adina harbors a secret that threatens to derail their relationship. This film is a tale of ambition, love, and overcoming fears. Stream it on Prime Video. From the latest releases to timeless classics, Nollywood offers a treasure trove of romantic comedies that cater to every mood and preference. Whether you’re excited to catch the newest releases like *Reel Love* and *Tarella* or revisiting beloved favorites like *When Love Happens* and *Dinner at My Place*, there’s something for everyone to enjoy. These films not only entertain but also remind us of the beauty, humor, and complexity of love. So, grab your popcorn, pick a movie (or two!), and let Nollywood’s enchanting stories of romance sweep you off your feet this season. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-romcoms-to-see-this-season-of-love/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-romcoms-to-see-this-season-of-love/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-romcoms-to-see-this-season-of-love/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-romcoms-to-see-this-season-of-love/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-romcoms-to-see-this-season-of-love/?share=linkedin) - **Categories:** Articles, Blog, Drama, Movies, Nollywood, TV **Tags:** love, movies to watch in cinemas, Netflix, nollycritic, nollywood, Nollywood romance movies, Prime Video, Romance movies to watch, romcom, Valentine's day --- ### [The Artifact: See The Trailer for New Adventure Drama](https://nollycritic.com/the-artifact-see-the-trailer-for-new-adventure-drama/) **Published:** February 14, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The official trailer for The Artifact, has been unveiled, giving audiences their first real look at what promises to be an exhilarating cinematic journey. **Content:** The first official trailer for *The Artifact*, directed by Tolu ‘[LordTanner](https://lordtannerstudios.com/ "LordTanner")‘ Awobiyi, has been unveiled, giving audiences their first real look at what promises to be an exhilarating cinematic journey. The film, which is set to hit cinemas on March 21, 2025, takes viewers on an adventurous road trip across Nigeria, blending action, mystery, and rich cultural landscapes. The newly released trailer teases an intense, fast-paced adventure following four friends on a desperate quest to recover three precious stones hidden within an ancient artifact. Their journey takes them through major Nigerian cities, including Lagos, Ilesa, Benin, Onitsha, and Keffi, exposing them to breathtaking sights, cultural wonders, and dangerous enemies who will stop at nothing to seize the artifact for themselves. The trailer showcases a mix of gripping action, suspense, and humour, set against stunning cinematography that highlights the beauty and diversity of Nigeria. The film’s visuals hint at a high-stakes adventure filled with unexpected twists. The film stars Adeoluwa Akintoba in the lead role, Sharon Rotimi, Gabriel Afolayan, Miracle Iyanda, and [Kunle Remi ](https://nollycritic.com/?s=kunle+remi%27 "Kunle Remi ")in leading roles. Behind the scenes, *The Artifact* was directed and produced by Tolu ‘LordTanner’ Awobiyi, with a screenplay written by Attah Ayegba Victor. Alongside the trailer release, the filmmakers have launched a unique interactive campaign: a ₦4 million treasure hunt tied to *The Artifact*. Viewers are invited to join a real-world adventure in search of clues and hidden treasures, mirroring the themes of the film. This initiative not only builds excitement for the release but also allows audiences to immerse themselves in the world of *The Artifact.* With the trailer now available for viewing, anticipation is at an all-time high. *The Artifact* is set for its nationwide cinema release on March 21, 2025. Given its mix of thrilling storytelling, breathtaking locations, and a promising cast, the film is shaping up to be a major Nollywood event. For those eager to experience the adventure firsthand, the trailer can be watched on LordTanner Studios’ official Instagram page (or our YouTube channel via this link) With its blend of mystery, action, and cultural exploration, *The Artifact* promises to be a film unlike any other. The countdown to March 21 has officially begun! See The Trailer Below! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-artifact-see-the-trailer-for-new-adventure-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-artifact-see-the-trailer-for-new-adventure-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-artifact-see-the-trailer-for-new-adventure-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-artifact-see-the-trailer-for-new-adventure-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-artifact-see-the-trailer-for-new-adventure-drama/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** Gabriel Afolayan, Lordtanner, Miracle Iyanda, nollycritic, nollywood, Sharon Rotimi, The Artifact, Tolu Awobiyi --- ### [Three Nollywood Films Selected for Nollywood in Hollywood](https://nollycritic.com/three-nollywood-films-selected-for-nollywood-in-hollywood/) **Published:** February 12, 2025 **Author:** Fisayo Adekoya **Excerpt:** Three outstanding Nigerian films have earned a spot in the 2025 edition of Nollywood in Hollywood. The event will take place on February 28 and March 1 **Content:** Three outstanding Nigerian films have earned a spot in the 2025 edition of *[Nollywood in Hollywood](https://www.nollywoodinhollywood.com "Nollywood in Hollywood")*. The event will take place on February 28 and March 1 in Hollywood, California. Audiences will watch the selected films—*The Man Died*, *The Weekend*, and *Mai Martaba*—at two prestigious venues: the Egyptian Theatre and the Norris Theatre at the University of Southern California (USC). These films highlight the diversity and depth of Nigerian storytelling, showcasing Nollywood’s growing global influence. Nigerian American filmmaker Ose Oyamendan launched *Nollywood in Hollywood* in 2018. Through his company, O2A Media Corp., he partnered with the American Cinematheque and USC’s School of Cinematic Arts to create this annual event. The showcase promotes Nigerian cinema to Hollywood, the Nigerian diaspora, and a global audience. Over the years, it has featured top Nollywood filmmakers like Kunle Afolayan, Genevieve Nnaji, and Ramsey Nouah. Notably, films such as *Lionheart*, *King of Boys*, and *Living in Bondage: Breaking Free* have been screened. Beyond screenings, the event offers networking, training, and industry discussions. As a result, these activities connect Nigerian filmmakers with Hollywood professionals, strengthening Nollywood’s global presence. This year’s lineup includes *The Man Died*, directed by Awam Akpa. The film adapts Nobel Laureate Wole Soyinka’s prison memoir. It chronicles Soyinka’s 27-month imprisonment without trial during the Nigerian Civil War. Additionally, the story explores his solitary confinement and the psychological challenges he faced under a brutal military regime. Ultimately, it is a powerful reflection on resilience and Nigeria’s political history. Another selected film is *The Weekend*, directed by Daniel Oriahi. This gripping thriller follows Nikiya, an orphan seeking family connections. She insists on meeting her fiancé Luke’s estranged family, only to uncover unsettling truths. Moreover, the film’s unpredictable twists and riveting conclusion have earned it critical acclaim. It premiered at the Tribeca Festival in June 2024 and later hit Nigerian cinemas in August 2024. *Mai Martaba*, meaning “Your Highness,” is a historical epic directed by Prince Daniel. Set in an ancient African kingdom, the film explores themes of love, greed, betrayal, and power. Critics have praised it for its rich portrayal of cultural heritage and its contribution to the historical epic genre in Nigerian cinema. Furthermore, *Mai Martaba* is Nigeria’s official entry for the International Feature Film category at the 2025 Oscars. Unoma Ononye, the event’s programme manager, describes the 2025 showcase as one of the most remarkable yet. She highlights the event’s timing, which precedes the Oscars, offering attendees a unique opportunity to experience Nigerian cinema before Hollywood’s biggest night. With its carefully curated selection of films and commitment to fostering international collaborations, *Nollywood in Hollywood* continues to bridge the gap between [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") and Hollywood. Consequently, it elevates Nigerian storytelling on the global stage. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/three-nollywood-films-selected-for-nollywood-in-hollywood/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/three-nollywood-films-selected-for-nollywood-in-hollywood/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/three-nollywood-films-selected-for-nollywood-in-hollywood/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/three-nollywood-films-selected-for-nollywood-in-hollywood/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/three-nollywood-films-selected-for-nollywood-in-hollywood/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** Mai Martaba, nollycritic, nollywood, nollywood i hollywood, the man died, The Weekend --- ### [Money Miss Road: A Chaotic Journey to Nowhere](https://nollycritic.com/money-miss-road-a-chaotic-journey-to-nowhere/) **Published:** February 12, 2025 **Author:** Uju Okosieme **Excerpt:** Obi Emelonye’s 'Money Miss Road' recently premiered on Circuits, and with a cast featuring names like Charlyboy Oputa and Jidekene Achufusi **Content:** Obi Emelonye’s ‘Money Miss Road’ recently premiered on Circuits, and with a cast featuring names like Charlyboy Oputa and Jidekene Achufusi, we had to check it out to see what it was all about. ## *Money Miss Road* Directed by: Obi Emelonye Written by: Obi Emelonye Genre: Comedy, Action Released date: January 31, 2025 (Circuits) Language: English ##### Plot ‘Money Miss Road’ follows Josiah and Joseph, who have a chance encounter with a local criminal kingpin that sets them up for a life of luxury and misery as the rat race for survival ensues. The storyline is straightforward with no competing plotl ines, making it easy to watch. Unfortunately, this also means we don’t get much insight into the characters and their motivations, making it difficult to connect with them. ##### Story This is a typical Nollywood comedy with over-the-top jokes and a storyline that has been done before, but it still manages to raise questions. Joseph stumbles upon a stash of money and, after escaping with it, immediately starts spending lavishly with Josiah, knowing full well that the rightful owner will come looking for it. The resolution, where Joseph simply goes to the police and the villain gets arrested, feels rushed and far too convenient. Ultimately, the film ends with Joseph and Josiah losing all the money, but rather than feeling like a clever twist, it just comes across as an underwhelming conclusion. ##### Performances Jidekene Achufusi delivers a natural and engaging performance as Joseph, bringing energy to the humour in the script. Josh 2 Funny, playing Josiah, doesn’t do anything new—he sticks to his usual comedic skit persona, which works in some moments but feels repetitive. Charlyboy Oputa, as Diokpa, is genuinely menacing and feels like someone you should be genuinely afraid of. On the other hand, Victoria Daniel, who plays Jennifer, doesn’t deliver a convincing performance, making her one of the weaker links in the cast although she only has. a brief appearance. ##### Technical Aspects One of the stronger points of the film is its cinematography, with some interesting camera angle choices, particularly in the two well-executed fight scenes. The soundtrack is effective in building tension and enhancing comedic moments, though it doesn’t bring anything particularly fresh or inspired to the film. ##### Final Thoughts The movie starts abruptly with a fight scene, which feels a little disjointed. There’s also a noticeable issue with casting—Josiah’s wife looks significantly older than him, and even their kids don’t seem to match up with his character. The film tries to address this by having Josiah remind Joseph he is older than him, but visually, it’s hard to believe. These inconsistencies are distracting, though the chemistry between the leads somewhat makes up for it. ##### Verdict ‘Money Miss Road’ is an all-too-familiar tale that doesn’t bring anything new to the table. While the humour and performances make it somewhat entertaining, the predictable storyline and lacklustre ending leave you feeling like you’ve just lost an hour and thirty minutes. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. https://www.youtube.com/watch?v=uMsKMJsWIPw ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/money-miss-road-a-chaotic-journey-to-nowhere/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/money-miss-road-a-chaotic-journey-to-nowhere/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/money-miss-road-a-chaotic-journey-to-nowhere/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/money-miss-road-a-chaotic-journey-to-nowhere/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/money-miss-road-a-chaotic-journey-to-nowhere/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** circuits, Jidekene Achufusi, Josh 2 Funny, Money Miss Road, nollycritic, nollywood, Obi Emelonye, Reviews --- ### [A Bag of Trouble: More Questions Than Laughs](https://nollycritic.com/a-bag-of-trouble-more-questions-than-laughs/) **Published:** February 11, 2025 **Author:** Uju Okosieme **Excerpt:** ‘A Bag of Trouble,’ another addition to the Circuits library, directed by Michael Chimex Onwunali, recently popped onto our radar. **Content:** ‘[A Bag of Trouble](https://www.imdb.com/title/tt28501415/ "A Bag of Trouble"),’ another addition to the Circuits library, directed by Michael Chimex Onwunali, recently popped onto our radar. As always, we’re here to share our thoughts—so let’s get into it. ## *A Bag of Troble* Directed by: Michael Chimex Onwunali Written by: Michael Chimex Onwunali Genre: Drama, Comedy Release date: 31 January, 2025 (Circuits) Language: English ##### Plot The official synopsis reads: *A struggling vulcanizer receives a gift that sends his life into a spin.* The story follows Mosquito, who somehow manages to rescue a kidnapped politician’s daughter and ends up receiving a bag of money from her parents. This unexpected windfall leaves him stuck in his room, too paranoid to step outside. However, most of the supposed threats exist only in his head, making for an extremely dull plot. The film spends too much time dragging out Mosquito’s paranoia, and you can feel every minute of the exhausting two-hour, fifteen-minute runtime. ##### Story The film starts with Mosquito saving a kidnapped girl, which sets everything in motion. But from the very beginning, the logic is shaky. Why did Mosquito even seek out the people in the suspicious car in the first place? How did he decide to attempt a rescue? The way he pulls it off is just as ridiculous—criminals bold enough to kidnap a politician’s daughter wouldn’t just scatter because someone randomly shouts that they’re in the army*.* The entire setup lacks depth and credibility. Instead of the usual Nollywood trope of squandering newfound wealth, the film tries something different: Mosquito becomes too afraid to enjoy the money and ends up throwing it away. While this could have been an interesting twist, the execution drags on for far too long, making the film feel aimless rather than engaging. ##### Performances The cast is packed with comedians, including Broda Shaggi, Sabinus, and Hafiz Oyetoro, but they offer nothing we haven’t seen from them before. Their performances feel like an extension of their usual skits rather than actual acting. Broda Shaggi’s portrayal of Mosquito, in particular, doesn’t feel like acting at all—it’s just his usual exaggerated antics. The over-the-top screaming and physical comedy quickly become tiresome. Osifuwa Oluwadolapo Modola who plays the girl Mosquito was trying to impress also delivered a notably bad performance, complete with an unconvincing accent. ##### Technical Aspects Visually, the film plays it safe. The bright colours and clean cinematography give it a polished look, but nothing particularly stands out. However, the soundtrack is a nice touch—original music is used to reinforce the film’s themes, evoking nostalgia for older Nollywood films. ##### Final Thoughts Unfortunately, ‘A Bag of Trouble’ raises far more questions than it answers. Why would Mosquito, a random vulcanizer, risk his life to save a politician’s child? Why did he assume he could retrieve the money after throwing it away? And why on earth would he give his money to a girl he just met? Instead of delivering genuine humour, the film relies too heavily on exaggerated performances that quickly become exhausting. Broda Shaggi’s shouting, in particular, makes the experience more frustrating than entertaining. ##### Verdict ‘A Bag of Trouble’ follows the all-too-familiar Nollywood comedy formula, banking on popular comedians rather than a well-thought-out script. Unfortunately, in this case, it results in a film that is more frustrating than funny. With an incoherent plot and an unsatisfying ending, this one earns 1.75 stars out of 5 from us. **Rating**: 1.75/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-bag-of-trouble-more-questions-than-laughs/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-bag-of-trouble-more-questions-than-laughs/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-bag-of-trouble-more-questions-than-laughs/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-bag-of-trouble-more-questions-than-laughs/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-bag-of-trouble-more-questions-than-laughs/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews **Tags:** a bag of trouble, Broda Shaggi, circuits, nollycritic, nollywood, Sabinus --- ### [FEC Approves New Initiatives for Nigeria’s Creative Sector](https://nollycritic.com/fec-approves-new-initiatives-for-nigerias-creative-sector/) **Published:** February 7, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The Federal Executive Council (FEC) has approved the Creative & Tourism Infrastructure Corporation (CTICo) and the Creative Leap Acceleration Programme **Content:** The Federal Executive Council (FEC) has approved the Creative & Tourism Infrastructure Corporation (CTICo) and the Creative Leap Acceleration Programme (CLAP), two initiatives introduced by the [Federal Ministry of Art, Culture, Tourism, and Creative Economy](https://www.linkedin.com/posts/federal-ministry-of-art-culture-and-the-creative-economy_creativeleap-nigeriancreatives-clap-ugcPost-7292819548037156865-ArOm/?utm_source=share&utm_medium=member_android&rcm=ACoAADFBg20B-yAZdlVknU2lbfSKlULbGB8t3dI "Federal Ministry of Art, Culture, Tourism, and Creative Economy") under Minister Hannatu Musawa. These programmes are intended to support the growth of [Nigeria’s](https://nollycritic.com/?s=nigeria "Nigeria’s") creative and tourism industries through infrastructure development, funding access, and training. ##### CTICo: A Public-Private Infrastructure Initiative The Creative & Tourism Infrastructure Corporation (CTICo) is structured as a public-private partnership (PPP) aimed at building and financing infrastructure for the film, music, fashion, arts, and tourism industries. The government has announced that CTICo will be registered as a limited liability company, with the state maintaining a 25-49% minority stake, while the private sector is expected to drive its operations. According to Minister Musawa, the initiative is expected to address persistent challenges such as a lack of infrastructure and limited investment in the sector. One of the announced goals is to facilitate the development of large-scale film studios, expand cinema networks, and restore tourism sites such as Obudu Resort and Yankari Game Reserve. The ministry has also stated that 5,000 new cinema screens will be developed under the initiative. CTICo is set to be funded through partnerships with international finance institutions, global organisations, and private investors, though specific agreements or financial commitments have not yet been detailed. ##### CLAP: Training and Funding for Creatives Alongside CTICo, the Creative Leap Acceleration Programme (CLAP) has been introduced as a digital ecosystem for training and financial support in the film, music, fashion, and digital content industries. The government has stated that CLAP will provide structured mentorship and funding opportunities, with a focus on developing skills that can be marketed internationally. CLAP is expected to offer direct funding opportunities to creative professionals, though the specific structure for these grants or loans has not been disclosed. It is also projected to establish 600 creative hubs nationwide, though no timeline has been provided for their rollout. The ministry has also indicated that CLAP will facilitate international partnerships by connecting Nigerian creatives with foreign investors and industry stakeholders. However, further details on how these connections will be facilitated remain unclear. The government has stated that CTICo’s governance model will be based on existing public-private partnerships such as NIBSS and NLNG, with an independent management structure. While the government has positioned the initiative as private sector-driven, the extent of public sector oversight or involvement in decision-making remains to be clarified. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/fec-approves-new-initiatives-for-nigerias-creative-sector/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/fec-approves-new-initiatives-for-nigerias-creative-sector/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/fec-approves-new-initiatives-for-nigerias-creative-sector/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/fec-approves-new-initiatives-for-nigerias-creative-sector/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/fec-approves-new-initiatives-for-nigerias-creative-sector/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** CLAP, CTICo, FEC, Ministry of artculture, nollycritic, nollywood --- ### [The Lost Days: Wingonia Ikpi's New Film Begins Production](https://nollycritic.com/the-lost-days-set-for-prime-video-premiere/) **Published:** February 7, 2025 **Author:** Fisayo Adekoya **Excerpt:** Nollywood continues to shine on the global stage with The Lost Days, the latest project from Natives Filmworks and MichelAngelo Productions. **Content:** [Nollywood](https://nollycritic.com/?s=nollywood "Nollywood") continues to shine on the global stage with *The Lost Days*, the latest project from [Natives Filmworks](https://nativesfilmworks.com/ "Natives Filmworks") and MichelAngelo Productions. As the ninth title in their First Features Slate, this film is already generating buzz. With a compelling narrative, a stellar cast, and a fresh directorial voice, *The Lost Days* will premiere exclusively on Prime Video in 2025. The film brings together a mix of seasoned actors and rising stars. Leading the cast is Ifeoma Fafunwa, a celebrated Nigerian theatre director. She is best known for her groundbreaking stage play *HEAR WORD!* which has gained international acclaim for advocating gender equality. In *The Lost Days*, Fafunwa makes her acting debut as Chisom, showcasing her versatility. Joining her is Bimbo Manuel, a veteran actor with decades of experience. He has delivered memorable performances in Netflix’s *Blood Sisters* (2022), *Breath of Life* (2023), and the iconic series *Tinsel* (2012). In this film, Manuel plays Babakola, a role that promises to highlight his depth and gravitas. The cast also includes Baaj Adebule, known for his role in M-Net’s *Tinsel* and appearances in *Hush* and *The Men’s Club*. He takes on the role of Moses, a key character in the story. Cynthia Clarke, recognized for her work in the telenovela *The Rishantes* and recent films like *Cold as Ice* (2024), plays Nkem. Additionally, Durotimi Adebule, familiar to audiences from the TV series *Uriri* and the upcoming *Son of The Soil* (2025), portrays Kola, adding another layer of intrigue to the ensemble. *The Lost Days* marks the directorial debut of Wingonia Ikpi, a talented filmmaker from the First Features Class of 2021. This initiative nurtures emerging directors, and Ikpi’s entry is expected to continue its legacy of excellence. Her unique perspective and creative vision promise a film that is both visually striking and emotionally resonant. While specific plot details remain under wraps, *The Lost Days* explores themes of love, loss, and redemption. Set in Lagos and Abeokuta, the film captures the essence of Nigerian culture while telling a universally relatable story. Production is currently underway in these iconic cities, known for their rich cultural heritage and cinematic appeal. The film’s exclusive release on Prime Video in 2025 will ensure it reaches a global audience. This move further solidifies Nollywood’s position as a powerhouse in the global film industry. *The Lost Days* is more than just a film; it represents the growth and evolution of Nigerian storytelling. By blending the talents of established actors with emerging voices, the project highlights the industry’s commitment to innovation and excellence. As production progresses, anticipation for *The Lost Days* continues to build. With its compelling narrative, talented cast, and fresh directorial voice, the film is set to make a significant impact when it premieres in 2025. Stay tuned for more updates as we follow its journey to the screen. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-lost-days-set-for-prime-video-premiere/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-lost-days-set-for-prime-video-premiere/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-lost-days-set-for-prime-video-premiere/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-lost-days-set-for-prime-video-premiere/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-lost-days-set-for-prime-video-premiere/?share=linkedin) - **Categories:** Drama, Movies, Nollywood, Nollywood News **Tags:** Bimbo Manuel, film, First features project, Ifeoma Fafunwa, MichelAngelo, native filmworks, nollycritic, nollywood, Prime Video, The Lost Days --- ### [Cheta Chukwu Selected for 2025 Red Sea Lodge](https://nollycritic.com/cheta-chukwu-selected-for-2025-red-sea-lodge/) **Published:** February 7, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Writer-director Cheta Chukwu has been selected for the prestigious Red Sea Lodge 2025 with his war drama Love Is a Deeper Shade of Red. **Content:** Nigerian writer-director[ Cheta Chukwu ](https://nollycritic.com/strawberry-chinny-see-the-trailer-for-cheta-chukwus-new-film/ " Cheta Chukwu ")has been selected for the prestigious **Red Sea Lodge 2025** with his war drama *Love Is a Deeper Shade of Red*. The project is one of 12 chosen globally for the year-long development programme, organised by Red Sea Labs in partnership with the [**Red Sea International Film Festival** ](https://redseafilmfest.com/en/ "Red Sea International Film Festival ")and **TorinoFilmLab**. The Red Sea Lodge, held in Saudi Arabia, offers intensive creative training, mentorship from esteemed filmmakers, and development support for emerging talent. The programme consists of five workshops, with the first reserved for selected Saudi teams and the remaining four open to all international participants. Filmmakers benefit from guidance by a Head of Studies and a Head of Script Development, alongside mentorship from industry experts across various aspects of cinema. Chukwu’s selection underscores the increasing international recognition of African filmmakers and their compelling storytelling. *Love Is a Deeper Shade of Red* is produced by Manny Orwi Manny (*Hello Rain*, *Tainted Canvas*) and executive produced by Sheila Nortley, known for her work on Netflix’s *Supacell* and *Stay Close*. The project was previously selected for the Torino Film Lab’s TFL Extended Writer-Director Lab in 2024. Chukwu, best known for his film *Payday*, which was acquired by Netflix and later Amazon Prime, has earned a reputation for championing strong female characters and underrepresented communities. His latest romantic comedy, *Strawberry Chinny*, is an official selection at the Essence Film Festival 2024, and he recently completed production on [*Adam Bol*, a Kazakhstan](https://nollycritic.com/our-first-look-at-adam-bol-as-nollywood-meets-kazakhstan/ "Adam Bol, a Kazakhstan")-Nigerian comedy. Speaking about his selection, Chukwu expressed excitement about the opportunity to develop his project through the programme. > “This marks a significant step in the development of *Love Is a Deeper Shade of Red*,” he said. “I’m honoured to be part of this platform dedicated to nurturing impactful stories from the region and beyond.” The Red Sea International Film Festival, Saudi Arabia’s first international film festival, has grown into a major hub for regional and international filmmakers. Through the The Lodge initiative, it continues to support talents and foster global cinematic collaborations. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/cheta-chukwu-selected-for-2025-red-sea-lodge/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/cheta-chukwu-selected-for-2025-red-sea-lodge/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/cheta-chukwu-selected-for-2025-red-sea-lodge/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/cheta-chukwu-selected-for-2025-red-sea-lodge/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/cheta-chukwu-selected-for-2025-red-sea-lodge/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** Cheta Chukwu, nollycritic, nollywood, Red Sea International Film Festival, Red Sea Lodge 2025 --- ### [Deyemi Okanlawon’s New Series Yankee Hustle Hits YouTube](https://nollycritic.com/deyemi-okanlawons-new-series-yankee-hustle-hits-youtube/) **Published:** February 6, 2025 **Author:** Fisayo Adekoya **Excerpt:** Nollywood star Deyemi Okanlawon has taken on a new challenge, stepping into production with one of his first projects, Yankee Hustle, now streaming on YouTube. **Content:** Nollywood star [Deyemi Okanlawon](https://nollycritic.com/?s=deyemi+okanlawon "Deyemi Okanlawon") has taken on a new challenge, stepping into production with one of his first projects, *[Yankee Hustle](https://www.imdb.com/title/tt8883238/ "Yankee Hustle")*, now streaming on YouTube. The series, which explores the lives of African immigrants in America, blends humor with heartfelt moments, offering a fresh perspective on the immigrant experience. Created and directed by Tola Olatunji, the show marks a significant milestone in Okanlawon’s career as he expands his creative roles in the industry. The series follows Dare, Eze, and Eddie, three African immigrants navigating the challenges and triumphs of life in America. From balancing work and relationships to chasing their dreams, the characters’ journeys are both relatable and entertaining. At a time when immigration remains a global topic of discussion, *Yankee Hustle* provides a timely and engaging narrative. The show features 13 episodes, released weekly on YouTube via Tolanetwork, ensuring viewers have a steady stream of content to look forward to. Deyemi Okanlawon not only co-produced the series but also stars in it, showcasing his versatility as an actor and producer. He is joined by a talented cast, including industry veterans like Jide Kosoko and Uche Jombo. Additionally, rising stars such as Dami (Aphrican Ace) Olatunde, Okem Okolo-Ebube, and Tina Chukwura bring fresh energy to the project. This mix of seasoned performers and emerging talent adds depth and dynamism to the series, making it a must-watch. Behind the scenes, Tola Olatunji and Tunde Apalowo crafted the script, balancing humor with relatable themes. Olatunji, who also directed the project, brings a unique vision to the screen, ensuring the series is both visually appealing and emotionally resonant. Meanwhile, Deyemi Okanlawon’s role as a co-producer highlights his growing influence in the industry, demonstrating his ability to excel beyond acting. With its engaging storyline, talented cast, and timely themes, *Yankee Hustle* is a testament to Deyemi Okanlawon’s commitment to impactful storytelling. The series not only entertains but also sheds light on the immigrant experience, making it a meaningful addition to Nollywood’s growing library of content. The series is now available for streaming on YouTube, with new episodes released weekly. Whether you’re a fan of comedy, drama, or stories that resonate on a deeper level, *Yankee Hustle* is sure to captivate audiences. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/deyemi-okanlawons-new-series-yankee-hustle-hits-youtube/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/deyemi-okanlawons-new-series-yankee-hustle-hits-youtube/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/deyemi-okanlawons-new-series-yankee-hustle-hits-youtube/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/deyemi-okanlawons-new-series-yankee-hustle-hits-youtube/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/deyemi-okanlawons-new-series-yankee-hustle-hits-youtube/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Nollywood News **Tags:** Deyemi Okanlawon, film, Movies to watch on youtube, nollycritic, nollywood, Nollywood 2025, Nollywood series, Tola Olatunji, Yankee Hustle, Youtube --- ### [Nollywood Movies And Series to See in February 2025](https://nollycritic.com/top-nollywood-movies-to-see-in-february-2025/) **Published:** February 4, 2025 **Author:** Fisayo Adekoya **Excerpt:** It’s the month of love, and Nollywood filmmakers are determined to keep us entertained all through February 2025. Whether you're a fan of romance or not, **Content:** Hey movie Lovers! It’s the month of love, and Nollywood filmmakers are determined to keep us entertained all through February 2025. Whether you’re a fan of romance or not, there’s a variety of genres packed into this month’s lineup to keep everyone hooked. From heartfelt love stories to thrilling dramas and captivating adventures, Nollywood has something for every movie lover. Here’s your guide to the must-watch releases this month: ##### ***Something About the Briggs* (2025)** – *January 31* *[Something About the Briggs](https://nollycritic.com/the-presidency-new-political-drama-set-to-premiere-in-cinemas/ "Something About the Briggs")* delivers a perfect blend of humour and hard truths, offering a candid yet entertaining look at the ups and downs of marriage. Through witty dialogue and relatable scenarios, the film explores the joys, struggles, and compromises that come with love and commitment. While packed with laughter, it also highlights deeper social issues, encouraging meaningful conversations about what it takes to make a marriage thrive in today’s world. Directed by Bukola Ogunsola, the film features an all-star cast including Stan Nze, Rita Dominic, Iyabo Ojo, Elma Mbadiwe, Tunbosun Aiyedehin, Zack Orji, Kenneth Okolie, Kalu Ikeagwu, and others. It will be in cinemas nationwide from January 31, 2025. ##### ***Love Lockdown* (2025)** – *February 7* Every great love story is born from a single moment, and for Yemi and Zainab, that moment was nothing short of enchanting. From the spark of their initial meeting to the unbreakable bond they now share, their journey is a testament to the power of true love. Directed by Lindsey Efejoku, the film stars Emmanuel Ogundu, Yewande Osamein, Detola Jones, Princess Obichi Marshall, Chidera Makata and others. *Love Lockdown* will be in cinemas nationwide from February 7, 2025. ##### *Tarella: Princess of the Nile* (2025) — *February 7* A young woman dreams of a better life, but destiny has something even greater in store for her. *Tarella: Princess of the Nile* follows the story of an orphaned girl whose fate intertwines with that of a powerful prince. As love blossoms between Tarella and Prince Nosa, danger lurks in the shadows, threatening their union and the future of the kingdom. This fantasy epic brings magic, romance, and adventure to the big screen. Directed by Lolo Eremie and Kayode Kasum, the film stars Okawa Shaznay as Tarella, Timini Egbuson as Prince Nosa, with Richard Mofe-Damijo, Chioma Idigo and many more. It will be in cinemas nationwide from February 7, 2025. ##### *Summer Rain* (2025) — *February 7* Friendship, love, and the fear of losing it all—*Summer Rain* tells the story of two best friends who slowly realize their bond has turned into something more. As they struggle to navigate their feelings without ruining their friendship, misunderstandings and emotional tension begin to build, leading them to a crossroads where they must decide what truly matters. Directed by Adenike Adebayo-Esho, the film features Kayode Ojuolape, Genoveva Umeh, Daniel Etim Effiong, Tina Mba and others. *Summer Rain* will be in cinemas nationwide from February 7, 2025. ##### *Reel Love* (2025) — *February 14* At its heart,[ *Reel Love*](https://nollycritic.com/reel-love-timini-egbusons-production-debut-set-for-cinema-release/ " Reel Love") is a story of romance, culture, and the unexpected turns that life takes. While full plot details remain under wraps, the film centers on a love triangle, exploring the complexities of relationships and the transformative power of love. With a mix of heartfelt moments and cultural depth, *Reel Love* promises to deliver an emotional and thought-provoking experience. Featuring a stellar cast, the film stars Timini Egbuson alongside T.J. Omusuku, who makes her debut in a leading role. Funke Akindele, Dakore Akande, Muyiwa Ademola, Shaffy Bello, Bimbo Ademoye, and Efa Iwara bring their expertise to the project, while Hermes Iyele, Atlanta Bridget Johnson, and Lillian Afegbai add further depth to the ensemble. *Reel Love* will be in cinemas nationwide on February 14, 2025. ##### *Kabiyesi* (2025) — *February 14* Showmax’s original epic drama series, *Kabiyesi* follows Princess Aderiyife, whose path to power is shaken by betrayal and political turmoil. Inspired by the reign of Orompoto, the only female Alaafin of Oyo, she must fight for her kingdom and defy expectations to lead. Starring Annetta Adebusuyi, Akin Lewis, and Amokun Ibrahim, Kabiyesi will feature 10 episodes with new episodes every Friday. *Kabiyesi* will premiere via Showmax on February 14. ##### *Blackout* (2025) — *February 21* When the city is plunged into darkness, secrets emerge, and trust becomes a dangerous gamble. *Blackout* is a gripping thriller that explores the fine line between love, fate, and survival. In a world where deception lurks in every shadow, characters are forced to confront their deepest fears and darkest truths. With its high-stakes drama and suspenseful storytelling, *Blackout* promises to keep audiences on edge. Directed by Okechukwu Oku, the film features Padita Agu, Gideon Okeke, Blossom Chukwujekwu, Nelson Iwu, Mike Uchegbu, Rita Mbah, and more. *Blackout* will be in cinemas nationwide from February 21, 2025. ##### *Ada Omo Daddy* (2023) – *February 21* Ada Omo Daddy is a 2023 Nigerian family oriented comedy drama written by Yakubu Olawale, co-produced by Mercy Aigbe, and co-directed by Akay Mason and Adebayo Tijani. The movie hinges mainly on a paternity deception unraveled in the course of a wedding party popularly known as the “Owambe” in Yoruba. It will be available on [Netflix](https://www.netflix.com/ "Netflix") and Circuits from February 21. ##### The Presidency (2025) — *February 21* *[The Presidency](https://nollycritic.com/the-presidency-new-political-drama-set-to-premiere-in-cinemas/ "The Presidency")* explores the high-stakes world of political ambition, power struggles, and loyalty. At its center is Durodola Jaiyeola, played by Mallum Arik, a Nigerian raised abroad who returns home to a nation on edge. His mother, Ireti Jaiyeola, a powerful leader in the UPM party, is locked in a battle against Progress Circle, a rising force threatening to upend the system. As Durodola navigates family legacies and political tensions, he is drawn into a world of deception, ambition, and patriotism. Directed by Sampson Afolabi-Johnson, the film stars Mallum Arik, Gideon Okeke, Antar Laniyan, Akin Lewis, Prince Jide Kosoko, Fadekemi Olumide-Aluko, Aderonke Onuoha, Yemi Blaq, and Patrick Doyle. *The Presidency* will be in cinemas nationwide on February 21, 2025. With a mix of romance, drama, suspense, and adventure, Nollywood is delivering an exciting lineup of films this February. Whether you’re in the mood for an intense political drama, a heartfelt love story, or a gripping thriller, there’s no shortage of entertainment to look forward to. Get ready to mark your calendars, as these movies promise to make February a month to remember. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/top-nollywood-movies-to-see-in-february-2025/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/top-nollywood-movies-to-see-in-february-2025/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/top-nollywood-movies-to-see-in-february-2025/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/top-nollywood-movies-to-see-in-february-2025/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/top-nollywood-movies-to-see-in-february-2025/?share=linkedin) - **Categories:** Articles, Blog, Drama, Movies, Nollywood, TV **Tags:** film, Movies to see in february, Movies to see on valentines, movies to watch in cinemas, Must-watch Nigerian movies, New nollywood movies, nollycritic, nollywood, Nollywood 2025, Timini Egbuson --- ### [Teco Benson’s Red Line Set to Premiere in Cinemas](https://nollycritic.com/teco-bensons-red-line-set-to-premiere-in-cinemas/) **Published:** January 28, 2025 **Author:** Shalom O. Obisesan **Content:** Nollywood enthusiasts are in for a thought-provoking cinematic experience as *Red Line*, directed by the renowned [Teco Benson](https://www.imdb.com/name/nm2201607/ "Teco Benson"), makes its nationwide debut on March 14, 2025. The [film](https://nollycritic.com/nollywood-film-villages-a-new-frontier-for-nigerian-cinema/ "film") promises to delve into the complexities of power, corruption, and the pursuit of justice within the Nigerian university system. Produced by Eno Udo and distributed by Tribe Nation Theatrical Distribution, *Red Line* brings together some of Nollywood’s finest talents. Adunni Ade takes on the role of a courageous student who levels a shocking accusation of sexual harassment against Professor Obaseki, portrayed by the legendary Sam Dede. This revelation sparks a ripple effect, exposing cases of institutional corruption and abuse. Shaffy Bello steps into the role of Dr. Adeleke, a fearless women’s rights activist and head of department determined to uncover the truth and hold those responsible accountable. Alongside this powerhouse trio, the ensemble cast includes seasoned actors such as Nobert Young and Tony Akposheri. According to producer Eno Udo, *Red Line* was inspired by real-life challenges and societal issues within higher institutions. “A lot of societal problems can be traced back to these institutions. Through our research, we uncovered stories that demanded to be told,” Udo shared. *Red Line* promises not only to entertain but also to spark critical conversations about abuse of power, the pursuit of justice, and the need for accountability. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/teco-bensons-red-line-set-to-premiere-in-cinemas/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/teco-bensons-red-line-set-to-premiere-in-cinemas/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/teco-bensons-red-line-set-to-premiere-in-cinemas/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/teco-bensons-red-line-set-to-premiere-in-cinemas/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/teco-bensons-red-line-set-to-premiere-in-cinemas/?share=linkedin) - **Categories:** Blog --- ### [The Best Nollywood Movies on Circuits TV](https://nollycritic.com/the-best-nollywood-movies-on-circuits-tv/) **Published:** January 28, 2025 **Author:** Shalom O. Obisesan **Excerpt:** In this article, we review the highest-rated Nollywood titles available on Circuits TV, ranked according to the NollyCritic rating system. **Content:** We tested out [Circuits TV](https://www.circuits.tv/page/646792d82a19035a166745f6 "Circuits TV"), and we’re impressed with the array of films it presents. From bone-crunching action to gripping psychological horror and emotional dramas, Circuits TV has curated a selection of Nollywood films that showcase the industry’s growing range. The platform’s collection offers everything from royal dramas (*Asiri Ade*) to a train drama (*Conversations in Transit*) and a chilling family horror (*The Weekend*). Whether you crave intense thrillers, supernatural epics, or heartfelt stories, there’s something for everyone. We explored Circuits TV’s catalogue and ranked the highest-rated Nollywood films based on our rating system. ##### 6. Ruthless – 2.8/5 As Nollywood’s first female-led MMA drama, *[Ruthless](https://nollycritic.com/ruthless-a-unique-story-that-falls-short-of-its-gritty-promise/ "Ruthless")* sets ambitious goals, telling the story of Ruth’s fight for survival in an exploitative underground fighting ring. Sandra Okunzuwa’s commanding performance as Ruth showcases physical intensity, though the film underutilises her emotional depth. The narrative explores themes of resilience and vengeance but falters in delivering the emotional complexity needed to truly captivate. While the production highlights Nollywood’s growing appetite for bold stories, the technical inconsistencies and rushed plot transitions leave viewers wanting more. *Ruthless* signals a promising future for genre experimentation in Nollywood. ##### 5. Blacksmith (Alagbede) – 3/5 Released in cinemas on April 19, 2024, before its arrival on Circuits TV, *Blacksmith (Alagbede)* offers a steady-paced story set in post-independence Nigeria. Adio (Femi Adebayo) navigates poverty, love, and the allure of money rituals in a tale of sacrifice and ambition. The film’s cultural authenticity is enhanced by its period details and lighting choices, but a rushed ending and pacing slightly diminish its impact. Gabriel Afolayan’s standout performance as Wole, however, adds depth and emotional complexity to this modest yet engaging drama. Nevertheless, the film’s cultural authenticity and relatable themes make it a commendable addition to Circuits. ##### 4. Asiri Ade – 3.2/5 A tale of political alliances, love, and vengeance, *[Asiri Ade](https://nollycritic.com/asiri-ade-secrets-and-suspense-flawed-by-inconsistencies/ "Asiri Ade")* explores the tension between royal duty and personal desires. The film excels in its cultural richness, with an intriguing narrative involving a masked killer and fractured alliances. While the story’s themes are ambitious, its execution falters with inconsistent characterization and moments of over-reliance on exposition. Bolanle Ninalowo and Omowunmi Dada deliver competent performances, though King Ajagungbade’s portrayal lacks the menace needed to drive the narrative. Despite these issues, *Asiri Ade* is a visually rich exploration of Yoruba storytelling. ##### 3. Conversations in Transit – 3.45/5 Set entirely on a Lagos-to-Ibadan train, this character-driven drama takes an innovative approach to storytelling. *Conversations in Transit* merges interpersonal drama with a unique setting following the intersecting lives of three women, their struggles, and the secrets they carry. Rahama Sadau and Osas Ighodaro deliver standout performances, bringing emotional vulnerability to their characters. The confined setting amplifies the tension, though some plot points like a carelessly exposed pregnancy test undermine the film’s realism. Still, its creative direction and strong cast make *[Conversations in Transit](https://nollycritic.com/conversations-in-transit-unveiling-secrets-on-the-train/ "Conversations in Transit")* on Circuits TV. ##### 2. Atiko – 3.85/5 Biodun Stephen’s *[Atiko](https://nollycritic.com/atiko-an-heartfelt-drama-on-fate-sacrifice-and-destiny/ "Atiko")* is an emotional drama rooted in Yoruba spirituality which explores themes of sacrifice, fate, and generational love. The story of two mothers and their sons resonates with emotional depth and cultural authenticity. Ibrahim Chatta and Bimbo Oshin lead a stellar cast, bringing nuance to this exploration of fate and maternal love. *Atiko* successfully delivers a poignant and thought-provoking experience that lingers long after the credits roll. Its powerful themes and heartfelt storytelling make it a must-watch for fans of Nigerian cinema. ##### 1. The Weekend – 4/5 Topping the list is *[The Weekend](https://nollycritic.com/the-weekend-finally-a-thriller-that-checks-the-right-boxes/ "The Weekend")*, which debuted in cinemas on August 30, 2024. Daniel Oriahi’s *The Weekend*, a psychological slasher-horror brings psychological tension and horror with enough bloodshed to make audiences squirm. Uzoamaka Aniunoh delivers a gripping performance as Nikya, whose curiosity unravels chilling family secrets. Bucci Franklin and Keppy Ekpeyong Bassey add depth to this dark tale of betrayal and survival. While the film leans on familiar Hollywood tropes and succeeds in adapting them to a Nigerian context to a fair extent, delivering a suspenseful and immersive cinematic experience. This makes it Circuits TV’s highest-rated title. Whether you’re drawn to supernatural dramas or edge-of-your-seat thrillers, these titles offer something for everyone. Ready to dive into the world of African storytelling? Explore [Circuits](https://www.circuits.tv/page/646792d82a19035a166745f6 "Circuits") TV and experience these films firsthand. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-best-nollywood-movies-on-circuits-tv/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-best-nollywood-movies-on-circuits-tv/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-best-nollywood-movies-on-circuits-tv/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-best-nollywood-movies-on-circuits-tv/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-best-nollywood-movies-on-circuits-tv/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood --- ### [Lara Unlimited: Arese Ugwu Announces A Spin-Off of The Smart Money Woman](https://nollycritic.com/lara-unlimited-arese-ugwu-announces-a-spin-off-of-the-smart-money-woman/) **Published:** January 28, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Arese Ugwu, has announced an exciting spin-off titled Lara Unlimited. Fans of The Smart Money Woman series have something new to look forward to! **Content:** [ Arese Ugwu](https://nollycritic.com/the-smart-money-woman-season-1-recap-watch-here/ " Arese Ugwu"), has announced an exciting spin-off titled *Lara Unlimited*. Fans of *[The Smart Money Woman](https://www.imdb.com/title/tt12428002/ "The Smart Money Woman")* series have something new to look forward to! Taking to her Instagram, Ugwu teased the upcoming project, revealing that the spin-off will focus on Lara, a fan-favourite character portrayed by Toni Tones. Known for her confidence, ambition, and fiery personality, Lara’s journey promises to captivate audiences just as much as the original series did. > “I’ve been working on something really cool and I’m thrilled to announce a spin-off of The Smart Money Woman titled Lara Unlimited!,” Ugwu shared enthusiastically. What makes this announcement even more intriguing is that the spin-off will be shot using a smartphone. Ugwu’s announcement also hinted at the possibility of more partnerships as she continues to develop the project. > [View this post on Instagram](https://www.instagram.com/p/DFXGmcetc3a/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Arese (@smartmoneyarese)](https://www.instagram.com/p/DFXGmcetc3a/?utm_source=ig_embed&utm_campaign=loading) Scheduled to launch on International Women’s Day (8 March 2025), *Lara Unlimited* will follow the captivating journey of Lara, one of the standout characters from the original series. While the original *Smart Money Woman* explored the lives of a stylish and career-driven group of friends navigating relationships, finances, and the pressures of success in Lagos, *Lara Unlimited* aims to dive deeper into Lara’s world. Fans are eager to see what new challenges and triumphs await her in this spin-off. Stay tuned for further updates as more details unfold in the lead-up to *Lara Unlimited*! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/lara-unlimited-arese-ugwu-announces-a-spin-off-of-the-smart-money-woman/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/lara-unlimited-arese-ugwu-announces-a-spin-off-of-the-smart-money-woman/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/lara-unlimited-arese-ugwu-announces-a-spin-off-of-the-smart-money-woman/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/lara-unlimited-arese-ugwu-announces-a-spin-off-of-the-smart-money-woman/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/lara-unlimited-arese-ugwu-announces-a-spin-off-of-the-smart-money-woman/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News, TV **Tags:** Arese Ugwu, lara unlimited, nollycritic, nollywood, The smart money woman, Toni Tones --- ### [Nollywood Film Villages: A New Frontier For Nigerian Cinema](https://nollycritic.com/nollywood-film-villages-a-new-frontier-for-nigerian-cinema/) **Published:** January 27, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood, the Nigerian film industry, is renowned as one of the world’s most prolific film industries, second only to Hollywood. **Content:** [Nollywood](https://en.wikipedia.org/wiki/Nollywood "Nollywood"), the Nigerian film industry, is renowned as one of the world’s most prolific film industries, second only to Hollywood. Known for its authentic storytelling and cultural richness, Nollywood continues to evolve in production quality and infrastructure. One significant development shaping the industry is the rise of film villages: dedicated spaces equipped to serve as controlled locations for filmmaking. Unlike traditional film studios, these expansive areas often reflect the cultural and historical essence of Nigeria, doubling as tourist attractions and recreational centres. While these film villages promise to streamline production and enhance creativity, they face criticisms. Challenges like a lack of governmental support, one-dimensional usage for specific genres like epics, and insufficient infrastructure tailored for diverse storytelling remain points of contention. However, private investments from filmmakers have sparked a shift in the narrative, with many establishing their film villages to overcome logistical barriers and elevate Nollywood’s global relevance. ##### Other Film Villages in Nigeria Several film villages already exist across the country, such as the Delta State Leisure Park and Film Village, popularly known as the Asaba Film Village. This facility, located in Anwai, Asaba, has become a significant hub, hosting countless film professionals and events. Additionally, the now-defunct Tinapa Resort in Cross River State once aimed to establish itself as a filmmaking mecca. While these projects hold promise, the crux of this transformation lies in individual filmmakers who have taken bold steps to create their own film villages. ##### Kunle Afolayan: KAP Film Village and Resort [Kunle Afolayan](https://nollycritic.com/kunle-afolayan-launches-new-film-channel-youtube/ "Kunle Afolayan"), one of Nollywood’s most prominent filmmakers, launched the KAP Film Village and Resort in 2022. Located on 60 acres of land in Igbojaye, Oyo State, the facility is a harmonious blend of production and recreation. It features luxury accommodations, creative centres for workshops and festivals, and recreational facilities like swimming pools and restaurants. Afolayan’s vision for KAP Film Village was inspired by his need for authentic settings for historical dramas, such as his Netflix hit *Aníkúlápó*. The facility has since been used to produce several films, including *Ijogbon* and *Aníkúlápó: Rise of the Spectre*. Afolayan emphasises its dual purpose: fostering creativity while offering jobs and inspiration to younger generations. ##### Ibrahim Chatta: Africhatta Film Village and Resorts In 2023, actor and producer Ibrahim Chatta unveiled the Africhatta Film Village in Oyo town. Spanning 74 acres and valued at ₦1.4 billion, the village is a cultural masterpiece featuring traditional Yoruba architecture, including thatched houses and intricate artworks. The film village has quickly gained traction as a production hotspot, hosting projects like *Iyalode* by Toyin Abraham *Ajoje*, and allegedly: *Lisabi*. It also supports TV series like *Eleran*. Chatta’s commitment to preserving Yoruba culture and enhancing production values makes Africhatta a standout facility in Nollywood’s landscape. ##### Bolanle Austen-Peters: BAP Film Village Bolanle Austen-Peters, renowned for her theatrical productions and films, added another feather to her cap with the BAP Film Village in Epe, Lagos State. The 10,000-acre facility, completed in 2024, was transformed from dense greenery into a vibrant hub for filmmaking. It has already served as the backdrop for Austen-Peters’ Netflix period drama *House of Ga’a*, set in the 18th-century Oyo Empire. Open for both recreational and commercial purposes, BAP Film Village offers filmmakers the opportunity to bring their visions to life while pushing the boundaries of cinematic artistry. Austen-Peters’ rapid development of the facility is a testament to her determination to contribute to Nollywood’s growth. Filmmaker, Okechukwu Oku (*Black Rose*) is currently building a film village called Oracle Films Village in Enugu. More details on his film village will soon be unravelled. ##### Looking Ahead While film villages represent a leap forward for Nollywood, challenges persist. Many of these spaces are tailored for epic and cultural narratives, leaving other genres underserved. Additionally, the concentration of filmmaking in urban centres like Lagos makes travel and logistics costly for productions in remote areas. To truly harness the potential of film villages, government collaboration is essential. Stakeholders must work together to establish more inclusive, globally appealing facilities. By doing so, Nollywood can solidify its position as a cultural and economic powerhouse, attracting filmmakers from across Africa and beyond. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-film-villages-a-new-frontier-for-nigerian-cinema/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-film-villages-a-new-frontier-for-nigerian-cinema/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-film-villages-a-new-frontier-for-nigerian-cinema/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-film-villages-a-new-frontier-for-nigerian-cinema/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-film-villages-a-new-frontier-for-nigerian-cinema/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Nollywood News **Tags:** Bolanle Austen-Peters, Ibrahim Chatta, KAP Film Village, nollycritic, nollywood, Okechukwu Oku, Oracle Film Village, Prime Video --- ### [Netflix Appoints New Africa Scripted Content Chief](https://nollycritic.com/netflix-appoints-new-africa-scripted-content-chief/) **Published:** January 24, 2025 **Author:** Michael Arowoselu **Excerpt:**  Netflix Africa content team has reshuffled with ex-Amazon exec Kaye-Ann Williams brought in to oversee TV and movies as Tendeka Matatu exits. **Content:** [Netflix](https://nollycritic.com/netflix-isnt-leaving-but-heres-why-it-feels-like-it-is/) Africa content team has reshuffled with ex-Amazon exec Kaye-Ann Williams brought in to oversee TV and movies as Tendeka Matatu exits. According to [Deadline](https://deadline.com/2025/01/netflix-africa-kaye-ann-williams-replaces-tendeka-matatu-director-scripted-content-1236265775/ "deadline"), Williams will takes on the newly-created Director of Scripted Content role and will focus on local productions, overseeing a team that develops and creates African original films and series. She joins after a short stint as content boss at *The Traitors* South Africa producer Primedia Studios and is a former Head of Scripted Series and Movies at Prime Video/Amazon Studios, where she focused on South Africa. Williams will join shortly after the exit of Matatu, who was Director of Local Language Films, Africa, for the past three years. No word on Matatu’s next move but we are told he is pursuing other opportunities. His credits included *Heart of the Hunter* and *Kandasamys: The Baby*. Kaye-Ann Williams will be reporting into Ben Amadasun, Netflix vice president of Middle East & Africa content. Speaking on Williams’ appointment, Amadasun commended her contributions to African television: “*Kaye-Ann is a true champion of world-class storytelling and has worked with the best creative talent in South Africa, helping them to create some of the most ambitious projects on African television. I’m delighted to welcome Kaye-Ann to the team as we strengthen our long-term commitment to African storytelling.”* Since kickstarting local African commissioning with 2020’s *Queen Sono,* Netflix cited significant deals struck with the likes of *Silverton Siege’s* Mandla Dube and Jayan Moodley, creator of the Kandasamys franchise. Netflix’s focus on African storytelling aligns with its goal to deliver culturally diverse content to its global audience. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/netflix-appoints-new-africa-scripted-content-chief/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/netflix-appoints-new-africa-scripted-content-chief/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/netflix-appoints-new-africa-scripted-content-chief/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/netflix-appoints-new-africa-scripted-content-chief/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/netflix-appoints-new-africa-scripted-content-chief/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Kaye-Ann Williams, Netflix, Netflix Africa, nollycritic, nollywood --- ### [Anthill Studios Set to Release New Kid's Sitcom](https://nollycritic.com/anthill-studios-set-to-release-new-kids-sitcom/) **Published:** January 16, 2025 **Author:** Fisayo Adekoya **Excerpt:** Anthill Studios, a leading production company, is launching a new musical sitcom; Temi and The Laba Laba Band aimed at transforming children’s entertainment **Content:** [Anthill Studios, ](https://www.anthillstudios.com/ "Anthill Studios, ")a leading production company, is launching a new musical sitcom aimed at transforming children’s entertainment. Known for its creative storytelling, the studio promises content that is both enjoyable and deeply rooted in African culture. For years, African children have mostly watched foreign content, which often lacks a connection to their own culture. Now, Anthill Studios is stepping up to address this gap. *Temi and The Laba Laba Band* will feature content that young African viewers can relate to, highlighting their culture, values, and everyday lives. Niyi Akinmolayan, the founder of Anthill Studios, has long focused on creating family-friendly content. This new project is no exception. While the sitcom’s title and cast are still undisclosed, it is expected to combine humor, music, and powerful storytelling. With successful productions like *Mikolo* and *The House of Secrets*, Anthill Studios has already proven its creative edge. Thus, this sitcom is likely to continue in the same innovative direction. The demand for children’s programming that reflects African cultures is growing. Many young viewers are exposed to shows that don’t resonate with their heritage. In response, this sitcom will provide fresh content, offering children something they can connect with and be proud of. Clearly, Anthill Studios recognizes the need and is answering the call. While no premiere date has been announced, there is growing interest across the country for more information about the children’s show. Efforts to get more details about the project were unsuccessful at the time of this report, as a representative of the organization assured us that a formal announcement would be made in due course. Since its founding in 2010, Anthill Studios has consistently pushed the boundaries of Nollywood filmmaking. With standout films like *[Lisabi](https://nollycritic.com/lisabi-the-uprising-an-ambitious-epic-weighed-down-by-cgi/ "Lisabi")* and *League of Orishas*, the studio has shown its ability to produce compelling, culturally relevant stories. Therefore, it’s no surprise that this new sitcom will contribute to their growing legacy and impact the industry. Stay tuned to Nollycritic for more updates on this exciting project. > [View this post on Instagram](https://www.instagram.com/reel/DEprMc2Ia5Q/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Anthill Studios (@\_anthillstudios)](https://www.instagram.com/reel/DEprMc2Ia5Q/?utm_source=ig_embed&utm_campaign=loading) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/anthill-studios-set-to-release-new-kids-sitcom/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/anthill-studios-set-to-release-new-kids-sitcom/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/anthill-studios-set-to-release-new-kids-sitcom/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/anthill-studios-set-to-release-new-kids-sitcom/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/anthill-studios-set-to-release-new-kids-sitcom/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News, TV **Tags:** Anthill Studios, Niyi Akinmolayan, nollycritic, nollywood, Temi and the Laba laba band --- ### [Conversations in Transit: Unveiling Secrets on the Train](https://nollycritic.com/conversations-in-transit-unveiling-secrets-on-the-train/) **Published:** January 17, 2025 **Author:** Uju Okosieme **Excerpt:** 'Conversations in Transit', directed by Roberts O. Peters, takes viewers aboard a Lagos-to-Ibadan train for a drama-packed narrative **Content:** ‘[Conversations in Transit](https://www.imdb.com/title/tt18550692/ "Conversations in Transit")‘, directed by Roberts O. Peters, takes viewers aboard a Lagos-to-Ibadan train for a drama-packed narrative. Featuring a talented ensemble cast, the film explores the challenges, secrets, and unexpected connections that unfold during this fateful journey. Here’s what we thought of this engaging tale. ## Conversations in Transit Directed by: Robert O. Peters Written by: Ummi Baba-Ahmed, Temitope Bolade, Diche Enunwa Genre: Drama Released on: December 20, 2024 (Circuits) Language: English, Hausa ##### Plot ‘[Conversations in Transit](https://www.imdb.com/title/tt18550692/ "Conversations in Transit")‘centres around three women at a crossroads in their lives. Hajara, an heiress in an abusive relationship, is considering escaping her abusive fiancé to reunite with her lover. Ini, a jaded event planner, meets Emeka, a romantic stranger who challenges her cynical view of life. Adeola, a career-driven woman is forced to confront her husband Lekan’s infidelity as he fights to win her back. Their stories intertwine with those of the other passengers, creating a layered narrative that captures the chaos and serendipity of life in transit. The confined train setting is a melting pot of drama, humour, and revelations, but some plot devices strain credibility. For instance, Hajara’s pregnancy test conveniently falling out of her bag raises questions. A woman desperate to conceal her pregnancy from a controlling fiancé would logically hide such a sensitive item more securely, especially in a large handbag which would have zipped compartments. This oversight detracts from an otherwise compelling story. ##### Story The story’s strength lies in how it uses the train’s confined space to foster interactions between characters, revealing personal struggles and driving the narrative forward for example when Adeola offers to help another passenger with her baby we learn about her and Lekan’s struggle to have children, which also happens to be one of the things that led to the unraveling of their relationship. The decision to showcase these dynamics through conversations overheard or shared with other passengers enriches the film’s texture and offers a slice-of-life feel. ##### Performances The cast delivers a range of impressive performances. Rahama Sadau captures Hajara’s vulnerability and fear, drawing viewers into her plight. Uzee Usman is believably menacing as Umar, though his boldness in such a public setting feels exaggerated. Osas Ighodaro shines as Adeola, bringing depth to a character torn between forgiveness and self-preservation, while Richard Mofe-Damijo is effortlessly compelling as Lekan. Tana Adelana and Tope Tedela inject charm into the film as Ini and Emeka, their chemistry providing moments of warmth and humour. Alex Ekubo’s brief appearance as Muhammed also leaves a strong impression. Even the supporting cast, who spend much of the film observing the drama, contribute significantly with their nuanced reactions. ##### Technical Aspects The decision to set the story entirely on a train is a standout choice, showcasing Nigeria’s infrastructure while creating an intimate setting for the unfolding drama. The sound design effectively builds suspense, and the transitions between shots are thoughtfully executed, such as the moment when Lekan’s blurred vision is clarified by putting on his glasses. However, the drone shots do not do justice to the production, as they glaringly appear in really amateur in quality and movement. ##### Final Thoughts The film does an excellent job of portraying the chaos and unpredictability and beauty of rail travel in Nigeria, all while exploring serious themes like abuse, infidelity, and personal redemption. The humour, whether intentional or incidental, added a layer of relatability, particularly in scenes where passengers couldn’t help but eavesdrop on others’ drama. That said, some elements—like the plausibility of Umar’s behaviour towards Hajara on a crowded train—required a greater suspension of disbelief. ##### Verdict ‘Conversations in Transit’ is a compelling tale of intersecting lives, set against the backdrop of a journey that changes destinies. While it stumbles in minor areas, the strong performances, heartfelt storytelling, and creative direction make it a worthwhile watch. We’re giving it a solid 4-star rating. The movie is available to rent on [Circuits](https://nollycritic.com/circuits-seven-doors-atiko-set-to-premiere-on-new-virtual-cinema/ "7 Nollywood Titles Premiering on Circuits This Christmas"). **Rating**: 3.45/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/conversations-in-transit-unveiling-secrets-on-the-train/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/conversations-in-transit-unveiling-secrets-on-the-train/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/conversations-in-transit-unveiling-secrets-on-the-train/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/conversations-in-transit-unveiling-secrets-on-the-train/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/conversations-in-transit-unveiling-secrets-on-the-train/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Alex Ekubo, circuits, nollycritic, Osas Ighodaro, Rahama Sadau, Reviews, Richard Mofe-Damijo, Tana Adelana, Tope Tedela --- ### [Ruthless: A Unique Story That Falls Short of Its Gritty Promise](https://nollycritic.com/ruthless-a-unique-story-that-falls-short-of-its-gritty-promise/) **Published:** January 16, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Ruthless sets itself up as a bold and groundbreaking entry in West African cinema, billed as the region’s first female mixed martial arts (MMA) sports drama. **Content:** *Ruthless* sets itself up as a bold and groundbreaking entry in West African cinema, billed as the region’s first female mixed martial arts (MMA) sports drama. The film’s promotional campaign builds significant anticipation, promising grit, vengeance, and emotional intensity. Taglines like “Sweat, Blood, Tears” and themes of survival, revenge, and inner strength suggest a compelling and visceral narrative. On paper, these descriptions paint the picture of a high-stakes gritty thriller. But, does *Ruthless* deliver on these promises? The narrative must reflect the tension and depth marketed to its audience. This disparity between promise and delivery will serve as a critical lens through which we will evaluate the film. If the marketing campaign defines *Ruthless* as a story of grit and survival in the midst of a perilous “game,” then the narrative must reflect this intensity. The real test lies in how effectively these expectations are realised on screen. ## *Ruthless* Directed by: Dimeji Ajibola Produced by: Vincent Okonkwo Genre: Crime Drama, Thriller Released on: December 20, 2024 (Circuits) Language: English, Nigerian Pidgin ##### Story *Ruthless* aims to tell a story of resilience, vengeance, and survival in a morally fraught and dangerous world. Ruth’s journey is one of personal growth and redemption, as she faces the external challenges of an exploitative underground fighting ring while grappling with internal demons from her traumatic past. Themes of justice and inner strength are woven throughout, positioning Ruth as a symbol of defiance against systemic manipulation. The story contains compelling themes, but they are not always explored to their full potential. Ruth’s resilience and trauma are central to the narrative, yet her inner struggles often remain surface-level. For instance, scenes revealing a traumatic memory involving her father’s violent behaviour and her mother’s death, but the film does not fully delve into how this trauma drives Ruth’s present-day decisions or growth By leaning heavily on Ruth’s fiery personality, the story misses opportunities to delve deeper into her psychological struggles. As a result, while the themes of survival and resilience are present, they lack the emotional resonance needed to truly connect with the audience. The dialogue is quite commendable. ##### Plot The film’s plot revolves around Ruth’s rise in the underground fighting world, driven by her quest to save her sister from a cultist and escape the clutches of the manipulative Iron Lady. Along the way, she faces betrayal, addiction, and escalating conflicts with adversaries like Venom and Sledgehammer. Moments like Ruth’s descent into drug use or the climactic fight against Sledgehammer, are designed to heighten tension and emotional stakes. While these events create momentum, the plot occasionally falters in tying them to the film’s themes. For instance, Iron Lady’s refusal to pay her fighters is a central source of conflict, yet her motivations remain unclear, making her actions feel arbitrary rather than deeply rooted in her character. Similarly, transitions between key events often rely on coincidence, such as when Iron Lady’s men conveniently rescue Ruth and Paula without explanation. Additionally, the hypnotherapy sequence, meant to unearth Ruth’s repressed trauma, could have been made more impactful by visually aligning with her emotional state. These narrative gaps disrupt immersion, leaving the story feeling less cohesive than it could have been. ##### Performances The performances are largely functional, bringing the characters to life without fully elevating the material. Sandra Okunzuwa as Ruth demonstrates physical intensity, with her fight scenes showcasing her preparation and commitment. However, Ruth’s emotional depth is underexplored; her trauma and relationship with her sister seem to lack depth, and her anger often overshadows her vulnerability. By the film’s conclusion, the crowd’s chant of “Ruthless, Ruthless” feels disconnected, as the narrative fails to justify the title’s thematic significance. Kate Henshaw as Iron Lady delivers a commanding presence, effectively portraying the character’s intimidation and control. Yet, Iron Lady lacks complexity or emotional layers that could have made her a truly memorable villain. Her one-dimensional portrayal as a manipulative antagonist misses an opportunity to explore her motivations or the ruthlessness promised. Similarly, Chidi Mokeme’s performance as Raptor captures the character’s toughness and experience but doesn’t delve into his emotional struggles, such as his guilt or past trauma. These performances, while serviceable, lack the emotional depth needed to fully realise their characters’ potential. Supporting actors like Obumneke Obilo as Venom, Princess Obuseh as Sledgehammer, Lina Idoko as Paula, Chineye Ulaegbu as Queen, and Zubby Michael as C4 contribute to the ensemble with varied levels of success, but the overall execution would have benefited from greater consistency in emotional delivery and character development. ##### Technical Aspects The technical execution leaves much to be desired. *Ruthless* struggles to find cohesion in its technical execution. One of the most glaring technical flaws is the inconsistency in the film’s sound design and score. The soundtrack shifts abruptly, creating a jarring effect that disrupts the emotional flow of the scenes. Equally, the score often feels unrefined, with some transitions resembling the quick cuts of a TikTok skit rather than a cohesive musical accompaniment to the narrative. The intention may have been to heighten tension or drama, but the lack of polish in the sound and score detracts from the film’s overall quality. The cinematography occasionally shows promise but is inconsistent in its ability to visually convey the story’s emotional depth. For instance, scenes tied to Ruth’s subconscious trauma could have been shot more creatively to visually represent her internal struggles. Instead, the filmmakers opt for an observer’s perspective, relying on dialogue to explain what the visuals fail to communicate. This choice limits the audience’s ability to connect with Ruth’s pain on a visceral level, missing an opportunity to use the medium of film to enhance emotional storytelling. ##### Final Thoughts *Ruthless* is an ambitious step into new territory for Nollywood, blending sports drama with themes of survival, trauma, and personal redemption. As the first female-led mixed martial arts film in West African cinema, it deserves credit for pushing boundaries and sparking a conversation about representation in action narratives. The film’s attempt to place a strong female protagonist at the centre of an emotionally and physically demanding story is notable, even if the execution doesn’t fully meet its aspirations. The titular “ruthlessness”, a concept marketed as central to the narrative, is missing in both its characters and storytelling. Ruth, Iron Lady, and the broader narrative lack the intensity or thematic depth required to deliver on this promise. However, the film’s ambition signals an important shift in Nollywood’s willingness to experiment with genre and character-driven stories. This film does succeed is in sparking a conversation about representation in West African cinema. By placing a strong female protagonist at the forefront and delving into themes like trauma, sisterhood, and survival, the film broadens the scope of stories Nollywood can tell. Sandra Okunzuwa’s effort to embody Ruth, alongside the contributions of the cast, reflects a commitment to pushing the boundaries of traditional Nollywood narratives. Sandra Okunzuwa gives a memorable performance as Ruth. ##### Verdict In the end, [Dimeji Ajibola’](https://nollycritic.com/dimeji-ajibola-passes-away-after-battle-with-illness/ "Dimeji Ajibola'")s *Ruthless* is a parting gift for Nollywood.It’s an imperfect but unique experiment, laying the groundwork for future stories that can build on its strengths while addressing its shortcomings. For audiences, it offers a glimpse of what’s possible when Nollywood ventures into exciting stories and genres. Ruthless is currently streaming on [Circuits](https://www.circuits.tv/ "Circuits"). Recommended. **Rating**: 2.8/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ruthless-a-unique-story-that-falls-short-of-its-gritty-promise/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ruthless-a-unique-story-that-falls-short-of-its-gritty-promise/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ruthless-a-unique-story-that-falls-short-of-its-gritty-promise/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ruthless-a-unique-story-that-falls-short-of-its-gritty-promise/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ruthless-a-unique-story-that-falls-short-of-its-gritty-promise/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Chidi Mokeme, circuits, Dimeji Ajibola, nollycritic, nollywood, Reviews, Ruthless, Sandra Okunzuwa, Vincent Okonkwo, Zubby Michael --- ### [Something About the Briggs Set For January Premiere](https://nollycritic.com/something-about-the-briggs-set-for-january-premier/) **Published:** January 15, 2025 **Author:** Fisayo Adekoya **Excerpt:** Nollywood is preparing to unveil Something About the Briggs, a highly anticipated comedy-drama from Revelation Pictures. Set to release on January 31, 2025, **Content:** Nollywood is preparing to unveil *[Something About the Briggs](https://www.imdb.com/title/tt35185591/ "Something About the Briggs")*, a highly anticipated comedy-drama from Revelation Pictures. Set to release on January 31, 2025, this film explores the complexities of marriage with humour and insight. It promises to spark important conversations about relationships in today’s world. ##### **A Glimpse into the Plot** *Something About the Briggs* mixes humour and hard truths. The film offers a candid, comedic look at marriage’s dos and don’ts. By blending laughter with emotional moments, it engages viewers while addressing real social issues. The story aims to reflect on the struggles and joys couples face, offering lessons on love, commitment, and navigating life together. Through this lighthearted approach, the filmmakers hope to start meaningful conversations about what makes a marriage thrive in today’s society. ##### **The Cast: A Star-Studded Ensemble** This film boasts a talented cast of Nollywood’s finest actors. Each performer brings something unique to their role. Their collective chemistry promises to elevate the storyline and keep viewers entertained. Key cast members include: ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/01/img_2422-1.jpg?resize=640%2C798&ssl=1)Daniel Etim Effiong as Chuks Obi![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/01/img_2420-1.jpg?resize=640%2C797&ssl=1)Elma Mbadiwe as Nina Briggs![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/01/img_2418-1.jpg?resize=640%2C640&ssl=1)Norbert Young as Mr. Briggs![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/01/img_2419-1.jpg?resize=640%2C800&ssl=1)Gloria Young as Mrs. Briggs![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/01/img_2427-1.jpg?resize=640%2C800&ssl=1)Iyabo Ojo as Bimbo Briggs![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/01/img_2425-1.jpg?resize=640%2C798&ssl=1)Rita Dominic as Cynthia Briggs Kuku![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/01/img_2424-1.jpg?resize=640%2C800&ssl=1)Kalu Ikeagwu as Olumide Kuku![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/01/img_2421-1.jpg?resize=640%2C798&ssl=1)[Stan Nze](https://nollycritic.com/suspicion-the-juju-fiction-we-have-always-wanted/ "Stan Nze") as Richard Briggs![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/01/img_2426-2-1.jpg?resize=640%2C800&ssl=1)Linda Ejiofor-Suleiman as Naomi![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/01/img_2423-1.jpg?resize=640%2C798&ssl=1)Kanaga Emmanuel Eme as Femi BriggsThese actors bring a mix of experience and talent, promising a memorable viewing experience. *Something About the Briggs* is directed, written, and produced by Bukola Ogunsola, a filmmaker renowned for tackling important social issues with a blend of humor and insight. Her unique approach shines a light on marital dynamics and relationships, making the story both relatable and entertaining. Produced by Revelation Pictures, a company known for crafting stories that resonate with audiences, the film continues their tradition of entertaining while addressing meaningful social topics. This collaboration between Bukola Ogunsola and a talented cast makes *Something About the Briggs* a must-watch in 2025. *Something About the Briggs* is shaping up to be a standout Nollywood film in 2025. With its stellar cast, insightful storyline, and Bukola Ogunsola’s creative direction, the film promises to offer both laughs and reflections on marriage. Don’t miss it when it releases on January 31, 2025. This is a movie that will captivate, enlighten, and linger in your mind long after the credits fade. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/something-about-the-briggs-set-for-january-premier/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/something-about-the-briggs-set-for-january-premier/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/something-about-the-briggs-set-for-january-premier/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/something-about-the-briggs-set-for-january-premier/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/something-about-the-briggs-set-for-january-premier/?share=linkedin) - **Categories:** Blog, Drama, Movies, Nollywood, Nollywood News **Tags:** Daniel Etim Effiong, Iyabo Ojo, movies to watch in cinemas, nollycritic, nollywood, Nollywood 2025, rita dominic, something about the briggs --- ### [The Presidency: New Political Drama Set to Premiere in Cinemas](https://nollycritic.com/the-presidency-new-political-drama-set-to-premiere-in-cinemas/) **Published:** January 14, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The Presidency, scheduled for release across Nigerian cinemas on 21 February 2025. This political drama promises to be a thought-provoking drama.. **Content:** Acclaimed filmmaker Sampson Afolabi-Johnson is ready to captivate audiences with his latest production, *[The Presidency](https://www.tntheatrical.com/post/the-presidency-a-gripping-tale-of-power-struggles-greed-and-insecurity-premieres-nationwide-on-fe "The Presidency")*, scheduled for release across Nigerian cinemas on 21 February 2025. This political drama promises to be a thought-provoking drama about power, ambition, greed, and the pursuit of change in modern Nigeria. The story follows Jaiyeola Durodola, portrayed Mallum Arik, a man returning to Nigeria after years spent abroad. His return coincides with political tensions as his mother, Ireti Jaiyeola, a prominent leader in the United Progressive Movement (UPM), faces mounting challenges from a formidable opposition group, the Progress Circle. The film explores themes of loyalty, family, and patriotism as Durodola becomes entangled in the unfolding drama. The movie boasts an impressive cast, including Nollywood veterans Gideon Okeke, Antar Laniyan, Akin Lewis, Jide Kosoko, Fadekemi Olumide-Aluko, Aderonke Onuoha, Yemi Blaq, and Patrick Doyle. Their performances are expected to bring nuance and intensity to this emotionally charged narrative. Speaking about the film, Afolabi-Johnson, also known as Osmosis, explained; “This film is driven by a desire to inspire real change. It captures the complexities of leadership and the choices that determine our future.” The filmmaker, renowned for his work on the award-winning series *Tinsel*, has created a story that reflects the struggles and aspirations of everyday Nigerians. The film is distributed by Tribe Nation Theatrical Distribution, a leading company in the marketing and distribution of Nollywood productions. A spokesperson for the company expressed their excitement, stating, “ > “This is a story that speaks to the heart of every Nigerian. It’s a powerful blend of emotion, drama, and thought-provoking moments that will resonate with audiences.” The Presidency offers an incisive portrayal of the challenges of political leadership and personal sacrifice. With its strong storytelling and powerful performances, it is positioned to be one of the most impactful Nollywood films of 2025. Audiences nationwide can look forward to its premiere on 21 February 2025. - ![the presidency cast](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/01/fe9157_b81e598a71844fc4957eaac2795a3a58mv2.webp?resize=640%2C357&ssl=1) - ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/01/fe9157_499a7731c5bb4cbcaac43d2a48499398mv2.webp?resize=640%2C360&ssl=1) - ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/01/fe9157_d63af0a2a27d4729a0fb26f5fdc744c3mv2.jpg.webp?resize=640%2C960&ssl=1) - ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/01/fe9157_1dcff9f789374e08a0a76cbaff881c86mv2.jpg.webp?resize=640%2C360&ssl=1) - ![the presidency](https://i0.wp.com/nollycritic.com/wp-content/uploads/2025/01/fe9157_08d5f4e2a9ea49dcb46ec6d8712751d8mv2.webp?resize=640%2C357&ssl=1)nollywood ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-presidency-new-political-drama-set-to-premiere-in-cinemas/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-presidency-new-political-drama-set-to-premiere-in-cinemas/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-presidency-new-political-drama-set-to-premiere-in-cinemas/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-presidency-new-political-drama-set-to-premiere-in-cinemas/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-presidency-new-political-drama-set-to-premiere-in-cinemas/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** Aderonke Onuoha, Akin Lewis, Antar Laniyan, Fadekemi Olumide-Aluko, Gideon Okeke, Jide Kosoko, nollycritic, nollywood, Sampson Afolabi-Johnson, The Presidency, Tribe Nation Distribution, Yemi Blaq --- ### [Criticism In Nollywood: Can Producers Take The Heat?](https://nollycritic.com/criticism-in-nollywood-can-producers-take-the-heat/) **Published:** January 12, 2025 **Author:** Shalom O. Obisesan **Excerpt:** ast month, December 2024, Nollywood Twitter lit up with fiery debates, starting with Jade Osiberu’s Christmas in Lagos... **Content:** Last month, December 2024, [Nollywood](https://nollycritic.com/10-highest-grossing-nollywood-movies-of-2024/ "Nollywood") Twitter lit up with fiery debates, starting with Jade Osiberu’s *[Christmas in Lagos.](https://nollycritic.com/christmas-in-lagos-a-vibrant-tale-of-love-and-family/ "Christmas in Lagos.")* Critics labeled it predictable and uninspired, but the uproar wasn’t really about the film, it was about Nollywood’s fragile relationship with criticism. > “How dare you criticize films you can’t even make yourself?” > “₦100 million at the box office—what more do you want?” > “Critics just don’t understand the struggle of filmmaking in Nigeria!” I watched the drama unfold online, shaking my head and chuckling at the chaos. But beneath the noise, a question lingered: *Why does every critique in Nollywood feel like walking on hot coals?* For an industry producing over 2,500 films annually and contributing ₦239 billion (roughly $660 million) to Nigeria’s GDP, why does it feel like every critique is a matchstick that could burn the whole house down? ##### An Unsolicited Love-story Let me confess: my love for [Nollywood](https://en.wikipedia.org/wiki/Nollywood "Nollywood") was born out of rebellion. Growing up, I was told Nigerian films were “trash” and could “degrade your brain by minus 1000.” My budding love for cinema, ignited by foreign films, only deepened that prejudice. I devoured Hollywood blockbusters and art-house classics, barely sparing a glance at homegrown stories. Even while those prejudices persisted, I remembered one of my father’s favorite classics. The only Nollywood film that he would always boast about –and here I am, doing the same. Watching *Saworoide* as a preteen, even though I didn’t understand the deeper layers of the narrative. I didn’t know it at the time, but Tunde Kelani’s film planted a seed in me. It wasn’t just “a movie”, it was a mirror, reflecting Nigeria’s struggle with corruption in ways my Government class teacher could never. Years later, I realized how deeply it had shaped my understanding of our history. The same goes for Kunle Afolayan’s *October 1*, a film that proved Nollywood could marry storytelling with technical brilliance. Films like these reminded me that Nollywood had something special. But more often than not, that potential feels buried under rushed plots and uninspired narratives. This love-hate relationship is why I dove into Nollywood—not just as a viewer, but as someone who wanted to understand and, if possible, contribute to change. ##### A Historical Context: Criticism in Nollywood When Nollywood began in the 1990s with *Living in Bondage*, it was hailed by Nigerian audiences as revolutionary. Yet, international critics dismissed it as mere “image-making” rather than true cinema. According to Floribert Patrick Endong, this criticism stemmed from Nollywood’s non-conformist style: rushed productions, weak technical standards, and a reliance on straight-to-video formats. Festivals like FESPACO and Cannes showed little interest in Nollywood, sidelining its films for decades. But while critics shunned it, audiences embraced it. Nollywood became a cultural phenomenon, connecting Africans and the diaspora to their roots. By the 2010s, New Nollywood emerged with films like *The Wedding Party* and *Lionheart*, signaling a shift towards higher budgets and better quality. However, as Endong notes, the industry still struggles with balancing quality and quantity, leaving much of its output vulnerable to the same old critiques. Fast forward to today, and the debate has moved online. Social media platforms like X amplify the tension between critics, filmmakers, and audiences. Chief Daddy 2 became a turning point in 2022 when audiences collectively slammed it, leading to a flood of memes and debates. While this marked a shift in the power of the audience as critics, it also highlighted how divisive opinions can become. ##### Critics and Filmmakers: A Dance of Tension Majority often perceive critics, professional or otherwise, as adversaries who undermine their hard work. This hostility plays out in Twitter threads and online harassment campaigns, with critics facing abuse for daring to share dissenting views. Interestingly, Nollywood is not alone in this battle. Bollywood and Hollywood have faced similar issues, where criticism sometimes sparks outrage. However, both industries have established a culture where criticism—though not always welcome—is part of the growth process. Hollywood, for example, has embraced the role of film festivals and awards in shaping industry standards. Bollywood, despite its own struggles, has seen a rise in platforms like that bridge the gap between audience expectations and creative critique. Nollywood, by comparison, still struggles to reconcile its identity as a commercially driven industry with the need for critical appraisal. Criticism, for me, is an act of love. It’s how we dissect, appreciate, and challenge art to grow. But in Nollywood, criticism is often seen as an unwelcome guest at the party, who shows up uninvited and points out the cracks in the wall. I get it. Filmmaking in Nigeria is like trying to build a mansion with sticks and glue. When you’ve poured your heart into a project, having it picked apart must sting. But criticism isn’t a hammer meant to smash your work—it’s a chisel, refining what’s already there. That said, not everyone who offers an opinion is a critic. Dismissive remarks like “this movie is mid” or “this film is trash” add nothing to the conversation. Real criticism requires empathy and effort. It’s not just about pointing out what’s wrong—it’s about asking why and understanding the inner working and the overall layers that make the film the way it is. Take *Water and Gari*, a film that came out in April 2024. The backlash was loud, with people calling it “baseless” and “unnecessary.” But I saw it differently. The film wasn’t trying to tell a cohesive story—it was an aesthetic experience, more like a feature length music video than a traditional narrative. If the filmmakers had marketed it that way, maybe people would have judged it on its own terms. On the other hand, I was one of the voices criticizing *Christmas in Lagos*. I watched it on Christmas Eve, hoping for something light and festive. Instead, the film felt like a broken promise. It wasn’t “Christmas in Lagos”; it was more like “No Love in Lagos.” If I were to critique it formally, I’d say the film failed to deliver on its premise. ##### Social Media: The Double-Edged Sword Social media has turned everyone into a critic—and that’s both a blessing and a curse. Platforms like X (formerly Twitter) amplify voices, giving audiences the power to shape conversations about Nollywood. When *Chief Daddy 2* dropped, it wasn’t just critics who slammed it; audiences led the charge, tearing it apart with memes and threads. But social media also amplifies negativity. It’s easy to jump on the bandwagon of hate, even when it’s not justified. At its worst, social media feels like a megaphone in a crowded room—everyone shouting, no one listening. ##### Nollywood’s Growth and Its Challenges Nollywood is growing—there’s no denying that. Storytelling has improved, and visual quality is leagues ahead of what it was a decade ago. But the industry still struggles with coherence and substance. Too often, films prioritize profits over artistry, leaning on star power to mask weak scripts. Still, there are filmmakers pushing the boundaries. Directors like Tunde Kelani, Kunle Afolayan, C.J Obasi, and many others, have proven that Nigerian stories can resonate globally without losing their essence. Their work reminds us that Nollywood’s future is as bright as we dare to imagine. ##### A Call for Balance If Nollywood is going to thrive, we need more honest conversations. Critics need to approach their work with empathy and precision, offering feedback that’s constructive, not destructive. Filmmakers need to see criticism as part of the creative process, not an attack on their efforts. And audiences need to be more discerning, demanding better stories while remaining open to different perspectives. Critics and filmmakers are two sides of the same coin. One sparks innovation; the other drives it forward. And maybe one day, we’ll see a critic collaborate on a Nollywood film, who knows what magic could come from that? ##### Can Nollywood Take the Heat? The big question is: *Is Nollywood open to criticism?* The truth is, it’s complicated. Criticism is often treated like an unexpected storm, something to be weathered rather than embraced. But for Nollywood to reach its full potential, it needs to stop seeing criticism as a fire to be extinguished and start seeing it as the forge that strengthens steel. Because at the end of the day, it’s not just about making movies that make money. It’s about making movies that matter; films that resonate, challenge, and endure. And the heat of criticism, uncomfortable as it may be, is what forges greatness. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/criticism-in-nollywood-can-producers-take-the-heat/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/criticism-in-nollywood-can-producers-take-the-heat/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/criticism-in-nollywood-can-producers-take-the-heat/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/criticism-in-nollywood-can-producers-take-the-heat/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/criticism-in-nollywood-can-producers-take-the-heat/?share=linkedin) - **Categories:** Articles, Blog **Tags:** C.J Obasi, Christmas in Lagos, film criticism, Kunle Afolayan, nollycritic, nollywood, Tunde Kelani --- ### [Asiri Ade: Secrets and Suspense Flawed by Inconsistencies](https://nollycritic.com/asiri-ade-secrets-and-suspense-flawed-by-inconsistencies/) **Published:** January 10, 2025 **Author:** Shalom O. Obisesan **Excerpt:** Testing out Circuits, the new streaming platform which was launched December 2024, we started our voyage with: Asiri Ade. This film is an... **Content:** Testing out [Circuits](https://nollycritic.com/circuits-seven-doors-atiko-set-to-premiere-on-new-virtual-cinema/ "Circuits"), the new streaming platform which was launched December 2024, we started our voyage with:*[ Asiri Ade.](https://nollycritic.com/bolanle-ninalowo-to-star-as-oba-agunbiade-in-asiri-ade/ " Asiri Ade.")* This film is an ambitious tale that intertwines themes of politics, love, and revenge in the rich cultural backdrop of Yoruba kingdoms. The official synopsis teases an intriguing narrative: “In this atypical tale of politics, love, and intrigue, two kingdoms contemplate a royal union for different motives. A hidden romance, a lurking killer, and a power struggle raise the stakes. Will love triumph or lead to ruin?” This premise sets expectations for a story laced with drama and suspense, promising a gripping exploration of human desires and political machinations. How was this explored? Let’s find out. ## *Asiri Ade* Directed by: Adeoluwa Owu Written by: Dolapo Lannre-Badmus, Adeoluwa Owu Genre: Mystery, Epic Released on: December 20, 2024 (Circuits) Language: Yoruba ##### Story *Asiri Ade* is a tale of secrets, power, love, and vengeance, where kingdoms contend with the weight of her histories and the choices that shape their futures. Beneath the surface of royal duty and political alliances lies something deeply personal: characters navigating their desires while caught in the crossfire of inherited burdens and expectations. It’s a story that lingers, where silence says as much as words, and where personal choices collide with the weight of legacy. What does it mean to confront the ghosts of the past while trying to carve a new future? This is the emotional heartbeat of *Asiri Ade*. While the story boasts ambitious themes, the execution falters in its clarity. The premise suggests a thrilling exploration of political alliances and personal stakes, but the narrative becomes bogged down by moments of unnecessary exposition that could have been conveyed more effectively through visual storytelling. The use of inconsistent accounts of the killings, for instance, adds confusion rather than enhancing the mystery. At times, the film relies too heavily on telling rather than showing, which can either add or detract from the overall suspense and engagement with the plot. Despite these issues, *Asiri Ade* maintains its intrigue through its cultural richness and thematic ambitions. ##### Plot It all begins with a murder in Ikarewa—a chief, throat cut clean by a masked man. Leaving us to ask, “Who is the man behind the mask?” And, “Why?” This sets the plot of intrigue in motion. Meanwhile, Princess Oyinade, in Iwajoyin has secrets of her own, a relationship with Irewole, a humble bead maker. But love doesn’t exist in a vacuum; especially not when her father has plans of his own. The king and chiefs in Ikarewa are trying to make sense of the escalating killings, not knowing that the masked man is tied to a dark history. The climax doesn’t just reveal—it demands. Vengeance, justice, love, and the fragility of alliances collide, leaving behind a resolution that feels both earned and bittersweet. The plot moves with a steady pace, capturing the audience’s attention scene by scene. But, it often relies too heavily on exposition —tell, not show. This should be seen as the easy route, right? As simple as that could have been, there are moments of narrative inconsistency, such as the contradictory accounts and narratives of the killings. This does two things simultaneously. One, it could confuse viewers. Two, but if you choose to ignore or perhaps you don’t notice, it enhances the story’s mystique. That said, the film does a decent job of building intrigue, especially through the masked killer’s enigmatic presence and the gradual unravelling of secrets. Certain developments, such as confrontations or moments of revelation, lean on familiar tropes that occasionally undermine the film’s originality. However, the climax weaves the various storylines together effectively, delivering an emotionally satisfying resolution that honours the film’s themes of love and redemption. ##### Performances Bolanle Ninalowo portrays King Ajagungbade, a ruler whose aggression and authority should be central to his character. However, despite the weight of the character’s name, which suggests a fierce and combative nature, Ninalowo’s portrayal doesn’t fully convey the menace that the role requires. In scenes where his chiefs act with trepidation, his physical presence doesn’t quite match the perceived fear. Instead, he appears more like someone who simply commands through authority, sitting and shouting without the intensity expected of a king with a tumultuous past. It’s only through the dialogue of other characters, and when he suddenly becomes angry at King Adewola that we learn of his supposed violent nature. We may argue that this neutrality between menace and tenderness as an intentional choice, aimed at portraying him as a ruler whose darkness is only revealed in the film’s climactic moments. This would allow the “big reveal” to carry more weight, but in practice, the subtlety of this choice leaves the character feeling underdeveloped and, at times, flat. Similarly, King Adewola’s characterization seems underdeveloped. Akin Lewis as King Adewola brings warmth and sincerity to his role as a wise and benevolent father. His portrayal of a ruler caught between political obligations and his love for his daughter is grounded, though his performance occasionally feels too passive in moments that call for a deeper internal struggle. While his scenes with Princess Oyinade convey a sense of tenderness, they miss the emotional weight of the king’s more challenging decisions. Omowunmi Dada offers a portrayal of Princess Oyinade that balances innocence with inner conflict. Her performance is most effective in her moments of emotional vulnerability, particularly in her relationship with Irewole (Mike Afolarin). Dada’s ability to convey the character’s youth and idealism is charming. Gabriel Afolayan offers a standout performance as Prince Akinade, imbuing the character with authenticity. His portrayal of frustration and inner turmoil is particularly compelling, as he brings emotional depth to a character who, while underdeveloped in the narrative, still feels believable and relatable. Afolayan effectively conveys Akinade’s struggles with his circumstances, making his internal conflict palpable even if the character’s arc isn’t fully explored. His ability to subtly portray Akinade’s internal conflict in just a few scenes, makes the character’s journey, though limited, still impactful. The supporting characters, including Dele Odule, Adeyela ‘Lizzy Jay’ Adebola, Aisha Lawal, Bolaji Ogunmola, Moji Afolayan Olayiwola,Lasisi Elenu, and Fathia Balogun, deliver competent performances in their respective roles. These characters help flesh out the political intrigue and personal tensions within the story and their contributions feel more functional. ##### Technical Aspects The technical elements of *Asiri Ade* play a significant role in shaping its narrative and emotional tone. The soundtrack, for instance, is a standout feature, providing a lyrical commentary on the unfolding events while heightening tension and making moments resonate more deeply. Tracks like “Níbo lẹ fẹ sa de?” enhance the suspense, particularly in the opening scenes, immersing viewers in the film’s enigmatic world. The score’s strategic timing and cultural undertones elevate key moments, adding a layer of mysticism that aligns with the story’s themes. However, the technical aspects also have notable shortcomings. From the exaggerated makeup for Bolanle Ninalowo, excessive powder on Gabriel Afolayan’s face to enhance the portrayal of his youth, to the unrealistic theatrical prop swords and weapons, certain practical effects fall below standard. The lighting in some of the night scenes also detracts from the intended atmosphere, coming across as inconsistent and underwhelming. There is also an attempt to distinguish two key characters through subtle visual cues, such as a mole on the face. However, the mole varies in size and sometimes appears inconsistent, slightly distracting from its intended purpose. These elements, while not fully realised, contribute to a cinematic experience that seeks to balance cultural richness with narrative ambition. The costumes effectively highlight the film’s cultural richness, these strengths are undermined by the subpar execution of other technical elements. ##### Final Thoughts **spoiler alert!** The chemistry between Princess Oyinade and Prince Irewole is believable, However, the characters of King Ajagungbade and King Adewola, despite being central to the political conflict, are underdeveloped. The narrative hints at King Ajagungbade’s volatile nature, but this aggression is rarely conveyed on screen. This missed opportunity to show his ruthlessness affects the film’s ability to generate the intended tension. The film also leans heavily on convenient and clichéd plot devices. For instance, the decision to have King Ajagungbade search for a wife for his son amidst looming political stakes feels misplaced. Why would securing a marital alliance with King Adewola be a priority at such a critical moment? The premise of fostering “political” security through a marriage might have made sense if it had been King Adewola seeking a husband for his daughter. However, this inversion of roles seems poorly executed, derailing the logic of the story. It confuses the audience and weakens the political tension that the narrative seeks to build. Similarly, sequences like the masked killer sparing Ajiroba yet revealing his face feel like forced mechanisms to push the plot forward rather than natural storytelling choices. Prince Akinade’s abrupt decision to kill his father for personal redemption also lacks sufficient emotional groundwork, making it feel rushed and unearned. While the story hints at a deeply rooted conspiracy, the lack of strong characterization prevents the audience from fully engaging with the stakes. The film, which should have been a suspenseful drama, feels too reliant on plot devices rather than creating real emotional or political investment in its characters. However, the film is not without merit. The direction and cinematography occasionally elevate the material, especially in a subtle foreshadowing (we won’t divulge where). This scene serves as a clever moment, one that initially seems insignificant but later plays a pivotal role in the unfolding drama. ##### Verdict While the film is marked by inconsistencies in its narrative, characterization, and thematic execution, there is a moment of clever storytelling that helps redeem it. These moments offer a satisfying twist, but the film could have benefited from clearer character motivations and a stronger commitment to showing rather than telling, especially in a story that promises mystery and suspense. *Asiri Ade* is an intriguing, though imperfect, foray into Yoruba cinema’s potential for storytelling within the political and mystical realms. While it may not fully deliver on the tension promised by its premise, it offers a glimpse into a world steeped in rich tradition. For those who appreciate cultural depth and a bit of mystery, it provides an engaging watch, but for those seeking a tightly-woven thriller, it may fall short. *Asiri Ade* is currently streaming on [Circuits](https://www.circuits.tv/page/646792d82a19035a166745f6 "Circuits"). **Rating**: 3.2/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/asiri-ade-secrets-and-suspense-flawed-by-inconsistencies/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/asiri-ade-secrets-and-suspense-flawed-by-inconsistencies/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/asiri-ade-secrets-and-suspense-flawed-by-inconsistencies/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/asiri-ade-secrets-and-suspense-flawed-by-inconsistencies/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/asiri-ade-secrets-and-suspense-flawed-by-inconsistencies/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Adeoluwa Owu, Akin Lewis, Asiri Ade, Bolanle Ninalowo, circuits, Gabriel Afolayan, Mike Afolarin, nollycritic, nollywood, Omowumi Dada --- ### [Reel Love: Timini Egbuson's Production Debut Set For Cinema Release](https://nollycritic.com/reel-love-timini-egbusons-production-debut-set-for-cinema-release/) **Published:** January 9, 2025 **Author:** Fisayo Adekoya **Excerpt:** Nollywood’s Timini Egbuson and Kayode Kasum, in partnership with FilmOne Studios, will captivate audiences this Valentine’s season with Reel Love. **Content:** Kayode Kasum’s *Reel Love* will captivate audiences this Valentine’s season. The romantic drama explores the beauty of love, cultural connections, and resilience in life’s surprises. The film is directed by Kayode Kasum, produced by [Timini Egbuson](https://nollycritic.com/is-timini-egbuson-the-ultimate-nollywood-golden-boy/) and written by Ife Olujuyigbe. It features a star-studded that includes; Timini Egbuson, Funke Akindele, Dakore Akande, Muyiwa Ademola, Shaffy Bello, Bimbo Ademoye, Efa Iwara, Atlanta Bridget Johnson, Hermes Iyele, and Lillian Afegbai Alonngside T.J. Omusuku, who makes her debut as lead. The story follows a love triangle and highlights how life’s unexpected twists inspire growth. Its refreshing approach to romance ensures an emotional and relatable experience for the audience. The director-actor duo have earned recognition for their ability to create stories that resonate deeply with audiences, both in Nigeria and beyond. Together with the support of[ FilmOne Studios](https://www.filmoneng.com/filmone-studios " FilmOne Studios"), the production combines captivating visuals with a romantic narrative. *Reel Love* tells the moving story of a love triangle, resilience, and the beauty of embracing life’s unexpected journeys. As Nollywood continues gaining global recognition, *Reel Love* reflects the industry’s growth in storytelling and production. Its Valentine’s Day release perfectly aligns with the season of love, offering an unforgettable cinematic experience. The movie is set to premiere on Sunday, February 9, 2025, in Lagos. It will then debut in cinemas nationwide on Valentine’s Day, February 14, 2025. See the trailer below: ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/reel-love-timini-egbusons-production-debut-set-for-cinema-release/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/reel-love-timini-egbusons-production-debut-set-for-cinema-release/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/reel-love-timini-egbusons-production-debut-set-for-cinema-release/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/reel-love-timini-egbusons-production-debut-set-for-cinema-release/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/reel-love-timini-egbusons-production-debut-set-for-cinema-release/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** Bimbo Ademoye, Dakore Akande, efa Iwara, Film One, Funke Akindele, Muyiwa Ademola, nollycritic, nollywood, Shaffy Bello, Timini Egbuson --- ### [Pink Butterfly: A Lot to Unpack in This Social Media Drama](https://nollycritic.com/pink-butterfly-a-lot-to-unpack-in-this-social-media-drama/) **Published:** January 8, 2025 **Author:** Uju Okosieme **Excerpt:** Seun Sonoiki’s 'Pink Butterfly' quietly landed on Prime Video in late December, slipping under the radar amidst a flurry of holiday releases. **Content:** Seun Sonoiki’s ‘[Pink Butterfly’](https://www.imdb.com/title/tt35098358/ "Pink Butterfly'") quietly landed on Prime Video in late December, slipping under the radar amidst a flurry of holiday releases. But as the saying goes, “Better late than never.” Let’s dive into what this film brought to the table. ## *Pink Butterfly* Directed by: Seun Sonoiki Written by: Babajide Ayinde, Brandon Jose, Seun Sonoiki Genre: Crime Drama/Comedy Released on: December 23, 2024 (Prime Video) Language: English ##### Plot The synopsis reads: *“Golden Chainz,” a notorious cyber fraudster, tops Nigeria’s most-wanted list. Under pressure from the new Inspector General, the cybercrime unit assigns agent Yetunde Tejumola to infiltrate his inner circle. Disguised as “Pink Butterfly,” an influencer, Yetunde must navigate social media, capture Golden Chainz’ attention, and plant software to gather evidence—all while avoiding exposure.* The plot is easy to follow. However, the twist at the end falls flat, feeling more like an afterthought than a game-changer. ##### Story The premise is intriguing, and it’s refreshing to see Nollywood tackle police investgations through a creative lens—unfortunately, ‘Pink Butterfly’ stumbles in its execution. The pacing issues become glaring in the final act, where events unravel so quickly that it feels like the story is rushing to wrap up. A more deliberate approach could have made the resolution more impactful. That said, the film does have its strengths. The exploration of Yetunde’s dual identity as an agent and influencer brings something fresh to Nollywood’s crime-comedy genre, even if the narrative lacks the finesse to deliver on its promise fully. ##### Performances Performances in ‘Pink Butterfly’ are a mixed bag. Shalewa Ashafa stands out as Yetunde/Jessica, capturing the character’s duality with conviction. Her chemistry with Tope Tedela, who plays Johnson, adds warmth to their scenes. Charles Born has a decent performance as Anthony Drip, but the same can’t be said for Baaj Adebule and Gregory Ojefua, who portray Uche and Golden Chainz respectively. Their overly exaggerated acting, while perhaps intentional, feels out of place and detracts from the film’s overall tone. ##### Technical Aspects On the technical side, the film plays it safe. The cinematography, lighting, and editing don’t break any new ground, making it visually indistinguishable from a standard Nollywood comedy. While this approach isn’t inherently bad, it also doesn’t add anything memorable to the film. ##### Final Thoughts The comedy in ‘Pink Butterfly’ leans heavily on exaggeration. While this might appeal to some viewers, it can feel jarring, especially when serious moments are undercut by abrupt humour. Certain scenes leave you scratching your head, like when Johnson shows up high on drugs and kisses Yetunde—a moment that seems shoehorned in to justify her epiphany for completing her mission. Then there’s the baffling scene where Yetunde drugs Golden Chainz, but instead of being suspicious, he carries on as though nothing happened. These inconsistencies strain credibility, particularly for a plot centred around a supposedly cunning and dangerous cybercriminal. ##### Verdict ‘Pink Butterfly’ defied initial expectations. While the premise and lead performance by Shalewa Ashafa adds intrigue, the film’s pacing issues, tonal shifts, and underwhelming twist hold it back. Still, it’s a commendable attempt to bring something unique to [Nollywood](https://nollycritic.com/the-best-new-nollywood-feature-film-directors-of-2024/ "Nollywood"). **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. > [View this post on Instagram](https://www.instagram.com/reel/DD7E_XRtg1U/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Seun Sonoiki (@sheffythefilmmaker)](https://www.instagram.com/reel/DD7E_XRtg1U/?utm_source=ig_embed&utm_campaign=loading) ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/pink-butterfly-a-lot-to-unpack-in-this-social-media-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/pink-butterfly-a-lot-to-unpack-in-this-social-media-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/pink-butterfly-a-lot-to-unpack-in-this-social-media-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/pink-butterfly-a-lot-to-unpack-in-this-social-media-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/pink-butterfly-a-lot-to-unpack-in-this-social-media-drama/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** nollycritic, nollywood, Prime Video, Reviews, Seun Sonoiki, Shalewa Ashafa, Tope Tedela --- ### [Kunle Afolayan Launches New Youtube Film Channel](https://nollycritic.com/kunle-afolayan-launches-new-film-channel-youtube/) **Published:** January 7, 2025 **Author:** Shalom O. Obisesan **Excerpt:** The channel will feature works by Kunle Afolayan, including The Figurine, October 1, and Citation, as well as classic films by Adeyemi Afolayan **Content:** KAP Motion Pictures has announced the launch of KAP STREAM, a YouTube channel exclusively dedicated to streaming films from its collection. The channel will feature works by [Kunle Afolayan](https://nollycritic.com/kunle-afolayan-partners-with-u-s-embassy-to-empower-filmmakers/ "Kunle Afolayan"), including *The Figurine*, *October 1*, and *Citation*, as well as classic films by Adeyemi Afolayan, widely known as Adelove, such as *Kadara* and *Taxi Driver*. In addition to these titles, KAP STREAM will offer curated international films, providing viewers with access to a variety of global storytelling. The channel will also include exclusive original content, such as behind-the-scenes features and new productions created specifically for its audience. A key highlight of the channel’s early lineup is the upcoming streaming of [*The CEO*.](https://www.imdb.com/title/tt5036924/ "The CEO.") The show is set to premiere January 2025, and is expected to attract significant attention from fans of Kunle Afolayan’s work. The launch of KAP STREAM is part of a broader effort to create a hub for film enthusiasts, providing an opportunity to connect with stories that capture Nigeria’s cultural heritage while embracing international narratives. By making these films available online, KAP STREAM aims to reach a global audience, ensuring that viewers from all backgrounds can appreciate the diversity and depth of cinematic storytelling. The channel is now live and open to subscribers. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kunle-afolayan-launches-new-film-channel-youtube/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kunle-afolayan-launches-new-film-channel-youtube/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kunle-afolayan-launches-new-film-channel-youtube/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kunle-afolayan-launches-new-film-channel-youtube/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kunle-afolayan-launches-new-film-channel-youtube/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Nollywood News **Tags:** KAP, Kunle Afolayan, nollycritic, nollywood, The Ceo, Youtube --- ### [See The Best 20 Nollywood Movies of 2024](https://nollycritic.com/see-the-best-20-nollywood-movies-of-2024/) **Published:** January 3, 2025 **Author:** Shalom O. Obisesan **Excerpt:** From January to December 2024, Nollywood filmmakers treated us to stories that resonated, performances that lingered, and executions that reminded... **Content:** As we step boldly into 2025, it’s only fitting that we pause to tip our hats to the cinematic gems that defined [Nollywood](https://en.wikipedia.org/wiki/Nollywood "Nollywood") in the past year. From January to December 2024, filmmakers treated us to stories that resonated, performances that lingered, and executions that reminded us why Nollywood remains a force to be reckoned with. In curating this list, we considered how well each film was crafted, the power of its storytelling, the emotional impact it left behind, and, of course, our official Nollycritic rating. So, sit back and let’s relive the magic as we count down Nollycritic’s Top 20 Films of 2024. ##### 20. *A Night in 2005* Initially released in cinemas, and currently streaming on Prime, Temidayo Makanjuola’s[ *A Night in 2005*](https://nollycritic.com/a-night-in-2005-a-thought-provoking-drama-on-power-trauma-and-justice/ " A Night in 2005") is a deeply introspective film that bravely tackles trauma, justice, and the lingering scars of abuse. Anchored by standout performances from Uzoamaka Aniunoh and Efa Iwara, the film creates an emotional weight that lingers long after the credits roll. While its resolution feels slightly unsatisfying, the story’s raw honesty and poignant message about power imbalances keep it firmly etched in our minds. *A Night in 2005* remains a thought-provoking entry that sparks essential conversations. Streaming on Prime Video. **Rating: 3.5/5** ⭐⭐⭐⭐ Rating: 3.5 out of 5. ##### 19. *Everybody Loves Jenifa* Funke Akindele’s[ *Everybody Loves Jenifa* ](https://nollycritic.com/everybody-loves-jenifa-festive-spectacle-or-hollow-nostalgia/ " Everybody Loves Jenifa ")brings back the beloved character with her signature charm, infectious humour, and larger-than-life personality. Split into two distinct chapters, one set in Lagos and the other in Ghana; the film juggles comedy, drama, and thriller elements with varying degrees of success. The film struggles with tonal inconsistency and an overcrowded narrative. Its emotional beats often take a backseat to comedic gimmicks and star-studded cameos, leaving some subplots unresolved. Despite its narrative flaws, the film, released in cinemas in December 2024, makes it a crowd-pleaser worthy of its spot on this list. **Rating: 3/5** ⭐⭐⭐ Rating: 3 out of 5. ##### 18. *A Father’s Love* Sebastian Ukwa’s *[A Father’s Love](https://nollycritic.com/a-fathers-love-a-heartfelt-exploration-of-paternity-and-family-dynamics/ "A Father’s Love")* delivers an emotionally charged exploration of family, sacrifice, and the weight of fatherhood. It tackles the theme of paternity fraud with commendable sensitivity, leaving audiences with lingering reflections. David Jones delivers a stirring lead performance, balancing vulnerability with quiet strength. The emotional peak of his raw, the pleading radio monologue remains one of the most memorable moments in Nollywood this year. While some plot choices feel contrived and pacing occasionally falters, the film’s sincerity and emotional core are impossible to ignore. Streaming on Prime Video. **Rating: 2.5/5** ⭐⭐⭐ Rating: 2.5 out of 5. ##### 17. *Soft Love* *[Soft Love](https://nollycritic.com/soft-love-a-charming-romcom-that-delivers-heartfelt-humour-and-chemistry/ "Soft Love")*, directed by Holmes Awa, delivers exactly what its title promises—a tender, cross-cultural romance wrapped in vibrant visuals and light-hearted humour. Cindy Mahlangu and Efa Iwara share magnetic chemistry that drives the film’s emotional beats, while the supporting cast, including Genoveva Umeh and Rosemary Zimu, adds warmth and relatability. Though it occasionally leans into rom-com clichés, the film’s charm, strong performances, and heartfelt storytelling keep it afloat. Streaming on Prime Video. **Rating: 3.5/5** ⭐⭐⭐⭐ Rating: 3.5 out of 5. ##### 16. *Aburo* Yemi Morafa’s *[Aburo](https://nollycritic.com/aburo-beyond-the-finished-line-but-not-quite/ "Aburo")* shines brightest in its quiet, heartfelt moments. The story of an unlikely friendship between a troubled ex-athlete and a spirited street urchin is anchored by standout performances from Maleek Sani, Wumi Toriola, and Charles Inojie. The film’s cinematography and use of lighting create striking visual moments that complement its emotional narrative. While some subplots feel underdeveloped and the romantic arc lacks authenticity, *Aburo* still delivers a touching, if imperfect, story of resilience and redemption. **Rating: 3/5** ⭐⭐⭐ Rating: 3 out of 5. ##### 15. What About Us? Directed by Kayode Kasum, produced by Pastor Emmanuel Iren, *[What About Us?](https://nollycritic.com/what-about-us-an-exploration-of-modern-marital-issues/ "What About Us?")* explores the intricacies of modern relationships and marriage through a narrative rich in emotional depth and moral introspection. With its rich dialogue, vibrant visuals, and carefully considered production design, the film builds an intimate world that feels both personal and universal. While the heavy reliance on dialogue occasionally overshadows visual storytelling opportunities, the film’s emotional core remains intact. It’s a thoughtful exploration of connection and vulnerability, leaving audiences with much to ponder. **Rating: 3.5/5** ⭐⭐⭐⭐ Rating: 3.5 out of 5. ##### 14. Thin Line Directed by Akay Mason and produced by Mercy Aigbe, [*Thin Line* ](https://nollycritic.com/thin-line-mercy-aigbes-thriller-is-a-film-to-see/ "Thin Line ")takes viewers on a tense ride through guilt, morality, and the search for redemption. Released in cinemas, the film captivates with its thoughtful use of lighting and clever symbolic choices that add layers to the narrative. While its exploration of faith feels surface-level at times, the film’s pacing and emotional beats keep audiences engaged. It’s a thoughtful addition to Nollywood’s growing catalogue of suspense-driven stories, with moments that linger long after viewing. *Thin Line* delivers an engaging story underscored by its technical strengths and a well-paced plot. **Rating: 3.5/5** ⭐⭐⭐⭐ Rating: 3.5 out of 5. ##### 13. *Queen Lateefah* Directed by Adeoluwa Owu and produced by Wumi Toriola, *[Queen Lateefah](https://nollycritic.com/wumi-toriolas-queen-lateefah-grosses-over-n300000000/ "Queen Lateefah")* is a delightful mix of comedy and drama, blending sharp wit with heartfelt storytelling brought to the big screen. The film explores themes of identity, deception, and the pursuit of social mobility through the story of Lateefah, a woman living a double life in her quest for acceptance and stability. With sharp dialogue from the eponymous chatacter, and an engaging plot, the film delivers an enjoyable cinematic experience. Released in cinemas, *Queen Lateefah* didn’t just win audiences over with its charm but also performed impressively at the box office, grossing ₦57 million in its opening weekend. The film remains a standout entry in Nollywood’s 2024 slate. **Rating: 3.5/5** ⭐⭐⭐⭐ Rating: 3.5 out of 5. ##### 12. *House of Ga’a* [*House of Ga’a* ](https://nollycritic.com/house-of-gaa-a-brilliant-biopic-with-stellar-performances/ "House of Ga’a ")takes viewers into the historical world of the Oyo Empire, chronicling the rise and fall of the infamous Bashorun Ga’a. The film, directed by Bolanle Austen-Peters and written by Tunde Babalola and released on Netflix, it attempts to reframe a grand historical narrative through the lens of familial and personal conflict, offering an intimate perspective on power, ambition, and betrayal. Its production design, costumes, and set choices effectively recreate the era, while moments of creative cinematography shine particularly in scenes exploring spiritual symbolism. While the narrative maintains engagement, it misses the emotional depth needed to fully capitalize on its unique perspective. *House of Ga’a* offers a commendable effort at reimagining historical storytelling in Nollywood. **Rating: 3.5/5** ⭐⭐⭐⭐ Rating: 3.5 out of 5. ##### 11. *Ajosepo* *[Ajosepo](https://nollycritic.com/ajosepo-kayode-kasums-unusual-union-of-family-love-and-chaos/ "Ajosepo")* offers a comedic yet heartfelt exploration of familial involvement in marriage, diving into the chaos, secrets, and emotional undercurrents that often accompany traditional Yoruba unions. Released in cinemas, the film captivates with its sharp writing, and clever visual storytelling. The attention to detail in set design, costume choices, and sound design enriches the overall viewing experience, while the narrative flows seamlessly, keeping audiences engaged from start to finish. However, occasional continuity errors and a slightly overstretched finale weaken the film’s tight execution. *Ajosepo* succeeds in delivering a humorous, relatable, and visually polished story that resonates with its cultural roots. **Rating: 3.5/5** ⭐⭐⭐⭐ Rating: 3.5 out of 5. ##### 10. *A Green Fever* Set in 1980s Nigeria, *[A Green Fever](https://nollycritic.com/a-green-fever-a-thriller-that-almost-had-it-all/ "A Green Fever")* tells a suspenseful tale of secrets and survival. Taiwo Egunjobi’s direction builds tension through atmospheric lighting, moody visuals, and careful pacing. The film keeps viewers guessing while unravelling layers of deceit and hidden motivations. While its open-ended conclusion feels slightly abrupt, the storytelling remains deeply engaging. It’s a thriller that respects its audience’s intelligence and rewards their patience. *A Green Fever* showcases a commendable effort in blending historical tension with intimate character-driven storytelling, marking it as a notable entry in Nollywood’s growing repertoire of thrillers. **Rating: 3.5/5** ⭐⭐⭐⭐ Rating: 3.5 out of 5. ##### 9. *Suspicion* Directed by Tosin Igho, *[Suspicion](https://nollycritic.com/suspicion-the-juju-fiction-we-have-always-wanted/ "Suspicion")* ventures into Nollywood’s supernatural thriller space, blending elements of crime, action, and juju in an ambitious narrative. The film tackles themes of vengeance, grief, and the moral dilemmas surrounding justice, all set against a mystical backdrop. The visual effects and cinematography deliver some striking moments, with blue lighting adding an eerie aesthetic that complements the supernatural tone. However, while the plot offers twists and intrigue, the emotional weight of the story is occasionally diluted by rushed character arcs and uneven dialogue. The film’s open-ended conclusion makes us anticipate a sequel, hinting at greater potential for world-building. *Suspicion* remains a noteworthy attempt at redefining the supernatural genre in Nollywood. This film is available on Prime Video. **Rating: 3.5/5** ⭐⭐⭐⭐ Rating: 3.5 out of 5. ##### 8. *Kill Boro* *[Kill Boro](https://nollycritic.com/kill-boro-a-powerful-tale-of-family-and-redemption/ "Kill Boro")* stands out for its raw emotional weight and immersive storytelling. Directed by Courage Obayuwana and written by Priye Diri, they both craft a gritty tale of family, redemption, and desperation, anchored by cinematography that captures every tense moment and lingering silence. The handheld shots and moody colour palette deepen the story’s emotional stakes, while the authentic settings ground the narrative in harsh realities. The authenticity of the locations adds an extra layer of realism to the narrative, grounding the film’s emotional stakes. *Kill Boro* remains a poignant and visually captivating drama that highlights the promise of its debut director and the growing ambition of Nollywood’s storytellers. The film is available on Prime Video. **Rating: 3.5/5** ⭐⭐⭐⭐ Rating: 3.5 out of 5. ##### 7. *Christmas in Lagos* Jade Osiberu’s[ ](https://nollycritic.com/christmas-in-lagos-a-vibrant-tale-of-love-and-family/ " Christmas in Lagos ")[*Christmas in Lagos*](https://nollycritic.com/christmas-in-lagos-a-vibrant-tale-of-love-and-family/ " Christmas in Lagos ")[ ](https://nollycritic.com/christmas-in-lagos-a-vibrant-tale-of-love-and-family/ " Christmas in Lagos ")is vibrant and undeniably charming. Released on Prime Video, the film weaves together multiple storylines against the lively backdrop of Lagos’ festive Detty December. The visuals beautifully capture the city’s spirit, while the soundtrack adds a layer of emotional resonance to key moments. Although a few narrative choices feel slightly out of sync with the film’s flow, the overall experience is rich. *Christmas in Lagos* is a delightful addition to Nollywood’s holiday film catalogue, offering vibes, warmth, and a few surprises along the way. **Rating: 4/5** ⭐⭐⭐⭐ Rating: 4 out of 5. ##### 6. *With Difficulty Comes Ease* Korede Azeez delivers a deeply emotional story in *[With Difficulty Comes Ease](https://nollycritic.com/with-difficulty-comes-ease-a-strong-tale-of-loss-and-faith/ "With Difficulty Comes Ease")*, tackling grief, faith, and societal pressures with care and nuance. The story’s authenticity is its greatest strength, addressing sensitive topics like religious conversion, widowhood, corruption, and personal resilience with nuance and care without falling into cliché. The cinematography and colour grading mirror the story’s emotional tone. The storytelling remains heartfelt, reflective, and culturally significant proving that even quiet stories can make a loud impact. This film is a touching and culturally significant narrative that reflects Nollywood’s growing commitment to diverse storytelling. **Rating: 3.5/5** ⭐⭐⭐⭐ Rating: 3.5 out of 5. ##### 5. *Funmilayo Ransome-Kuti* Bolanle Austen-Peters’ *[Funmilayo Ransome-Kuti](https://nollycritic.com/funmilayo-ransome-kuti-o-god-of-israel-this-is-cinema/ "Funmilayo Ransome-Kuti")* isn’t just a historical film, it’s a powerful tribute. Initially released in cinemas and currently available on Prime, the film paints a vivid portrait of Funmilayo’s tireless advocacy for women’s rights and her unyielding fight against colonial and patriarchal oppression. The script shines with authenticity, blending sharp dialogue with well-researched storytelling. With stunning cinematography and meticulously recreated sets, the biopic brings the life of one of Nigeria’s most iconic activists to the screen with conviction. The transitions between timelines are seamless, and the performances are deeply compelling. While the abrupt ending leaves viewers wanting more, the film still stands tall as a celebration of resilience, courage, and the indomitable spirit of Funmilayo herself that lingered after **Rating: 4/5** ⭐⭐⭐⭐ Rating: 4 out of 5. ##### 4. *Farmer’s Bride* Co-directed by Jack’enneth Opukeme and Adebayo Tijani, [*Farmer’s Bride* ](https://nollycritic.com/farmers-bride-forbidden-love-cultural-expectations-and-freedom/ "Farmer’s Bride ")blends emotional storytelling with rich cultural representation. The film explores forbidden love, societal pressure, and the battle for personal freedom with visual flair and a soundtrack that heightens every emotional beat. While its pacing has moments of inconsistency, the second act shines with a balance of tension and vulnerability. Its thematic depth and cultural resonance secure its place among the year’s standout titles, making it a memorable entry in Nollywood’s romance-drama landscape. Released in cinemas, its ability to stir conversations about cultural expectations and individual agency solidifies its place as one of the more memorable Nollywood offerings of the year. **Rating: 4/5** ⭐⭐⭐⭐ Rating: 4 out of 5. ##### 3. *A Ghetto Love Story* Daniel Oriahi’s *[A Ghetto Love Story](https://nollycritic.com/a-ghetto-love-story-love-drama-and-a-truckload-of-shit/ "A Ghetto Love Story")* delivers raw emotion wrapped in a gritty love story set against the harsh realities of urban survival. Its production design is rich with authenticity, while the cinematography and lighting pull audiences into the chaotic yet intimate world of Obinna and Stella. The narrative balances romance, societal commentary, and personal ambition with remarkable poise, though it occasionally leans too heavily on dialogue for exposition. Still, the emotional weight of the story and its carefully layered performances make it one of the year’s most engaging films. *A Ghetto Love Story* remains an engaging romantic drama. Its narrative depth, cultural resonance, and sharp technical execution make it a standout entry in Nollywood’s cinematic landscape. **Rating: 4/5** ⭐⭐⭐⭐ Rating: 4 out of 5. ##### 2. *Wives on Strike 3: The Uprising* In *[Wives on Strike 3: The Uprising](https://nollycritic.com/the-uprising-abstinence-to-activism-and-a-darker-reckoning/ "Wives on Strike 3: The Uprising")*, Omoni Oboli shifts gears, taking the beloved franchise into darker, more emotionally intense territory. Hilda Dokubo anchors the story with a riveting performance as Ebiere, a mother on a relentless quest for justice. The cinematography sharpens the story’s emotional focus, while the narrative explores maternal love, societal failure, and the grey areas of justice. Though comedic interruptions sometimes feel out of place, the film remains powerful, thought-provoking, and one of the most impactful entries in the series. *Wives on Strike 3: The Uprising* successfully balances emotional resonance and social commentary, delivering a powerful cinematic experience. **Rating: 4/5** ⭐⭐⭐⭐ Rating: 4 out of 5. ##### 1. *The Weekend* At the top of our list is *[The Weekend](https://nollycritic.com/the-weekend-finally-a-thriller-that-checks-the-right-boxes/ "The Weekend")*—a masterful psychological thriller from Daniel Oriahi that blends suspense, horror, and deeply unsettling family secrets. The film’s sharp cinematography, evocative sound design, and symbolic costume choices build an atmosphere thick with tension that enhanced the cinema experience. Uzoamaka Aniunoh shines in her role as Nikya, carrying the emotional weight of the story with precision, while Bucci Franklin delivers a compelling performance as Luke. Although the film occasionally leans to predictable genre tropes and relies on familiar Hollywood storytelling frameworks, it remains an engaging and impactful cinematic experience. It’s a bold entry into Nollywood’s evolving thriller landscape and sets a benchmark for future genre films. **Rating: 4/5** ⭐⭐⭐⭐ Rating: 4 out of 5. And there you have it—Nollycritic’s Top 20 Nollywood Films of 2024. From thought-provoking dramas to thrilling suspense, this list highlights the diversity, ambition, and creativity driving Nigerian cinema forward. Which film captured your heart? Which one do you think deserved a higher spot? Let’s know in the comments section. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-best-20-nollywood-movies-of-2024/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-best-20-nollywood-movies-of-2024/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-best-20-nollywood-movies-of-2024/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-best-20-nollywood-movies-of-2024/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-best-20-nollywood-movies-of-2024/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Nollywood News **Tags:** A Father's Love, A ghetto love story, A Green Fever, A Night in 2005, Aburo, Ajosepo, Christmas in Lagos, Everybody Loves Jenifa, Farmers bride, Funmilayo Ransome-Kuti, House of Gaa, Kill Boro, Netflix, nollycritic, nollywood, Prime Video, Queen Lateefah, Soft Love, suspicion, The Uprising: Wives on Strike, The Weekend, Thin Line, what about us, With Difficulty Comes Ease --- ### [Nollycritic's Top 10 Best Nollywood Series of 2024](https://nollycritic.com/nollycritics-top-10-best-nollywood-series-of-2024/) **Published:** December 30, 2024 **Author:** Shalom O. Obisesan **Excerpt:** In 2024, Nollywood continued to shine, blending dynamism, groundbreaking innovations, and creative storytelling. was a year of sheer brilliance... **Content:** In 2024, Nollywood continued to shine, blending dynamism, groundbreaking innovations, and creative storytelling. It was a year of sheer brilliance, with a few storms of drama along the way (because what’s Nollywood without drama?). At [Nollycritic](https://nollycritic.com/ "Nollycritic"), we’ve put our heads together to curate a list of our 10 top-rated Nollywood series this year from December 2023 to December 2024. Our picks are based on critical acclaim, storytelling finesse, and, of course, our official ratings. A few of these gems snuck in during the final days of 2023 but left such a mark on us in 2024 that we just couldn’t leave them out. Now, let’s dive into the stories that kept us glued to our screens and left lasting impressions. ##### **1. Iwájú** This one’s a big deal—not just for Nollywood, but for African storytelling as a whole. A collaboration between Walt Disney Animation Studios and Kugali Studios, *Iwájú* whisks us away to a futuristic Lagos bursting with life. We follow the story of Tola, a privileged young girl, and Kole, a tech genius with a rougher start in life. Together, they cross societal divides and unearth some shocking truths. The series impresses with its colourful animation, authentic voice performances, and a setting that blends sci-fi elements with familiar Lagos realities. The plot keeps things simple, but that’s part of its charm. *Iwájú* doesn’t try to overcomplicate what’s already a compelling story. For us, it’s not just a series; it’s a statement: African stories deserve to be told on a global stage, and *Iwájú* makes that loud and clear. *Iwájú* is currently streaming via [Disney+](https://ondisneyplus.disney.com/show/iwaju "Disney+"). **Rating:** 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ##### 2. *WAR: Wrath and Revenge* Talk about intense! EbonyLife Studios knocked it out of the park with *WAR: Wrath And Revenge*. This gripping political thriller plunges us into the chaotic world of Kowa State, where Nuhu Bula, an ambitious gubernatorial candidate, and his determined wife, Binta Bula, navigate dangerous alliances and relentless opposition. *WAR: Wrath And Revenge* spins a tale of power, loyalty, and hidden agendas. The sharp writing, breakneck pacing, and stellar performances from Rahama Sadau and Ifeanyi Kalu had us on the edge of our seats. It’s not just a story of power and betrayal; it’s a mirror reflecting Nigeria’s realities, where power is both seductive and burdensome. And while this series is a spin-off of *Sons of the Caliphate*, it totally stands on its own. That’s what makes it a standout, and a must-watch. **Rating:** 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ##### *3. Seven Doors* Blending Yoruba tradition with advanced cinematic storytelling and a robust budget, *Seven Doors* unfolds in Ilara Kingdom, where King Adedunjoye battles love, tradition, and a generational curse threatening his throne. Directed by Femi Adebayo, the series shines in its breathtaking visuals, authentic cultural representation, and ambitious VFX execution. While performances from Chioma Akpotha and Aliu Gafar stand out, an over-reliance on theatrical acting and uneven pacing sometimes dampen the emotional impact. Sure, the pacing stumbles here and there, and we think it would pass for a 1 hour 30 minutes feature film, for us, *Seven Doors* is a bold leap forward for Yoruba Nollywood that showcases the evolving ambition of Nigerian cinema. **Rating:** 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ##### 4. *Roses and Ivy* If you love drama, [*Roses and Ivy* ](https://nollycritic.com/roses-and-ivy-love-meets-sacrifice-in-biodun-stephens-drama/ "Roses and Ivy ")is for you! Directed by Biodun Stephen, this series dives deep into the messy, emotional world of sisterhood. Rose and Evelyn’s relationship is anything but simple, tangled up in betrayal, love, and impossible choices. What keeps us hooked? Number one, the (sometimes, implausible) drama. Then, the stunning graphics, gripping soundtrack and scores, and top-tier performances. Uche Montana brings a layered intensity to Roselyn, while Munachi Abii’s Evelyn quietly tugs at our heartstrings. Sure, the story falters at times with forced twists and inconsistent character decisions, but each episode left us eager for the next. That’s why it earns a well-deserved spot on our list! [*Roses and Ivy* ](https://nollycritic.com/roses-and-ivy-love-meets-sacrifice-in-biodun-stephens-drama/ "Roses and Ivy ") is currently streaming on Prime Video. **Rating:** 3/5 ⭐⭐⭐ Rating: 3 out of 5. https://www.youtube.com/watch?v=8ZgenEX1CGI ##### *5. Inside Life* Talk about breaking the mould! *[Inside Life](https://nollycritic.com/inside-life-the-interstice-of-fractured-realism-and-ambitious-undertones/ "Inside Life")*, directed by Clarence Peters, experiments with non-linear storytelling and multi-threaded narratives in a way that left us intrigued. The series intertwines several parallel stories, all anchored by a prison motif, exploring heavy themes such as crime, loss, love, and oh, a dash of supernatural mysticism for good measure. The gritty realism of the opening episodes and powerful performances from Gabriel Afolayan and Meg Otanwa grabbed us immediately. And while the latter half struggled a bit with tonal shifts and repetitive moments, it didn’t take away from the overall ambition of the series. For us, *Inside Life* is proof that Nigerian storytelling is evolving, and we’re here for it. *Inside Life* is streaming on Netflix. **Rating:** 3/5 ⭐⭐⭐ Rating: 3 out of 5. ##### 6. *Postcards* Directed by Hamisha Daryani Ahuja, *Postcards* presents an exploration of love, identity, and cultural connection, bridging the worlds of Nigeria and India (same as Hamisha’s previous offering, *Namaste Wahala*). The story follows Aunty Bunmi (Sola Sobowale), her son Yemi (Tobi Bakre), and a combination of characters navigating personal struggles, family dynamics, and life-changing decisions in Mumbai. While the series excels in cinematography, emotive performances, notably from Sola Sobowale, Rahama Sadau, and Rajniesh Duggall, and a rich cultural blend, it falls short in delivering a truly standout narrative. The plot remains straightforward and predictable, yet the cultural fusion offers a fresh perspective. *Postcards* is an emotionally engaging series, balancing simplicity with heartfelt moments. *[Postcards](https://nollycritic.com/postcards-a-journey-through-love-and-identity/ "Postcards")* is streaming on Netflix. **Rating:** 3/5 ⭐⭐⭐ Rating: 3 out of 5. ##### 7. *Beyond The Veil (Season 2)* Returning for a second season, *Beyond The Veil* continues to explore the lives of Na’ima, Baddie, Hanifa, and Zizi as they navigate love, loss, and societal expectations. This season’s biggest win is Baddie’s emotional arc, which shines a much-needed light on the realities of domestic violence. Unfortunately, some other storylines don’t quite hit the mark: Na’ima’s narrative feels fragmented, Hanifa’s conclusion feels rushed, and Surrayah’s motivations remain unclear. Still, we couldn’t look away. Irrespective, [*Beyond The Veil* ](https://nollycritic.com/beyond-the-veil-season-2-missed-opportunities-in-writing/ "Beyond The Veil ")had its moments of brilliance, reminding us why we rooted for these characters in the first place. Streaming on Prime Video. **Rating:** 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ##### 8. *Life and Dirt* Bovi’s long-awaited [*Life and Dirt* ](https://nollycritic.com/life-and-dirt-promising-supernatural-thriller-that-struggles-to-deliver/#google_vignette "Life and Dirt ")had us intrigued from the get-go. A supernatural thriller mixed with family drama and crime giving *Living in Bondage*? Sign us up! The series follows Yo, a business manager groomed by his mentor, Ajazi, to take over someday. But things spiral out of control when Yo joins a supernatural fellowship led by the mysterious Nene, forcing him to make dangerous decisions. Meanwhile, the Obi family struggles with betrayal, marital tensions, and a shocking twist that ties all the chaos together. While the story brims with potential and serves up suspenseful twists, the rushed final episodes and plot holes left us wanting more. Why does Yo seek a native doctor to confront Nene’s power? And why does Ijeoma keep a baby she didn’t even want amid the turmoil? Still, *Life and Dirt* keeps us hooked with its storytelling and dark, atmospheric tone. It’s not perfect, but it still earns a spot on our list for daring to try something different. *Life and Dirt* is streaming on Prime Video. **Rating:** 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ##### 9. *Anikulapo: Rise of the Sceptre* Kunle Afolayan’s *Aníkúlápó: Rise of the Spectre* brings Yoruba culture to life in a way that’s hard to ignore. Picking up after Saro’s fall from grace in the original film, the miniseries delves into his journey as he evades divine judgment, clashes with political forces in Oyo, and grapples with the havoc caused by the mythical Akala bird. The visuals are stunning, and the cultural representation, from the costumes to the dialogue steeped in Yoruba tradition, immerses viewers in a rich historical world. That said, the storytelling wobbles. The timelines are confusing, and subplots, like the Oyomesi council’s power struggle and Bashorun’s schemes, feel half-baked, leaving the series with more ambition than coherence. Still, the effort to join mythology, history, and politics into a single narrative makes this a fascinating, if flawed, attempt at epic storytelling. *Aníkúlápó: Rise of the Spectre* earns a place on our list (being the first before *Seven Doors*) for its commitment to showcasing Yoruba culture on a grand scale. It’s bold, visually striking, and undeniably unique. Streaming on Netflix. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ##### 10. *Oloture: The Journey* When a sequel to a hit like Oloture drops, you can’t help but have high expectations. Sadly, [*Oloture: The Journey*](https://nollycritic.com/oloture-the-journey-another-dull-sequel-that-never-arrives/)[ ](https://nollycritic.com/oloture-the-journey-another-dull-sequel-that-never-arrives/)left us a bit underwhelmed. Oloture: The Journey takes us deeper into the perilous world of human trafficking, continuing Ehi’s fight for survival after narrowly escaping her captors in the original movie. The series masterfully captures the unrelenting tension and moral ambiguity of her journey to Europe, while also exploring the ripple effects of her actions back in Lagos. With well-placed suspense and raw storytelling, it sheds light on the harsh realities of trafficking, all while keeping viewers invested in Ehi’s fate. The locations and cinematography are standouts, with desert crossings and action-packed moments that draw us right into the danger and desperation of Ehi’s world. Although the series leaves us with lingering questions and unresolved plotlines, its ability to spark conversation about human trafficking, the sacrifices made by its victims, its daring storytelling and unflinching portrayal of an important issue earn it a spot among the year’s best Nollywood series. []()[*Oloture: The Journey*](https://nollycritic.com/oloture-the-journey-another-dull-sequel-that-never-arrives/) is streaming on Netflix. **Rating:** 2/5 ⭐⭐ Rating: 2 out of 5. These are our top picks for the best Nollywood series of 2024, each offering a unique blend of storytelling, cultural representation, and creativity. What do you think of our list. Did your favourites make the cut, or do you have others in mind? **Honourable mentions**: *Flawsome Season 2, Princess on the Hill* As we look forward to 2025, we can’t wait to see what Nollywood has in store for us. More groundbreaking stories, bold experiments, and unforgettable moments! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollycritics-top-10-best-nollywood-series-of-2024/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollycritics-top-10-best-nollywood-series-of-2024/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollycritics-top-10-best-nollywood-series-of-2024/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollycritics-top-10-best-nollywood-series-of-2024/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollycritics-top-10-best-nollywood-series-of-2024/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, TV **Tags:** Anikulapo, best shows, beyond the veil, Inside Life, Iwaju, Life and Dirt, Netflix, nollycritic, nollywood, oloture: The Journey, Postcards, Prime Video, roses and ivy, seven doors, war: wrath and revenge --- ### [10 Highest Grossing Nollywood Movies of 2024](https://nollycritic.com/10-highest-grossing-nollywood-movies-of-2024/) **Published:** January 4, 2025 **Author:** Fisayo Adekoya **Excerpt:** 2024 was a groundbreaking year for Nollywood, with filmmakers delivering captivating stories that resonated across diverse audiences. These movies shattered **Content:** 2024 was a groundbreaking year for Nollywood, with filmmakers delivering captivating stories that resonated across diverse audiences. These movies shattered box office records, showcasing the industry’s immense growth. Here’s a detailed breakdown of the [highest-grossing Nollywood movies of the year](https://www.bellanaija.com/2024/12/everybody-loves-jenifa-hits-1-billion-naira-at-box-office/ "highest-grossing Nollywood movies of the year"), starting from the lowest: ##### 10. *All’s Fair in Love* – ₦132 Million *All’s Fair in Love* captured the complexities of love and relationships with a relatable narrative. This romantic drama’s emotional depth, coupled with its stellar performances, made it a crowd favorite. Its success highlighted the consistent audience appeal for heartfelt love stories. ##### 9. *Muri & Ko* – ₦136 Million Humor took center stage in *Muri & Ko*. Audiences were thoroughly entertained by the film’s clever humor and well-developed characters, which struck a chord with viewers from all walks of life. Its success at the box office highlighted the timeless appeal of comedy and its ability to bring people together through shared laughter. ##### 8. *Funmilayo Ransom Kuti* – ₦157 Million The biopic *Funmilayo Ransom Kuti* celebrated one of Nigeria’s most iconic feminist figures. This inspiring film depicted her life, struggles, and triumphs, connecting with viewers on a deeply emotional level. Its cultural significance played a big role in its success. ##### 7. *The Farmer’s Bride* – ₦164 Million A charming mix of romance and tradition, *The Farmer’s Bride* explored the clash between modernity and cultural expectations. Its heartwarming storyline and endearing characters made it a top choice for audiences seeking a feel-good movie experience. ##### 6. *Lakatabu: The Monster* – ₦202 Million Mystery lovers were thrilled by *Lakatabu*, a gripping thriller that kept viewers on the edge of their seats. Its intricate plot and suspenseful twists marked it as one of Nollywood’s most remarkable ventures into the thriller genre. ##### 5. *Alakada Bad and Boujee* – ₦205 Million Toyin Abraham’s *Alakada Bad and Boujee* brought glamor and hilarity to the big screen. The latest installment in the *Alakada* series delivered a perfect blend of comedy and drama, solidifying its place as one of the year’s most popular films. ##### 4. *Beast of Two Worlds* – ₦252 Million *Beast of Two Worlds* took audiences on an epic journey into African mythology. With its stunning visuals and compelling storyline, this fantasy film elevated Nollywood’s standing in the genre, offering an unforgettable cinematic experience. ##### 3. *Ajosepo* – ₦257 Million A moving tale of forgiveness and family, *Ajosepo* struck a chord with viewers for its relatable themes and emotional depth. Its powerful performances and thought-provoking narrative contributed to its impressive box office performance. ##### 2. *Queen Lateefah* – ₦357 Million This historical epic brought the story of a courageous African queen to life. *Queen Lateefah* combined striking visuals with a gripping narrative, appealing to audiences drawn to tales of heroism and legacy. ##### ***1. Everybody Loves Jenifa*** – Over ₦1 Billion Taking the crown as the highest-grossing Nollywood movie of 2024, *[Everybody Loves Jenifa](https://nollycritic.com/everybody-loves-jenifa-breaks-box-office-records/ "Everybody Loves Jenifa")* charmed audiences with its humor and nostalgia. Funke Akindele’s return as Jenifa delighted fans, making this comedy the first Nollywood film this year to cross the ₦1 billion mark. 2024 showcased Nollywood’s diversity, creativity, and ability to connect with audiences. From historical dramas to fantasy adventures, these movies demonstrated the industry’s capacity for global impact. With improved production standards and bold storytelling, Nollywood is poised for even greater heights in the years ahead. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/10-highest-grossing-nollywood-movies-of-2024/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/10-highest-grossing-nollywood-movies-of-2024/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/10-highest-grossing-nollywood-movies-of-2024/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/10-highest-grossing-nollywood-movies-of-2024/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/10-highest-grossing-nollywood-movies-of-2024/?share=linkedin) - **Categories:** Articles, Movies, Nollywood, Nollywood News **Tags:** 2024 nollywood movies, alakada bad and boujee, Box Office, Everybody Loves Jenifa, nollycritic, nollywood, nollywood 2024, Queen Lateefah, Top-grossing movies --- ### [Alakada - Bad and Boujee: An Unsatisfying Installment](https://nollycritic.com/alakada-bad-and-boujee-an-unsatisfying-installment/) **Published:** December 31, 2024 **Author:** Shalom O. Obisesan **Excerpt:** The Alakada franchise, spearheaded by Toyin Abraham, has long been a staple of Nollywood, blending humour with social commentary to highlight.. **Content:** The [Alakada franchise](https://www.imdb.com/title/tt34895650/ "Alakada franchise"), spearheaded by Toyin Abraham, has long been a staple of Nollywood, blending humour with social commentary to highlight societal pressures and the absurdities of modern life. The latest instalment, *Alakada: Bad and Boujee*, directed by Adebayo Tijani, promised to continue this tradition while tackling themes of social media culture, class struggles, and the pursuit of validation in contemporary Nigeria. With a a challenge like[ *Queen Lateefah* ](https://nollycritic.com/queen-lateefah-the-next-level-alakada-with-a-twist/ " Queen Lateefah ")on this thematic subject, expectations were high for a fresh take that could elevate its narrative and provide meaningful commentary. However, after years of revisiting the same exaggerated lies, outrageous schemes, and shallow resolutions, one question lingered: would this film bring something new to the table, or would it fall into the trap of recycling old formulas? ## Alakada: Bad and Boujee Directed by: Adebayo Tijani Produced by: Toyin Abraham Genre: Comedy/Drama Released on: December 18, 2024 (Cinemas) Language: Yoruba/English ##### Story The film attempts to explore themes of authenticity, societal pressures, and the influence of social media on personal identity, with its protagonist navigating the tension between her aspirations for glamour and the reality of her humble origins. However, the narrative undermines its own intent by refusing to explore these themes seriously. For instance, Yetunde’s uneducated and exaggerated lies, meant to be the foundation of the film’s comedy, have grown tired after several instalments. The repetition of her antics lacks the impact it once had, diminishing the potential for meaningful commentary. While the story tries to enforce a moral resolution by making Yetunde’s lies catch up with her, the ending feels contrived, especially as her friends and loved ones abandon her, blaming her for their shared failures. The forced redemption arc, complete with Yetunde crying and showing remorse, feels hollow and unearned, given her consistent inability to reflect or change. ##### Plot The plot revolves around Yetunde Animashaun’s quest to maintain a glamorous online persona despite her modest background. Her fabricated lifestyle and pursuit of fame drive the film forward, but the plot’s lack of direction is glaring. It often feels like the writers are inventing plotlines on the go, leaning heavily on comedic gags and “vibes” without a clear narrative structure. The over-reliance on Yetunde’s lies results in repetitive scenes that eventually lose their humour and purpose. New elements are introduced haphazardly, such as Yetunde’s sister’s (Mayowa) abusive relationship, which is treated with baffling triviality. Yetunde’s deliberate ignorance of her sister’s plight to benefit herself only deepens the film’s disconnect between its comedic tone and darker subplots. When these serious issues are “plotfully” exaggerated, the emotional weight is lost, and the film never fully engages with them. Following that, the death of their elder brother, Jide, is another moment meant to add emotional depth but Mayowa introduces serious allegations against her boyfriend out of nowhere. Instead, it feels like a sensational attempt to tug at the audience’s heartstrings to pity Mayowa and get angry or upset with Yetunde. Even the final act, which introduces a revenge subplot against Madam Sharon, seems shoehorned in, stretching the runtime unnecessarily and leading to an abrupt and unconvincing “happy ending”. The film would have benefited from trimming at least 30 minutes of these extraneous plotlines and focusing on a more coherent and meaningful progression. ##### Performances Toyin Abraham’s portrayal of Yetunde Animashaun, the central figure of the Alakada franchise, feels over-reliant on a formula that has grown stale over the years. While her exaggerated lies and outlandish schemes occasionally draw laughs, the humour often falls flat. The emotional connection that should tie the audience to her character is missing, as Yetunde remains stagnant across all instalments: failing to learn, grow, or develop. The film’s attempts to infuse lessons about the consequences of dishonesty feel tacked on and lack authenticity, as Yetunde’s journey offers no genuine progression. Odunlade Adekola delivers a competent yet uninspired performance as Brother Jide. His presence is serviceable, and his key moment, delivering the ominous line, “One day, you’ll need someone to believe you, and no one will”, foreshadows Yetunde’s downfall. Bimbo Ademoye as Rebecca and Adeyela ‘Omo Ibadan’ Adebola as Abebi bring moments of levity and sincerity to the narrative, albeit within the limitations of the script. Ademoye’s Rebecca, often serving as the voice of reason amidst Yetunde’s chaos, demonstrates a balance between humour and sincerity, cautioning Yetunde against her escalating fabrications. However, like Abebi, her role is ultimately overshadowed by the film’s lack of meaningful character development. Ini Edo’s Madam Sharon provides an intriguing duality as both a benevolent socialite and a sinister organ harvester. Her commanding presence adds depth to the film’s darker subplot. Lolade Okusanya as Mayowa, Yetunde’s sister, struggles to balance her portrayal of a domestic abuse victim. Her comedic delivery of sensitive moments trivialises the gravity of her character’s suffering, making it impossible for the audience to take her journey seriously even when the film escalates her plight for dramatic effect. The film also includes IK Ogbonna and Bukunmi Adeaga-Ilori (KieKie). KieKie’s exposure of Yetunde’s lies is a predictable yet entertaining highlight, showcasing her usual comedic flair. However, the decision to base this twist on a Yoruba misunderstanding feels contrived, especially considering KieKie’s well-known Yoruba heritage and comedic persona. The performances overall range from functional to amusing, but they are hampered by the uneven script and tonal inconsistencies, making it difficult for the cast to fully engage the audience. ##### Technical Aspects The visuals in the film are serviceable but lack any striking or memorable qualities. However, the costume design plays an unexpectedly significant role, particularly in the character of Shola Shine Shine (Ronke Odusanya). In the final scenes, her bandana subtly foreshadows her involvement in the plot twist, signifying a change in her actions and choices. While this may not have been a deliberate move by the filmmakers, it adds an unintentional layer of meaning for viewers who pick up on it. Later, her shift into a polished, clean outfit for the final confrontation (though symbolically suggesting readiness for action) feels out of place within the world of the film. Dressing in a snazzy top, shorts, and pristine trainers for a fight detracts from the authenticity of the moment and inadvertently elicits chuckles. The film also suffers from a noticeable continuity error, particularly in the last scenes featuring Madam Sharon. During the confrontation, she is seen without a wig, when she’s arrested, she’s in a wig, moments later, in police custody on TV, she is suddenly wearing a scarf. This inconsistency, whether an attempt to retroactively address earlier mistakes or a simple oversight, highlights a lack of attention to detail. These technical missteps, while not major, contribute to the film’s overall lack of polish. ##### Final Thoughts In the end, *Alakada: Bad and Boujee* feels like a frivolous and unnecessary addition to its long-standing franchise. This December brought two competing Nollywood staples back to the screen:[ *Everybody Loves Jenifa* ](https://nollycritic.com/everybody-loves-jenifa-festive-spectacle-or-hollow-nostalgia/ " Everybody Loves Jenifa ")and *Alakada: Bad and Boujee*. But sadly, both suffer from the same flaws. Neither offers anything new or meaningful, relying instead on nostalgia and audiences’ past affection for their protagonists. This reliance on old formulas, combined with uninspired storytelling and a lack of polish, leaves little to appreciate. It was telling to hear a surprisingly large number of audience members audibly hiss at the end of the film as they exited the cinema. A reaction that underlines the film’s failure to meet even modest expectations. ##### Verdict *Alakada: Bad and Boujee* is disjointed, uninspired, and fails to justify its existence within the franchise. This isn’t hate; it’s simply an honest critique of a film that, unfortunately, fell far below its potential. We rate it a 2 and half out of 5 stars. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/alakada-bad-and-boujee-an-unsatisfying-installment/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/alakada-bad-and-boujee-an-unsatisfying-installment/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/alakada-bad-and-boujee-an-unsatisfying-installment/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/alakada-bad-and-boujee-an-unsatisfying-installment/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/alakada-bad-and-boujee-an-unsatisfying-installment/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** alakada, alakada bad and boujee, Ini Edo, Kie Kie, nollycritic, nollywood, Odunlade Adekola, Reviews, Toyin Abraham --- ### [The Waiter: AY Makun's Akpos Needs to be Retired](https://nollycritic.com/the-waiter-ay-makun-needs-to-be-retire-akpos/) **Published:** December 31, 2024 **Author:** Shalom O. Obisesan **Excerpt:** From Jenifa, to Yetunde and now Akpos in The Waiter, filmmakers have relied on the pre-existing love for these characters to draw audiences. **Content:** Nollywood’s December 2024 cinema line-up has been marked by a curious trend: the return of familiar characters in films that lean heavily on nostalgia rather than innovation. From Jenifa in [*Everybody Loves Jenifa* ](https://nollycritic.com/everybody-loves-jenifa-festive-spectacle-or-hollow-nostalgia/ "Everybody Loves Jenifa ")to Yetunde in *Alakada: Bad and Boujee*, and now Akpos in [*The Waiter*,](https://www.imdb.com/title/tt34983230/ "The Waiter,") filmmakers have relied on the pre-existing love for these characters to draw audiences. Directed by Toka McBaror and starring Ayo Makun, The Waiter attempts to blend comedy and action in a hostage thriller that brings back Akpos, the brash and loud “Warri” boy. However, much like its counterparts, this film struggles to polish or elevate its character’s relevance, raising the question: is nostalgia alone enough to carry a story to success? ## *The Waiter* Directed by: Toka McBaror Written by: Anthony Kehinde Joseph, Ayo Makun Genre: Comedy/Action/Thriller Released on: December 20, 2024 (Cinemas) Language: English ##### Story *The Waiter* sets up an ambitious clash between courage and self-interest, using a chaotic hostage situation to explore human behaviour under pressure. Akpos’s determination collides with Tonye Bright’s morally ambiguous quest for justice, contrasting comedic absurdity with the weighty themes of power, survival, and systemic poverty. The story occasionally lands its punches: Tonye’s sharp dialogue and psychology about poverty and corruption cuts through the chaos and provides moments of genuine resonance. However, the story ultimately falters because it tries to do too much. The story struggles to find a clear focus, oscillating between comedic escapades and the weightier themes of heroism and societal justice. While the film hints at an exploration of systemic poverty and moral choices, these ideas remain underdeveloped, buried beneath Akpos’s antics. By failing to tie its themes into a cohesive narrative, the story loses the emotional resonance it could have achieved, leaving its commentary on courage and power feeling shallow. ##### Plot The plot of The Waiter is an overstuffed, chaotic rush of events that barely connect, undermining its potential as a comedy thriller. Akpos, a brash caterer, finds himself trapped in a hotel hijacked by Tonye Bright, a disgruntled ex-soldier demanding poverty alleviation funds. As Tonye holds government officials hostage, Akpos leaps into action with his signature bravado, overpowering goons and creating chaos, though his efforts barely impact the larger crisis. Akpos’s antics and Tonye’s hostage situation exist in parallel rather than intersecting meaningfully, creating a disjointed narrative that leaves many threads unresolved. This lack of cohesion, combined with implausible scenarios and unnecessary subplots, drains the film of tension and reduces its high-stakes premise to a series of inconsequential set pieces. Moments of tension are quickly undercut by comedic detours or exaggerated performances. The film never lets its high-stakes premise breathe. The ending is especially frustrating, leaning awkwardly into a cringey romance between Akpos and Idara, a character who feels wasted throughout the film. The Waiter tries to juggle action, comedy, romance, and social commentary but spreads itself too thin, leaving the audience both overwhelmed and underwhelmed. Despite moments of promise, the plot is ultimately unsatisfying, with too many loose threads and missed opportunities. ##### Performances In *The Waiter*, the performances are a mixed bag, with some actors adding gravitas while others fall short due to uneven character direction. Ayo Makun reprises his familiar role as Akpos, injecting the character with his trademark comedic energy and loud cries of “Warri!” While some may find his antics amusing, the performance often feels exaggerated to the point of caricature, which clashes with the film’s more serious moments. This over-the-top approach makes Akpos more of a disruptive force than a cohesive lead, failing to strike the right balance between humour and the story’s stakes. Bucci Franklin’s portrayal of Tonye Bright, the ex-soldier turned terrorist, is a standout performance. He delivers sharp, socially relevant dialogue that often breaks the fourth wall, making his reflections on poverty and political corruption feel timely and impactful. Franklin’s cold intensity gives weight to Tonye’s radical motivations, though the shaky foundation of the character’s goals sometimes undercuts the effectiveness of his delivery. Deyemi Okanlawon brings flair to the role of Femi Aina, the head of security at Krystal Valley Hotel. However, the overall character falters here, with Femi often acting illogically, undermining the stakes of the situation. Instead of checking through security footages, he instead goes on a fighting spree along with Akpors fighting unnamed gunmen. Okanlawon’s charisma feels wasted in a character whose actions lack coherence. Regina Daniels as Idara. This character is a glaring example of missed potential. She drifts aimlessly through the narrative, her purpose is for one reason: Akpors’ love interest, and her character underwritten. The lack of direction makes her performance feel casual and out of place, further emphasising how wasted her role is in the overall story. The film is peppered with guest appearances from Kunle Remi, Dino Melaye, Nasboi, Brainjotter, and others. While their presence adds star power, most of these cameos feel disconnected and irrelevant to the main plot. That said, Kunle Remi’s brief appearance delivers a genuinely funny performance, showcasing his versatility and standing out amidst the chaos. The overall acting direction often clashes with the stakes of the story. Some performances are exaggerated to the point of absurdity, while others are so casual that they fail to match the tension of the plot. Despite moments of brilliance, such as Franklin’s charged dialogue and Remi’s comedic timing, the film struggles to use its talented cast effectively. ##### Technical Aspects This aspect reveal a mix of competence and missed opportunities, with certain elements standing out positively while others fall short of their potential. The cinematography occasionally shines, particularly in the action sequences, where tight framing and dynamic angles amplify the tension. Scenes like the hotel standoff and the chaotic skirmishes are visually engaging, with some shots effectively capturing the adrenaline of the moment. However, the frenetic editing undermines these moments, rushing through sequences and failing to let key scenes breathe. Transitions between scenes are jarring at times, further contributing to the film’s disjointed pacing. The fight choreography, while ambitious, lands somewhere between engaging and implausible. The hand-to-hand combat sequences are stylised, with Akpos frequently overpowering armed opponents through exaggerated displays of bravado. While these moments provide entertainment, their lack of relevance detracts from the stakes. You keep asking yourself, “Why are they fighting?” The explosion scene, though visually striking, feels unnecessary and overly ambitious, eliciting more cringe than awe. These moments showcase the film’s tendency to prioritise spectacle over substance. In terms of sound design and music, *The Waiter* fares better. The soundtrack, particularly the track singing about “Hunger Dey” at the end credits resonates with the film’s themes, adding emotional weight where the narrative struggles to deliver. The sound effects during action scenes are well-executed, heightening the tension and grounding the chaos. However, the overuse of comedic cues in inappropriate moments undermines the seriousness of certain scenes, creating tonal inconsistencies. The set design and production value reflect a fair effort, with the Krystal Valley Hotel serving as a believable and interesting setting for the hostage crisis. Overall, while *The Waiter* demonstrates technical competence in certain areas, these efforts are often overshadowed by rushed editing, implausible sequences, and inconsistent tonal execution. The result is a film that feels chaotic not just narratively, but technically as well, leaving the audience both entertained and frustrated. ##### Final Thoughts *The Waiter* embodies many of the recurring challenges in Nollywood storytelling: ambitious concepts that are let down by unpolished execution. While the film offers moments of levity, spectacle, and sharp commentary on societal issues, it ultimately falters due to its chaotic narrative, rushed pacing, and inconsistent character development. Akpos, like Jenifa in *Everybody Loves Jenifa* or Yetunde in *Alakada: Bad and Boujee*, is a character built on past audience familiarity. However, much like those films, *The Waiter* leans heavily on familiarity without meaningful refinement and relevance. The result is a story that feels like an afterthought, with little effort to deepen or improve the character’s appeal. December 2024’s cinema line-up has exposed a troubling trend: the reliance on reprising beloved characters without the polish or complexity needed to elevate their stories. Instead of offering growth and even introducing new stories, films like *The Waiter* rely on previous love, leaving viewers with narratives that feel stuck in the past. This lack of progression isn’t just a disservice to these characters but to Nollywood’s audience, who increasingly crave innovation and higher standards. In the end, this film is a frustrating blend of ambition and mediocrity. The narrative would have performed better without the inclusion of the “waiter” beat. highlights the potential of Nollywood to tell engaging, socially relevant stories but also underscores the industry’s persistent struggle to deliver polished, cohesive narratives. As audiences continue to demand more, Nollywood must move beyond relying on old formulas and invest in refining its storytelling craft. ##### Verdict *The Waiter* fails to justify a cinema outing, offering a disjointed story, an implausible plot, and uneven performances that struggle to balance its comedic and serious tones. While the production quality is well suited for a big screen experience, and shows flashes of competence, the rushed pacing, tonal inconsistencies, and over-reliance on nostalgia for Akpos’s character undermine the film’s potential. Nollywood’s longest serving character is dire need for retirement. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-waiter-ay-makun-needs-to-be-retire-akpos/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-waiter-ay-makun-needs-to-be-retire-akpos/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-waiter-ay-makun-needs-to-be-retire-akpos/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-waiter-ay-makun-needs-to-be-retire-akpos/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-waiter-ay-makun-needs-to-be-retire-akpos/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Ayo Makun, ayo. makun, Bucci Franklin, Deyemi Okolanwon, nollycritic, nollywood, Regina Daniels, The Waiter --- ### [The Best 6 Nollywood Child Actors Who Ruled 2024](https://nollycritic.com/the-best-6-nollywood-child-actors-who-ruled-2024/) **Published:** December 30, 2024 **Author:** Fisayo Adekoya **Excerpt:** 2024 was a remarkable year for Nollywood child actors. Child actors didn’t just take on roles—they owned them, leaving a lasting impression on audiences **Content:** ##### Who are the child actors making waves in Nollywood this year? 2024 was a remarkable year for Nollywood child actors. Child actors didn’t just take on roles—they owned them, leaving a lasting impression on audiences and critics alike. These six stars proved that age is no barrier to excellence, delivering performances that raised the bar for storytelling in Nollywood. Let’s spotlight the top young actors who defined Nollywood this year. ##### Darasimi Nadi Darasimi Nadi’s performances in *A Father’s Love* and *[Tokunbo](https://nollycritic.com/tokunbo-a-low-stakes-crime-thriller-with-predictable-twists/ "Tokunbo")* were nothing short of phenomenal. Her ability to convey raw emotions with authenticity and grace captivated audiences. This year, her hard work paid off in a big way—she won Best Child Actress at the 2024 Best of Nollywood Awards. She also featured alongside Maleek Sani in Yemi Morafa’s *Aburo*. Darasimi’s win isn’t just a personal milestone; it’s proof of her growing influence in the industry. Her ability to consistently deliver powerful performances has solidified her as one of Nollywood’s most respected young talents. ##### Maleek Sani Maleek Sani delivered a standout performance in *[Aburo](https://nollycritic.com/aburo-beyond-the-finished-line-but-not-quite/ "Aburo")*, a film that explored family, loyalty, and the challenges of growing up. Maleek’s portrayal of his character was both heartfelt and commanding, making it impossible to take your eyes off the screen. What sets Maleek apart is his ability to fully immerse himself in his roles. He balances intensity and vulnerability effortlessly, creating characters that feel real and relatable. In *Aburo*, Maleek didn’t just act—he connected deeply with his audience. His performance has sparked conversations about his potential to take on even bigger roles in the future. Maleek’s growing fan base and critical acclaim are a testament to his dedication and talent. He’s not just a rising star; he’s a force to be reckoned with. ##### Ashafa Salamot Ashafa Salamot, fondly known as “Small Mummy,” wowed audiences in *[Suspicion](https://nollycritic.com/suspicion-the-juju-fiction-we-have-always-wanted/ "Suspicion").* Her natural charisma and emotional depth shone through in every scene, making her performance unforgettable. Ashafa’s ability to portray complex emotions with ease is what makes her stand out. She has an innate gift for drawing viewers into her world and keeping them invested in her character’s journey. With each role, Ashafa continues to prove why she’s one of Nollywood’s most promising young stars. ##### Fiyin Asenuga Fiyin Asenuga showed his versatility this year in *Shining Star* and *[Muri and Ko](https://nollycritic.com/muri-and-ko-biodun-stephens-satirical-comedy-offers-a-much-needed-comic-relief/ "Muri and Ko")*. In both films, he delivered performances that were heartfelt, relatable, and impactful. What makes Fiyin remarkable is his ability to adapt to different roles while maintaining his authenticity. Whether he’s navigating moments of joy or struggle, Fiyin brings a level of maturity to his acting that belies his age. Fiyin’s dedication to his craft is evident in every project he takes on, and it’s clear that he’s destined for even greater achievements in Nollywood. ##### Kosiso Ogboruche Kosiso Ogboruche made a memorable debut this year in [*Kill Boro*.](https://nollycritic.com/kill-boro-a-powerful-tale-of-family-and-redemption/ "Kill Boro.") As a newcomer, he took on a challenging role and delivered an impressive performance that turned heads. Kosiso’s confidence and ability to hold his own alongside seasoned actors is a testament to his natural talent. In *Kill Boro*, he brought intensity and vulnerability to his character, making the film a standout project of 2024. For a debut, Kosiso’s work has set a high standard. He’s clearly a star in the making, and his future in Nollywood looks incredibly bright. ##### Simisola Gbadamosi [Simisola Gbadamosi ](https://www.imdb.com/name/nm15827911/ "Simisola Gbadamosi ")broke new ground this year with her role in Disney’s *[Iwájú](https://nollycritic.com/iwaju-a-vibrant-journey-through-a-lagos-of-tomorrow/ "Iwájú")*. As the voice of Tola, she brought life to the character in the groundbreaking animated series. Her exceptional work earned her an Emmy nomination, a historic achievement for a Nollywood child actor. Simisola’s success goes beyond just her talent—it’s a win for Nollywood as a whole. She’s shown that young actors from Nigeria can compete and excel on a global stage. Her achievement is not only inspiring but also a sign of the industry’s growing reach and influence. These six young actors have redefined the role of children in Nollywood films. Through their hard work, passion, and undeniable talent, they’ve raised the bar for storytelling and inspired a new generation of performers. As they continue to grow, there’s no doubt that Nollywood’s future is in capable hands. From Darasimi’s award-winning roles to Simisola’s global recognition, 2024 was the year of child stars in Nollywood. These young talents didn’t just entertain—they set a standard for what’s possible when passion meets opportunity. ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-best-6-nollywood-child-actors-who-ruled-2024/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-best-6-nollywood-child-actors-who-ruled-2024/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-best-6-nollywood-child-actors-who-ruled-2024/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-best-6-nollywood-child-actors-who-ruled-2024/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-best-6-nollywood-child-actors-who-ruled-2024/?share=linkedin) - **Categories:** Articles, Drama, Nollywood **Tags:** Ashafa ‘Small Mummy’ Salamot, Best Nollywood Child Actors of 2024, Darasimi Nadi, Fiyin Asenuga, Kosisochukwu Samuel Ogboruche, Maleek of ikorodu bois, nollycritic, nollywood, Nollywood Child Actors, Simisola Gbadamosi --- ### [Thin Line: Mercy Aigbe's Thriller is a Film To See](https://nollycritic.com/thin-line-mercy-aigbes-thriller-is-a-film-to-see/) **Published:** December 27, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Thin Line, a film she not only stars in but also produced, Mercy Aigbe has once again positioned herself at the centre of conversation. **Content:** *Thin Line* is a film that carries the weight of effort, intention, and undeniable passion. And while certain flaws in storytelling and representation prevent it from fully reaching its potential, the commitment from its cast and crew, particularly Aigbe herself, is clear. Let’s dive in. ## Thin Line Directed by: Akay Mason Produced by: Mercy Aigbe Genre: Drama, Thriller Released on: December 13, 2024 (Cinemas) Language: English ##### Story *Thin Line* explores the fragile boundary between virtue and vice, examining themes of morality, redemption, and the devastating consequences of a single moment of weakness. The film questions whether faith can withstand human fallibility and whether redemption is possible in the aftermath of grave mistakes. ##### Plot Pastor Raymond, a respected spiritual leader, becomes entangled with Annie, a troubled prostitute who exploits men through deceit. After a drug-induced encounter and a series of escalating events, Annie is found murdered, throwing Raymond into a desperate struggle to clear his name and confront the moral and emotional consequences of his actions. ##### Performances Uche Montana as Annie delivered a performance that was both captivating and layered. Her natural ability to convey emotion through facial expressions stood out, giving Annie an air of flirtatious charm mixed with a touch of calculated teasing. Uche’s casting was undeniably spot-on, as she brought an effortless magnetism to Annie especially given that she has been playing psychologically twisted characters (from *[Roses and Ivy](https://nollycritic.com/roses-and-ivy-love-meets-sacrifice-in-biodun-stephens-drama/ "Roses and Ivy")*). Additionally, certain cinematographic choices elevated her performance, often framing her in ways that underscored her appeal to the male gaze—not just within the narrative but also towards the audience. While this creative choice might invite conversation about objectification, it undeniably aligned with the character’s role and narrative purpose. Overall, Uche delivered a splendid performance that was both engaging and convincing. Uzor Arukwe as Pastor Raymond delivered an emotionally nuanced portrayal of a man caught between spiritual authority and human weakness. While his performance was generally strong—especially in moments of emotional vulnerability—it was hard to overlook the way his character was presented as a spiritual leader. His sermons, focused on topics like “Five red flags to look out for in a partner,” felt more like casual motivational speeches than deeply rooted pastoral teachings. This weakened the believability of his spiritual authority and, by extension, the weight of his moral conflict. While his descent into sin and subsequent struggles were portrayed with sincerity, the character’s spiritual foundation felt underdeveloped. Nevertheless, Uzor brought authenticity to his emotional beats, and his performance carried much of the film’s emotional weight. [Mercy Aigbe](https://en.wikipedia.org/wiki/Mercy_Aigbe "Mercy Aigbe") as Damilola Raymond, Pastor Raymond’s wife, gave a heartfelt and committed performance. It’s worth noting the health challenges she faced during the shoot—an experience she openly shared in interviews. Despite suffering from a severe eye infection that caused production delays, Mercy pushed through and delivered a commendable performance. From her very first scene, her cracked voice hinted at the physical toll the production had taken on her. Yet, her dedication was unwavering, and she successfully conveyed the emotional turmoil of a woman grappling with her husband’s indiscretions and the fallout of their shared tragedy. Olaiya Igwe, Iyabo Ojo, and Cute Abiola added layers of both comedic relief and narrative intrigue. Olaiya Igwe’s portrayal of Chief carried a mix of irresponsibility and unseriousness, while Iyabo Ojo, as his wife, leaned into her character’s frustrations with sharp comedic timing. Cute Abiola, as the family driver, played his role with an amusing reluctance to get entangled in his employers’ chaos. Their comedic moments served not just as light-hearted interludes but also as subtle drivers of the film’s mystery element, especially given Chief’s connection to Annie. Itele D Icon took on a more satirical role, which, while slightly over-the-top at times, still managed to land a few comedic punches. Admittedly, his approach might not appeal to everyone, but there were undeniably moments of genuine humour that lightened the film’s otherwise heavy atmosphere. His character’s connection to the story as one of Annie’s early victims added another layer of suspicion to the plot. Yvonne Jegede, playing one of the prostitutes who held disdain for Annie, delivered a sharp performance, adding to the roster of potential suspects in Annie’s death. Her presence served its purpose in building tension. Additionally, the film featured performances from Jaiye Kuti, Adeniyi Johnson, and Nkechi Blessing, each contributing their unique strengths to the ensemble cast. Overall, the performances in *Thin Line* showcased a commendable mix of emotional depth, comedic flair, and character-driven storytelling, with each actor contributing to the film’s central mystery. ##### Technical Aspects The technical execution of *Thin Line* was largely commendable, with well-chosen locations and impressive production values that gave the film a polished and immersive feel. However, there was a noticeable disruption early on, possibly in the second or third scene, where the 180-degree rule—a fundamental principle in cinematography that maintains spatial consistency between characters and objects—seemed to have been unintentionally broken. This wasn’t presented as an intentional stylistic choice to enhance the narrative but rather appeared to be an editing inconsistency, where mismatched shots created a slightly jarring experience. Beyond this minor hiccup, the cinematography remained visually engaging. A particularly memorable moment was the scene where Chief watches television with his wife. What stood out wasn’t just the framing that kept the TV out of view, but the illusion of flickering light on the characters’ faces. This effect, achieved through carefully timed flickering lights, created the impression of an active TV screen despite it being off-camera. It’s a subtle yet powerful reminder of the optical illusion that cinema inherently is, a carefully crafted make-believe world brought to life through light, shadow, and precise technical choices. Moments like this highlight the artistry of filmmaking and serve as a testament to the beauty of the craft. Another standout was the film’s score, which included a subtle twist with a Christmas-themed melody. While *Thin Line* isn’t a holiday film, this musical choice felt intentional, cleverly aligning with the film’s December release and foreshadowing the seasonal atmosphere. It was a thoughtful detail that added a layer of thematic texture to the viewing experience. ##### Final Thoughts Much like *[Ajaga (The Yoke)](https://nollycritic.com/ajaga-the-burden-of-narrative-subversion-and-deficient-faith/ "Ajaga (The Yoke)")*, *Thin Line* grapples with the challenge of authentically portraying faith and spirituality within its narrative. In *Ajaga*, the superficial representation of the pastor and his wife’s spirituality created a disconnect, making their faith journey feel unconvincing and their resolution contrived. Similarly, *Thin Line* suffers from a comparable shortcoming in the characterisation of Pastor Raymond. His journey lacks the spiritual depth and nuance required to make his struggles and eventual redemption feel earned. Pastor Raymond’s portrayal reduces his spiritual authority to surface-level gestures and motivational quips rather than anchoring him in the weightier doctrines and convictions expected of a man of his supposed spiritual stature. As a result, when the narrative steers towards redemption, it feels hollow, failing to deliver the profound emotional and spiritual resonance the story demands. The script urges us to pity him, and while Uzor Arukwe’s performance does elicit some sympathy, the spiritual authenticity of his arc remains unconvincing. This recurring issue in faith-based or faith-adjacent narratives in Nollywood highlights a broader pattern: a lack of research and understanding of the spiritual dynamics being represented. If filmmakers are determined to explore such themes, it is imperative that they approach them with sincerity, diligence, and a willingness to engage deeply with the subject matter. Proper research, consultations with faith leaders, and a commitment to portraying faith journeys with integrity would go a long way in elevating such narratives. That said, this flaw in *Thin Line*’s messaging does not entirely overshadow the film’s strengths. Its performances, cinematography, and moments of genuine emotional engagement still shine through, offering an experience that, while imperfect, remains largely compelling. ##### Verdict *Thin Line* is a visually engaging and emotionally charged film that balances strong performances and thoughtful technical choices with an imperfect yet compelling narrative. While its portrayal of faith lacks the depth necessary to fully realise its spiritual themes, the film still delivers an engaging story anchored by notable performances and moments of genuine cinematic artistry. Despite its flaws, *Thin Line* remains a commendable effort that reflects both the strengths and growing pains of Nollywood’s evolving storytelling landscape. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/thin-line-mercy-aigbes-thriller-is-a-film-to-see/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/thin-line-mercy-aigbes-thriller-is-a-film-to-see/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/thin-line-mercy-aigbes-thriller-is-a-film-to-see/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/thin-line-mercy-aigbes-thriller-is-a-film-to-see/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/thin-line-mercy-aigbes-thriller-is-a-film-to-see/?share=linkedin) - **Categories:** Articles, Blog, Drama, Movies, Nollywood, Reviews **Tags:** Iyabo Ojo, Mercy Aigbe, nollycritic, nollywood, Olaiya Igwe, Thin Line, Uche Montana, Uzor Arukwe --- ### [Everybody Loves Jenifa Breaks Nigerian Box Office Records](https://nollycritic.com/everybody-loves-jenifa-breaks-box-office-records/) **Published:** December 23, 2024 **Author:** Fisayo Adekoya **Excerpt:** Funke Akindele’s Everybody Loves Jenifa has made history by becoming the fastest Nollywood film to gross ₦500 million in just 12 days. **Content:** Funke Akindele’s [*Everybody Loves Jenifa* ](https://nollycritic.com/everybody-loves-jenifa-festive-spectacle-or-hollow-nostalgia/ "Everybody Loves Jenifa ")has made history by becoming the fastest Nollywood film to gross ₦500 million. Released on December 13, 2024, the film reached an impressive ₦511 million in just 12 days. This achievement has made it the highest-grossing Nollywood film of 2024, setting a new benchmark for Nigerian cinema. The film’s success is a testament to Akindele’s lasting connection with her audience. Fans have followed the Jenifa character for years, first through the TV series and now in this latest film. Akindele’s blend of humuor and relatable storytelling continues to captivate a wide range of viewers. As a result, *Everybody Loves Jenifa* has resonated deeply with Nigerian moviegoers, driving them to theaters in record numbers. But what made this film stand out? Aside from Akindele’s strong star power, the movie’s ability to balance comedy with real-life situations is key. It speaks to the everyday experiences of its audience, making it both entertaining and emotionally engaging. Fans not only get to enjoy the familiar charm of Jenifa, but they also get a fresh perspective on her journey. Additionally, the film’s success reflects the growing influence of Nollywood. In recent years, Nigerian cinema has gained more recognition both locally and internationally. *Everybody Loves Jenifa* continues this trend, showcasing the ability of Nigerian films to compete with global blockbusters. As more audiences embrace Nigerian stories, Nollywood’s presence on the world stage continues to expand. The box office performance of *Everybody Loves Jenifa* also highlights the financial potential of Nollywood. This level of success signals that Nigerian films can generate significant revenue, encouraging filmmakers to invest in more ambitious projects. With Nollywood’s reach expanding, there is great potential for the industry to grow even further in the coming years. Looking ahead, *Everybody Loves Jenifa* will likely inspire other filmmakers to push the boundaries of storytelling and production quality. Its success sets a new standard for Nollywood, demonstrating that a strong connection with audiences and relatable themes can lead to both critical and commercial success. As the film remains a dominant force at the box office, *Everybody Loves Jenifa* proves the power of Nollywood to tell compelling stories that resonate with a global audience. For anyone who hasn’t seen it yet, the film is still showing in cinemas across the country, offering a perfect opportunity to experience the magic of Jenifa and her world. In conclusion,[ *Everybody Loves Jenifa*’s](https://www.imdb.com/title/tt34573436/ " Everybody Loves Jenifa’s") ₦511 million earnings in just 12 days reflect Nollywood’s growing power and influence. As the industry continues to gain global recognition, this record-breaking success marks just the beginning of an exciting future for Nigerian cinema. ![jenifa](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/12/photo_2024-12-23_17-30-52-1.jpg?resize=640%2C729&ssl=1) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/everybody-loves-jenifa-breaks-box-office-records/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/everybody-loves-jenifa-breaks-box-office-records/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/everybody-loves-jenifa-breaks-box-office-records/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/everybody-loves-jenifa-breaks-box-office-records/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/everybody-loves-jenifa-breaks-box-office-records/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** Funke Akindele, nollycritic, nollywood --- ### [Roses and Ivy: Love Meets Sacrifice in Biodun Stephen's Drama](https://nollycritic.com/roses-and-ivy-love-meets-sacrifice-in-biodun-stephens-drama/) **Published:** December 20, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Roses and Ivy feels like a modern retelling of the Jacob and Esau story, but with a twist: instead of a deliberate exchange of birth right... **Content:** *[Roses and Ivy](https://www.primevideo.com/detail/ROSES-AND-IVY/0KAZES9BJ8VVGX83RJO35V2ZE2 "Roses and Ivy")* feels like a modern retelling of the Jacob and Esau story, but with a twist: instead of a deliberate exchange of a birth right, we witness an unspoken and unreasonable exchange of fates. This exchange sets the stage for a deeply unsettling and flawed narrative, where selfishness and betrayal take centre stage, surprisingly rewarded without consequence. Much like Jacob’s actions in the biblical tale, Rose’s questionable choices are inexplicably justified and even celebrated by the film’s creator, Biodun Stephens. It’s a story designed to favour the offender, leaving the viewer questioning its moral compass. Let’s dive into the review. Spoilers ahead! ## *Roses and Ivy* Directed by: Biodun Stephen Produced by: Biodun Stephen Genre: Drama Released on: December 13, 2024 (Prime Video) Language: English ##### Story The story of *Roses and Ivy* revolves around the dynamic between two sisters, Rose and Evelyn, as they navigate themes of family expectations, betrayal, and the complexities of sibling relationships. It explores Evelyn’s diligent pursuit of academic and personal success contrasted with Rose’s carefree, often selfish decisions, culminating in a strong yet inconsistent portrayal of love, ambition, and self-interest. At its heart, the series examines how familial bonds are tested when loyalty and personal desires clash. ##### Plot While the *Roses and Ivy* builds a compelling foundation, the plot often stumbles in execution. The narrative unfolds as a series of events that take the sisters from their early academic struggles through dramatic turns, including their father’s health crisis, Evelyn’s heartbreak over Lanre’s departure, and Rose’s increasingly irrational decisions. The plot follows Rose’s descent into questionable behaviour, such as dating her sister’s best friend and later betraying her trust. This creates a disjointed path that ends with Rose married to Lanre and grappling with motherhood, but the lack of coherence and logical progression undermines the emotional weight of its pivotal moments. The plot relies heavily on traditional but poorly executed devices. The inciting incident of their father’s stroke derails Evelyn’s academic dreams and introduces family conflict. The love triangle between Evelyn, Rose, and Lanre becomes the central tension, but it is mishandled. Voiceovers from the sisters attempt to add emotional depth but only reiterate what’s already visible, diminishing their effectiveness. Key moments, such as Rose secretly dating Lanre, fail to generate the intended tension due to unclear character motivations, making their actions feel implausible. The climax, where Rose marries Lanre and asks Evelyn to act as her surrogate, feels both rushed and forced. What could have been a moment of emotional growth or resolution instead becomes a neat but unrealistic conclusion. Evelyn’s subdued reaction to Rose’s betrayals lacks depth and exploration, leaving the emotional fallout between the sisters largely unaddressed. The reliance on clichés like sudden time jumps and inconsistent characterisation ultimately weakens the narrative’s impact. ##### Performances The child actors are a highlight of the show, delivering natural and engaging performances that lend authenticity to the story’s early stages. Standout performances by Diana and Dominique Egwuatu, Favour Etim, Ella Okorie, and Nifemi Lawal bring charm and realism that are lost as the series progresses. [Uche Montan](https://nollycritic.com/the-betrayed-fifty-shades-of-red-in-a-crimson-mess/ "Uche Montan")a’s portrayal of Roselyn is the glue holding much of the film together. Her softly expressive face and understated delivery perfectly match the series’ monotonous tone. Her emotional outbursts feel believable and impactful because of the contrast they create with her usual reserved demeanour. However, Roselyn is not a character you should root for—she is selfish, manipulative, and deeply flawed. Montana effectively portrays these traits, making the lack of grief she shows for her father’s death feel entirely in character, especially when contrasted with Evelyn’s visibly emotional response. Montana captures this with nuance, particularly in moments where Roselyn’s empathy emerges only when it suits her personal grievances—a choice that feels intentional, likely reflecting [Biodun Stephens](https://nollycritic.com/muri-and-ko-biodun-stephens-new-drama-gets-release-date/ "Biodun Stephens")’ vision to make the audience grapple with morally grey characters. Munachi Abii, as Evelyn, delivers a performance that carries the emotional weight of her character. However, the abrupt transition from Favour Etim and Ella Okorie as the younger versions of Roselyn and Evelyn to the older actors feels jarring and unnatural. This lack of continuity undermines the believability of the university scenes, as Munachi and Montana seem miscast in terms of their age for the setting. Despite this, Munachi’s portrayal of Evelyn’s controlled sadness and quiet resilience is commendable. However, the writing fails her character by introducing inconsistencies, such as Evelyn’s reaction—or lack thereof—to Roselyn’s outrageous request for surrogacy, followed by her even more shocking proposal of traditional pregnancy. Evelyn’s subdued response to these betrayals feels out of sync with the character we’ve grown to know, further muddled by dialogue implying Roselyn’s behaviour stems from her belief that she “owns” Evelyn. This weak attempt at resolution feels disconnected from Evelyn’s actual grievances and sacrifices, making her emotional arc feel incomplete. Taiye Arimoro as Lanre delivers a serviceable performance. His character’s sudden shift from Evelyn’s best friend to Roselyn’s love interest feels poorly developed and undermines the strong connection established between the three in their younger years. The lack of logical build-up to Lanre’s relationship with Roselyn cheapens the dynamic, making his actions seem thoughtless and inconsistent. While Arimoro portrays Lanre as a caring husband, his character lacks depth, and his eventual dismissal of Evelyn feels unearned. Ultimately, Lanre’s arc is emblematic of the film’s overall flaw in character development, with key relationships and motivations left underexplored or outright neglected. ##### Technical Aspects The technical elements of *Roses and Ivy* are some of its strongest aspects, effectively supporting its mood and themes. The poster is particularly striking, hinting at the love triangle and tension that permeates the story. The music, including the score, soundtrack, and theme song, is beautifully melancholic, perfectly setting the dark and emotional tone from the very beginning. The way the music flows seamlessly into the credits at the end of each episode deepens the tension and emotional resonance, helping to elevate the drama. The cinematography is also impressive. The soft lighting, muted colours, and choice of shots match the gentle yet tense atmosphere. Together, these technical elements create a cohesive aesthetic that contrasts with the narrative’s shortcomings. ##### Final Thoughts It’s astounding that such a twisted and chaotic story was conceived in the first place. Roses and Ivy attempts to explore complex familial relationships and moral dilemmas but ultimately comes off as disjointed, implausible, and frustrating. The filmmakers’ decision to twist the narrative so drastically; to paint Evelyn as the “closet enemy” while positioning Roselyn as the “angel in deed” feels like an unnecessary and forced reversal. This portrayal makes little sense, especially considering the build up to their contrasting characters. Both sisters are flawed and manipulative in their own ways, but the attempt to canonise Roselyn despite her glaring selfishness is not only unconvincing but psychologically troubling. What kind of mindset crafts a story where betrayal, selfishness, and manipulation are rewarded? It’s as if the creators revelled in distorting moral sensibilities for the sake of shock value. Noticeable errors throughout the series detract from its credibility, such as Evelyn’s unchanged hairstyle spanning three years in Episode 1. By Episode 4, everything spirals into chaos: Rose has an accident, Lanre’s mother discovers his relationship with Evelyn, Evelyn goes into labour, and everyone rushes to the hospital all in a matter of minutes! These coincidences strain plausibility, and the long, drawn-out therapy session at the end tries to over-explain the characters’ motivations, testing the audience’s patience. As if that wasn’t enough, the long, drawn-out therapy session at the end—which mirrors the opening scene—tries to over-explain the characters’ motivations and resolve lingering conflicts. By this point, it’s too little, too late. The exposition feels patronising, as if the filmmakers are desperate to justify their questionable narrative choices. It’s a tedious conclusion that tests the audience’s patience, leaving you exasperated and wishing the film had ended 20 minutes earlier. And then, the ultimate insult: a happy ending. Roselyn’s selfishness is rewarded with a complete family, and Evelyn’s sacrifices are swept under the rug. Lovely, isn’t it? For a film that claims to delve into the complexities of family, *Roses and Ivy* leaves behind a hollow, unsatisfying aftertaste. ##### Verdict *Roses and Ivy* is, surprisingly, a well-structured series that manages to keep viewers invested in its narrative, despite its many flaws. Its exploration of familial relationships and moral dilemmas is intriguing, but the forced twists and turns in the story often undermine its impact. While the film’s technical elements and performances offer some redeeming qualities, the chaotic progression and morally ambiguous resolutions leave much to be desired. Ultimately, it’s an interesting watch that will have you questioning your own moral compass, and the filmmakers’ core intentions. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. https://www.youtube.com/watch?v=-R6jOaIyR7U ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/roses-and-ivy-love-meets-sacrifice-in-biodun-stephens-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/roses-and-ivy-love-meets-sacrifice-in-biodun-stephens-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/roses-and-ivy-love-meets-sacrifice-in-biodun-stephens-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/roses-and-ivy-love-meets-sacrifice-in-biodun-stephens-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/roses-and-ivy-love-meets-sacrifice-in-biodun-stephens-drama/?share=linkedin) - **Categories:** Articles, Blog, Movies, Popular reviews, Reviews **Tags:** Biodun Stephen, Munachi Abii, nollycritic, nollywood, Prime Video, roses and ivy, Taiye Arimoro, Uche Montana --- ### [A Danfo Christmas: A Heartwarming Tale of Family and Festive Chaos](https://nollycritic.com/a-danfo-christmas-a-heartwarming-tale-of-family-and-festive-chaos/) **Published:** December 18, 2024 **Author:** Uju Okosieme **Excerpt:** With A Danfo Christmas,. First Features, Natives Filmworks, and Michelangelo Productions return with another release, continuing their streak of showcasing new talent. **Content:** With *[A Danfo Christmas](https://www.amazon.com/Danfo-Christmas-Sebastian-Ukwa/dp/B0DJ7RYQ91 "A Danfo Christmas")*,. First Features, Natives Filmworks, and Michelangelo Productions return with another release, continuing their streak of[ showcasing new talen](https://nollycritic.com/kill-boro-a-powerful-tale-of-family-and-redemption/ " showcasing new talen")t. Directed by Sebastian Ukwa, ‘A Danfo Christmas’ is streaming on Prime Video. Let’s get into this festive family drama. ## *A Danfo Christmas* Directed by: Sebestian Ukwa Written by: Adeayo Sangowawa Bulus Genre: Drama Released on: December 14, 2024 (Prime Video) Language: English, Pidgin English, Yoruba ##### Plot The official synopsis reads: *It’s been years since they last made it home for Christmas—and with good reason. Bullying cousins, daily reminders of past failures, and a mother-in-law with nothing good to say. But this year is different. Grandpa may be dying! The challenges of life in Lagos mean maybe it’s time for a change. Family drama, romance, and surprises are all in store—but only if the Danfo manages to get them there.* Based on this description and the title, you might expect most of the action to center around the journey in the titular *Danfo.* However, that is not the case. The story explores the family’s financial hardships and Tracy’s efforts to continue her education amidst challenges. It also highlights Amaka’s tense relationship with her mother-in-law, Kemi, and the consequences of Tolu’s decisions regarding the family farm. Alongside these central themes are subplots like Justin’s boxing competition, which becomes a unifying thread for the family, and Tracy’s blossoming romance with Juwon. The narrative captures the essence of family gatherings—where joy, tension, and surprises often collide—making it a relatable and heartfelt tale. ##### Story The film successfully taps into the universal tradition of traveling home for Christmas, showing how reunions with extended family can be both heartwarming and challenging. The writing is solid, weaving together various storylines that culminate in emotional payoffs. However, pacing becomes a noticeable issue toward the final act, where the story starts to feel stretched. ##### Performances One of the film’s strengths lies in its cast. The First Features project continues to shine in introducing new talent while blending in familiar faces. Seun Kentebe delivers a nuanced performance as Akin, while Valerie Odunukwe impresses as Amaka, bringing depth to their relationship. The tension-filled confrontation between Amaka and Kemi is a standout scene, showcasing the emotional stakes and the chemistry between the actors. That said, Akin’s delayed intervention in this moment feels off, he was there when the events leading up to that blowout happened and one would have expected him to stand up for his wife faster. Loveth Ogbene and Korede Lawal, playing Tracy and Justin, respectively, also hold their own with commendable performances, while Carol King’s portrayal of Kemi adds an extra layer of gravitas to the film. Across the board, the cast delivers performances that make the family dynamics believable, even if some roles stand out more than others. ##### Technical Aspects Visually, the movie is a treat. The vibrant colour grading enhances the festive atmosphere, and the choice of locations adds authenticity. Noteworthy scenes include the one where the bus drives off with Tracy and the Christmas party, both beautifully shot and thoughtfully composed. The original score evokes nostalgia, reminiscent of classic Nollywood melodies, further immersing viewers in the story. However, the movie stumbles with pacing. The runtime feels unnecessarily stretched, a recurring issue with First Features’ projects, as though hitting the two-hour mark was a priority over tighter storytelling. ##### Final Thoughts The film succeeds in portraying the strength of family bonds. Justin’s boxing subplot stands out as an interesting and refreshing element, showcasing a less-explored side of Nigerian culture. Some comedic moments land well, but others—such as Justin freeing a goat and running from a native doctor—feel more like filler than essential to the story. Additionally, while the title ‘A Danfo Christmas’ suggests a journey-focused narrative, the Danfo itself plays a surprisingly minor role. ##### Verdict ‘A Danfo Christmas’ is a touching film about family, love, and resilience. Despite its pacing issues and occasional unnecessary comedic detours, it delivers heartfelt performances and relatable themes, making it a worthwhile watch this holiday season which earns itself a 3 out of 5 rating. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-danfo-christmas-a-heartwarming-tale-of-family-and-festive-chaos/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-danfo-christmas-a-heartwarming-tale-of-family-and-festive-chaos/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-danfo-christmas-a-heartwarming-tale-of-family-and-festive-chaos/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-danfo-christmas-a-heartwarming-tale-of-family-and-festive-chaos/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-danfo-christmas-a-heartwarming-tale-of-family-and-festive-chaos/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** A Danfo Christmas, nollycritic, nollywood, Prime Video, Reviews, Seun Kentebe, Valerie Odunukwe --- ### [7 Nollywood Titles Premiering on Circuits This Christmas](https://nollycritic.com/circuits-seven-doors-atiko-set-to-premiere-on-new-virtual-cinema/) **Published:** December 19, 2024 **Author:** Shalom O. Obisesan **Excerpt:** A groundbreaking virtual cinema platform, Circuits, is set to launch globally on December 20, 2024. The service promises to... **Content:** A groundbreaking virtual cinema platform, **Circuits**, is set to launch globally on December 20, 2024. The service promises to revolutionize how audiences experience African storytelling, offering a premium selection of films and series that showcase the depth and diversity of the continent’s creative talent. According to Chioma Onyenwe, Vice President of Content at Circuits, the platform is “more than a platform. It’s a movement to empower African creatives to tell uniquely African stories globally.” Circuits offer a transactional video-on-demand model, where viewers can rent films for 24 hours, providing flexibility and affordability. Circuits debuts with an exciting collection of films and series: ***[Seven Doors](https://nollycritic.com/seven-doors-an-aesthetically-pleasing-cultural-metaphor/ "Seven Doors")*** (Series): Directed by Femi Adebayo, this Netflix hit will be available on Circuits from December 20. Set in the late 1960s and early 1970s, the series explores resilience and determination and has been praised for its thematic depth. *[**Asiri Ade**:](https://nollycritic.com/bolanle-ninalowo-to-star-as-oba-agunbiade-in-asiri-ade/ "Asiri Ade:")* Directed by Adeoluwa Owu (aka Captain Degzy), this epic romance thriller explores follows a powerful king, on the verge of forming a marriage alliance with a rich kingdom, searches for an unknown assailant, who is about to expose a dark secret that can bring his massive empire to its knees. It stars Bolanle Ninolowo, Omowunmi Dada, Gabriel Afolayan, and Akin Lewis and promises breathtaking visuals and a compelling narrative. ***[Conversations in Transit](https://www.imdb.com/title/tt18550692/ "Conversations in Transit")***: Produced by Native Media Ltd, this innovative drama is set on a moving train and explores love’s power to heal and forgive. Directed by Rogers Ofime, the cast includes Richard Mofe-Damijo (RMD), Osas Ighodalo, Alex Ekubo, Rahama Sadau, and Tana Adelana. **Blacksmith (Alagbede):** Directed by Usman Ogunlade and set in post-independence Nigeria, this drama follows Adio (Femi Adebayo) and his journey to overcome poverty. Supported by his friend Wole (Gabriel Afolayan), Adio’s love for Omolewa (Kehinde Bankole) drives him to dangerous money rituals, scarring his relationships. ***[The Weekend ](https://nollycritic.com/the-weekend-finally-a-thriller-that-checks-the-right-boxes/ "The Weekend ")***is a thriller directed by Daniel Oriahi and produced by Uche Okocha. It was released in cinemas on August 30, 2024, and is noted for its suspenseful and intense storyline. ***Atiko***: Directed by Biodun Stephen, this emotional drama tells the story of two mothers struggling to provide for their children despite overwhelming challenges. The film premiered at the NollywoodWeek Film Festival in Paris. ***Ruthless***: Directed by Dimeji Ajibola, this action-packed drama stars Pere Egbi, Kate Henshaw-Nuttal, and Lina Idoko. The film promises gripping performances and high-octane scenes. ##### What Sets Circuits Apart? Circuits offer viewers a unique streaming experience with features like ad-free viewing, global access, and wide device compatibility. Its loan-to-watch model allows users to rent films for 24 hours, combining flexibility with affordability. With its curated collection of films and series, Circuits is poised to become the go-to virtual cinema for African stories. To join the waitlist or learn more, visit www.circuits.tv. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/circuits-seven-doors-atiko-set-to-premiere-on-new-virtual-cinema/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/circuits-seven-doors-atiko-set-to-premiere-on-new-virtual-cinema/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/circuits-seven-doors-atiko-set-to-premiere-on-new-virtual-cinema/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/circuits-seven-doors-atiko-set-to-premiere-on-new-virtual-cinema/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/circuits-seven-doors-atiko-set-to-premiere-on-new-virtual-cinema/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** Asiri Ade, atiko, Blacksmith Alagbede, circuits, nollycritic, nollywood, Ruthless, seven doors, The Weekend --- ### [The Best New Nollywood Feature Film Directors of 2024](https://nollycritic.com/the-best-new-nollywood-feature-film-directors-of-2024/) **Published:** December 16, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood is no stranger to producing groundbreaking talents. Over the years, it has evolved into a powerhouse of creativity, driven by passionate filmmakers **Content:** Nollywood is no stranger to producing groundbreaking talents. Over the years, it has evolved into a powerhouse of creativity, driven by passionate filmmakers who continually push the boundaries of storytelling. This year, 2024, has proven to be no different, with a wave of emerging directors making their mark on the scene. These trailblazers are redefining what it means to be a director in Nollywood, combining innovative storytelling with unique perspectives and visual flair. What sets these directors apart is that they are making their feature directorial debuts; stepping into the realm of feature-length filmmaking for the very first time. With each director comes a new voice; with each new voice carries with it a story worth celebrating, and today we shine a spotlight on some of the brightest. Let’s dive into their journeys, the films that propelled them into the spotlight, and how they’re shaping the future of Nigerian cinema: ##### Obayuwana Courage Obayuwana Courage’s transition from behind the camera to the director’s chair with [*Kill Boro* (2024](https://nollycritic.com/kill-boro-a-powerful-tale-of-family-and-redemption/ "Kill Boro (2024")) is a testament to his journey as a visual storyteller. From his formative work as a cinematographer and editor on projects like *Prey* (2022) and *Her Dark Past* (2024), Courage has crafted a unique cinematic language. These years of fine-tuning his craft translate into a directorial debut that captures both grit and nuance. *Kill Boro* unearths the raw complexities of community life, blending visual finesse with a story that lingers. Courage’s attention to detail, both in framing his shots and shaping his narrative, places him as a director to watch. With this debut, he moves from being a master technician to a captivating storyteller, carving a niche in Nollywood’s evolving landscape. ##### Zulumoke Oyibo Zulumoke Oyibo’s leap into directing with *The Betrayed* (2024) feels like a natural progression in a career marked by storytelling excellence. As co-founder of Inkblot Productions, she has been a cornerstone of Nollywood hits like *The Wedding Party* series (2016, 2017), *The Set Up* (2019), *Day of Destiny* (2021), *The Arbitration* (2016), *Muri & Ko* (2024), and *Saving Onome* (2024), among others. These productions, each a lesson in storytelling dynamics, have equipped Oyibo with the tools to flourish behind the camera. Her debut, *The Betrayed*, explores the fragility of trust and the devastating aftermath of betrayal. Centering on Amarachi, a woman caught in the storm of her husband’s murder accusation, the film combines emotional depth with narrative precision. Oyibo’s voice shines through, particularly in her dedication to nuanced female narratives. With an opening ten-day box office haul of N24 million, *The Betrayed* affirms her place as one of Nollywood’s promising new directors. ##### Dolapo Adigun Dolapo Adigun’s filmmaking odyssey—from editor to director—is a masterclass in versatility. Her work on *The House of Secrets* (2023) and *Jagun Jagun* (2023) reveals an editor with an instinct for pace and emotion. Meanwhile, her time as the first assistant director of *Hey You!* (2022) sharpened her collaborative skills. *Criminal* (2024), her directorial debut, is a tightly wound drama that explores desperation, loyalty, and survival within the confines of a hospital under siege. Adigun’s directorial hand is evident in the film’s taut pacing and immersive cinematography, pulling the audience into its gripping narrative. Now streaming on Prime Video, *Criminal* showcases Adigun’s ability to wield her technical prowess in service of a compelling story, solidifying her as a filmmaker of substance. ##### Temidayo ‘Ted Abudu’ Makanjuola Temidayo Makanjuola steps into the director’s chair with *A Night in 2005* (2024), marking a new chapter in her career as a seasoned creative in Nollywood. Widely recognized for producing popular films like *Oloture* (2019) and *Chief Daddy* (2018), she is also celebrated for her writing and casting direction. Makanjuola contributed to the storytelling of *Oloture*, *Chief Daddy*, and *The Royal Hibiscus Hotel* (2017). With *[A Night in 2005](https://nollycritic.com/a-night-in-2005-a-thought-provoking-drama-on-power-trauma-and-justice/ "A Night in 2005")*, Makanjuola transitions seamlessly into directing, crafting a compelling drama that examines the enduring effects of trauma and the dynamics of power, justice, and vengeance. The film tackles pressing issues like violence against women and the psychological toll of toxic maternal control, presenting a gripping narrative that reflects her ability to merge emotional depth with societal relevance. This directorial debut solidifies Makanjuola’s reputation as a multifaceted storyteller. ##### Ifeoma Nkiruka Chukwuogo Ifeoma Chukwuogo may be a familiar name in Nollywood’s short film circles, but *Phoenix Fury* (2024) marks her highly anticipated feature-length directorial debut. While her early work, like the beloved *Bariga Sugar* (2017), earned her a place in Nollywood’s heart, *Phoenix Fury* is where she truly spreads her wings. In this tale of revenge and redemption, Chukwuogo blends the old with the new, telling a narrative that effortlessly shifts between timelines. It’s a film that proves she’s not just another filmmaker, but a master of storytelling, painting emotions with the skill of a seasoned artist. But Chukwuogo’s creative prowess isn’t confined to the director’s chair. She’s a multi-hyphenate force: writing and producing *Phoenix Fury*, alongside her other short film projects like *Dynamite* (2024) and *Bariga Sugar*, *Adindu* (2015), and *After* (2015), solidifying her as a versatile storyteller with an eye for depth. With *[Phoenix Fury](https://www.imdb.com/title/tt34476616/ "Phoenix Fury")* taking home both Best Film and Best Director at the 2024 AFRIFF, it’s clear that Chukwuogo is more than just a name to watch. She’s a filmmaker to reckon with, whose voice promises to echo in Nollywood for years to come. ##### Isioma Osaje Isioma Osaje is a seasoned Nigerian film producer, director, and talent manager with over nine years of experience in writing, music journalism, radio broadcasting, and public relations. She is the founder of Agency 106, a talent management boutique, and co-founder of 1Pod Pictures, known for projects like MTV Shuga Naija 2023. Osaje has an extensive producing portfolio, including *Up North* (2018), *The Set Up* (2019), *Day of Destiny* (2021), and *Far From Home* (2022). Additionally, she has worked as an assistant director on major productions like *Omo Ghetto: The Saga* (2020) and *Oloture* (2019). Her directing career began with her short film *840 Days* (2022), starring Lota Chukwu and Blossom Chukwujekwu. *[Japa!](https://nollycritic.com/japa-an-interesting-genre-exploration-for-nollywood/ "Japa!")* is a fresh take on the Groundhog Day trope, blending elements of romance, comedy, and science fiction. Osaje’s directorial debut marks a significant evolution in her career, having transitioned from producing and assistant directing on high-profile films like *Omo Ghetto: The Saga* (2020) to helming her feature. With her background in talent management and her work across various genres, Osaje brings a unique voice to Nigerian cinema, combining humor with a thought-provoking narrative that taps into themes of hope, frustration, and the search for a better life. ##### Ikechukwu Jerry Ossai Ikechukwu Jerry Ossai, a talented writer, and visual effects artist, has earned recognition for his work on *Our Best Friend’s Wedding* (2017), and *Off the Menu* (2019–2020). His feature film *3* *Working Days*, which premiered on October 18, 2024, garnered significant attention for its strong box-office debut, grossing N14.8 million in its opening week. Ossai, known for his expertise in visual effects on films like *Banana Island Ghost* (2017) and *A Naija Christmas* (2021), has transitioned into directing with a style that combines technical skill and storytelling depth. His experience as a visual effects supervisor has equipped him with a keen eye for compelling visuals, which is evident in *[3 Working Days](https://nollycritic.com/3-working-days-a-story-of-a-fathers-race-against-a-failing-system/ "3 Working Days")*. This marks a significant milestone in his career, highlighting his ability to balance narrative complexity with captivating visuals. As the film continues to perform well at the box office, it reinforces Ossai’s position as a director to watch in Nollywood, while also contributing to the industry’s growing global recognition. ##### Sebastian Ukwa He makes his feature directorial debut with [*A Father’s Love* (2024)](https://nollycritic.com/a-fathers-love-a-heartfelt-exploration-of-paternity-and-family-dynamics/ "A Father’s Love (2024)"), following his success with the multi-award-winning short film *Tales of the Browbeaten* (2022). Known for his commitment to telling authentic stories that reflect real human experiences, Ukwa brings the tale of David Nwachukwu and his family’s struggles in Lagos to the big screen. The film explores the theme of fatherhood through David’s journey as he grapples with the arrival of a surprise baby abandoned in his taxi. *A Father’s Love* is a worthwhile film for its tender depiction of fatherhood and its heartfelt celebration of friendship and Lagos, offering a glimpse into Ukwa’s potential as a filmmaker with a keen sense of storytelling and an eye for character-driven narratives. As we celebrate these emerging voices, it’s clear that the future of Nollywood is in good hands. The directors debuting this year are already pushing boundaries and setting high expectations. We look forward to seeing who will rise to the occasion in the coming years and how they’ll shape the industry. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-best-new-nollywood-feature-film-directors-of-2024/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-best-new-nollywood-feature-film-directors-of-2024/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-best-new-nollywood-feature-film-directors-of-2024/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-best-new-nollywood-feature-film-directors-of-2024/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-best-new-nollywood-feature-film-directors-of-2024/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** 3 Working Days, A Father's Love, A Night in 2005, Courage Obayuwana, Criminal, Dolapo Adigun, Isioma Osaje, Japa!, jerry ossai, Kill Boro, nollycritic, nollywood, Sebastian Ukwa, teda abudu --- ### [Juju Fiction and Nollywood's Need For Definitive Genres](https://nollycritic.com/juju-fiction-and-nollywoods-need-for-definitive-genres/) **Published:** December 17, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Have you noticed that Nollywood films don’t always fit into the tidy boxes designed by Hollywood? Well, it's probably because our storytelling is unique. **Content:** Have you noticed that [Nollywood](https://nollycritic.com/5-nollywood-movies-you-must-watch-at-least-once/ "Nollywood") films don’t always fit into the tidy boxes designed by Hollywood? Well, it’s probably because our storytelling is unique. Why then do we still rely on borrowed genre labels like “romance,” “comedy,” or “thriller” to define our films? Why don’t we create our classifications to preserve our identity and celebrate our distinct styles? The idea of genre in the film is as old as the film itself. From the early days of silent cinema to the blockbuster era and the contemporary era, genres have shaped the way movies are made, marketed, and consumed, providing a framework for filmmakers and audiences to understand and engage with diverse types of stories. The studio system in Hollywood led to the creation of formulaic movies that targeted specific audiences. The film industry’s desire to please and its need to attract consumers was viewed as the mechanism whereby spectators were able to designate the kind of films they wanted to see. By choosing films it will patronize, the audience reveals its preferences and beliefs, thus inducing Hollywood studios to produce films reflecting its desires. ##### A Legacy of Diversity Historically, [Nollywood](https://en.wikipedia.org/wiki/Nollywood "Nollywood") has explored a variety of genres, including supernatural horror, political dramas, and cultural epics. In its early days, filmmakers were bold, creating a wide array of narratives that reflected the complexities of Nigerian society. Early classics like *Living in Bondage*, *Nneka the Pretty Serpent*, *Sakobi*, proved that our industry could tackle themes of spirituality, morality, and cultural complexity in ways that no other film tradition could replicate. These films were something entirely our own. ##### The Shift to Homogeneity But today, things feel different. The rise of “New Nollywood” has brought polished productions but also a troubling sameness. Romance, drama, and comedy dominate the screen. While these genres are important, they don’t reflect the full spectrum of our stories or society. Worse still, films often stray from the genres they promise to deliver, leaving audiences confused and disappointed. A film marketed as a thriller might drift into melodrama or comedy, leaving audiences confused and dissatisfied. A recent example is *Break of Dawn* released in cinemas this year, which veers into melodrama with very deep plot holes. This genre-blurring dilutes the impact of the story, resulting in a viewing experience that fails to meet expectations. Some filmmakers today rely on established formulas, particularly romantic comedies and family dramas. A good example, *A Tribe Called Judah*, exemplifies this trend, where romance and family themes dominate the box office. And the same thing, ironically, might happen this coming December. While these films may be popular, they often overshadow the potential for innovative storytelling. The reliance on a narrow set of genres could hinder Nollywood’s long-term growth. ##### Breaking Away from Western Templates Hollywood’s genre system isn’t made for Nollywood. Our films often blend elements of multiple genres—romance mingles with spiritual themes e.g. *Juju Stories: Love Potion (2021)*; thrillers are spiced with comedy (*Break of Dawn, 2024*). This fusion is a strength, not a flaw. Why should we box ourselves into labels that don’t fully capture what we create? The resurgence of supernatural horror films, as seen with *Juju Stories*, *Dichie*, *[Inside Lif](https://www.imdb.com/title/tt23576760/ "Inside Lif")e*, indicates a growing interest in diverse storytelling. Culturally specific biopics, such as *Ayinla*, *Badamosi*, *Lisabi*, and the upcoming *Efunroye Tinubu: The Unicorn*, highlight the potential for films that explore the lives of significant Nigerian figures. Additionally, films addressing political and historical themes like *King of Boys* and *Anikulapo* show audiences are eager for narratives beyond the familiar love stories. Take *Mami Wata*, for example. This supernatural film rooted in African spirituality doesn’t just fit into the “horror” category. It’s a spiritual epic with a uniquely Nigerian flavour. Instead of squeezing our films into Hollywood’s mold, we should embrace our fluid, hybrid storytelling style and create labels that are true to us. ##### Exploring Nollywood’s Unique Genres ###### Funtime Family Drama This genre is all about the hilarious antics and heartwarming chaos within family life, often centered around mischievous children and comical household dynamics. A standout example is *Aki na Ukwa* (2002), also known as Aki and Pawpaw, where the mischievous duo, Aki (Chinedu Ikedieze) and Pawpaw (Osita Iheme), wreak havoc with their childlike antics, leading to uproarious situations and laugh-out-loud moments. These films often feature boisterous family settings where children, often the main troublemakers, bring both joy and mayhem. In *Fuji House of Commotion* (2001), we see a similar comedic portrayal of a chaotic, yet loving family, where the clashes between different personalities result in humorous conflict. Other notable films in the genre include *Tales of the Heart* (2001), *A Tribe Called Judah* (2023), and *The Johnsons* (2012). With exaggerated performances, distinctive characters, and playful storylines, the Funtime Family genre captures the laughter and love found in everyday Nigerian family life. ###### Faith-Based/Evangelical Films Faith-based/Evangelical films focus on divine intervention and Christian themes, often depicting the victory of good over evil. These films explore moral and spiritual struggles, illustrating characters’ journeys toward redemption, faith, and the transformative power of God. *Agbara Nla (The Ultimate Power)* centers on the power of faith to overcome trials, while *The Wounded Heart: When God Says* Yes explores themes of forgiveness, healing, and the spiritual battle between good and evil. Films from Mount Zion Ministries, like *Enoch* (2023), *Recitation* (2023), and Oreofe Williams such as *Awo Jesu,* are known for their deep Christian messages, often highlighting the moral choices of characters faced with spiritual warfare, delivering powerful lessons on faith, prayer, and divine intervention. Other popular titles include *Breath of Life* (2023), *God Calling* (2018), *The Man of God* (2022). ###### Ritual/Blood Money Thrillers These films delve into the dark and often taboo world of money rituals, human sacrifices, and diabolical practices, reflecting the societal fears surrounding greed, power, and moral corruption. These films expose the lengths to which individuals will go in their pursuit of wealth and influence, often highlighting the consequences of making deals with dark forces. *Living in Bondage* (1992), the genre’s defining film explores the life of a man who turns to ritual sacrifices in exchange for wealth, only to be consumed by guilt and terror. *Rituals* (1997), *Billionaire’s Club* (2003), *Yahoo +* (2023), similarly focus on the dangerous allure of blood money, depicting the lives of characters ensnared by their ambition and the horrific costs of their desires. Through chilling stories and intense imagery, these films serve as a cautionary tale, revealing the destructive nature of greed and the heavy price that must be paid for pursuing power through unethical means. ###### Epic/Cultural Films This genre celebrates Nigeria’s heritage through folklore, myths, and historical narratives that often transport audiences to ancient kingdoms and traditional societies. These films highlight legendary figures, such as kings, queens, and warriors, whose stories are tied to the cultural makeup of their people. Films like *Igodo* (1999), *Oduduwa* (2000), *Lisabi* (2024), *House of Ga’a* (2024), *Anikulapo* (2023), and *Amina* (1992) immerse viewers in tales of heroism, sacrifice, and the complexities of power, tradition, and identity. They blend history with mythology, using elaborate set designs, indigenous languages, and traditional customs to reflect the struggles, triumphs, and values of various Nigerian ethnic groups. Through these epics, Nollywood not only entertains but also preserves and promotes cultural pride and the significance of ancestral beliefs. ###### Juju Fiction Juju Fiction films explore the supernatural with tales of mystical forces, ghostly apparitions, and speculative scenarios, often reimagining traditional practices/juju in creative, reimagined ways. In *Day of Destiny* (2021), juju enables time travel. Similarly, *Juju Stories* (2021) delves into eerie tales of love, curses, and transformation, merging folklore with speculative fiction. In *Suspicion* (2024), juju becomes a tool for vengeance, granting its protagonist supernatural powers to pursue justice while grappling with personal destruction, presenting juju as both a blessing and a burden. In *Sugar Rush* (2019), juju is reimagined by blending traditional mysticism with absurdity. Another interesting one is *A Song From the Dark* (2024). These films not only entertain but also push the boundaries of how juju is depicted, turning traditional beliefs into dynamic narratives that blend the mystical with the modern. ##### Protecting our Identity Nollywood’s strength lies in its authenticity. By creating our genre classifications, we can reject the Western lens and assert our identity on the global stage. This isn’t just about semantics, it’s about ensuring our stories remain ours, told in our way, and understood on our terms. The audience is ready for change. The question is, are the filmmakers willing to seize the day? ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/juju-fiction-and-nollywoods-need-for-definitive-genres/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/juju-fiction-and-nollywoods-need-for-definitive-genres/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/juju-fiction-and-nollywoods-need-for-definitive-genres/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/juju-fiction-and-nollywoods-need-for-definitive-genres/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/juju-fiction-and-nollywoods-need-for-definitive-genres/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** blood money films, Juju Fiction, nollycritic, nollywood --- ### [8 Anticipated Nollywood Movies We Didn't See in 2024](https://nollycritic.com/nollywood-movies-and-series-we-didnt-see-in-2024/) **Published:** December 14, 2024 **Author:** Shalom O. Obisesan **Excerpt:** let’s do what we do best: lament. Here’s a roundup of Nollywood movies and series we were supposed to have this year but somehow, still don’t. **Content:** Teasers, trailers, release dates… they promised us the world! But when the time came, they left us on “read.” Some are sitting in post-production purgatory, others tangled up in studio drama, and a few… well, who even knows? All we know is we’re the ones left without the cinematic experiences we were counting on. You know that feeling when you’re waiting for a package you ordered online? You’ve tracked it every day, convinced it’ll arrive any minute, only for it to sit in “arriving” like it’s on a never-ending holiday? And finally, you get a delivery notification, rush to check your doorstep, and… nothing? That’s what 2024 feels like for film lovers. Just you, standing there, confused and a little heartbroken. So, let’s do what we do best: lament. Here’s a roundup of[ Nollywood movies and series we were supposed to have this year ](https://nollycritic.com/the-most-anticipated-nollywood-movies-of-2024/ " Nollywood movies and series we were supposed to have this year ")but somehow, still don’t. ##### *To Kill a Monkey* Kemi Adetiba had us excited this year. She promised three big projects: *To Kill A Monkey*, *Welcome to the Fourth*, and *King of Boys 3*. When she made that Instagram announcement with “I told y’all I was hungry. RUN IT!!!” in bold caps, we believed her. Why wouldn’t we? This is the genius who gave us *King of Boys* and its iconic sequel. But instead of a buffet of new releases, we’ve been left holding our plates, waiting for the chef to show up. Take *To Kill A Monkey*, for instance. Filming wrapped in October 2023. Netflix promised us a 2024 release. They even called it a mini-series, so we knew we’d get to savour it in delicious chunks. With a cast featuring Nollywood royalty like Chidi Mokeme, Stella Damasus, and Damilola Adegbite, it was supposed to blow our minds. But here we are in December, scrolling through Netflix, and all we see are “suggested” titles we didn’t ask for. And let’s not forget *Welcome to the Fourth*. This was another project she teased alongside *To Kill A Monkey*. Sure, we didn’t get much detail about it, but the name alone had us intrigued. Was it a sci-fi? A mystery? We’ll never know, because like *To Kill A Monkey*, it’s nowhere to be found. So, what happened? Are these films caught up in production drama? Did they get lost in Netflix’s “Coming Soon” section? We don’t know. What we do know is that 2024 has been a year of unfulfilled promises, and Kemi, we’re begging – just give us something! ##### *I Do Not Come to You By Chance* This one hurts because we almost had it! The film adaptation of Adaobi Tricia Nwaubani’s award-winning 2009 novel, *[I Do Not Come to You By Chanc](https://www.imdb.com/title/tt28637478/ "I Do Not Come to You By Chanc")*e, has been making waves since its announcement. Directed by Ishaya Bako, the movie premiered at the Africa International Film Festival (AFRIFF) in November 2023, giving lucky attendees a glimpse of what the rest of us are missing. Starring Paul Nnadiekwe in his big-screen debut alongside Blossom Chukwujekwu, Jennifer Eliogu, Sambasa Nzeribe, and Beverly Osu, the film tells the story of a young Nigerian graduate faced with a moral dilemma: should he join his dubious uncle’s fraudulent email scam to support his struggling family? Shot in both English and Igbo, with Genevieve Nnaji serving as executive producer, this adaptation seemed primed to wow us with its rich portrayal of complex characters, razor-sharp humour, and a deeply human exploration of how societal pressures can push good people to morally grey decisions. So, what happened? The film was set to hit Nigerian cinemas last year, but instead, we’ve been left refreshing Instagram posts and waiting for updates. It did have its European premiere at the International Film Festival Rotterdam (IFFR) in early 2024, but back home? Silence. We’re ready, tickets in hand, but the release date remains a mystery. Please, someone tell us this isn’t just a festival film. We ‘normies’ deserve to see this masterpiece too! ##### *Finding Messiah* Oscar Heman-Ackah came out swinging with his debut feature film, *Finding Messiah*. A political music drama set in the fictional Republic of Zambay, complete with its own language, culture, and even a mini community built from scratch! This film promised to be a feast for the senses. And with a star-studded cast featuring Pete Edochie, Ngozi Ezeonu, Taiwo Ajayi-Lycett, Alex Usifo, Ejike Asiegbu, and the legendary Daddy Showkey, how could we not get excited? Back in March 2024, Oscar shared a teaser clip on Instagram, giving us a taste of the film’s soundtrack, and it was nothing short of magical. But one song? Just one? That’s all we got before everything went silent. No trailer, no updates, just vibes and unanswered prayers. The production team reportedly went all out, building an entire Zambay-inspired world to make this vision believable. So where is it now? Did Zambay swallow the footage? The film had everything going for it; a unique concept, a powerhouse cast, and the promise of an immersive world. But as we reach the end of 2024, we’re still waiting. Oscar dared to arouse us, and leave us hanging! No Oscar, we’re not trying to rush your masterpiece, but a little more than a teaser wouldn’t hurt. Give us *Finding Messiah*, or at least give us hope that the Messiah is closer than we think. ##### *Sugar Rush 2* The excitement surrounding *Sugar Rush 2* felt like a promise that would finally be fulfilled. Filming kicked off in October 2022, with the original cast – Adesua Etomi-Wellington, Bisola Aiyeola, and Bimbo Ademoye – back in action, and new director Khris Burton at the helm. The behind-the-scenes clips had us buzzing with anticipation, and by November 2022, filming had officially wrapped. We were all set for another chaotic adventure with the sugar sisters, right? Wrong. Here we are in 2024, and the sequel is still nowhere to be seen. The buzz has gone cold, with no official word on its release. We’ve been hanging on for over two years, and yet, the sequel is still nowhere to be found. Why the delay? What’s going on behind the curtain? Are the sugar sisters lost in post-production limbo? Whatever the reason, the only thing we know for sure is that *Sugar Rush 2* is nowhere in sight, and we’re running out of patience. Please give us something, fast! ##### *Tarella* It’s been years since we first heard about *Tarella*, and we’re still waiting for our turn to see this “African Cinderella” come to life. Co-directed by Lolo Eremie and Kayode Kasum, this film reimagines the classic fairytale in the mythical West African kingdom of Akkaya. It’s an afro-fantasy full of lush costumes, dazzling cinematography, and a storyline inspired by Rhodopis, the Egyptian girl who inspired the original Cinderella legend. Eremie promised a fresh narrative for today’s generation, and from the trailer released way back in 2022, *Tarella* seemed ready to deliver. The film boasts a star-studded cast, including Okawa Shaznay as Tarella and Timini Egbuson as Prince Nosa. Add in heavyweights like Richard Mofe-Damijo, Elvina Ibru, and Gideon Okeke, and you’ve got a line-up that could draw crowds. Yet, despite wrapping production in 2021 and making rounds at film festivals like AFRIFF 2023 and TINFF 2024, *Tarella* remains out of reach for the masses. What’s the hold-up? It’s hard to say, especially since updates have been scarce. But the film’s nomination for Best Nollywood Film at TINFF 2024 only adds to the intrigue. We’ve been ready for *Tarella* since the trailer dropped, but three years later, we’re still left wondering: when will this magical tale finally get its “happily ever after”? ##### *This is Lagos* *This is Lagos* was supposed to be the love letter Lagosians never knew they needed. Kenneth Gyang, whose work (*Oloture*, *Confusion Na Wa*) always leaves a mark, crafted this film as a bold ode to the city. But, you know that one friend who always says, “I’ll be there in five minutes,” but somehow never shows up? That’s exactly how Kenneth Gyang’s *This is Lagos* is making us feel. First, he told us it was coming in December 2023. Then he said, “Oops, not yet.” And now? We’re here, popcorn in hand, with the once-melting butter now solidifying. The film follows Stevo (Gabriel Afolayan), a young rapper with a criminal past and big dreams, as he navigates the chaos of Lagos. Throw in an ensemble cast featuring Rahama Sadau, Kate Henshaw, Jesse Jagz (yes, the Jesse Jagz), and Ikechukwu Onunaku, and it sounded like an unmissable treat. The visuals? Designed for the big screen, with full-frame anamorphic lenses and every intention of giving us the cinematic Lagos experience. The story? A mix of grit, humour, and music; just like the city it’s named after. But instead of gracing our screens, it’s been bouncing around film festivals like AFRIFF and PAFF. And don’t even get us started on the soundtrack. Jesse Jagz’s Fire and Water single teased us just enough to leave us hanging. Gyang apologized for the delays and promised updates, but here we are, still waiting. So, Kenneth, we’re begging. Lagos is ready. We’re ready. This film was meant for the masses, and it’s time to let it shine. Please, don’t make us wait another minute! ##### *The Artifact* And now, a filmmaker who decided to look beyond Lagos! In his ambitious project *The Artifact*, Tolu Lord Tanner promises to take us on a journey across Nigeria, exploring its beauty and diversity like never before. From Lagos to Ilesa, Benin to Onitsha, and even Keffi, the film promises a cinematic road trip through breathtaking landscapes and vibrant cultures. Lord Tanner’s goal? To show audiences not just the sights but the experience of Nigeria – the good, the bad, and the “brakes-on-the-coaster-bus-just-gave-out” moments. The film follows four friends on a race to recover precious stones hidden in an ancient artifact, all while being pursued by dangerous forces. With stars like Adeoluwa Akintoba, Sharon Rotimi, Miracle Inyanda, and Kunle Remi, *The Artifact* boasts a cast ready to deliver adventure and drama in equal measure. The production sounds like a movie in itself. Lord Tanner shared updates about 12-hour road trips, convoy breakdowns, and dancing crew members scarfing down Egusi and Eba in Keffi. He even admitted to losing 8kg during filming – and judging by the chaos of their road adventures, we believe him! After premiering at AFRIFF 2024, *The Artifact* is supposed to hit screens soon, but no release date has been confirmed. And while we’re eager to see Nigeria showcased in all its glory, we’re starting to feel like those friends who planned an adventure only to get left behind. Lord Tanner, you’ve got us hyped, now deliver the goods. ##### *Wire Wire* Bolanle Austen-Peters gave us a taste, teased us with a star-studded cast, and then disappeared into radio silence. *Wire Wire* is poised to feature Shaffy Bello, Blossom Chukwujekwu, Bisola Aiyeola, Erica Nlewedim, Lasisi Elenu, and even Tacha, all were on board for this mystery project. Principal photography started in 2023, and we got a sneak peek with behind-the-scenes footage that had us buzzing with excitement. But since then? Nothing. Not a single detail about the plot or its release date. Knowing Austen-Peters, who gave us *Bling Lagosians* and *Collision Course*, *Wire Wire* is probably something special. But the long silence is testing our patience. If 2025 doesn’t deliver this film, we might need to start sending strongly worded letters. And there you have it – a year of teasers, trailers, and dashed hopes. While the wait has been nothing short of painful, we choose to remain hopeful that 2025 will finally bring these films to our screens. After all, good things come to those who wait… right? > [View this post on Instagram](https://www.instagram.com/reel/DDfbkSMtT3x/?utm_source=ig_embed&utm_campaign=loading)[A post shared by NOLLYCRITIC (@nolly.critic)](https://www.instagram.com/reel/DDfbkSMtT3x/?utm_source=ig_embed&utm_campaign=loading) ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-movies-and-series-we-didnt-see-in-2024/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-movies-and-series-we-didnt-see-in-2024/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-movies-and-series-we-didnt-see-in-2024/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-movies-and-series-we-didnt-see-in-2024/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-movies-and-series-we-didnt-see-in-2024/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Finding Messiah, I do not come to you by chance, Kemi Adetiba, King of Boys 3, nollycritic, nollywood, To kill a monkey --- ### [Mo Abudu Secures $50m Afro Film Fund For EbonyLife Media](https://nollycritic.com/mo-abudu-secures-50m-afro-film-fund-for-ebonylife-media/) **Published:** December 11, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Mo Abudu, the CEO of EbonyLife Media, has announced a groundbreaking achievement for Africa’s creative industry. In partnership with Kuramo Capital, **Content:** [Mo Abudu](https://nollycritic.com/story-so-far-mo-abudu-africas-most-influential-media-mogul/), the CEO of EbonyLife Media, has announced a groundbreaking achievement for Africa’s creative industry. In partnership with Kuramo Capital, EbonyLife has launched the Afro Film Fund (AFF), a $50 million initiative designed to amplify African storytelling on a global scale. The announcement was made through a series of social media posts by Mo Abudu on Instagram and LinkedIn, as well as at the Africa Investment Forum (AIF) Market Days 2024, held in Rabat, Morocco. The AFF was the only creative-sector project selected to feature at the forum, which connects project sponsors directly with investors. Since its inception, the AIF has driven over $180 billion in investment interest across various sectors, including energy, technology, and infrastructure. In her posts, Mo Abudu described the AFF as more than just financial backing. “The Afro Film Fund is about igniting a vibrant and diverse African cinematic voice,” she shared. “…We want to tell compelling stories, with high production values, talented casts, and global appeal.” The AFF will finance feature films that spotlight African narratives, aiming for theatrical releases or direct streaming platforms. It will offer filmmakers across the continent a chance to pitch their projects to a technical advisory board. According to Abudu, the fund represents years of dedication to securing Africa’s rightful place in the global creative economy. Kuramo Capital’s involvement lends credibility to the initiative. The investment firm has catalyzed $3.5 billion for African private equity and businesses, anchored over 15 funds, and supported more than 350,000 jobs. [The African Development Bank (AfDB)](https://www.afdb.org/en "The African Development Bank (AfDB)") has also expressed interest, with plans to invest up to 20% of the fund’s target size, subject to internal approvals. For EbonyLife Media, this marks another milestone in its mission to bring African stories to the world. Abudu believes the Afro Film Fund is a pivotal step forward. As investors, government representatives, and business leaders rally behind the AFF, it’s clear that Africa’s creative industry is poised for transformative change. With the promise of exciting projects ahead, the future of African storytelling has never looked brighter. > [View this post on Instagram](https://www.instagram.com/p/DDWxQWLifLS/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Mo Abudu (@moabudu)](https://www.instagram.com/p/DDWxQWLifLS/?utm_source=ig_embed&utm_campaign=loading) ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/mo-abudu-secures-50m-afro-film-fund-for-ebonylife-media/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/mo-abudu-secures-50m-afro-film-fund-for-ebonylife-media/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/mo-abudu-secures-50m-afro-film-fund-for-ebonylife-media/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/mo-abudu-secures-50m-afro-film-fund-for-ebonylife-media/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/mo-abudu-secures-50m-afro-film-fund-for-ebonylife-media/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** Kuramo capital, Mo Abudu, nollycritic, nollywood --- ### [Nollywood Marketing Evolution: From Video Clubs to TikTok](https://nollycritic.com/nollywood-marketing-from-video-clubs-to-tiktok/) **Published:** December 10, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood has come a long way from the days of posters on street corners and aggressive trailers. Back then, promoting a film was about word of mouth **Content:** [Nollywood](https://nollycritic.com/9-nollywood-movies-that-take-us-back-in-time/ "Nollywood") has come a long way from the days of posters on street corners and aggressive trailers. Back then, promoting a film was about word of mouth at a local video club, a catchy title, and ad slots just before the film. Now? It’s almost all about the clicks, the likes, and the hashtags. Instagram, TikTok, and Twitter (sorry, X) are the new tools of the trade, turning marketing into a game of trends and virality. But is this the best way forward? #### Back in the Day While growing up, some of us might remember the hand-painted movie posters that once dominated walls and kiosks. Back in the 1990s and early 2000s, when Nigerian cinemas were booming, the poster was king! Films like *[Living in Bondage](https://www.imdb.com/title/tt0489511/ "Living in Bondage")* and plays adapted for the screen from theatre troupes relied heavily on these visual campaigns. Posters often showcased exaggerated images. This reminds me of what Dika Ofoma (*A Quiet Monday*) plays in his soon-to-be-released short film, *God’s Wife*. Like his, they were dramatic, colourful, and hard to miss. ##### Radio, TV, and Vibes Radio and TV ads added to the excitement. They were usually extremely aggressive with strong effects. Some of us can even sing the ad tunes of some upcoming films. It was something. By the time video rentals and Alaba Market took over in the 1990s, the industry relied on VHS covers and word-of-mouth. Though simple, these methods worked because they were connected to the people. Marketing was straightforward: posters caught your eye, adverts aired between TV shows, and your mum’s friend could swear on her late father’s name that the film was worth watching. It wasn’t perfect, though. Films rarely reached audiences outside Nigeria, and tracking success was more about gut feelings than actual data. Then the internet showed up, and everything changed. One thing for sure is, that selling the story wasn’t our priority. It was more about plastering popular faces in our faces, making a noise about how good the film is, and that you should “Grab your copy now” with several exclamation marks. The interesting thing is, it has always worked, and it still works! Selling the story is not just our vibe. That’s one reason why celebrity culture is very relevant in selling a film today. However, that’s not how it’s supposed to be. #### Now: ##### Welcome to the Social Media Era Fast-forward to today, and Nollywood film marketing is living its best digital life. Social media platforms have replaced posters, jingles, and ads, and filmmakers are now teasing their movies online to millions of followers. Filmmakers aren’t just selling movies anymore—they’re building hype, one post at a time. Take Funke Akindele, for example. She’s practically the poster child for Nollywood’s social media revolution. With millions of followers and a knack for viral content, she’s mastered the art of making films trend. Remember *Omo Ghetto: The Saga*? It wasn’t just the movie that had people talking—it was the behind-the-scenes clips, the dance challenges, and the teasers Funke posted that made it a hit. She even combined good old street marketing with online buzz—spending ₦20 million on lamp post ads—for *A Tribe Called Judah*. The result? Box office gold. And she’s doing the same, and more, with her December 13 film, *Everybody Loves Jenifa*. Other previous examples are Kunle Afolayan’s *The CEO*, which created intrigue with cryptic teasers, while *King of Boys* became a Twitter sensation with hashtags like #KingOfBoys. Social media doesn’t just promote the films; it creates a community of fans who feel part of the process. #### But Are We Overdoing It? ##### The Good, the Bad, the TikTok Social media has made it easier than ever to promote films. A single viral TikTok challenge can do what a hundred posters couldn’t. But let’s be honest—it’s not all rosy. Here’s where things get tricky. Social media is great for quick buzz, but sometimes it feels like Nollywood is leaning too much on shallow stunts. A TikTok challenge might get people dancing, but does it make them care about the story? It’s a bit like those over-the-top posters from back in the day—they grab attention but don’t always deliver substance. We have examples, films like *The Wedding Party* and *Sugar Rush*, and almost everything ‘Funke Akindele Productions’, have used these viral trends effectively, but not every movie can replicate their success. And then there’s the backlash. Social media is unpredictable. One wrong caption, or misstep, and your entire campaign can spiral into a PR nightmare! Plus, focusing too much on trends can make a film feel forgettable once the buzz dies down. And of course, everything is always subject to change. All Nollywood has done so far is digitalize with a bit more finesse, how they create a buzz about their film. It’s the same old formula, with a sprinkle of social media. > [@funkeakindele](https://www.tiktok.com/@funkeakindele?refer=embed "@funkeakindele")🙄🙄🙄🙄🙄 My UK fans !!! Heard [\#everybodylovesjenifa](https://www.tiktok.com/tag/everybodylovesjenifa?refer=embed "everybodylovesjenifa") tickets are selling out fast!!! You don’t wanna miss it!!!! [\#eljthemovie](https://www.tiktok.com/tag/eljthemovie?refer=embed "eljthemovie") [\#funkeakindele](https://www.tiktok.com/tag/funkeakindele?refer=embed "funkeakindele") > > [♬ original sound – Jared 🚀](https://www.tiktok.com/music/original-sound-7407579376994372382?refer=embed "♬ original sound - Jared 🚀") #### So, What’s the Way Forward? Don’t get me wrong, social media marketing is amazing for Nollywood. But maybe it’s time to use it a bit smarter. Here’s how: **Tell the Story**: Instead of focusing only on trends, give us something deeper. Share behind-the-scenes moments, character insights, or even a sneak peek of the script (especially the script, please! 🥺) Make us care about the film, not just the hype, not just the actors. Eventually, we notice when a film is built up on star power rather than the essence of the story. **Keep It Real**: Audiences love authenticity. Forget the overproduced posts—let’s see the real you, the real story, and the real vibe of the film. **Mix It Up**: Why not combine the old and the new? Funke Akindele does this well, pairing her viral social media campaigns with street-level promotions. A lamp post poster here, a live Q&A there—it’s all about balance. **Build a Community**: Use your platforms to interact with fans. Host live chats, run polls, or share fan art. Make your audience feel like part of the process. #### Wrapping it up Nollywood has always been about innovation, from the days of theatre troupes to the rise of streaming platforms like Netflix. Social media is just the latest tool in its marketing arsenal. But it’s not just about getting people to hit “like” or “share.” It’s about creating connections that last beyond the trends. But at the heart of it all, it’s the stories that make Nollywood special. Social media should amplify those stories, not overshadow them. With a smart, balanced approach, the industry can continue to grow, winning fans at home and abroad. Because at the end of the day, whether it’s a poster or a hashtag, it’s the film that stays with you—not the hype. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-marketing-from-video-clubs-to-tiktok/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-marketing-from-video-clubs-to-tiktok/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-marketing-from-video-clubs-to-tiktok/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-marketing-from-video-clubs-to-tiktok/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-marketing-from-video-clubs-to-tiktok/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** nollycritic, nollywood --- ### [2024 S16 Film Festival: Here's all You Need to Know](https://nollycritic.com/2024-s16-film-festival-begins-with-bold-african-stories/) **Published:** December 10, 2024 **Author:** Fisayo Adekoya **Excerpt:** The S16 Film Festival, a celebration of daring African filmmaking, begins today, December 10, at the Alliance Française de Lagos. **Content:** The S16 Film Festival, a celebration of daring African filmmaking, begins today, December 10, at the Alliance Française de Lagos. Organized by the Surreal16 Collective, the festival celebrates African storytelling that challenges traditional Nollywood narratives. It provides a platform for experimental films, fresh perspectives, and bold themes. Over the years, the festival has cemented its reputation as a hub for cutting-edge African cinema. By creating an environment that fosters artistic freedom, it has become a space where filmmakers can explore unconventional narratives and stylistic approaches. The festival aims to elevate African stories that defy stereotypes while amplifying voices that are often overlooked. Its carefully curated lineup of films reflects a commitment to breaking creative boundaries and inspiring the next generation of storytellers. This year’s lineup includes *On Becoming a Guinea Fowl*, a surreal tale exploring identity and self-discovery, and *Hanami: Blossom*, a moving story inspired by the Japanese tradition of cherry blossoms. Other highlights include *Red Moon*, a suspenseful narrative about love and vengeance, and *Shadows*, a psychological drama delving into themes of resilience and inner turmoil. The festival isn’t just about film screenings. Attendees can engage in thought-provoking workshops, masterclasses, and panel discussions, led by some of Africa’s most influential filmmakers. These sessions aim to inspire dialogue, foster connections, and empower emerging creatives in the industry. The three-day festival, backed by partners like the French Embassy and A Whitespace Creative Agency, creates a collaborative space for filmmakers and enthusiasts. As the event opens today, it invites attendees to immerse themselves in stories that push boundaries and redefine African cinema. *For more stories and updates, follow us on our social media platforms:* - [Instagram](https://www.instagram.com/nolly.critic/profilecard/?igsh=MWg5NWFuaTRicWdlcw==) - [TikTok](https://www.tiktok.com/@nollycritic?_t=8rAUppnRQkK&_r=1) - [X](https://x.com/nollycritic) - [YouTube](https://youtube.com/@nollycritic?si=LS-FL0J7x1IDybWo) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/2024-s16-film-festival-begins-with-bold-african-stories/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/2024-s16-film-festival-begins-with-bold-african-stories/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/2024-s16-film-festival-begins-with-bold-african-stories/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/2024-s16-film-festival-begins-with-bold-african-stories/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/2024-s16-film-festival-begins-with-bold-african-stories/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** african cinema, CJ Obasi, Film Festival 2024, Film Industry, Nigerian Film, nollycritic, s16 film festival --- ### [The Men’s Club: Next Gen – New Chapter or Missed Opportunity?](https://nollycritic.com/the-mens-club-next-gen-new-chapter-or-missed-opportunity/) **Published:** December 11, 2024 **Author:** Uju Okosieme **Excerpt:** The Men's Club: Next Gen is out! Everyone’s favourite men are back for a new season, this time—new men have joined the fold **Content:** *[The Men’s Club: Next Gen](https://www.primevideo.com/detail/The-Mens-Club---New-Gen/0FJVLFY2MLN68EJFFXIMZ7XT5S "The Men's Club: Next Gen")* is now streaming on Prime Video. Everyone’s favourite men are back for a new season, but there’s a twist this time—new men have joined the fold. While fans may wonder why the producers felt the need to shift focus, given the enduring appeal of the original group, we’re here to see how it all plays out. ## *The Men’s Club: Next Gen* Created by: Tola Odunsin Written by: Damilola Elebe Genre: Drama Released on: December 4, 2024 (Prime Video) Language: English ##### Plot This season picks up with the original crew—Aminu, Louis, Tayo, and Lanre—as they navigate unresolved conflicts from the previous season. Aminu has moved on from Tumini, Louis is avoiding Lola, Tayo is battling debt, and Lanre is estranged from Teni. The first two episodes wrap up these arcs while introducing new characters like Tammy and her brother, Toks. The story then shifts to the new leads. Kash is grappling with personal loss while uncovering dysfunction in his family business. Obinna is determined to establish his software in the market but must deal with a major cybersecurity breach that threatens everything. Toks, trying to set up his own business outside of his father’s shadow, struggles with a romance with Zara, complicated by animosity between their families. Meanwhile, Francis is working to make a name for himself after quitting his job, all while juggling romantic missteps and financial setbacks. The season follows these men as they tackle personal and professional challenges, facing betrayal, ambition, and resilience, with moments of tension and emotional upheaval. ##### Story Unfortunately, the story struggles to engage. Despite the initial intrigue, the pacing feels sluggish, making even 30-minute episodes feel drawn out. The decision to focus on new characters from episode three onward doesn’t allow enough time to invest in them fully. By the finale, it’s hard to care about these new storylines as much as we did about the original quartet. The dialogue often feels stilted and cringeworthy, failing to capture the natural flow of conversation. For example, Francis’ penchant to say “type shit” even when it doesn’t fit. The second episode’s wedding scene drags on unnecessarily, offering little to the story beyond showing the couple getting married. ##### Performances The acting is inconsistent. While the lead actors—Okusaga Adeoluwa (Kash), Chuks Joseph (Francis), David Eyo (Obinna), and Paul Nnadiekwe (Toks)— do their best, their performances lack standout moments. Supporting actors often deliver lackluster performances, detracting from key scenes. Tope Olowoniyan’s performance as Tammy is a highlight, and the family dynamic between Toks, Tammy, and their father feels authentic and engaging. The older cast—Eric Obinna as Zara’s father, Francis Onwochei as Toks’ father, and Evaezi Ogoro as Kash’s aunt—bring depth and gravitas to their scenes, often outshining their younger counterparts. However, moments meant to be impactful frequently fall flat. For instance, Francis confronting the group about missing his event is unintentionally comedic due to poor dialogue and direction. ##### Technical Aspects *[The Men’s Club: Next Gen](https://www.primevideo.com/detail/The-Mens-Club---New-Gen/0FJVLFY2MLN68EJFFXIMZ7XT5S "The Men's Club: Next Gen")* looks good visually and has a catchy theme song, but technical issues persist. Continuity errors, such as repeated dialogue within the same conversation, crop up frequently, and there are several scenes where the audio and video are not synchronized. Subtitles are riddled with mistakes, ranging from missing lines to glaring inaccuracies. ##### Final Thoughts You might find this season underwhelming if you’re a die-hard fan of ‘The Men’s Club’. While it’s a decent watch, it pales in comparison to the earlier seasons. This season earns a 2.5 out of 5. All twelve episodes are now streaming on Prime Video. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-mens-club-next-gen-new-chapter-or-missed-opportunity/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-mens-club-next-gen-new-chapter-or-missed-opportunity/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-mens-club-next-gen-new-chapter-or-missed-opportunity/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-mens-club-next-gen-new-chapter-or-missed-opportunity/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-mens-club-next-gen-new-chapter-or-missed-opportunity/?share=linkedin) - **Categories:** Articles, Blog, Popular reviews, Reviews **Tags:** nollycritic, nollywood, Prime Video, Reviews, The Mens Club --- ### [Ema Edosio Explores Dance Film Genre in When Nigeria Happens](https://nollycritic.com/ema-edosio-explores-dance-filmm-genre-in-when-nigeria-happens/) **Published:** December 6, 2024 **Author:** Shalom O. Obisesan **Excerpt:** "Nigeria has happened to most of us.” Says filmmaker Ema Edosio, reflecting on the shared experiences of Nigerians grappling with love, ambition **Content:** > “Nigeria has happened to most of us.” Says filmmaker[ Ema Edosio](https://www.imdb.com/name/nm8061992/ " Ema Edosio"), reflecting on the shared experiences of Nigerians grappling with love, ambition, and the complexities of survival in a turbulent society. Her new film, *When Nigeria Happens*, delves into these themes, showcasing the resilience and sacrifices of Nigerian youths as they navigate the ever-busy streets of Lagos. The film is a collaboration with Nigerian choreographer Qudus Onikeku and is set to premiere in 2025. *When Nigeria Happens* promises a love story, using the emotional lens of affection, to examine how Nigerians confront the challenges of oppression, identity, and survival. To do this, Edosio combines personal narratives with socio-economic realities, offering a powerful commentary on youthful idealism clashing with harsh realities. The film promises to invite audiences to reflect on their struggles and celebrate the strength required to dream and persevere. The film’s groundbreaking focus on contemporary Nigerian dance makes it the first of its kind, a creative milestone for Nollywood. Onikeku, whose choreography draws inspiration from Yoruba traditions and blends elements of hip-hop, capoeira, and modern dance, brings a dynamic rhythm to the storytelling. > “The dance is pure and reflective of the times we live in here.” Edosio says, adding that this collaboration enriches the narrative with an authentic expression of the human condition. Featuring a stellar cast that includes Dakore Egbuson, Alex Usifo, and Seun Ajayi, *When Nigeria Happens* is as much about its characters as it is about its backdrop: Lagos, a city that embodies both hope and hardship. Through the interplay of gritty visuals and intimate storytelling, Edosio attempts to capture the unyielding spirit of Nigerians who strive to hold onto their humanity amidst chaos. Ema Edosio is no stranger to telling powerful stories. She made her mark with *Kasala!*, her debut feature, which screened at over 30 international film festivals and earned nine awards. Starting as a self-taught cinematographer, she sharpened her skills at the New York Film Academy and the Motion Pictures Institute of Michigan. Her career spans directing for platforms like EbonyLife TV and BBC Africa, and her recent film, *Otiti*, continues to gain acclaim on international stages. With *When Nigeria Happens*, Ema Edosio takes her storytelling to new heights. Beyond celebrating the talent and tenacity of Nigerians, the film serves as a mirror to society, encouraging much-needed conversations about the ways we live, love, and survive. By merging dance, love, and survival into a single narrative, she offers audiences a visual and emotional spectacle with a fresh perspective on resilience and humanity in the face of challenges. The film promises to mirror the dreams and determination that define Nigerians, with a call to keep dancing, no matter what. A private screening of the film is set to take place at the[ Surreal 16 Film Festiva](https://nollycritic.com/2024-s16-film-festival-begins-with-bold-african-stories/ " Surreal 16 Festiva")l on 13 December 2025. > [View this post on Instagram](https://www.instagram.com/reel/DDPtGlfN19M/?utm_source=ig_embed&utm_campaign=loading)[A post shared by XVI (@s16filmfestival)](https://www.instagram.com/reel/DDPtGlfN19M/?utm_source=ig_embed&utm_campaign=loading) ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ema-edosio-explores-dance-filmm-genre-in-when-nigeria-happens/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ema-edosio-explores-dance-filmm-genre-in-when-nigeria-happens/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ema-edosio-explores-dance-filmm-genre-in-when-nigeria-happens/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ema-edosio-explores-dance-filmm-genre-in-when-nigeria-happens/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ema-edosio-explores-dance-filmm-genre-in-when-nigeria-happens/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** Alex Usifo, Dakore Egbuson, Ema Edosio, Kasala!, nollycritic, nollywood, Seun Ajayi --- ### [Sisi London: Seriously, What Exactly is Going on Here?](https://nollycritic.com/sisi-london-fake-accents-and-real-disappointments/) **Published:** December 7, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Directed by Omoni Oboli, Sisi London is a comedy-drama set in a rural Nigerian village, recently released on Netflix. The film feels somewhat nostalgic,, **Content:** Directed by Omoni Oboli,*[ Sisi London ](https://www.imdb.com/title/tt34737655/ " Sisi London ")*is a comedy-drama set in a rural Nigerian village, recently released on Netflix. The film feels somewhat nostalgic, but that might not be the intention of the filmmakers. Despite the comedic performances, *Sisi London* suffers from poor technical quality, and a predictable storyline. The production feels dated, which is disappointing given the strides Nollywood had made by the time of its 2021 production. ## *Sisi London* Directed by: Omoni Oboli Produced by: Omoni Oboli Genre: Comedy Drama Released on: November 29, 2024 (Netflix) Language: English ##### Plot The film follows two central characters. First, troublesome Philo. Then comes Cecilia, who pretends to be a sophisticated Londoner to seduce a newly wealthy farmer, Billy (Philo’s husband), in a village. As Cecilia’s schemes unfold, she faces resistance from Philo, who is undergoing a personal transformation of her own. The story culminates in a series of confrontations, where secrets unravel, forcing each character to confront their motivations and desires. ##### Story Cecilia, driven by a desire to escape her mundane life and achieve wealth, constructs a false persona, masking her insecurities with her supposed charm and wit. Philo, on the other hand, wrestles with her volatile temperament and feelings of inadequacy, spurred by societal pressure to secure her place in her marriage. Through their clashing motivations, the story delves into the psychological tension between ambition, self-worth, and societal expectations within a comedic and dramatic framework. *Sisi London* delves into themes of identity, ambition, and societal expectations, using humour and satire to explore the clash between rural simplicity and urban aspirations. It examines the lengths people will go to reinvent themselves and the consequences of deception in pursuit of wealth. The story of *Sisi London* isn’t particularly new or groundbreaking. The film follows a familiar Nollywood trope: the fake lifestyle, “fake it till you make it” narrative that has been explored in films like *Alakada*, *Pretty Liars*, *Jenifa*, and the most recent and innovative: *Queen Lateefah*. While this/these stories aren’t bad, *Sisi London* doesn’t offer anything fresh or innovative. The characters don’t feel deeply engaging, and the overused comedic tone weakens the potential impact of the story’s more serious themes. Instead of delving into the psychological complexity of the characters, the comedy trivializes their struggles, making it hard for viewers to take the story seriously. ##### Technical Aspects The technical aspects leave much to be desired, especially in the opening scenes, which lacked professionalism. The film jumps straight into the narrative without any proper introduction, starting with a fight scene that feels jarring rather than engaging. The use of natural lighting seems to have been a deliberate choice, but it was poorly executed. The lighting was subpar, lacking the clarity and depth needed to create an effective atmosphere. While some shots looked promising, especially when focusing on the village setting, the location didn’t play a significant role in the story as expected. The overall technical execution felt underwhelming—serviceable at best, simply telling the story without any innovation or visual flair. ##### Performances The cast as a whole succeeds in blending humour and drama, though the performances sometimes feel constrained by the film’s simplistic narrative. [Omoni Oboli](https://nollycritic.com/wives-on-strike-3-omoni-oboli-annouces-third-instalment/ "Omoni Oboli")’s portrayal of Cecilia relies on exaggerated Nollywood stereotypes, particularly the caricatured “IJGB” character with over-the-top mannerisms and “innit” speech. While this might reflect real-life people, it feels too much and takes away from the film’s depth. The comedy in her performance makes Cecilia, and the serious themes of the film, feel less important than they should be. Chioma Akpotha’s performance as Philo tries to show her character’s change from being aggressive to more gentle. While the shift makes sense after her mother’s death, which she unintentionally caused, it feels too sudden and not fully convincing. The film doesn’t give enough time for Philo’s emotional growth to feel real, making the transition feel rushed. As a result, Akpotha’s performance works, but it doesn’t fully capture the depth of Philo’s character change. ##### Final Thoughts From the very first scene, it seemed like the filmmakers might have been attempting something innovative with the lighting to tell the story differently. However, that wasn’t the case. The lighting was simply poorly executed, setting a disappointing tone from the outset. The film’s overall production quality felt substandard, even in the performance direction, which is surprising given that it was made in 2021, a time when Nollywood had already made significant strides in technical and narrative excellence. ##### Verdict Omoni Oboli might have dropped one of the best Nollywood films of 2024; The Uprising, but this movie is a letdown.*Sisi London* leaves little to remember, offering nothing noteworthy to take away. The movie is currently available on Netflix. **Rating**: 1.5/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/sisi-london-fake-accents-and-real-disappointments/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/sisi-london-fake-accents-and-real-disappointments/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/sisi-london-fake-accents-and-real-disappointments/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/sisi-london-fake-accents-and-real-disappointments/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/sisi-london-fake-accents-and-real-disappointments/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews --- ### [Netflix Leaving Nigeria? Not Quite, Here's The True Story](https://nollycritic.com/netflix-isnt-leaving-but-heres-why-it-feels-like-it-is/) **Published:** December 5, 2024 **Author:** Shalom O. Obisesan **Excerpt:** News of the departure from Nigeria sent shockwaves across the entertainment industry, sparking speculation and concern. **Content:** News of the departure of [Netflix](https://nollycritic.com/netflix-cancels-nigerian-originals-sparks-industry-debate/ "Netflix’s") from Nigeria sent shockwaves across the entertainment industry, sparking speculation and concern. The shock, surprise, and even heartbreak on social media were astounding. For many, the idea of Netflix abandoning Africa’s giant, a country whose stories it has championed globally, seemed inconceivable. For some, it’s the industry’s “bad behavior” reputation. However, amidst the confusion and speculations, a clearer picture has begun to emerge. What truly transpired, and what does this mean for Nollywood and its audience? ##### What’s the Story? The frenzy began when Kunle Afolayan, speaking at the 2024 Zuma Film Festival, shared that Netflix had canceled multiple Nigerian Originals in development. This revelation coincided with a wave of rumors and speculative reports claiming Netflix had “pulled out of Nigeria” due to economic instability, subscriber loss, and a struggling naira. Adding fuel to the fire, headlines like “Netflix Leaves Nigeria” painted a grim picture, while others hinted at a broader retreat from Africa. For a country where Netflix has played a significant role in the creative sector, this was devastating news. Further complicating matters, Victor Ohai, President of the Directors Guild of Nigeria, referred to Netflix’s recent *Lights, Camera…Naija!* celebration as a symbolic “last supper” for Nigerian filmmakers. He noted that Netflix had reportedly told frequent collaborators during the event that they would be scaling back acquisitions, commissioning, and funding of Nigerian content. ##### Fact Check: Did Netflix Leave? ###### The Facts Netflix has categorically denied claims of exiting the Nigerian market. Through its public relations agency, Hill and Knowlton Strategies, the company issued a formal statement, which was covered by outlets like TechCabal and The Guardian. Edafe Onoriode, Group Account Director at Hill and Knowlton Strategies clarified: > “We are not exiting Nigeria. We will continue to invest in Nigerian stories to delight our members” However, there’s more to the story. ###### The Rumours While Netflix remains present in Nigeria, there are elements of truth to the claims of a reduced presence. There are claims that platform has indeed scaled back its funding for Nigerian Originals, taking a more selective approach to commissioning new projects. According to insiders, the company is adopting a more selective approach to commissioning local projects, citing economic challenges as a factor. Kunle Afolayan revealed that while his film, *Aníkúlápó* secured additional seasons, many projects greenlit alongside his have been quietly cancelled. Similarly, filmmaker Kemi Adetiba’s upcoming project *To Kill a Monkey* might be among the last wave of Netflix Originals in Nigeria. So, while Netflix is not leaving Nigeria, it is might be retreating in terms of its commitment to local content. ##### If the Rumours Were True, What Does This Mean for Nollywood? While the facts indicate Netflix is not abandoning Nigeria, exploring the implications of such a scenario is still worthwhile. If Netflix were to fully exit the Nigerian market, here’s what it could mean: 1\. **Fewer Opportunities for Creators** For Nigerian filmmakers, Netflix provided a platform for global exposure and much-needed funding. Losing access to this platform would force many to seek alternative funding sources, which may not offer the same financial stability or creative freedom. While Kunle Afolayan’s *Aníkúlápó* series remains secure, projects without strong track records may struggle to find backing. Come to think of it, what would happen to *Blood Sisters*, *Shantytown*, etc.? Kunle Afolayan summed it up: > “We’ve gone from earning millions in dollars with guaranteed funding to wondering where we’ll place our next film.” 2\. **Increased Risk of Over-Reliance on Foreign Platforms** Possibly, but we hope not. Victor Ohai highlighted the dangers of over-reliance on international platforms. > “We need to create our own distribution platforms,” Ohai urged, pointing to YouTube as an imperfect but valuable option. Without locally developed alternatives, Nollywood risks becoming overly dependent on global platforms vulnerable to policy changes or economic downturns. 3\. **Challenges for Nollywood’s Global Reputation** Netflix’s departure could hinder Nollywood’s ability to maintain the production quality and global reach that its collaborations with the streaming giant have helped establish. ##### The Bigger Picture Even in the absence of a full exit, if Netflix reduces funding, it poses significant challenges for Nollywood. Inflation, a weakening naira, and high production costs have made Nigeria a challenging market for global companies. Netflix’s subscription price, ₦7,000 per month, remains out of reach for many Nigerians, contributing to its slower-than-expected subscriber growth. In addition, subscription price hikes over the past year, ranging from 37% to 75%, have only exacerbated the platform’s challenges in Nigeria. Rising costs, coupled with dwindling purchasing power, have significantly impacted user This isn’t the first time a major streaming platform has pulled back in Nigeria. Earlier this year, Amazon Prime Video scaled back its operations, citing similar challenges. Both companies have faced rising costs and subscriber challenges in a market where high data costs and limited internet access remain barriers. Together, these moves highlight the precarious nature of international investment in Nigeria’s creative economy. However, it’s not all doom and gloom. ##### Moving Forward While reports of Netflix scaling down its investment remain speculative, they do not overshadow Nollywood’s significant strides on the platform. Titles like *King of Boys*, *Shanty Town*, and *Blood Sisters* have demonstrated the global appeal of Nigerian stories, ensuring that Nollywood remains a vital part of the streaming giant’s catalog. For Nollywood to weather this storm, innovation and self-reliance will be key. For creators, further collaborations with other international platforms and co-production agreements, such as the recent UK-Nigeria partnership, could provide alternative funding and exposure avenues. For Nollywood, the industry must continue to innovate and improve production quality. It must also invest in infrastructure and build its own distribution channels to reduce reliance on foreign platforms. ##### Final Thoughts The panic over Netflix’s supposed “exit” reflects a deeper truth: the Nigerian film industry is at a crossroads. While challenges like inflation and funding cuts loom large, Nollywood’s resilience and creativity remain undeniable. While Netflix has not left Nigeria, its strategic shift serves as a wake-up call for the industry to invest in local solutions and build a more self-sufficient ecosystem. The Nigerian story is far from over. With new partnerships, emerging platforms, and an audience hungry for authentic narratives, Nollywood will continue to thrive—Netflix or no Netflix. What’s your take on the [Netflix saga? Let’s discuss this ](https://www.netflix.com/browse "Netflix")in the comments below. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/netflix-isnt-leaving-but-heres-why-it-feels-like-it-is/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/netflix-isnt-leaving-but-heres-why-it-feels-like-it-is/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/netflix-isnt-leaving-but-heres-why-it-feels-like-it-is/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/netflix-isnt-leaving-but-heres-why-it-feels-like-it-is/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/netflix-isnt-leaving-but-heres-why-it-feels-like-it-is/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Netflix, nollycritic, nollywood --- ### [77: The FESTAC Conspiracy - Here’s What We Know So Far](https://nollycritic.com/77-the-festac-conspiracy-heres-what-we-know-so-far/) **Published:** December 6, 2024 **Author:** Fisayo Adekoya **Excerpt:** 77: The FESTAC Conspiracy shifts the focus to a different, yet equally important moment in Nigeria’s history. Set against the backdrop of the 1977 FESTAC **Content:** On December 4, 2024, Lagos hosted an exciting event at Imax Lekki, unveiling*[ 77: The FESTAC Conspiracy.](https://nollycritic.com/see-the-trailer-for-izu-ojukwus-77-the-festac-conspiracy/ " 77: The FESTAC Conspiracy.")* Directed by Izu Ojukwu, this film is the much-anticipated sequel to 76. It brought together industry professionals, filmmakers, cast members, and history buffs, all eager to witness this cinematic journey into Nigerian history. The first film, *76*, was a powerful depiction of the 1976 Nigerian coup. It highlighted the personal and political impacts of that turbulent time. *77: The FESTAC Conspiracy* shifts the focus to a different, yet equally important moment in Nigeria’s history. Set against the backdrop of the [1977 FESTAC](https://en.wikipedia.org/wiki/FESTAC_77 "1977 FESTAC"), the film explores African identity, unity, and the political struggles of the time. FESTAC was a landmark event, drawing delegates from 56 countries to celebrate African heritage through art, music, and culture. The plot follows a former soldier who becomes involved in a revolutionary movement challenging Africa’s political systems. The film touches on deep themes of loyalty, moral conflict, and cultural identity. It paints a vivid picture of the political unrest during the late 1970s. With a $1 million production budget, the filmmakers meticulously recreated the festival’s vibrant atmosphere, making it an immersive experience for viewers. The event featured a screening of the movie’s trailer, captivating the audience with its powerful imagery. Following the trailer, a panel discussion took place. Director Izu Ojukwu, along with the cast, including Ramsey Nouah and Rita Dominic, shared insights into the making of the film. They emphasized the importance of preserving African history through cinema. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/12/photo_2024-12-06_09-11-22.jpg?resize=640%2C359&ssl=1)L-R – Prince Tonye Princewill (Executive Producer 77, Mr. Izu Ojukwu (Director & Producer), Mrs. Mojisola Oladapo (Chief Marketing Officer, Filmhouse Group, Ramsey Nouah, Lead Actor 77, Mr. Kene Okwuosa, Group CEO Filmhouse Group( Filmhouse Cinemas, FilmOne Entertainment & FilmOne Studios) and Mrs. Ladun Awobokun, Chief Content Officer, FilmOne Limited and Adonijah Owiriwa (Executive Producer & Actor 77)The cast of *77: The FESTAC Conspiracy* brings their characters to life with remarkable performances. Ramsey Nouah reprises his role as Captain Joseph Dewa, while Rita Dominic returns as Suzie. Their portrayals add depth and emotion to the film. Ibinabo Fiberesima’s role as Angela and Seun Kuti’s performance as his father, the legendary Fela Kuti, ground the story in historical authenticity. The event also highlighted the growing impact of Nigerian cinema on the global stage. Filmmakers discussed how movies like 77: The FESTAC Conspiracy help shape African cultural identity. These films offer an opportunity to educate audiences and preserve important moments in history. Through storytelling, they can both entertain and inspire. As the premiere date draws near, excitement continues to build. The film promises to leave a lasting impression, reflecting on the past and a vision for the future. *77: The FESTAC Conspiracy* is not just a movie; it’s a celebration of African heritage and unity. By exploring the themes of political resistance and cultural pride, the film bridges generations. It reminds viewers of the power of storytelling in shaping history and identity. See the trailer below. *For more stories and updates, follow our social media platforms:* - [Instagram](https://www.instagram.com/nolly.critic/profilecard/?igsh=MWg5NWFuaTRicWdlcw==) - [TikTok](https://www.tiktok.com/@nollycritic?_t=8rAUppnRQkK&_r=1) - [X](https://x.com/nollycritic) - [YouTube](https://youtube.com/@nollycritic?si=LS-FL0J7x1IDybWo) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/77-the-festac-conspiracy-heres-what-we-know-so-far/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/77-the-festac-conspiracy-heres-what-we-know-so-far/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/77-the-festac-conspiracy-heres-what-we-know-so-far/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/77-the-festac-conspiracy-heres-what-we-know-so-far/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/77-the-festac-conspiracy-heres-what-we-know-so-far/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News --- ### [Netflix Cancels Nigerian Originals, Sparks Industry Debate](https://nollycritic.com/netflix-cancels-nigerian-originals-sparks-industry-debate/) **Published:** December 4, 2024 **Author:** Fisayo Adekoya **Excerpt:** Netflix has recently decided to stop producing some Nigerian original films. This has caused concern among filmmakers in the country. **Content:** [Netflix](https://www.netflix.com/browse "Netflix") has recently decided to stop producing some Nigerian original films and shows. This has caused concern among filmmakers in the country. However, Netflix clarified that it is not leaving the Nigerian market entirely. Instead, the company will focus on acquiring already finished Nigerian films for distribution, rather than producing new ones. This decision has upset several filmmakers who were already working on original projects for Netflix. These cancellations have caused disruptions, leaving creators uncertain about their future projects. The fear is that without these original productions, local filmmakers might struggle to get their work seen by global audiences. As it stands, the last. Nigerian Originals from the streaming giant will be the second and third seasons of Kunle Afolayan’s *Anikulapo*. [Netflix](https://nollycritic.com/lateef-adedimeji-unveils-two-part-netflix-epic-biopic-lisabi-celebrating-yoruba-heroism/ "Netflix") responded to the backlash, explaining that it would continue investing in Nigerian content. While it has canceled some original productions, the streaming service is still interested in showcasing Nigerian films that are already completed. They are shifting their focus to acquiring finished works from local creators rather than producing new ones. This change in Netflix’s strategy has led to mixed reactions. Some filmmakers are happy that Netflix will still distribute their finished films, but others are concerned that the focus on acquisitions instead of original content might hurt the local film industry. There is a worry that fewer new projects could limit opportunities for Nigerian filmmakers to grow and succeed. The situation has raised questions about the future of Nigerian cinema. Many filmmakers now believe that the industry needs more support and stronger protections to ensure its long-term success. Some argue that while global platforms like Netflix are important, local distribution channels and partnerships are key to the future of the Nigerian film industry. While the shift in strategy has caused some uncertainty, the company remains committed to showcasing African stories. It’s clear that the demand for African content is growing, and Netflix will continue to be a part of that. However, the Nigerian film industry must now find ways to adapt to these changes, ensuring that it can continue to grow and compete on a global scale. *For more stories and updates, follow us on our social media platforms:* - [Instagram](https://www.instagram.com/nolly.critic/profilecard/?igsh=MWg5NWFuaTRicWdlcw==) - [TikTok](https://www.tiktok.com/@nollycritic?_t=8rAUppnRQkK&_r=1) - - [YouTube](https://youtube.com/@nollycritic?si=LS-FL0J7x1IDybWo) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/netflix-cancels-nigerian-originals-sparks-industry-debate/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/netflix-cancels-nigerian-originals-sparks-industry-debate/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/netflix-cancels-nigerian-originals-sparks-industry-debate/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/netflix-cancels-nigerian-originals-sparks-industry-debate/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/netflix-cancels-nigerian-originals-sparks-industry-debate/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** Netflix, Nigerian Filmmakers, nollycritic, nollywood, Nollywood news, Zuma Film Festival --- ### [Suspicion: The Juju-Fiction We Have Always Wanted](https://nollycritic.com/suspicion-the-juju-fiction-we-have-always-wanted/) **Published:** December 3, 2024 **Author:** Shalom O. Obisesan **Excerpt:** In a world where the mystical intersects with the modern, Tosin Igho takes a bold approach to reimagining juju. The result? Suspicion. **Content:** In a world where the mystical intersects with the modern, Tosin Igho takes a bold approach to reimagining juju. The result? Suspicion. An ambitious entry into Nollywood’s supernatural genre that blends elements of crime, action, and magic. The film has the stakes, delivers the thrills, and doesn’t shy away from the pain (seriously, the filmmakers went all out, wasting crates of eggs and tomatoes in the process—someone’s livelihood went down the drain!). There is so much to unpack in this [Nollywood](https://nollycritic.com/detty-december-nollywood-movies-to-see-this-christmas/ "nollywood") movie, so without further ado, let’s delve right in! ## *Suspicion* Directed by: Tosin Igho Written by: Tosin Igho/Kolade Igho Genre: Juju Fiction, Thriller, Mystery Released on: November 28, 2024 (Prime Video) Language: English and Pidgin ##### Story Love and vengeance. That’s the heart of *Suspicion*, all tied up in a supernatural thriller, where grief and betrayal push a man to the brink. After the murder of his friend and friend’s daughter, Voke embarks on a relentless pursuit of those responsible. This isn’t simply revenge; it’s vengeance—a deep, consuming need to restore balance and punish those who have wronged him. But as Voke’s journey unfolds, the line between justice and personal destruction blurs, leaving him to grapple with how far he’s willing to go. In the end, this story will force you to confront the cost of vengeance and question what happens when justice becomes a matter of the heart. As Voke’s powers grow, so does the emotional toll, creating friction with his loved ones—his mother, Obatere (Tina Mba), and girlfriend, Chisom (Omowumi Dada)—who implore him to abandon his destructive path before it consumes him. Voke’s journey centers on the moral conflict between justice, saving the ones you love, and self-destruction, but the screenplay only scratches the surface of his transformation. The film hints at themes of love, sacrifice, and redemption, yet fails to explore them with the depth they deserve. As a result, Voke’s goals feel one-dimensional, leaving the audience yearning for a more nuanced portrayal of his internal struggles. A standout element in this film was the deliberate choice to incorporate Pidgin as the primary language of dialogue. This decision added a layer of authenticity to the film’s setting. However, the execution left much to be desired. The dialogue, while functional, struggles to capture the emotional authenticity needed to elevate the story. The use of Pidgin English feels contrived. This lack of natural flow weakens the film’s ability to convey the raw emotions tied to its themes of grief and vengeance. The Pidgin often felt unnatural, and the moment we felt the authenticity was in the third act with the introduction of the character of Onajite. This robbed the dialogue of the emotional charge and spontaneity that typically defines Pidgin, making some interactions feel cringy. ##### Plot Voke is devastated after the murder of his best friend, Rogba (Uzor Arukwe), and goddaughter, Lolu. These tragic events set Voke on a vengeful path, using his supernatural abilities to track down the perpetrators. The plot unfolds at a steady pace, keeping viewers engaged with well-integrated action sequences. Key events in the film are cleverly detailed in a subtle way as with most brilliant thrillers to make the the plot twist unpredictable. The third act may seem complicated at first due to multiple plot twist that might appear confusing, but it becomes much clearer after a second viewing. The pieces to explain the twist are there all along. The Film ends with a cliffhanger, leaving us yearning for a sequel. ##### Technical Aspects One of the highlights of the film was the action sequences, although it also faltered with excessive use of slow-motion effects. While the sound score did a good job of building tension, it could have been better. The film continues with a long and boring action score, and key moments where music, particularly traditional music could have been explored were ignored. The cinematography, while generally serviceable, had its standout moments. One particular scene, where Voke stands on the edge of a mountain cliff, would have truly benefited from being viewed on the big screen. The sweeping view was breathtaking, and in many ways, this scene served as a deliberate choice to add visual interest and scale to the film. The visual effects (VFX) were also noteworthy, particularly in its portrayal of juju and supernatural powers. It was seamless and, for the most part, looked almost natural. However, there were some moments where the VFX faltered, such as in a scene showing a blood splash, which felt less convincing. Despite this, most of the CGI was solid and serviceable, aiding in the storytelling without distracting from it. However, the make-up on Voke’s face when he was getting older didn’t look so good. Lighting played an important role in the film’s visual language, with a notable use of blue tones throughout. The deliberate incorporation of blue lighting added depth and atmosphere, reinforcing the film’s eerie and supernatural elements. The lighting was not all great, particularly at the climax of the film where Chisom dies, the scene is way too bright for a sacrifice that should be done in secret. ##### Performances The performances in *Suspicion* is broadly moderate, leaning on subtlety as their defining strength. Across the board, the actors embraced a restrained approach, which suited the film’s tone. Stan Nze delivers a decent performance as Voke but falls short of embodying the emotional weight of his character’s grief and rage. Voke’s character is defined by grief, rage, and an unrelenting pursuit of justice. However, Nze struggles to fully convey these emotional extremes, causing Voke to come across as emotionally restrained. His portrayal leans towards stoicism, which limits the audience’s ability to connect with his internal struggles. Tina Mba, on the other hand, gives a powerful performance as Obatere, anchoring her character with a commanding presence. Omowunmi Dada, as Chisom, also delivers a good performance and her character is well-written. Equally noteworthy was the casting of Ron Mgbatoju as Edere, Voke’s father. The actor’s appearance—reminiscent of a sketchy, enigmatic “baba” that might haunt your dreams—was a perfect visual match for the role. This, combined with his subtle performance, enhanced the eerie and supernatural undertones of the film. Kalu Ikeagwu also gives a quality performance. Boma Akpore and Esegine ‘Orezi’ Allen could have been better. The film also features an impressive performance from Kalu Ikeagwu and fairly decent performances from Shaffy Bello, Tina Mba, Ashafa ‘Small Mummy’ Salamot, Francis Sule, Boma Akpore, Tony Akposheri, and Esegine Orezi Allen. ##### Final Thoughts *Suspicion* is a thrilling and ambitious entry into Nollywood’s supernatural genre, blending crime, action, and juju with a fresh take on black magic. However, while it builds tension and explores complex moral dilemmas, it falls short of fully immersing the audience in the emotional weight of Voke’s journey. Too much information is passed across in too little time and the audience might never get a moment to understand/digest the supernatural world that the filmmaker has created. Perhaps it could have fared much better released as a Series. ##### Verdict *Suspicion* is an ambitious and meticulously crafted supernatural thriller offering a fresh Juju fiction genre perspective. While the film masterfully and successfully merges multiple genres (Crime Drama, Thriller, Murder Mystery) with juju fiction, it struggles to deliver the emotional impact needed to engage the audience fully. The film remains captivating for those seeking a unique take on Nigerian storytelling. When are we getting the sequel? **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. *Suspicion* Trailer ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/suspicion-the-juju-fiction-we-have-always-wanted/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/suspicion-the-juju-fiction-we-have-always-wanted/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/suspicion-the-juju-fiction-we-have-always-wanted/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/suspicion-the-juju-fiction-we-have-always-wanted/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/suspicion-the-juju-fiction-we-have-always-wanted/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Ashafa ‘Small Mummy’ Salamot, Boma Akpore, Esegine Orezi Allen, Francis Sule, Juju Fiction, Kalu Ikeagwu, nollycritic, nollywood, Omowunmi Dada, Prime Video, Shaffy Bello, Stan Nze, suspicion, Tina Mba, Tony Akposheri, tosin igho --- ### [See The Trailer For Everybody Loves Jenifa](https://nollycritic.com/everybody-loves-jenifa-jenifa-returns-in-exciting-trailer/) **Published:** December 2, 2024 **Author:** Fisayo Adekoya **Excerpt:** nke Akindele brings Jenifa back to the big screen in Everybody Loves Jenifa, coming to cinemas on December 13, 2024 The film continues the story of... **Content:** [Funke Akindele ](https://nollycritic.com/story-so-far-funke-akindele-nollywoods-most-bankable-filmmaker/ "Funke Akindele ")brings Jenifa back to the big screen in *[Everybody Loves Jenifa](https://www.odeon.co.uk/films/everybody-loves-jenifa/HO00006557/ "Everybody Loves Jenifa")*, coming to cinemas on December 13, 2024. The film continues the story of the character who became a household name when Jenifa debuted in 2008. Known for her humor and charm, Jenifa is ready to entertain audiences again. In this movie, Jenifa faces a new challenge: fitting into high society in Lagos. The newly released trailer shows her hilarious attempts to navigate this glamorous world while staying true to herself. Jenifa’s clashes with sophisticated socialites promise lots of laughs. But the movie also explores themes like identity and personal growth. The cast brings together both familiar and fresh faces. Funke Akindele returns as Jenifa, with Falz reprising his role as Sege. New stars include Nancy Isime, who plays Olivia, a stylish socialite who guides Jenifa. Patience Ozokwor and Jackie Appiah also join the cast, adding more depth to the story. The movie also stars Adedimeji Lateef, Adebayo Salami (Oga Bello), Layi Wasabi, KieKie, D’banj, and many others, each bringing a unique energy to the film. This talented ensemble will ensure both comedic moments and emotional depth. Funke Akindele co-directs with Tunde Olaoye. Together, they keep the film’s signature humor while introducing fresh elements. The vibrant visuals of Lagos add flavor to the story, with stunning shots of the city’s upscale venues and lively streets. Jenifa has become more than just a comedic figure. Fans have followed her growth over the years. *The film* continues that journey, blending humor with meaningful moments. It promises to entertain and inspire. Don’t miss out on *Everybody Loves Jenifa*. It’s set to be a hit when it premieres on December 13, 2024. See the trailer below: *For more stories and updates, follow us on our social media pages:* - [Instagram](https://www.instagram.com/nolly.critic/profilecard/?igsh=MWg5NWFuaTRicWdlcw==) - [TikTok](https://www.tiktok.com/@nollycritic?_t=8rAUppnRQkK&_r=1) - [X](https://x.com/nollycritic) - [YouTube](https://youtube.com/@nollycritic?si=LS-FL0J7x1IDybWo) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/everybody-loves-jenifa-jenifa-returns-in-exciting-trailer/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/everybody-loves-jenifa-jenifa-returns-in-exciting-trailer/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/everybody-loves-jenifa-jenifa-returns-in-exciting-trailer/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/everybody-loves-jenifa-jenifa-returns-in-exciting-trailer/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/everybody-loves-jenifa-jenifa-returns-in-exciting-trailer/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Nollywood News **Tags:** Adebayo Salami (Oga Bello), Adedimeji Lateef, D'banj, December movie releases, Everybody Loves Jenifa, Funke Akindele, Kiekie, Layi Wasabi, New movie, new releases, nollycritic, nollywood --- ### [143: Love is Lust in Diana Childs' Forbidden Romance Drama](https://nollycritic.com/143-love-is-lust-in-diana-childs-forbidden-romance-drama/) **Published:** November 28, 2024 **Author:** Shalom O. Obisesan **Excerpt:** 143 explores themes of love, societal norms, and resilience, challenging the taboo of age-gap relationships where the woman is older **Content:** Diana Childs makes her cinema debut with 143, a title derived from the numerology slang for “I love you.” Childs delves into the complexities of an age-gap relationship, presenting a narrative that may challenge your moral compass, leaving you torn between rooting for the romance and grappling with its unsettling implications. Note: **spoilers ahead**! ## *143* Directed by: Jide “JBlaze” Oyegbile Produced by: Diana Childs Genre: Drama/Romance Released on: November 22, 2024 (Cinemas) Language: English ##### Story *[143](https://shockng.com/diana-childs-baaj-adebule-tina-mba-obinna-okenwa-to-star-romance-drama-143-exclusive/ "143")* explores themes of love, societal norms, and resilience, challenging the taboo of age-gap relationships where the woman is older. It portrays the journey of two people attempting to defy traditional expectations, set against a backdrop of societal judgment and emotional turmoil. However, while the narrative touches on domestic abuse and the search for happiness, it falters in its portrayal of the protagonist’s personal growth. Chris’s journey is framed as empowerment, but she remains largely passive, painted as a hopeless figure incapable of freeing herself. Ultimately, her fate hinges on the intervention of Aunty Agnes, diminishing the story’s potential to deliver a truly transformative or empowering arc. The forbidden romance at its heart also struggles to convince. Chris’ relationship with Kachi seems to replace one form of toxicity with another, further weakening the film’s message of rediscovering love and healing. ##### Plot Christina/Chris, an older woman in an abusive marriage, meets Kachi, a younger man, and they develop a forbidden romance. As Chris finds strength in their love, she struggles to break free from the control of her abusive husband, Kenny, culminating in a climactic confrontation that tests her resolve to reclaim her life and embrace happiness. ##### Technical Aspects 143’s technical elements has notable strengths, though they are often overshadowed by several shortcomings. The cinematography, for instance, showcases some innovative choices that could be interpreted as reflecting the moral dilemmas at the heart of the film. The tilted camera angles, though used sparingly, seemed to emphasize the distortions in the characters’ values and the chaotic nature of their emotional journeys. Lighting in the night scenes was adequate in terms of visibility, but the placement of the lights often felt unnatural and inauthentic. One glaring flaw was the film’s sound, which was inconsistent and poor. The film looks good and. adequate for the genre. In terms of costume design, one of the film’s strongest technical elements, the progression of Chris’s wardrobe mirrored her journey from repression to self-expression. Her restrictive clothing—dictated by her controlling husband and his mother—gradually gives way to more liberating choices as she enters the relationship with Kachi. The removal of her wigs, for example, symbolizes her shedding the constraints of her former life. However, when her husband, Kenny, returns and comments on how “different” she looks, it feels confusing. Chris has changed back into her restrictive clothing, so it’s unclear what Kenny is noticing. If the costuming had maintained the liberated choices even after her emotional growth, the impact of this moment would have been stronger, reinforcing her evolution. ##### Performances The performances in *143* are serviceable but underwhelming. While most of the actors deliver what’s expected of them, the lack of strong character development prevents any real emotional connection with the audience. Obinna Okenwa, as Kachi, plays his role as the typical loverboy once again. His intense gaze and physical presence convey a certain allure, but his character feels like a typecast, and it’s hard to fully invest in his relationship with Chris. The chemistry between him and Chris (Diana Childs) is meant to be the heart of the film, but it lacks the depth needed to make their love story feel genuine. Diana Childs (Chris) does enough to make you root for her to escape the abusive marriage with Kenny, but the romantic connection with Kachi feels forced. The age-gap taboo could have been an interesting angle to explore, but the relationship between Chris and Kachi doesn’t come across as authentic, leaving you questioning its believability. Baaj Adebule, as Kenny, Chris’s abusive husband, seems performative. At times, his performance borders on the caricature of a villainous, toxic husband. The moments meant to be tense or menacing instead come across as almost comical. Tina Mba plays Aunty Agnes, a character who, despite having limited dialogue, plays a crucial role in the film’s resolution. Aunty Agnes is the one who ultimately saves Chris, the damsel in distress. However, her character spends much of the film in silence, leaving you to wonder if her presence was more about the star power Mba brings than any substantial character development. Her late intervention serves as a turning point, but it’s hard to ignore how little she contributes throughout the majority of the story. The supporting cast includes Tomiwa Tegbe, Uzor Arukwe, Blessing Onwukwe, Chy Nwakanma, Brutus Richard, Rosanne Chikwendu, Daniel Abua, Bryan Okoye, and Lolade Okusanya. ##### Final Thoughts The relationship between Chris and Kachi is deeply problematic, and what’s troubling is that the film attempts to present it as something sweet or romantic when, in reality, it’s far from it. Kachi, the photographer, dares to make his feelings for Chris, a married woman, glaringly obvious (though that’s the point of the narrative—the taboo of it all.) He is hired to cover events, yet he’s pursuing the wife of his client with such blatant disregard for boundaries. The film makes it painfully obvious that Kachi likes Chris, which, honestly, would have worked better if it had been more subtle. The idea of him as the “romantic” interest feels forced and uncomfortable, considering the circumstances. What’s even more troubling is that Chris, already trapped in an abusive marriage, seems ready to make a new type of mistake. She’s rushing into another questionable relationship without considering the consequences. It seems as though she just wants an exit, regardless of what that means for her emotional well-being. Yet the filmmakers attempt to frame this as some form of romantic liberation. Instead of exploring the deeper emotional complexities of Chris’s situation, the film simplifies it into a problematic love story. Rather than focusing on her need for genuine healing, the filmmakers seem to trivialize her journey by presenting this new relationship as a hopeful escape, when it’s far from it. This is not a love story—it’s a misguided and unhealthy relationship presented under the guise of romance. ##### Verdict *143* aims to present a heartfelt romantic drama about finding love against societal expectations, but its portrayal of love feels unconvincing. The [film](https://nollycritic.com/nollywood-movies-and-series-to-see-in-november-2024/ "film") struggles to justify its message, leaving viewers questioning its intent. However, if you’re drawn to taboo love stories and the complexities of morally grey areas, this film may offer a nuanced exploration. This is Diana Childs’ different offering, where she challenges conventional views of right and wrong. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/143-love-is-lust-in-diana-childs-forbidden-romance-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/143-love-is-lust-in-diana-childs-forbidden-romance-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/143-love-is-lust-in-diana-childs-forbidden-romance-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/143-love-is-lust-in-diana-childs-forbidden-romance-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/143-love-is-lust-in-diana-childs-forbidden-romance-drama/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** 143, Baaj Adebule, Blessing Onwukwe, Brutus Richard, Bryan Okoye, Chy Nwakanma, Daniel Abua, Diana Childs, nollywood, Rosanne Chikwendu, Tomiwa Tegbe, Uzor Arukwe --- ### [When Love Strikes: Offside Emotions and Missed Goals](https://nollycritic.com/when-love-strikes-offside-emotions-and-missed-goals/) **Published:** September 23, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Love, family, football, and drama. The essence of When Love Strikes. The film departs from the conventional Nollywood narrative of passion as a means of escaping poverty **Content:** Love, family, football, and drama. The essence of[ *When Love Strikes*](https://m.imdb.com/title/tt33305829/?ref_=nm_flmg_unrel_2_act " When Love Strikes"). The film departs from the conventional Nollywood narrative of passion as a means of escaping poverty. Instead, it presents the protagonist, Ibukun, with two promising paths, each representing distinct yet equally valid avenues for success. *When Love Strikes* boldly ventures into the underexplored sports genre within Nigerian cinema (though we had *[Onyegwu](https://nollycritic.com/onye-egwu-a-football-tale-with-heart-and-humour/ "Onyegwu")* some months prior), offering a fresh perspective on the pursuit of dreams. Directed by Adeoluwa Owu, it attempts to capture the dynamics of youthful ambition, familial expectations, and the world of Nigerian football. Given the high-caliber cast and crew involved, expectations for *When Love Strikes* run high. This storytelling perspective promises an engaging cinematic experience that resonates deeply with audiences, particularly those invested in themes of passion, family, and the relentless pursuit of greatness. Yet, despite its fair attempt, the film doesn’t deliver the expected emotional impact. ## *When Love Strikes* Directed by: Adeoluwa Owu Produced by: Eku Edewor, Damola Ademola, Chinaza Onuzo and Zulumoke Oyibo Genre: Drama Released on: September 13, 2024 (Cinemas) Language: English ##### Story *When Love Strikes* explores the tension between personal ambition and family expectations through the lens of Ibukun Saka, a talented footballer. At its heart, the film delves into themes of self-discovery, the sacrifices inherent in chasing dreams, and the societal pressures faced by young athletes. The narrative examines what it means to find balance in pursuing one’s passion while fulfilling familial obligations. The film ends on a hopeful note, emphasizing that with familial support and love, one can achieve greatness in their chosen path. ##### Plot Ibukun Saka, a talented young footballer, dreams of going professional. His family, especially his mother (portrayed by Bimbo Akintola), wants him to focus on academics to secure a stable future. This creates tension at home, as Ibukun feels torn between his passion for football and his family’s expectations. The arrival of Nnamdi Okeke (Zubby Michael), a respected international scout, raises the stakes. Nnamdi could help Ibukun achieve his dream, but impressing him won’t be easy. Adding to the complexity, Ibukun starts a romance with Ngozi, Nnamdi’s daughter, which distracts him and introduces emotional conflict. As the youth tournament approaches, the pressure mounts. Ibukun’s mother insists he prioritise his education, while his coach pushes him to focus on football. Meanwhile, Ngozi challenges Ibukun to consider what he truly wants for himself. A shocking twist disrupts Ibukun’s plans, forcing him to question his choices and relationships. During the tournament, Ibukun faces his biggest challenge yet. He must decide whether to follow his dream of playing football professionally or take the safer academic route to secure his family’s approval. The final moments of the tournament shape Ibukun’s future and reveal whether he can unite his passion and his family’s hopes. ##### Cinema Experience For some reason, a film that was supposed to start by noon began before 11:50 AM, resulting in the audience missing some initial details. However, this did not significantly impede their understanding of the overall narrative. The audience enjoyed the football sequences, laughed at conventional tropes, and sympathized with the characters. The tension during the football matches was engaging. Though not overwhelmingly so. The sound score was generally good, but one memorable element stood out: the football or crowd chant incorporated into an afrobeat, creating a lively and infectious atmosphere. The visuals were notably impressive, while some editing choices aimed to enhance audience engagement. However, in one particular scene, the result was counterproductive. The audience reacted with sarcastic laughter at the attempt to create tension, which felt overly forced due to insufficient character engagement. ##### Technical Aspects *When Love Strikes* features good visuals, as expected from cinematographer Barnabas Emordi, while editor Ates Brown delivers commendable film editing. One standout cinematographic choice significantly enhanced Bimbo Akintola’s performance, which was a highlight of the film. The decision to slowly zoom in from a wide shot to a medium close-up of Bimbo heightened her emotional reaction beautifully, allowing the audience to connect more deeply with her character’s experience. Additionally, the incorporation of a memorable football chant into an upbeat afrobeat tempo contributed to the film’s overall atmosphere. This effective blend of sound and visuals elevated key moments, showcasing the potential of technical choices to enhance storytelling in cinema. ##### Performances Bimbo Akintola (Mrs Saka) delivers one of the film’s standout performances, masterfully portraying her character’s emotional struggles and dichotomy. Her ability to navigate the complexities of her role adds significant depth to the narrative. Osas Ighodaro (Tinuke Saka) also shines in her role, effectively embodying the emotional needs of her character. Shine Rosman, playing Ngozi Okeke, brings beauty and charm to her role as Ibukun’s love interest. While her character’s impact on Ibukun’s growth is significant, she primarily serves to enhance the romantic aspect of the story. Ademola Adedoyin (TJ) introduces an intriguing layer to the narrative. His character adds emotional weight to the storyline, particularly concerning themes of sacrifice and understanding. Chuks Joseph (Ebuka), Ibukun’s friend and colleague in Remo Stars, offers a supportive presence that reinforces the camaraderie among the young athletes. In contrast, Vine Olugu (Jason Okpara), Ibukun’s rival from Inter-Lagos, fulfills his role adequately, contributing to the competitive tension. Other cast members contribute effectively, with Zubby Michael (Nnamdi Okeke), while Taye Arimoro (Emmanuel Ojo, Coach) provides a solid performance as a coach. ##### Final Thoughts *When Love Strikes* makes a commendable attempt at a sports drama but struggles to fully draw its audience in. The football scenes are a highlight, sparking excitement and collective reactions in the cinema. While Ibukun Saka’s journey is designed to be the emotional centre, the film doesn’t fully succeed in making the audience feel his struggles on a deeper, more personal level. Instead, it leaves them observing his challenges from a distance, evoking pity rather than a genuine emotional connection that compels them to root for him. This disconnect is exacerbated by the film’s reliance on Hollywood-inspired techniques to artificially infuse tension. These choices often feel contrived, detracting from the authenticity of the narrative and undermining its potential resonance with a Nigerian audience. Instead of creating genuine suspense, these cinematic devices come off as an attempt to mimic Western storytelling, rather than embracing a style that speaks to the film’s local context and viewers. As a result, the tension feels forced, and moments meant to be serious or high-stakes end up drawing unintended laughter, which suggests a misalignment between intention and execution. The cast delivers strong performances, but the character development feels uneven. While Ibukun shows some growth, his decisions toward the end feel forced, making his journey less believable. This is echoed by Zubby Michael’s character, who calls out Ibukun’s lack of seriousness—a sentiment the audience shares. Despite its flaws, the film does provide an intimate glimpse into the dual pressures faced by Nigerian footballers, both on and off the field. Through Ibukun’s journey, we witness the nuanced challenges that resonate deeply with many, especially regarding the themes of ambition, family expectations, and societal pressures. It’s a perspective that holds potential for greater exploration, but one that ultimately feels somewhat diluted by the film’s execution. ##### Verdict *When Love Strikes* ambitiously explores the sports drama genre but fails to forge a genuine emotional connection with its protagonist. Despite commendable performances, good visuals, and memorable sound, the film’s reliance on contrived cinematic techniques detracts from its authenticity. The climax lacks organic buildup, resulting in moments that can feel forced. While it offers a unique perspective, it misses the emotional depth needed to truly resonate with its audience. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/when-love-strikes-offside-emotions-and-missed-goals/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/when-love-strikes-offside-emotions-and-missed-goals/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/when-love-strikes-offside-emotions-and-missed-goals/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/when-love-strikes-offside-emotions-and-missed-goals/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/when-love-strikes-offside-emotions-and-missed-goals/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews **Tags:** Ademola Adedoyin, Adeoluwa Owu, Bimbo Akintola, Chuks Joseph, nollycritic, nollywood, Osas Ighodaro, When Love Strikes --- ### [Farmer's Bride: Forbidden Love, Cultural Expectations, and Freedom](https://nollycritic.com/farmers-bride-forbidden-love-cultural-expectations-and-freedom/) **Published:** October 1, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Farmer's Bride stands as one of the finest offerings from Nigerian cinema this year, right up there with Funmilayo Ransome-Kuti, and The Weekend **Content:** I must say, *[Farmer’s Bride](https://www.imdb.com/title/tt33305676/ "Farmer's Bride")* completely exceeded my expectations! It stands as one of the finest offerings from Nigerian cinema I’ve experienced this year, right up there with the compelling *Funmilayo Ransome-Kuti*, and *The Weekend*. Wow! There’s an undeniable richness to this film that speaks for itself—it’s simply that good. With a captivating narrative and powerful performances, it draws you in and leaves a lasting impression. ## *Farmer’s Bride* Directed by: Jack’enneth Opukeme/Adebayo Tijani Written by: Jack’enneth Opukeme Genre: Drama Released on: September 27, 2024 (Cinemas) Language: English and Yoruba ##### Plot *Farmer’s Bride* follows Funmi (Gbubemi Ejeye), a young woman forced into marriage by her mother (Wumi Toriola) to an elderly, wealthy farmer named Odun (Femi Branch). Despite Odun’s hope that Funmi would bring him comfort and happiness in his old age, she falls into deep grief and resentment. Living on his isolated farm with only Odun’s late brother’s widow, Morenike (Mercy Aigbe), and her son, Femi (Tobi Bakre), as company, Funmi struggles to adjust to a life she never chose. As Funmi navigates her dissatisfaction with the arrangement, her choices lead her down a path of self-discovery and desire, challenging her societal expectations. The film explores themes of manipulation and the pursuit of personal freedom, maintaining a sense of suspense and surprise throughout the narrative. Funmi’s complex relationship with Femi, marked by a palpable chemistry, introduces an element of forbidden romance, intensifying the emotional stakes. Despite its engaging premise, the plot contains some inconsistencies, including abrupt transitions. In the beginning it feels rushed, the second act feels just right, and the ending—abrupt. However, the final act’s lack of a climactic resolution serves a purpose; it leaves viewers questioning what they have just watched and allows the impact of the last scene to linger in their minds. This approach diverges neatly tied-up endings, encouraging reflection on the film’s messaging and themes after the credits roll. ##### Story Irrespective of its structural flaws, *Farmer’s Bride* serves as an intriguing exploration of love and societal pressures. The film delves into the complexities of arranged marriage and the impact of cultural expectations on individual desires. Set against a rich backdrop of modernity intertwined with Yoruba cultural heritage, it highlights the struggles characters face as they navigate their relationships within these societal constraints, ultimately questioning the true meaning of love and personal agency. ##### Cinema Experience This proved to be the highlight of the entire filmgoing venture. Drawing significant audience attendance, it surpassed even the buzz generated by the earlier *Funmilayo Ransome-Kuti* biopic, indicating a palpable interest in narratives that resonate with contemporary social issues. The trailer played a pivotal role in this phenomenon, skillfully enticing viewers and prepping them for an engaging cinematic experience. The atmosphere in the theatre was electric, filled with anticipation as audiences settled in for what promised to be a compelling exploration of love, societal expectations, and personal agency. As the film unfolded, it took viewers on a rollercoaster of emotions, oscillating between laughter, excitement, heartache, and surprises. This emotional range not only captivated the audience but also underscored the film’s thematic depth. The film’s cinematography and art direction, which beautifully captured the essence of Yoruba cultural heritage, further enhanced the viewing experience, providing a visually arresting backdrop that complemented the narrative. In this context, *Farmer’s Bride* not only succeeded in attracting a sizeable audience but also fostered a dialogue around its thematic concerns. The film’s capacity to engage viewers emotionally and intellectually showcases the inherent appetite for more nuanced storytelling within Nollywood. ##### Technical Aspects [*Farmer’s Bride* ](https://nollycritic.com/see-exclusive-bts-images-of-tobi-bakre-in-farmers-bride/ "Farmer's Bride ")excels in several areas, one of which is its remarkable attention to visual detail. The locations, set design, costumes, and cinematography are all meticulously crafted, providing a visually pleasing experience that enhances the storytelling. The vibrant colour palette, alongside the intricate hairstyles and period settings, immerses the audience in the film’s world. While the costume and hair choices may not be entirely historically accurate, as a matter of fact, the period the film is set in is not well communicated, the film leans towards a stylized portrayal of Yoruba culture, celebrating its beauty and heritage in a visually captivating manner. Moreover, the film’s soundtrack warrants special attention. Savy Henry’s tracks, “For You” and “The Best Part,” beautifully complement the visual elements and enhance the emotional depth of key scenes. “For You” starts strong, with the artist singing that he feels like a sinner because of his love. The timing of this track with the action going on is ironic, as the characters on screen are indulging in their transgressions. The music adds a layer of humour to the scene, making the soundtrack not just an accompaniment but an active, ironic commentary on the narrative. Far from simply resonating with the audience, the music enriches the overall cinematic experience, compensating for moments where the dialogue falls short. It deepens the romantic moments, making them more poignant and pulling the audience further into the story. ##### Performances Mercy Aigbe’s performance emerges as the film’s crowning achievement. She thoroughly embodies her role, delivering a powerful portrayal of Morenike that resonates with authenticity and emotional depth. Aigbe’s ability to ground her character within the narrative showcases her prowess as an actress, bringing dramatic intensity. Femi Branch remains true to form as the charismatic and easy-going Odun, with his natural persona aligning seamlessly with his character’s traits. Efe Irele, as Banke, also shines in her role. Gbubemi Ejeye delivers a commendable performance as Funmi, particularly evident in the palpable chemistry she shares with Tobi Bakre. Their connection on screen feels genuine, adding layers of tension and intrigue to their unfolding relationship. However, there are moments when their performances verge on the performative, with exaggerated pauses and signs of hesitation. These reactions appear to signal an awareness of the audience as if attempting to communicate the characters’ inner feelings as overtly as possible. Yet, this approach undermines the authenticity of the dialogue, failing to respect the naturalistic nuances that discerning viewers typically appreciate. ##### Final Thoughts Beyond its visual appeal, the film is both entertaining and thought-provoking, even if it doesn’t fully establish itself as an intellectual piece. There are layers to the narrative that invite reflection, offering more than just a simple romantic story. However, despite these strengths, there is a noticeable emotional disconnect between the audience and the characters. The film tends to prioritize action over the development of character motivations or exploration of their moral compasses. This lack of depth results in some performances feeling more theatrical than authentic, with dialogue that occasionally seems more functional than expressive. While it may not achieve a perfect balance between action and character development, it still manages to engage viewers with its vibrant storytelling. The plot twists keep you on the edge of your seat, and the dynamic relationships offer enough intrigue to hold your attention. ##### Verdict At its core, *Farmer’s Bride* is a film about relationships, designed for audiences who appreciate romantic narratives. While it touches on deeper themes, it doesn’t delve into them sufficiently to be classified as a thought piece. Nevertheless, there is much to take away from the film’s exploration of love and cultural identity. Despite being rated 15 by the Nigerian Film and Video Censors Board (NFVCB), its mature themes suggest it may be more suitable for adult audiences than younger viewers. **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/farmers-bride-forbidden-love-cultural-expectations-and-freedom/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/farmers-bride-forbidden-love-cultural-expectations-and-freedom/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/farmers-bride-forbidden-love-cultural-expectations-and-freedom/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/farmers-bride-forbidden-love-cultural-expectations-and-freedom/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/farmers-bride-forbidden-love-cultural-expectations-and-freedom/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Adebayo Tijani, Farmers bride, Femi Branch, Gbubemi Ejeye, Jack'enneth Opukeme, Mercy Aigbe, nollycritic, nollywood, Tobi Bakre --- ### [2024 BON Awards: Jagun Jagun Sweeps Awards List](https://nollycritic.com/2024-bon-awards-jagun-jagun-sweeps-awards-list/) **Published:** November 25, 2024 **Author:** Shalom O. Obisesan **Excerpt:** The 16th edition of the BON Awards took place on Sunday, November 24, 2024, at the Sugar Factory Film Studios in Ilorin **Content:** The 16th edition of the prestigious [Best of Nollywood](https://www.premiumtimesng.com/entertainment/nollywood/756780-bon-awards-halima-ganiyu-david-akande-win-best-kiss-jagun-jagun-steals-show-full-winners-list.html#:~:text=The%20Best%20of%20Nollywood%20(BON)%20awards%20are%20held%20annually%20to,Food%2C%20which%20Nwanyi%20Abacha%20won. "Best of Nollywood") BON Awards took place on Sunday, November 24, 2024, at the Sugar Factory Film Studios in Ilorin, Kwara State. Hosted by acclaimed actress Toyin Abraham, the ceremony was a night to remember, with stars from the Nigerian film industry gathering to celebrate excellence in filmmaking, acting, and other cinematic achievements. The 2024 BON Awards was marked by glamour, with an array of nominees, presenters, and honorees. ##### Top Performers and Key Wins Femi Adebayo’s *Jagun Jagun* emerged as the biggest winner of the night, clinching a total of six awards from its impressive 12 nominations. The film won in the following categories: Best Indigenous Film Best Actor (Femi Adebayo) Best Production Design Best Special Effects Best Costume Director of the Year (Bayo Tijani and Tope Adebayo Salami) ##### Other Notable Wins and Nominations Beyond *Jagun Jagun*, other films and talents were celebrated during the evening. Here’s a breakdown of the other list of winners: Best Cinematography: *Adire* Best Social Message: *Unleashed* Best Short Film: *Out of Many* Best Actress: Wunmi Dada (*Unknown Soja*) Best Supporting Actor: Keppy Ekpenyong (*The Weekend*) Best Supporting Actress: Mercy Aigbe (*Ada Omo Daddy*) Best Editing: *Momiwa* Best Soundtrack: *Oloku Ada* Best Sound: *[Offshoot](https://nollycritic.com/offshoot-strong-performances-marred-by-an-underdeveloped-protagonist/ "Offshoot")* Best Use of Food: *Nwanyi Abacha* Best Child Actress: Darasimi Nadi (*Unknown Soja*) Best Child Actor: Nifemi Lawal Most Promising Actress: Chioma Okafor Most Promising Actor: Ozechi Franklin Izuchuchukwu Best Screenplay: *Momiwa* Best Kiss: Halima Ganiyu & David Akande (*Eti Keta*) Best Documentary: *Is It Your Money?* ##### Special Mentions and Honours The **Lifetime Achievement Award** was given to Kanayo O. Kanayo, being recognized for his enduring contribution to Nollywood. The award was presented by Governor AbdulRazaq AbdulRahman, who praised Kanayo’s career, spanning decades, and his invaluable impact on the Nigerian film industry. ##### Emerging Talent The evening also celebrated the future of Nollywood, with rising stars taking home awards in various categories: **Most Promising Actress**: Chioma Okafor **Most Promising Actor**: Ozechi Franklin Izuchuchukwu Both Okafor and Izuchuchukwu have been making waves in Nollywood, showcasing their talents in projects that have earned them critical acclaim. ##### Documentary and Special Mentions The Best Documentary award went to *Is It Your Money?,* a thought-provoking piece that delves into Nigeria’s economic landscape. Meanwhile, *Momiwa*, a film that also picked up several awards including **Best Editing** and **Best Screenplay**, continued its success from the film’s earlier releases. ##### Event Highlights The event also featured memorable moments such as performances and speeches from industry leaders. Among the most memorable moments was the stirring speech by Kanayo O. Kanayo as he accepted his Lifetime Achievement Award. He expressed gratitude for the recognition and urged young filmmakers to continue pushing the boundaries of creativity in Nigerian cinema. ##### Closing Remarks As the night came to a close, the BON Awards once again celebrated the diverse talents, creative visions, and cultural contributions of Nollywood. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/2024-bon-awards-jagun-jagun-sweeps-awards-list/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/2024-bon-awards-jagun-jagun-sweeps-awards-list/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/2024-bon-awards-jagun-jagun-sweeps-awards-list/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/2024-bon-awards-jagun-jagun-sweeps-awards-list/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/2024-bon-awards-jagun-jagun-sweeps-awards-list/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** 2024, awards, BON, Femi Adebayo, Jagun Jagun --- ### [9 Nollywood Movies That Take Us Back in Time](https://nollycritic.com/9-nollywood-movies-that-take-us-back-in-time/) **Published:** November 25, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Recently, Nollywood has rekindled its love for epic storytelling, bringing history to life through detailed costumes, landscapes, and set designs **Content:** Recently, [Nollywood](https://nollycritic.com/5-nollywood-movies-you-must-watch-at-least-once/ "Nollywood") has rekindled its love for epic storytelling, bringing history to life through detailed costumes, landscapes, and set designs that capture the essence of bygone eras. This trend has redefined the way stories are told on screen, allowing viewers to experience the beauty and intensity of [Nigeria’s](https://en.wikipedia.org/wiki/Nigeria "Nigeria’s") history firsthand. Some films don’t just tell stories, they become time machines, evoking nostalgia and immersing us in Nigeria’s cultural past. These films stand out not only for their period-accurate costumes and nostalgic set designs but also for how they capture the essence of a different time, making viewers feel like they’re peering into history itself. Here, we explore some standout films that vividly evoke the past, blending nostalgia with historical richness in unforgettable ways: ###### Funmilayo Ransome-Kuti (2023) *[Funmilayo Ransome-Kuti](https://nollycritic.com/funmilayo-ransome-kuti-o-god-of-israel-this-is-cinema/ "Funmilayo Ransome-Kuti")* takes us on an enchanting journey into Nigeria’s past, with vibrant visuals, captivating costumes, and authentic language that seamlessly transport us to the era of this iconic activist. Through strategic shifts in colour and tone, the film guides us through different stages of Funmilayo’s life, while also, taking us through the transition of time from her youthful days to her final moments. As the last scene unfolds, ending abruptly like Funmilayo’s life itself, we are left deeply moved, inspired, and longing for more, as though her story is still waiting to be fully told. ###### October 1 (2014) *October 1* takes us back to Nigeria on the brink of independence, with stunning attention to historical detail. Set in 1960, the film masterfully portrays the era through accurate costumes, locations, and the tense atmosphere leading up to the country’s freedom. The use of language, culture, and political context brings the period to life, while the narrative of a nation on the cusp of change unfolds against the backdrop of a gripping mystery. *October 1* not only provides a vivid snapshot of a crucial moment in Nigerian history but also evokes a deep sense of nostalgia, reminding us of the past while engaging with the present. ###### Half of a Yellow Sun (2013) Based on Chimamanda Ngozi Adichie’s novel, Half of a Yellow Sun provides a stirring portrayal of Nigeria during the civil war in the 1960s. With its rich cinematography and period-accurate settings, the film beautifully reimagines the era, transporting viewers to a time of intense social and political upheaval. This film doesn’t shy away from the harsh realities of war but presents them alongside moments of resilience and love, reminding us of the lasting impact of history on individual lives. ###### 76 (2016) Set against the backdrop of a tumultuous period in Nigerian history, *76* follows the story of a soldier entangled in the events of a military coup. Through meticulous attention to detail in costumes and setting, the film captures the tense, somber atmosphere of 1970s Nigeria, making the historical events feel immediate and immersive. Its success lies in how it revives the complexities of the time, magnifying military culture, and offering us a window into the emotional and political landscapes that shaped a generation. ###### Ayinla (2021) Directed by Tunde Kelani, *Ayinla* is a visual and musical journey into the life of Ayinla Omowura, a celebrated Nigerian musician. Set in the late 20th century, the film’s vibrant costumes, music, and dialogue bring to life the cultural pulse of the period. Beyond nostalgia, Ayinla captures the spirit of a different time in Nigerian music, giving audiences a taste of the rhythms and vibes that shaped the era’s popular culture. ###### Invasion 1897 (2014) Set in Benin at the end of the 19th century, *Invasion 1897* tackles the significant and still relevant issues of colonization, cultural looting, and the restitution of stolen artifacts. While its cinematography and acting may fall short of expectations, the film’s exploration of Britain’s invasion of Benin and the looting of its cultural heritage makes it a vital addition to Nollywood’s historical narratives. By bringing these themes to the screen, the film sheds light on ongoing efforts to reclaim Nigeria’s cultural artifacts, offering a compelling revisit to this painful yet crucial part of history. ###### House of Ga’a (2024) *House of Ga’a* takes us straight into the heart of the ancient Oyo Empire, bringing to life the political and cultural dynamics of Yoruba pre-colonial society. The film follows Bashorun Ga’a, a powerful warrior whose ambition alters the kingdom’s power structure, leading to betrayal, rebellion, and a dramatic fall from grace. With its not-so-accurate portrayal of royal politics, fictionalized family conflict, and traditional customs, *House of Ga’a* captures the essence of a bygone era. While the film may not offer a precise historical account, its elaborate costumes, immersive settings, and depiction of time-honored practices create a compelling and somewhat believable representation of Yoruba history. ###### The Amazing Grace (2006) *The Amazing Grace* transports us to the era of the trans-Atlantic slave trade, telling the story of John Newton, a British slave trader whose journey to Nigeria takes a life-altering turn. Directed by Jeta Amata, the film captures the brutality of slavery and the cultural upheaval caused by colonial influence, as traditional Nigerian practices and beliefs were replaced by Western ways. The film vividly portrays the horrors of the slave trade while reflecting on faith and redemption. *The Amazing Grace* remains a significant reminder of this dark chapter in history and its enduring impact. ###### House of Secrets (2023) *House of Secrets* offers a fresh cinematic experience, blending nostalgia with intrigue. Set between two timelines, 1999 and the present, the film uses black-and-white scenes to evoke the past, a colour coding that distinguishes the flashbacks from the present. The plot, which begins in 1999, stages a world to help Sarah uncover her memories. The accurate portrayal of the era created to deceive Sarah, and us, by a group with ulterior motives, from costumes to set design, convincingly immerses both Sarah and the audience in a time long gone, making it a captivating journey through time. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/9-nollywood-movies-that-take-us-back-in-time/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/9-nollywood-movies-that-take-us-back-in-time/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/9-nollywood-movies-that-take-us-back-in-time/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/9-nollywood-movies-that-take-us-back-in-time/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/9-nollywood-movies-that-take-us-back-in-time/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** 76, Ayinla, Funmilayo Ransome-Kuti, Half of a Yellow sun, House of Gaa, Invasion 1897, nollycritic, nollywood, October 1, The Amazing Grace --- ### [5 Nollywood Movies You Must Watch at Least Once](https://nollycritic.com/5-nollywood-movies-you-must-watch-at-least-once/) **Published:** November 24, 2024 **Author:** Shalom O. Obisesan **Excerpt:** ere are Nollywood movies you should see at least once; no particular order, just pure must-watch magic. **Content:** Get ready to dive into the bustling world of Nollywood. These films capture the essence, creativity, and cultural flair that make Nigerian cinema unforgettable. Here are Nollywood movies you should see at least once; no particular order, just pure must-watch magic. ##### Eyimofe: This is My Desire (2020) Brace yourselves for a true Nollywood gem. *Eyimofe* is a stunning exploration of the authentic lives of Nigerians, crafted by the talented Esiri brothers. This film stands out for its ability to delve into the complexities of human experience without succumbing to the melodrama often found in most Nollywood films. The use of rich 16mm texture and clever colour choices not only enhances its visual appeal but also serves as an emotional guide, illustrating characters’ journeys from darkness to light. Set in Lagos, *Eyimofe* tells two parallel stories: one of an engineer yearning for a new life in Spain and another of a young girl dreaming of escape to Italy, even at great personal cost. The exceptional natural acting, tight writing, and masterful direction come together seamlessly, drawing you into the characters’ struggles and aspirations. This film challenges norms and showcases the creative potential within Nigerian cinema. ##### Kasala! (2018) How many times do you see a title like this? Let’s talk about *[Kasala](https://nollycritic.com/kasala-the-film-that-gave-nollywood-a-comedy-makeover/ "Kasala")!*, a film that injects fresh energy into Nollywood’s comedy scene. Directed by Ema Edosio, this gritty yet hilarious coming-of-age story follows four teenage friends: Chikodi, Abraham, Effiong, and T.J., as they scramble to fix an uncle’s car after a joyride gone wrong. The narrative blends laugh-out-loud escapades with interesting reflections on youthful recklessness and societal struggles. What sets *Kasala!* apart is its audacious visual style, unfiltered settings that vividly depict urban Nigerian life, and especially, how it carefully addresses societal issues like homosexuality, rape, amongst others. The humour is sharp, the energy infectious, and the authenticity undeniable, making it a pioneer in Nollywood’s exploration of teenage-centric stories. So, grab your popcorn and immerse yourselves in the thrill and hilarity of this revolutionary gem. Alright, students, let’s dive into the compelling world of *Shine Your Eyes* (2020) where family drama meets an enigmatic detective story. ##### Shine Your Eyes (2020) Directed by Brazilian filmmaker Matias Mariani, this visually stunning narrative follows Amadi (OC Ukeje), a Nigerian man navigating the bustling streets of São Paulo in search of his missing brother, Ikenna. Shot in a cramped 4:3 aspect ratio that highlights São Paulo’s severe architecture and roaring freeways, the cinematography by Leonardo Bittencourt creates a vivid yet unvarnished portrait of a city that swamps its characters in overwhelming sound and fury. The film’s imagery becomes a striking allegory for the immigrant experience: an uneasy dance between embracing a new home and severing ties with the past. Rich in cultural layers and mystical undertones, *Shine Your Eyes* explores identity, belonging, and family mythology. With its mix of Igbo, Portuguese, and English languages, the film strikes a perfect balance between universality and cultural specificity. Students, this is a cinematic gem that combines mystery, artistry, and emotion, so don’t miss this Netflix treasure! And now, to one of the most underrated films delving into Lagos’s harsh realities… ##### The Ghost and the House of Truth (2019) Directed by Akin Omotoso, this tense thriller takes us beyond the glamour of the city to its gritty, unrefined streets, setting the tone for a powerful exploration of loss and justice. The story follows a counselor who becomes both victim and avenger after her daughter is kidnapped and murdered. The film’s strength lies in its humanizing portrayal of both the victims and offenders. With its insightful reflection on Yoruba culture, particularly the taboo surrounding the burial of one’s child, *The Ghost and the House of Truth* offers an evocative narrative that blends gripping suspense with deep emotional resonance. This is a film that engages not only with crime but with the broader themes of healing, justice, and personal reckoning. So, sit back and prepare for an intense cinematic journey into the heart of human pain and resilience. ##### The Milkmaid (2020) Desmond Ovbiagele’s *[The Milkmaid](https://www.imdb.com/title/tt9349882/ "The Milkmaid")* ambitious dive into the chaos of insurgency and its effects on Northern Nigeria. This film is a haunting journey of a woman relentlessly searching for her kidnapped sister amidst the ashes of war. With its stunning cinematography, the film captures the vast beauty of the North, while the gripping narrative explores issues like underage marriage, terrorism, and the complex struggles of women in conflict zones. Sure, the pacing may not always hold your hand, but the emotional weight and technical prowess remind us that Nigerian cinema is pushing boundaries. A film that deserves its place in the global conversation, flaws and all. As we wrap up our journey through these essential films, we trust you’ve gained new insights into the artistry and depth that define Nollywood. Each film on this list offers a unique perspective, inviting you to explore not just the stories being told but also the craftsmanship behind them. You’ll deepen your appreciation for Nollywood filmmaking and cultivate an enduring love for the genre. So, grab your popcorn, gather your friends, and prepare to embark on a viewing adventure that promises to enrich your understanding of Nigerian cinema. Happy watching! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/5-nollywood-movies-you-must-watch-at-least-once/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/5-nollywood-movies-you-must-watch-at-least-once/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/5-nollywood-movies-you-must-watch-at-least-once/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/5-nollywood-movies-you-must-watch-at-least-once/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/5-nollywood-movies-you-must-watch-at-least-once/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** Kasala, nollycritic, nollywood, Prime Video, Shine Your Eyes, The Milkmaid --- ### ['Family Gbese' Review: Close to Home, High a Price](https://nollycritic.com/family-gbese-review-close-to-home-high-a-price/) **Published:** November 19, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Through Nnamdi, the central character’s internal struggle, Family Gbese navigates the delicate balance between personal desires and the pressures of family... **Content:** Through Nnamdi, the central character’s internal struggle, *[Family Gbese](https://www.imdb.com/title/tt34425033/?language=pt-br "Family Gbese")* navigates the delicate balance between personal desires and the pressures of family obligations. While it sets out to explore these weighty themes, the film’s delivery feels uneven, often teetering between engaging drama and predictable, formulaic moments. This review delves into how *Family Gbese* attempts to balance these elements and whether it succeeds in offering something fresh or falls into familiar patterns. ## *Family Gbese* Directed by: Michelle Bello Produced by: Chinaza Onuzo Genre: Comedy Drama Released on: November 8, 2024 (Cinemas) Language: English ##### Story [*Family Gbese* ](https://nollycritic.com/family-gbese-set-to-premiere-in-cinemas-this-friday/ "Family Gbese ")delivers a thought-provoking exploration of familial obligations and the moral compromises that accompany ambition. The narrative uses Nnamdi Nwagba’s internal conflict to highlight the tension between individual aspirations and the inescapable pull of family loyalty, a theme deeply resonant in our Nigerian cultural contexts. By intertwining elements of comedy and drama, the filmmakers aim to create an emotionally layered experience; however, while the comedic elements are present, they are not particularly impactful, relying heavily on audience preferences for effectiveness. This approach results in a lightweight emotional experience, primarily because of the relatability of Nnamdi’s struggles, which mirror dilemmas of loyalty, responsibility, and personal ambition. These thematic choices enrich the story’s accessibility, encouraging viewers to reflect on their own boundaries when faced with impossible decisions, even as the film occasionally leans more on familiar tropes than on profound revelations. ##### Plot The plot of *Family Gbese* unfurls through a tightly woven series of events that force Nnamdi into increasingly precarious situations, as he grapples with his brother’s mounting debts and his own aspirations for a secure future. The stakes are present and formulatic, with Nnamdi navigating dangerous confrontations, such as the scene where Folarin (Ekun) and his gang abduct Chioma, pushing him further into a web of familial and criminal tensions. While the filmmakers skillfully juxtapose Nnamdi’s sophisticated corporate life with the gritty underworld of his past plus Gozie’s debts, certain predictable beats in the story, such as Nnamdi’s inevitable entanglement in money laundering and the romantic complications with Ayomikun, slightly diminish the tension. These developments, though dramatically charged, follow a formulaic trajectory familiar to ensemble dramas, which might lead viewers to anticipate the outcomes before they unfold. However, the plot’s cohesion and present stakes surrounding Nnamdi’s choices keep the audience invested, even as the narrative navigates a web of relationships and consequences. ##### Cinema Experience When considering the cinema experience for *Family Gbese*, the film presents a mixed case. On one hand, its themes of familial obligations and moral dilemmas resonate deeply and could spark meaningful discussions, making it a potential choice for a reflective outing with close friends or family. However, the cinematic presentation doesn’t fully justify itself as an essential big-screen experience. The sound quality is a significant drawback, with poor distinction between background and foreground audio that often results in distracting clashes. This issue becomes particularly frustrating in critical scenes, such as when Nnamdi attempts to explain his character’s psychology. The dialogue is difficult to decipher, and key moments with Nnamdi and Ayomikun are similarly undermined by these audio inconsistencies. The fast-paced editing, though effective in maintaining narrative momentum, can leave viewers struggling to absorb information, adding that in most cases, there are no subtitles, and especially as there’s no option to rewind in the cinema setting. While the sound design does have its merits, these technical flaws detract from the immersive potential of the film. For those seeking to bask in the emotional weight of the story, the cinema fails to amplify these feelings to their fullest extent. However, if the goal is a lighthearted outing with relatable themes and opportunities for post-viewing conversations about shared experiences, *Family Gbese* might still be worth the ticket. ##### Technical Aspects *Family Gbese* shines in some areas while faltering in others, with technical choices playing a significant role in shaping and sometimes diminishing the overall experience. The production design is visually appealing, prioritising aesthetics over a cinematic look, which works well for creating beautiful settings but does little to elevate the storytelling. The cinematography is similarly decent, but there are noticeable lapses, such as inconsistent lighting. For instance, the night scene where Yetunde leaves, and Nnamdi chases after her, is poorly lit, making it look like daytime and breaking immersion. Sound design, a crucial element of any film, suffers from glaring flaws. The lack of distinction between background and foreground audio creates distracting clashes, with critical dialogue drowned out or unclear. This is most evident in the scene where Nnamdi explains his character psychology, an important moment rendered ineffective due to poor sound clarity. Fast-paced editing (for graphical elements on screen), while maintaining energy, often sacrifices coherence, leaving viewers struggling to keep up. Abrupt cuts, such as the jarring transition from a kiss between Nnamdi and Ayomikun, to his bedroom scene, further disrupt the flow. The screenplay oscillates between effective and underwhelming. Gozie’s departure, intended to be heartfelt, falls flat due to probably unconvincing writing, or rather, acting choices. Similarly, some dialogue, like the speech-turned-apology, veers into awkwardness, diluting its emotional impact. ##### Performances That said, Lilian Afegbai’s character, Yetunde, is well-written, with her selfish ambition and love for Nnamdi adding depth and complexity to the narrative. The written chemistry between Ayomide (Teni Aladese) and Nnamdi (Uzor Arukwe) is so natural and positively predictable. Their natural acting and dialogue accentuates the believability of their on-screen chemistry. The acting is a strong point, with performances effectively reflecting the characters’ personalities. Mike Ezuruonye’s portrayal of Gozie, a short-sighted, irresponsible elder sibling is appropriately exaggerated to a fault, complemented by costume choices that accentuate his immature nature. However, towards the film’s climax, his dialogue becomes verbose and anti-climactic, reducing the tension in that moment, and one point, inconsistent (he switches from using Pidgin-English combined with Igbo, to an almost accurate English when trying to coverup for his brother.) Genoveva Umeh plays Lolade Balogun, a lovable, free-spirited, and bubbly tech enthusiast. Sandra Okunzuwa portrays Chioma, the youngest Nwagba sibling, who is incredibly forgiving and serves as the family peacemaker, mediating conflicts between Nnamdi and Gozie. Ireti Doyle totally embodies Yetunde’s affluent mother. The rest of the cast features equally strong performances from Muyiwa Ademola, Adeniyi Johnson, Yemi Solade, Fathia Williams, and Seun Kentebe. ##### Final Thoughts The film’s narrative relies on familiar tropes, like predictable criminal drama and a lacklustre romantic subplot, which detracts from the emotional stakes. Chioma, the supposed peacemaker, doesn’t add much depth to the story and feels like a mere plot device rather than a fully fleshed-out character. The mix of comedy and drama seems more forced than seamless, preventing the film from striking a genuine emotional chord. ##### Verdict In balancing its elements of family drama, moral dilemmas, and comedy, *Family Gbese* struggles to find a consistent tone. The mix of comedy and drama, rather than enhancing the emotional depth, feels unnecessary at some point, and the technical flaws hinder its potential. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/family-gbese-review-close-to-home-high-a-price/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/family-gbese-review-close-to-home-high-a-price/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/family-gbese-review-close-to-home-high-a-price/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/family-gbese-review-close-to-home-high-a-price/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/family-gbese-review-close-to-home-high-a-price/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Adeniyi Johnson, Family Gbese, family gbese movie, Fathia Williams, Genoveva Umeh, lilian afegbai, Michelle Bello, Muyiwa Ademola, nollycritic, nollywood, Yemi Solade --- ### [Christmas in Lagos: See Trailer For Jade Osiberu's Film](https://nollycritic.com/christmas-in-lagos-see-the-trailer-for-jade-osiberus-film/) **Published:** November 20, 2024 **Author:** Fisayo Adekoya **Excerpt:** Filmmaker Jade Osiberu has officially revealed the trailer for her upcoming holiday film, Christmas in Lagos. Scheduled for release on Prime Video **Content:** Filmmaker [Jade Osiberu](https://www.imdb.com/name/nm6567672/ "Jade Osiberu") has officially revealed the trailer for her upcoming holiday film,[ *Christmas in Lagos.*](https://nollycritic.com/jade-osiberus-christmas-in-lagos-a-festive-rom-com-with-studded-cameos-and-afrobeats/ " Christmas in Lagos.") Scheduled for release on December 20 on Prime Video, the film promises to bring the festive spirit of Lagos to screens around the world. The trailer introduces a heartwarming and lively story set during Lagos’ iconic “Detty December” season, showcasing a mix of love, family drama, and self-discovery. The characters navigate the complexities of relationships and personal growth while experiencing the excitement and chaos of Christmas in Lagos. The stunning visuals capture the essence of the city’s energetic streets, festive markets, and scenic beaches. Osiberu, who is well-known for her work on action-packed films like *Gangs of Lagos* and *Brotherhood*, takes a different approach with *Christmas in Lagos*. Shifting from intense dramas, she delivers a feel-good holiday film that captures the joy and unpredictability of the season. The movie features a stellar cast, including Richard Mofe-Damijo, Shaffy Bello, and Nancy Isime. Rising stars Martha Ehinome and Uzor Arukwe also join the ensemble. Afrobeats stars like Adekunle Gold, Ayra Starr, and Waje provide the perfect soundtrack, adding to the lively atmosphere of the film. With its unique blend of humor, heart, and holiday cheer, *Christmas in Lagos* is poised to become a must-watch this festive season. The film beautifully showcases Lagos’ vibrant holiday spirit, offering an exciting, immersive experience that fans won’t want to miss. Mark your calendars for December 20 and get ready for a Christmas experience like no other. See the official trailer below! *For more stories and updates, follow us on our social media pages below:* - [Instagram](https://www.instagram.com/nolly.critic/profilecard/?igsh=MWg5NWFuaTRicWdlcw==) - [TikTok](https://www.tiktok.com/@nollycritic?_t=8rAUppnRQkK&_r=1) - [X](https://x.com/nollycritic) - [YouTube](https://youtube.com/@nollycritic?si=LS-FL0J7x1IDybWo) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/christmas-in-lagos-see-the-trailer-for-jade-osiberus-film/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/christmas-in-lagos-see-the-trailer-for-jade-osiberus-film/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/christmas-in-lagos-see-the-trailer-for-jade-osiberus-film/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/christmas-in-lagos-see-the-trailer-for-jade-osiberus-film/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/christmas-in-lagos-see-the-trailer-for-jade-osiberus-film/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Christmas in Lagos, Christmas Movie 2024, Detty December, Holiday season, Jade Osiberu, Lagos Movie, nollycritic, nollywood, Prime movies --- ### [Miss PJ: James Abinibi's Mystery is a Misfire of Execution](https://nollycritic.com/miss-pj-review-a-misfire-of-ambition-and-execution/) **Published:** November 19, 2024 **Author:** Shalom O. Obisesan **Excerpt:** From the stables of James Abinibi’s Rockbottom Studios comes Miss PJ, a film that ventures into this territory, promising a thrilling tale of corruption... **Content:** From the stables of James Abinibi’s Rockbottom Studios comes *Miss PJ*, a film that ventures into this territory, promising a thrilling tale of corruption, heroism, and the fight for justice. The premise taps into the intrigue surrounding corps members navigating unfamiliar environments, setting the stage for a potentially captivating story. There’s an undeniable allure to [Nollywood](https://nollycritic.com/nollywood-movies-and-series-to-see-in-november-2024/ "Nollywood") stories centred on Nigeria’s National Youth Service Corps (NYSC) programme, a fascinating mix of drama, culture clash, and self-discovery. When such narratives delve into rural village settings, they often promise a gripping exploration of societal challenges through the lens of youth and ambition. ## Miss PJ Directed by: James Abinibi Written by: James Abinibi Genre: Mystery Released on: November 15, 2024 (Prime Video) Language: English and Yoruba ##### Story [*Miss PJ* ](https://www.imdb.com/title/tt33042928/ "Miss PJ ")explores themes of corruption, ambition, and sacrifice through the experiences of a youth corps member in a rural Yoruba village. The story attempts to juxtapose Miss PJ’s determination to protect her students against the village’s moral decay but struggles to achieve coherence. Themes of heroism and societal rot are undermined by a lack of narrative depth, with over-reliance on expository dialogue and theatrical monologues instead of meaningful interactions or subtext. Furthermore, the narrative technique is inconsistent, shifting between a first-person narrator and a third-person perspective that focuses on Miss PJ’s life in great detail. While we are introduced to the story through the voice of a narrator, the film itself unfolds from the perspective of Miss PJ, creating a disjointed and scattered narrative that fails to align with its chosen point of view. This inconsistency in storytelling diminishes the impact of the themes and weakens the overall cohesion of the narrative. ##### Plot The plot centres on a young woman deployed to a rural village for her National Youth Service, where she uncovers a series of mysterious deaths among her students. Her investigation leads to the discovery of a conspiracy involving the school principal’s husband, who performs ritual sacrifices to become the village king, with his wife complicit in the acts. Despite its intriguing premise, the plot is riddled with inconsistencies. While the film does a good job in misdirecting the audience to suspect the wrong people, key moments, such as the lack of scrutiny into Festus’s behaviour feel underdeveloped. Coincidences, like a student spotting Feyi/Funke from a tree, undermine the tension, while the climax relies on implausible resolutions, such as Miss PJ’s sudden triumph and the abrupt intervention of the police. These flaws disrupt the narrative flow, making the plot feel contrived and unconvincing. ##### Technical Aspects The technical elements struggle to enhance the film’s impact. Cinematography falters in delivering a cohesive visual experience. While there are attempts at dynamic shots, they often feel jarring and everywhere, with the transitions lacking fluidity. The editing amplifies this issue. Lighting and direction also contribute to the film’s uneven quality. Poor lighting, especially in night scenes, diminishes the mood and atmosphere, while inconsistent direction leads to moments of forced theatricality. In the final act, the film leans heavily on stage-like performances, which detracts from its otherwise grounded approach, leaving *Miss PJ* feeling disjointed and lacking technical refinement. Sound design, in particular, detracts from the overall experience. While ambient sounds, such as the students clattering, splash of water, sharpening of iron, etc., are included, their mechanical, poorly placed execution makes them distracting. The poor execution of elements create a sense of artificiality that pulls viewers out of the experience. ##### Performances The performances in *Miss PJ* highlight a mix of ambition and inconsistency. Bimbo Ademoye, in the titular role of Miss PJ, demonstrates a sincere effort to bring optimism and determination to the character. However, her performance is marred by linguistic challenges that detract from authenticity. Despite being a Yoruba actress portraying an Igbo character, her dialogue delivery reflects a Yoruba-English literal translation, exposing a lack of attention to linguistic nuances in both performance and direction. This struggle with language disrupts the believability of Miss PJ’s identity as a non-Yoruba character even though she speaks Igbo scarcely. Sola Sobowale, as Mrs Adeyemi, delivers the necessary drama and action that her role demands, showcasing her ability to embody the character’s authority and hypocrisy. While her performance is largely serviceable, it is also predictable, as her casting in such a role immediately signals her as a villain: a pattern that has followed her since *King of Boys* and *Soole*. The ending, however, diminishes her efforts, as the film leans into theatrical monologues for her character that feel out of place in the thriller context, turning her final moments into stage drama rather than a cinematic climax. Chris Iheuwa, as the antagonist Mr Adeyemi, struggles to convey the sinister presence and depth required of the character. His performance lacks emotional intensity, and his monologues come across as weak and unconvincing, failing to elevate the stakes of the narrative. Charles Okocha, as Corper Festus, offers a flat portrayal. His depiction of the flirtatious and predatory teacher is one-dimensional, lacking the nuance necessary to make his character’s actions feel genuinely menacing or impactful. The supporting cast, including Kunle Afolayan as the Local Government Chairman and Ibrahim Chatta as Ifabiyi are functional. Feyi/Funke’s portrayal (Mirah Balogun) suffers from inconsistent direction, oscillating between victimhood and narrative convenience, leaving her character underdeveloped. The acting is further hindered by poor direction, which fails to create a cohesive tone that characterizes typical Yoruba films. While this theatrical style might make sense in certain contexts, it clashes with the film’s thriller aspirations, particularly during climactic scenes. Ultimately, the cast shows glimpses of potential, but the performances remain constrained by inconsistent guidance and weak storytelling. ##### Final Thoughts *Miss PJ* presents the foundation of a promising narrative but falters in its execution. The story, while not inherently bad, is poorly told, with its scattered perspective undermining the audience’s engagement. The decision to frame the narrative through the voice of Feyi, or is it Funke?—only adds to the confusion. The inconsistency in the narrator’s name is indicative of the film’s broader struggle with coherence. What’s more perplexing is the narrative’s focus. Despite being narrated by Feyi/Funke, the story delves into Miss PJ’s life with such depth that the narrator’s perspective becomes almost irrelevant. The result is a fragmented perception of the narrative, leaving the audience unsure of who they are meant to align with. This disjointed approach is compounded by the delayed revelation of the narrator’s identity, which feels more like an afterthought than an intentional storytelling device. By the time the audience decodes who Feyi/Funke is, we are left to grapple with the incongruity of her two names and the misplaced emphasis of the narrative. This lack of structural and perspective clarity robs the story of the impact it could have had. While the premise holds potential, *Miss PJ* is a reminder that effective storytelling requires not just a compelling idea but a coherent and consistent execution. ##### Verdict *Miss PJ* is a poorly executed film that fails to deliver on its premise, suffering from unconvincing performances, amateurish technical work, and a storyline that collapses under its own contradictions among others. Miss PJ is currently streaming on Prime Video. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/miss-pj-review-a-misfire-of-ambition-and-execution/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/miss-pj-review-a-misfire-of-ambition-and-execution/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/miss-pj-review-a-misfire-of-ambition-and-execution/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/miss-pj-review-a-misfire-of-ambition-and-execution/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/miss-pj-review-a-misfire-of-ambition-and-execution/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Bimbo Ademoye, James Abinibi, Miss PJ, nollycritic, nollywood, Prime Video --- ### [CJ Obasi's La Pyramide is a Bold Exploration of Dark Bodies](https://nollycritic.com/la-pyramide-cj-obasis-bold-exploration-of-dark-bodies-and-global-cinema/) **Published:** November 15, 2024 **Author:** Shalom O. Obisesan **Excerpt:** CJ Obasi’s upcoming feature La Pyramide: A Celebration of Dark Bodies is a cinematic exploration that pushes the boundaries of storytelling **Content:** [C.J. Obasi’s](https://www.imdb.com/name/nm5236429/ "C.J. Obasi’s") upcoming fiction feature *La Pyramide: A Celebration of Dark Bodies* is shaping up to be a cinematic exploration that pushes the boundaries of storytelling, aesthetics, and cultural representation. Following his international success with *[Mami Wat](https://nollycritic.com/cj-obasis-mami-wata-bags-naacp-nomination/ "Mami Wat")a*, which garnered critical acclaim for its striking black-and-white portrayal of African folklore, Obasi’s new project promises to delve into a more vibrant and expansive narrative, integrating colour and a larger canvas. The project is a co-production between Nigeria, the United Kingdom, Senegal, and the United States, marking a significant step in Obasi’s career as it brings together global influences and diverse filmmaking techniques. In *La Pyramide*, the director seeks to celebrate the beauty and complexity of dark-skinned bodies, an exploration that holds significant cultural and social resonance, particularly within the context of global cinema. Obasi’s artistic vision for *La Pyramide* extends beyond simple visual storytelling; he sees it as an opportunity to push aesthetic boundaries in ways similar to what he achieved with *Mami Wata*, but on a grander scale. > “La Pyramide is an extension of what I did with Mami Wata,” Obasi said in a recent interview. > “But on a much larger canvas, and with colour.” *La Pyramide* reflects a celebration of the body, specifically dark bodies, which have often been marginalized or overlooked in mainstream cinema. Through this film, Obasi aims to centre these bodies not only as subjects of visual art but as profound expressions of identity and cultural significance. Drawing on influences from his recent travels, including a visit to Brazil where part of the film is set, Obasi is keen to integrate global perspectives into his storytelling. His time in Senegal also contributed to the film’s development, as he described the moment as feeling like “prophecy fulfilled,” recognising the spiritual and political resonance of the country’s contemporary moment. > “Being in Senegal at such a spiritually and politically charged moment in the nation’s history felt like prophecy fulfilled,” he remarked, further emphasising how deeply his surroundings influence the creative process. *La Pyramide* promises to delve deep into socio-political themes, exploring the intersections of race, identity, and power. In a world where African bodies are often portrayed through a lens of tragedy or victimhood, Obasi aims to present an alternative narrative: one of empowerment, pride, and celebration. > “I want to celebrate these bodies, show them as they truly are—strong, beautiful, and full of history,” he explained. Obasi’s move to incorporate colour into *La Pyramide* signifies a departure from the stark monochrome aesthetic of Mami Wata but maintains the same level of visual sophistication. The film’s aesthetic aims to be just as ambitious, providing a visual feast that complements its thematic depth. With his focus on the celebration of dark bodies, Obasi is challenging conventional filmmaking aesthetics, offering a fresh perspective that reflects his bold, innovative approach to cinema. > “Colour, for me, is an important part of this project. It’s an integral aspect of the world I’m creating in La Pyramide—one where dark bodies are vibrant and full of life,” Obasi shared. In addition to its visual and thematic ambitions, *La Pyramide* is also a collaborative international effort, with co-productions spanning several countries. This allows the film to access a wide array of talents and resources, further elevating its potential to make an impact on global cinema. The film is also poised to be part of the conversation around African cinema’s growing influence in the global film industry, with Obasi’s work increasingly being recognised on the international stage. With *La Pyramide*, C.J. Obasi is crafting a film that promises to challenge, inspire, and captivate audiences. It’s a work that continues his journey as a director who is unafraid to confront pressing social issues through art, pushing the limits of what African cinema can achieve in the global arena. As the film progresses through production, there’s no doubt that it will be one of the most anticipated releases in contemporary African cinema. > “This is my answer to the lack of representation, to the exclusion of dark bodies from the mainstream. I want the world to see them as they truly are,” Obasi concluded, adding a final testament to the powerful statement he seeks to make with this project. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/la-pyramide-cj-obasis-bold-exploration-of-dark-bodies-and-global-cinema/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/la-pyramide-cj-obasis-bold-exploration-of-dark-bodies-and-global-cinema/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/la-pyramide-cj-obasis-bold-exploration-of-dark-bodies-and-global-cinema/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/la-pyramide-cj-obasis-bold-exploration-of-dark-bodies-and-global-cinema/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/la-pyramide-cj-obasis-bold-exploration-of-dark-bodies-and-global-cinema/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Nollywood News **Tags:** CJ Obasi, La Pyramide, nollycritic, nollywood --- ### [Afreximbank's CANEX $2B Fund: Hope or Heartbreak for Creatives?](https://nollycritic.com/afreximbanks-canex-2b-fund-hope-or-heartbreak-for-creatives/) **Published:** November 15, 2024 **Author:** Fisayo Adekoya **Excerpt:** Afreximbank’s $2 billion expansion of the Creative Africa Nexus (CANEX) fund has created both excitement and skepticism across Africa. **Content:** On October 18, 2024, [Afreximbank](https://www.afreximbank.com/canex-wknd-2024-uniting-global-africas-creative-and-cultural-industries-in-algiers/ "Afreximbank") announced a significant boost to Africa’s growing creative economy, doubling its funding commitment to the Creative Africa Nexus (CANEX) programme from $1 billion to $2 billion over the next three years. The announcement was made by the President and Chairman of the Board of Directors, Professor Benedict Oramah, at the CANEX WKND 2024 event in Algiers, Algeria. This new funding commitment highlights the bank’s ongoing dedication to fostering the growth of Africa’s creative sectors, including film, music, fashion, and sports. Afreximbank’s $2 billion expansion of the Creative Africa Nexus (CANEX) fund has created both excitement and skepticism across Africa. While the promise of increased funding brings hope to many, African filmmakers are questioning whether they will actually benefit. The CANEX fund, which started with $500 million in 2020, grew to $1 billion in 2022, and now stands at $2 billion, is set to support the creative industries over the next three years. But doubts persist about who will truly have access to this funding. For many filmmakers, the issue is not the amount of money available but the process of accessing it. They feel the system favors large, established companies, leaving smaller, independent creators in the dark. There is a disconnect between the operational framework of Afreximbank and the realities faced by grassroots filmmakers. These creatives are left wondering if the funding is really meant for them or just a select few. After the announcement, questions about who qualifies for funding quickly followed. [Filmmakers](https://nollycritic.com/kunle-afolayan-partners-with-u-s-embassy-to-empower-filmmakers/ "Filmmakers") are asking how the funds will be distributed and if the process will be transparent. Many feel that without clear guidelines, these announcements only create false hope. For some, it feels like a familiar pattern—grand promises followed by little action for smaller players in the industry. The impact of past funding rounds has left many questioning if the new CANEX pledge will be different. Without significant changes to the funding process, the fear is that this money will once again bypass the smaller creators who need it most. Filmmakers continue to ask if this $2 billion pledge will truly help those struggling on the ground or simply benefit the larger, more established players in the industry. To address these concerns, experts are calling for more inclusive funding models. They suggest collaboration between local governments, investors, and international organizations to create systems that allow more creators to access funds. By doing this, the creative sector could be empowered from the ground up, ensuring that the benefits of the CANEX program reach all levels of the industry. Despite these concerns, many filmmakers and creatives remain cautiously optimistic. They hope Afreximbank will follow through on its promises and develop a more transparent, accessible system for funding. If implemented well, the CANEX program could indeed be a game-changer for Africa’s creative industries. For now, the industry watches closely, waiting for clearer steps that will turn this $2 billion pledge into real opportunities for all African creatives. *For more stories and updates, follow us on our social media pages below:* - [Instagram](https://www.instagram.com/nolly.critic/profilecard/?igsh=MWg5NWFuaTRicWdlcw==) - [TikTok](https://www.tiktok.com/@nollycritic?_t=8rAUppnRQkK&_r=1) - [X](https://x.com/nollycritic) - [YouTube](https://youtube.com/@nollycritic?si=LS-FL0J7x1IDybWo) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/afreximbanks-canex-2b-fund-hope-or-heartbreak-for-creatives/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/afreximbanks-canex-2b-fund-hope-or-heartbreak-for-creatives/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/afreximbanks-canex-2b-fund-hope-or-heartbreak-for-creatives/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/afreximbanks-canex-2b-fund-hope-or-heartbreak-for-creatives/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/afreximbanks-canex-2b-fund-hope-or-heartbreak-for-creatives/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Nollywood News **Tags:** Afreximbank, African Creatives, CANEX, Creative Africa, Film Community, Film making, Film Production, Funding Opportunities, nollycritic --- ### [Cars in Nollywood Movies: A Vehicle For Plot Exploration](https://nollycritic.com/cars-in-nollywood-movies-a-vehicle-for-plot-exploration/) **Published:** October 23, 2024 **Author:** Shalom O. Obisesan **Excerpt:** In Nollywood films, cars serve as more than mere vehicles; they are potent symbols woven intricately into the narratives, reflecting the complexities of contemporary Nigerian society. **Content:** In Nollywood films, cars serve as more than mere vehicles; they are potent symbols woven intricately into the narratives, reflecting the complexities of contemporary Nigerian society. Through these cinematic representations, cars become multifaceted metaphors that illuminate various themes such as ambition, social stratification, transformation, and moral dilemmas. One of the most striking roles of cars in these films is their ability to embody the notion of personal transformation. For many characters, a car signifies the opportunity to break free from their pasts and carve out new identities. In *Taxi Driver: Oko Asewo* (2015), the protagonist inherits a taxi from his father, a legacy intertwined with both promise and danger. The car becomes a dual symbol of hope and entrapment, representing the protagonist’s struggle between embracing a new life and being shackled by his father’s underworld legacy. This duality highlights how cars can facilitate mobility while simultaneously binding characters to their histories. Moreover, cars often encapsulate the unpredictability of life. In[ *Dwindle* (2021)](https://www.imdb.com/title/tt15149222/ " Dwindle (2021)"), the hijacking of a vehicle thrusts characters into a chaotic series of events, showcasing how cars can serve as catalysts for unexpected transformations. The initial mundane act of getting into a car spirals into a comedic yet tense exploration of crime and chance. This transformation underscores the broader societal reality where seemingly ordinary circumstances can erupt into chaos, reflecting the unpredictability of urban life in Nigeria. Cars also function as mirrors of social dynamics, capturing the state of Nigerian society. In *Soole* (2021) a commercial bus becomes a microcosm of urban existence, uniting characters from diverse backgrounds, same with *Taxi Driver*. It serves not merely as a means of transport but as a space where different socio-economic realities intersect. This representation illustrates how public transport can reflect communal experiences and shared struggles, creating a garment of interconnected lives and highlighting the underlying societal issues that shape them. The moral complexities of characters are often tied to their relationships with cars. In [*Tokunbo* (2024),](https://nollycritic.com/tokunbo-a-low-stakes-crime-thriller-with-predictable-twists/ "Tokunbo (2024),") the titular character’s involvement in illegal activities is closely linked to his car, which becomes a manifestation of his ethical dilemmas. The vehicle signifies not just a means of escape but also the weight of his choices. The car crash that occurs later in the film represents a moment of reckoning, where the consequences of his decisions collide with his desire for redemption. Here, the car acts as a transformative agent, embodying the moral conflicts that define the character’s journey. Additionally, cars in Nollywood films can encapsulate the recklessness and exuberance of youth. In *Kasala!* (2018), a stolen vehicle serves as a vehicle for teenage adventure, representing the thrill and danger of youthful impulses. The joyride becomes a metaphor for the quest for freedom, illustrating how such experiences shape identity during adolescence. The excitement of the ride juxtaposes the risks involved, encapsulating the lessons learned through both triumph and failure. Furthermore, cars provide a fascinating lens through which to explore class divides. In[ *Muri and Ko* (2024)](https://nollycritic.com/muri-and-ko-biodun-stephens-satirical-comedy-offers-a-much-needed-comic-relief/ " Muri and Ko (2024)"), the act of stealing a car reveals the stark contrasts between privilege and poverty. When Muri discovers a child from a wealthy family inside the vehicle, the car transforms into a bridge connecting disparate social realities. This moment highlights how shared experiences can transcend socio-economic boundaries, fostering connections between individuals from vastly different backgrounds. The car thus becomes a site for examining class dynamics and the potential for empathy and understanding amid societal divides. In conclusion, cars in Nollywood films are powerful symbols that transcend their functional roles. They encapsulate themes of transformation, unpredictability, social dynamics, moral dilemmas, youthful exuberance, class disparities, and many more. Through these multifaceted representations, vehicles become integral to the narratives, providing insights into the complexities of contemporary Nigerian life. As they navigate the roads of urban existence, characters embody the hopes, challenges, and moral questions that define their journeys, making cars a profound metaphor for the human experience in Nollywood cinema. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/cars-in-nollywood-movies-a-vehicle-for-plot-exploration/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/cars-in-nollywood-movies-a-vehicle-for-plot-exploration/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/cars-in-nollywood-movies-a-vehicle-for-plot-exploration/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/cars-in-nollywood-movies-a-vehicle-for-plot-exploration/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/cars-in-nollywood-movies-a-vehicle-for-plot-exploration/?share=linkedin) - **Categories:** Articles, Blog **Tags:** Muri and ko, nollycritic, nollywood, Tokunbo --- ### [NOSC Selects Mai Martaba for the 2025 Oscars Consideration](https://nollycritic.com/nosc-selects-mai-martaba-for-the-2025-oscars-consideration/) **Published:** November 14, 2024 **Author:** Shalom O. Obisesan **Excerpt:** As the Oscars race for the 2025 Best International Feature Film (IFF) category intensifies, Nigeria’s Official Selection Committee (NOSC) has chosen Mai Martaba, **Content:** As the Oscars race for the 2025 Best International Feature Film (IFF) category intensifies, [Nigeria’s Official Selection Committee (NOSC)](https://www.thenosc.org "Nigeria’s Official Selection Committee (NOSC)") has chosen *Mai Martaba*, a Hausa-language film directed by Prince Daniel, as the country’s official submission. This choice comes after a rigorous selection process that saw the film beat three other contenders, including *Kaka*, another submission by Daniel, to secure its place as Nigeria’s entry for the prestigious global event. Dr. Victor Okhai, a [NOSC](https://nollycritic.com/97th-oscars-nosc-calls-for-feature-film-submissions/ "NOSC") member and president of the Directors’ Guild of Nigeria, explained some reasons other quality Nigerian films failed to meet the IFF criteria. Many filmmakers, he noted, mistakenly submit films initially released on streaming platforms like Netflix, which do not satisfy the Oscars’ cinema screening requirement. To qualify for the IFF category, a film must be screened in cinemas for at least seven consecutive days and contain more than 50 percent dialogue in a non-English language. Okhai emphasised that aspiring Oscar contenders need to understand these requirements to ensure eligibility. Mai Martaba met all these conditions, including the language criterion and a three-week cinema screening in Nigeria’s northern cities, which targeted its demographic audience. Set in the fictional Kingdom of Jallaba, the film explores themes of political tension, cultural identity, and power struggles within a royal family as a king’s choice of his daughter as successor stirs conflict among ruling clans. Director Daniel describes the film as a celebration of Hausa culture, blending authentic storytelling with modern filmmaking techniques to spotlight the depth and resilience of northern Nigeria. With this submission, Nigeria hopes to finally secure a spot on the Oscars shortlist, a feat that has eluded the country in past attempts, despite commendable submissions such as *The Milkmaid* (2020) and C.J. Obasi’s *Mami Wata* (2023) Alongside *Mai Martaba*, Nigeria’s documentary entry *Then Comes the Body* is also making waves in the Oscar race. Directed by Jacob Krupnick and co-produced by Dami Aleje, this documentary chronicles Daniel Ajala’s journey as he nurtures Nigeria’s emerging ballet scene through the Leap of Dance Academy. The documentary, which highlights Ajala’s remarkable contribution to African arts and culture, recently garnered acclaim by winning the Best Short Film award at the Short Shorts Film Festival, Asia’s largest international short film festival recognised by the Academy Awards. This historic win not only strengthens *Then Comes the Body*’s Oscar bid but also underscores the documentary’s cultural significance on a global stage. Filmed in 2023, *Then Comes the Body* navigates the challenges of filming in Nigeria, particularly in capturing scenes of ballet performed in unique public spaces, such as Obalende and Eko Market. Aleje shared that Krupnick’s vision centred on authentically representing Leap of Dance Academy’s story with Ajala at its core. > “As the glue holding the community together, Daniel’s personal journey naturally intertwined with Nigeria’s growing ballet scene,” Aleje said. Building relationships with local leaders ensured that the production could film seamlessly with the community’s cooperation, allowing the foreign crew to feel welcomed and supported. Both *Mai Martaba* and *Then Comes the Body* await the final Oscars shortlist announcement in January 2025, with hopes high for Nigeria’s representation in this year’s Academy Awards lineup. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nosc-selects-mai-martaba-for-the-2025-oscars-consideration/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nosc-selects-mai-martaba-for-the-2025-oscars-consideration/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nosc-selects-mai-martaba-for-the-2025-oscars-consideration/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nosc-selects-mai-martaba-for-the-2025-oscars-consideration/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nosc-selects-mai-martaba-for-the-2025-oscars-consideration/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** Mai Martaba, nollycritic, nollywood, oscars, Then comes the body --- ### [Kunle Afolayan Partners with U.S. Embassy to Empower Filmmakers](https://nollycritic.com/kunle-afolayan-partners-with-u-s-embassy-to-empower-filmmakers/) **Published:** November 14, 2024 **Author:** Fisayo Adekoya **Excerpt:** Kunle Afolayan Productions (KAP) has partnered with the U.S. Embassy to host a filmmaking workshop for aspiring filmmakers in Lagos. **Content:** [Kunle Afolayan ](https://www.imdb.com/name/nm1875051/ "Kunle Afolayan ")Productions (KAP) has partnered with the U.S. Embassy to host a filmmaking workshop for aspiring filmmakers in Lagos. This four-day training, running from November 12 to 16, aims to provide hands-on experience in directing and cinematography. The event is part of Kunle Afolayan’s ongoing efforts to mentor and nurture young[ Nigerian filmmakers](https://nollycritic.com/nollywood-directors-that-had-outstanding-movie-debuts/ " Nigerian filmmakers"), building on successful collaborations with international partners like the French Embassy and a German company, which have trained over 10,000 youths. These partnerships have not only helped improve filmmaking skills but also created permanent job opportunities for some of the trainees within KAP. At the workshop, U.S.-based film professionals Angel Williams and Erin Wesley are sharing their expertise, while Nigerian film veterans like Sola Sobowale and Tunde Kelani lend their support. The event kicked off with the third edition of KAP’s Reel Circle, a platform for filmmakers to exchange ideas and gain knowledge. Afolayan emphasized the importance of such partnerships in empowering the next generation of Nigerian filmmakers. He believes the future of the industry lies in hands-on training and exposure to global industry standards. He also highlighted the significant impact of these partnerships in promoting cultural exchange and raising the profile of Nigerian cinema on the global stage. Will Stevens, the U.S. Consul General in Nigeria, praised the initiative as a symbol of the ongoing cultural connection between the U.S. and Nigeria, stressing the role of film in fostering mutual understanding and expanding business and tourism ties. With the support of global industry professionals, this partnership marks a significant step forward in the development of Nigeria’s creative industry, providing emerging filmmakers with the tools and networks needed to succeed on both local and international platforms. This workshop serves as another milestone in [Kunle Afolayan](https://nollycritic.com/nollywood-directors-that-had-outstanding-movie-debuts/ "Kunle Afolayan")’s efforts to shape the future of Nigerian cinema while building meaningful connections across borders. ![Kunle Afolayan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/11/photo_2024-11-14_10-00-26.jpg?resize=640%2C473&ssl=1)*For more stories and updates, follow us on our social media pages:* - [Instagram](https://www.instagram.com/nolly.critic/profilecard/?igsh=MWg5NWFuaTRicWdlcw==) - [TikTok](https://www.tiktok.com/@nollycritic?_t=8rAUppnRQkK&_r=1) - [X](https://x.com/nollycritic) - [YouTube](https://youtube.com/@nollycritic?si=LS-FL0J7x1IDybWo) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kunle-afolayan-partners-with-u-s-embassy-to-empower-filmmakers/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kunle-afolayan-partners-with-u-s-embassy-to-empower-filmmakers/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kunle-afolayan-partners-with-u-s-embassy-to-empower-filmmakers/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kunle-afolayan-partners-with-u-s-embassy-to-empower-filmmakers/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kunle-afolayan-partners-with-u-s-embassy-to-empower-filmmakers/?share=linkedin) - **Categories:** Nollywood, Nollywood News **Tags:** Filmmakers, Kunle Afolayan, nollycritic, nollywood, U.S embassy --- ### [5 Nollywood Movies With Mind Bending Plot-twists](https://nollycritic.com/5-nollywood-movies-with-mind-bending-plot-twists/) **Published:** November 13, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Imagine sitting down to watch a Nollywood film, expecting the usual drama, romance, or maybe a few laughs. And then, out of nowhere **Content:** Imagine sitting down to watch a Nollywood film, expecting the usual drama, romance, or maybe a few laughs. And then, out of nowhere, it’s like the plot hits you with a perfect long-range shot, straight into the top corner. You’re left wide-eyed, mouth open, questioning everything you thought you knew about the story. That’s the beauty of Nollywood; just when you think you’ve got it all figured out, it pulls off a play so unpredictable, that you have to pause and replay scenes just to make sure you saw it right. Whether it’s a secret twin, a sudden betrayal, a mind-bending reveal that leaves you gasping, or “the mother of my mother’s mother murdered her mother”, Nollywood sure knows how to keep us all on the tip of our toes. Let’s dive into some of the most jaw-dropping, what-just-happened plot twists the Nollywood industry has blessed us with! ##### *A Green Fever* (2023) *[A Green Fever](https://nollycritic.com/a-green-fever-a-thriller-that-almost-had-it-all/ "A Green Fever")* will leave you saying after its end, “That’s crazy.” Set against the backdrop of 1980s Nigeria, we follow a desperate father racing against time to save his daughter from a rare illness. As he pulls into a seemingly innocuous house, the tension thickens; a soldier blocks his path, and an unexpected twist awaits inside. With the clock ticking a coup brewing, and the thrills ensuing, we’re left grappling with the haunting question: is he merely a concerned parent or something far more sinister? As secrets unravel, you’re left pondering the true intentions of the architect, the complex relationships at play, and the chilling reality behind the colonel’s carefully guarded life. Is there more to this family than meets the eye? Each revelation pulls you deeper into a world where nothing is as it seems, keeping you on the edge of your seat and yearning for answers. Streaming on Prime Video. ##### *The Weekend* (2024) You might have expected a sweet romantic getaway, but what unfolds is a nightmare you never saw coming. Eager to meet her fiancé Luc’s family and fill the void of her orphaned past, Nikiya’s innocent desire leads her to a village shrouded in mystery and tradition. As the weekend progresses, it quickly transforms into a battle for survival. With each twist and turn, you’re left questioning the depths of love and the secrets we keep from those closest to us. What was Luc truly hiding? Does he really love Nikiya? As their idyllic plans unravel, you’ll find yourself on the edge of your seat, pondering the age-old dilemma of what to reveal or conceal before taking the plunge into marital bliss. [This film](https://nollycritic.com/the-weekend-finally-a-thriller-that-checks-the-right-boxes/ "This film") will not only keep you guessing but also leave you grappling with the shocking realities of trust and betrayal after the credits roll. ##### *October 1* (2014) At the threshold of Nigeria’s independence, Inspector Danladi Waziri investigates a series of brutal murders of two women in Akote Town. As the murder count rises to five, it becomes clear that Waziri is dealing with a hardened serial killer. With each character shrouded in suspicion, you quickly realize that the true horror lies beneath the surface. You might expect a simple murder mystery from this[ Kunle Afolayan](https://www.imdb.com/name/nm1875051/ " Kunle Afolayan") thriller, but what unfolds is a tale that keeps you on the edge of your seat. Just when you think you’ve figured it all out, a shocking twist turns everything upside down. Streaming on Prime Video. ##### *The House of Secrets* (2023) Imagine realizing that your current reality is a lie! Yes. That was Sarah’s story. She is living a comfortable life until she begins to recall hidden secrets. The unfolding mystery compels you to question the motives of those around her while exploring themes of trust and the choices driven by love. With Niyi Akinmolayan at the helm, the film captivates with striking visuals and an evocative soundtrack, drawing you into a world shrouded in secrets. Although the film employs numerous plot twists, some feel unearned and may leave you feeling disconnected from the stakes. As Sarah navigates her fragmented memories, the unexpected revelations will keep you on your toes, challenging your perceptions and leaving you in shock. Streaming on Prime Video. ##### *A Weekend to Forget* (2023) How can a weekend getaway become a weekend of nightmares? In *A Weekend to Forget*, a group of friends gather for what was supposed to be a fun-filled escape. Chaos begins with a shocking murder. Now, they are thrust into a web of suspicion and deceit. With trust shattered and alliances tested, you can’t help but wonder: Who is the murderer? Was it a complete stranger, or someone hiding a darker secret? As each character reveals layers of hidden motives and tangled relationships, the plot twists leave you reeling, forcing you to question everything you thought you knew. With every revelation, the stakes escalate, and the question of survival looms large: Will they all make it out alive? Streaming on Prime Video. Still not satisfied? okay, one more. Niyi Akinmolayan’s *The Setup*. The film follows A former drug smuggler and a confidence artist gets more than she bargains for when she is hired by a down on his luck businessman to assist with his scheme to marry a wealthy heiress. Things quickly take a turn for the worse as she realises that there is more to the scheme than meets the eye. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/5-nollywood-movies-with-mind-bending-plot-twists/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/5-nollywood-movies-with-mind-bending-plot-twists/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/5-nollywood-movies-with-mind-bending-plot-twists/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/5-nollywood-movies-with-mind-bending-plot-twists/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/5-nollywood-movies-with-mind-bending-plot-twists/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** nollycritic, nollywood, Prime Video --- ### [From Screens to Scenes: Nigerian Influencers Turned Actors](https://nollycritic.com/from-screens-to-scenes-nigerian-influencers-turned-actors/) **Published:** November 12, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Let’s dive into the Nigerian influencers who are now shining in film. Nollywood is bursting with talent, and Nigeria, as a whole, is home to an endless pool of creative minds **Content:** Let’s dive into the Nigerian influencers who are now shining in film. Nollywood is bursting with talent, and Nigeria, as a whole, is home to an endless pool of creative minds. Some of the biggest names we know today started out as content creators and social influencers. But some have gone a step further, bringing their creativity to the big screen and taking on acting roles. ##### Mr Macaroni Born[ Adebowale Debo Adeday](https://en.wikipedia.org/wiki/Mr_Macaroni " Adebowale Debo Adeday")o, started as an actor before venturing into comedy skits and social influencing. Although he appeared in films and soap operas early in his career, it was his online presence that propelled him into the limelight. In 2019, his satirical skits, featuring recurring characters like “Daddy Wa” and “Professor Hardlife,” became a hit. Known for his humour and catchphrases like “Ooin” and “Freaky freaky,” Mr Macaroni quickly gained a massive following. His ability to address real societal issues through comedy cemented his reputation not just as an entertainer but also as a social advocate, especially during the #EndSARS movement. Despite his roots in acting, Mr Macaroni’s recent film roles have reaffirmed his talent. He has appeared in notable Nollywood productions, including *Ponzi* (2021), *Ayinla* (2021), *[Aníkúlápó](https://nollycritic.com/anikulapo-rise-of-the-spectre-what-to-expect/ "Aníkúlápó")* (2022), [*Lisabi* (2024)](https://nollycritic.com/lisabi-the-uprising-an-ambitious-epic-weighed-down-by-cgi/ "Lisabi (2024)") and *Freedom Way* (2024). His performances reflect his versatility. Today, Mr Macaroni is recognised not just for his online influence but also as a bona fide actor making waves in Nigerian cinema. ##### Toke Makinwa Toke Makinwa is a media personality celebrated for her versatility as a radio host, television presenter, entrepreneur, and author. Known for hosting The Morning Drive on Rhythm 93.7 FM and her popular YouTube vlog series, Toke Moments, she has cultivated a strong personal brand by blending entertainment with lifestyle content. Her influence is further amplified through partnerships with major brands like Maggi, Ciroc, and Oppo Mobile, solidifying her position among Africa’s leading female show hosts. Additionally, Toke has built business ventures such as Toke Makinwa Luxury, a handbag line, and Glow by TM, a skincare brand, extending her presence beyond traditional media. Toke’s growing influence naturally transitioned into acting, where she further expanded her reach within the entertainment industry. She has appeared in several notable films, including *Omo Ghetto: The Saga* (2020) as Tina, *Blood Sisters* (2022) as Abasiama, and *Glamour Girls* (2022) as Louise. Toke also played roles in *Love Is War* and *Sugar Rush* (both 2019), showcasing her ability to engage audiences across multiple platforms. Her involvement in acting complements her media career, allowing her to remain relevant and visible while building a dynamic, multi-faceted brand. ##### Layi Wasabi Layi Wasabi, born Isaac Ayomide Olayiwola is a comedian, content creator, and actor known for his witty satire and humorous skits. He gained popularity in 2021 through viral videos, often portraying a comical lawyer and other sarcastic characters inspired by his upbringing in Osogbo. Despite his comedic success, he holds a law degree from Bowen University. His acting credits include roles in *Aníkúlápó: Rise of the Sceptre* (2024) and *Adire* (2023), with the latter earning ₦31 million at the box office. Layi has collaborated with major brands like Chicken Republic and Flutterwave and is signed under Penzaaraville Africa. Layi’s innovative approach to comedy, which avoids stereotypes and excessive sound effects, has earned him multiple recognitions, including the Emerging Force award at the 2023 Trendupp Awards and the Best Digital Content Creator prize at the 2024 AMVCA. He was also part of Meta’s Creators of Tomorrow campaign and won the Revelation of the Year award at the Nigerian Comedy Awards. Layi, who once identified as an introvert, credits content creation with helping him become more sociable. He remains focused on evolving with the times and standing out in Nigeria’s skit-making scene. ##### Kie Kie Bukunmi Adeaga-Ilori, popularly known as Kie Kie, is a renowned content creator, model, and skit maker whose witty, engaging skits have earned her widespread popularity, particularly through her YouTube channel, Kie Kie TV. Known for her comedic creativity, Kie Kie has carved a niche for herself in entertainment, blending humour with fashion and lifestyle content. Her growing online influence has led to several brand partnerships and established her as a prominent figure in Nigeria’s digital media space, where she continues to captivate audiences with her entertaining content. Leveraging her popularity as a skit maker, Kie Kie has successfully transitioned into acting, adding depth to her creative portfolio. She has appeared in films like *Muri & Ko* (2024) as Shalewa, *Searching* (2024) as Dami, *Wives on Strike: The Uprising* (2024) as Iya Bola, and *Queen Lateefah* (2024). Her versatility is further demonstrated in her roles in *Forever My Girl* (2023), *Different Strokes* (2023), and *House of Money* (2022). With projects like *Merry Go Wrong* set to release soon, Kie Kie continues to expand her reach in the entertainment industry, seamlessly blending her comedic roots with her on-screen performances. ##### Ariyiike Dimples Ariyike Dorcas Owolagba, popularly known as Ariyiike Dimples, is a Nigerian TV host, podcaster, fashion blogger, and actress. With a degree in Mass Communication from Lagos State University, she began her media career hosting shows on platforms like SuperSport, TVC News, and UBA’s Red TV. Known for hosting Urban Kitchen and producing SuperSport’s SuperPicks, she has also worked as a director at Aristokrat Records. Her engaging personality and versatility in entertainment earned her recognition, including a feature on the YNaija Power List of 2020. Ariyiike’s influence extends to brand endorsements with Pepsi and Friska Tea, as well as hosting her podcast, #GirlTalkWithAriyiike. In addition to her media presence, Ariyiike has steadily expanded her reach into Nollywood since 2015. She starred in films like *Diary of a Lagos Girl* (2016) as Folake and *Backup Wife* (2018) as Joan. More recent roles include Omowon in Kunle Afolayan’s *Aníkúlápó* (2022) and a performance in *13 Letters* (2021). Ariyiike’s filmography also features titles like *Love in the Wrong Places* (2018) and the comedy series *Okrika*. As she continues to balance her work in TV, fashion, and film, Ariyiike has become a prominent figure in Nigerian entertainment. ##### Broda Shaggi Broda Shaggi, born Samuel Animashaun Perry is a comedian, actor, and musician known for his satirical comedy and vibrant presence across social media. His breakthrough came through parody skits such as Jesu in Mushin, which established him as a household name. With his comedy rooted in everyday Nigerian experiences, Shaggi’s skits gained traction on Instagram, eventually leading him into Nollywood, where he has continued to shine. He is a two-time Africa Magic Viewers’ Choice Awards (AMVCA) winner for Best Actor in a Comedy, earning accolades in both 2022 and 2023. Over the years, Broda Shaggi has diversified into acting, music, and television. His filmography includes roles in notable films like *Omo Ghetto: The Saga* (2020), *Dwindle* (2021), *King of Thieves* (2022), *Inside Life* (2022), and *Something Like Gold* (2023). In 2024, he continues to expand his creative output with roles in projects such as *Alaye*, *Meeting Funmi’s Parents*, and *My Fake Celebrity Boyfriend*. Known for his comedic antics and ability to engage audiences with his relatable character, Shaggi has cemented his reputation as a key figure in Nigeria’s entertainment scene. The creative landscape continues to thrive, with talents pushing boundaries across comedy, film, and music, shaping the future of entertainment. As these stars evolve, they inspire the next generation to dream bigger and reach further. Who else should be on this list? ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/from-screens-to-scenes-nigerian-influencers-turned-actors/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/from-screens-to-scenes-nigerian-influencers-turned-actors/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/from-screens-to-scenes-nigerian-influencers-turned-actors/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/from-screens-to-scenes-nigerian-influencers-turned-actors/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/from-screens-to-scenes-nigerian-influencers-turned-actors/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Broda Shaggi, Kie Kie, Layi Wasabi, Mr Macaroni, nollycritic, nollywood, toke makinwa --- ### [Can Nigerian Animation Preserve Its Identity in an Evolving AI Landscape?](https://nollycritic.com/can-nigerian-animation-preserve-its-cultural-identity-in-an-evolving-ai-landscape/) **Published:** November 9, 2024 **Author:** Shalom O. Obisesan **Excerpt:** "AI is Here and is Here to Stay" How Can Nigerian Animation maintain its cultural identity amid technological advancements? **Content:** “AI is Here and is Here to Stay” How Can [Nigerian](https://nollycritic.com/the-nigerian-cinema-beyond-and-across-its-shores/ "Nigerian") Animation maintain its cultural identity amid technological advancements? So, I was minding my own business, scrolling through TikTok and watching film-related videos when I stumbled upon a film called *The Legend of Ochi*, facing allegations of using AI for its animation. Initially, I wasn’t particularly interested until another video popped up on my feed, featuring a guy calling the film > “The film AI tries to be.” Intrigued, I thought, “Oh really?” It reminded me of another news piece I had seen about an upcoming animated film that promised to incorporate a fusion of different animation techniques, from 2D and 3D to animatronics and puppetry. This got me thinking: with all these rapidly evolving technologies and developments, where does Nigerian animation stand? What’s the future of Nigerian animation? As I reflect on the current state of the Nigerian animation industry, it becomes clear that we are at a pivotal moment in Nigeria’s animation evolution. The recent success of Pixar’s *Inside Out 2*, which soared to become the first $1 billion grosser of 2024, serves as a clarion call for Nollywood’s animation sector. While the live-action realm continues to thrive, the Nigerian animation industry feels like a fledgling bird, still struggling to find its wings. This disparity raises a crucial question: How can Nigeria harness the potential of animation while navigating the rocky terrain posed by technological advancements, particularly artificial intelligence (AI)? During the recent [AFRIFF](https://www.afriff.com "AFRIFF") panel discussions, which I had the privilege to attend, the overarching sentiment was one of cautious optimism. The first session, titled[ *“Animating the Future: Iwaju and the Evolution of African Storytelling,”* ](https://nollycritic.com/afriff-2024-film-screeningsheres-how-its-been-so-far/ " "Animating the Future: Iwaju and the Evolution of African Storytelling," ")featured speakers like Toluwalakin Olowofoyeku and Hamid Ibrahim, founders of Kugali Studios. They emphasized the necessity of prioritizing authenticity in storytelling. Hamid remarked, and I paraphrase, > “If authenticity was not at the forefront, it’s most likely that with the collaboration of Disney+ into funding the project, that authenticity and African representation might have been lost.” This notion echoes the importance of maintaining a clear vision to elevate African storytelling through animation. The second panel, “Financing and Marketing African Animation Projects,” highlighted the ongoing struggle for funding within the industry. As I listened to the discussions, it became evident that, despite the global spotlight on Nigerian entertainment, animators still face significant financial hurdles. The third session, “Animation as a Medium for Cultural Expression and Education: Animating African Folklore,” struck a chord with me when the topic of AI’s impact on animation was raised. Godwin Akpan, the art director for the upcoming series “*Iyanu*: *Child of Wonder*,” articulated a very vital point while we had a mini discussion. On the topic of AI and its impact on the animation industry, my reflections were further deepened by an article I encountered that discussed the disruption caused by AI in Nigeria’s comic and animation industry. Richard Oboh, the creative director and CEO of[ Orange VFX studios](https://orangevfx.com " Orange VFX studios"), expressed a pressing concern: > “Artificial intelligence remains a double-edged sword capable of making and also destroying the industry as it has put jobs at stake and created a lot of controversy.” The introduction of AI technologies has not been without consequence; it has threatened the livelihoods of many who rely on traditional methods for storytelling, character design, and animation. Oboh elaborated, stating, > “Currently, it’s possible to use AI to write an entire script, write stories, and design characters. It can even mimic people’s styles and is creating much controversy.” This stark reality made me realize that while AI offers tools that can streamline the creative process, we must tread carefully. The human touch, which has long been the heartbeat of storytelling, risks being overshadowed by algorithms and automation. The speed of AI’s advancement is staggering. For instance, the recent launch of Runway’s Act-One, a tool that generates character animations based on simple video and voice inputs, illustrates just how quickly technology is evolving. This allows users to create animated characters directly from a video and voice recording, bypassing traditional animation complexities and enabling productions with minimal resources. However, this rapid development poses an existential challenge: how can the Nigerian animation industry, still in its infancy, create and keep its identity amid such swift changes? What did Godwin Akpan have to say? > “Prioritize the story; the technical dexterities come next.” This statement encapsulates the essence of what I believe is necessary for the growth of the Nigerian animation industry. It’s a challenge that calls for a renewed focus on storytelling. By investing in strong narratives, we can ensure that our stories remain at the forefront, allowing us to explore various animation techniques—be it stop-motion, 2D, or 3D—while preserving our cultural integrity. Reflecting on the broader context of Nollywood and its animation sector, it is essential to recognize Nigeria’s unique position within the global animation industry. With a rich cultural heritage and diverse storytelling traditions, Nigerian animators have the potential to carve out a distinctive niche. However, the industry remains ensnared by funding woes, a lack of proper training facilities, and inadequate infrastructure. Despite these challenges, there are shining examples of success that inspire hope. Projects like *Iyanu: Child of Wonder*, which is being adapted by HBO and Cartoon Network, and *Iwaju*, a collaboration between Disney and Kugali Studios, demonstrate the potential for Nigerian animation to break free from the shadows and reach a global audience. These initiatives not only showcase the richness of African stories but also highlight the importance of collaboration and investment in the industry. As I conclude my thoughts, I am reminded of the words of Biodun Stephen, who succinctly stated, “It is a very expensive venture.” The costs of producing high-quality animation can be daunting, yet the potential rewards are akin to gold buried beneath the earth, waiting to be unearthed. By fostering a supportive environment for animators, investing in education, and prioritizing authentic storytelling, we can navigate the complexities of the animation landscape. The future of Nigerian animation lies in our ability to embrace both tradition and technology while remaining true to the stories that define us. If we can achieve this balance, I believe the industry will not only thrive but also inspire a new generation of storytellers eager to share the beauty of African culture with the world. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/can-nigerian-animation-preserve-its-cultural-identity-in-an-evolving-ai-landscape/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/can-nigerian-animation-preserve-its-cultural-identity-in-an-evolving-ai-landscape/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/can-nigerian-animation-preserve-its-cultural-identity-in-an-evolving-ai-landscape/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/can-nigerian-animation-preserve-its-cultural-identity-in-an-evolving-ai-landscape/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/can-nigerian-animation-preserve-its-cultural-identity-in-an-evolving-ai-landscape/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** afriff, animation, NIgerian Animation, nollycritic, nollywood --- ### [Nollywood Directors that Had Outstanding Movie Debuts](https://nollycritic.com/nollywood-directors-that-had-outstanding-movie-debuts/) **Published:** October 15, 2024 **Author:** Shalom O. Obisesan **Excerpt:** First time's the charm! And that's the case of some Nollywood Directors that you've come to love and enjoy! A director’s first feature film... **Content:** First time’s the charm! And that’s the case of some [Nollywood](https://nollycritic.com/nollywood-movies-and-series-to-see-in-november-2024/ "Nollywood") Directors that you’ve come to love and enjoy! A director’s first feature film often sets the tone for their career, offering a glimpse into their unique style and storytelling abilities. While established directors have long dominated the scene, many first-time filmmakers have made their mark with exceptional debut feature films in Nigerian cinema. What’s even more surprising is that some of these films were helmed by directors making their big-screen debut. From their originality to their execution, these films have left a lasting impression, even though they were the filmmakers’ first attempts. Let’s explore some of the best feature films that were surprisingly directorial debuts: ##### *Living In Bondage* (2019) Ramsey Nouah’s film career took off with his major screen debut in *Silent Night* (1996), and he became a household name across Africa through numerous successful films, often portraying romantic leads. In 2019, Nouah made his directorial debut with *Living in Bondage: Breaking Free*, a sequel to the classic 1992 film *Living in Bondage*. This film not only showcased his directing skills but also solidified his legacy within Nollywood. Following this, he directed the remake *RattleSnake: The Ahanna Story* (2020). He continued this trajectory as the director of *Tòkunbò* (2024) which was released on Netflix. Additionally, he is set to reprise his role in the upcoming sequel *77*, which is currently in post-production and follows *76*, where he played the protagonist. With multiple awards under his belt, including the Africa Movie Academy Award for Best Actor for his role in *The Figurine* (2009), Ramsey Nouah remains a pivotal figure in Nollywood, known for blending his acting prowess with a vision for storytelling through his production company, Ramseyfilms. ##### *The Bling Lagosians* (2019) Before her directorial debut with *The Bling Lagosians* in 2019, [Bolanle Austen-Peters ](https://en.wikipedia.org/wiki/Bolanle_Austen-Peters "Bolanle Austen-Peters ")had already established herself in the theater scene with successful productions and had produced notable films like *93 Days*. Austen-Peters has been recognized as a pioneering force in Nigerian cinema, and her work has earned her accolades for its storytelling and artistic direction. *The Bling Lagosians* centers on the affluent Holloway family, highlighting their internal conflicts as they prepare for a lavish birthday celebration while facing the threat of losing their business. Released on June 28, 2019, the film features a strong cast including Osas Ighodaro and Elvina Ibru, and it received acclaim for its engaging narrative and production quality, winning awards for cinematography and supporting performances. With a box office gross of approximately ₦120 million, the film has become a staple in Nollywood, showcasing the complexities of wealth and family dynamics in contemporary Nigerian society. ##### *Isoken* (2017) [Jadesola Osiberu](https://www.imdb.com/name/nm6567672/ "Jadesola Osiberu") is a Nigerian writer, director, and producer, who transitioned from a career in software development to filmmaking, establishing her production company, Tribe85 Productions. Her directorial debut, *Isoken*, released in 2017, explores the societal pressures faced by unmarried women in Nigeria, earning her accolades such as Best Director at the Africa Magic Viewers’ Choice Awards and a nomination for Best Director at the Africa Movie Academy Awards. *Isoken* is a romantic comedy that follows the titular character, Isoken, as she navigates cultural expectations around marriage while caught between familial matchmaking and her feelings for a non-Edo man, Kevin. The film, starring Dakore Akande and Joseph Benjamin, premiered in the UK before its Nigerian release and received positive reviews for its humour and cultural commentary, winning awards for Best Film and Best Director at the 2018 AMVCA, as well as recognition at international film festivals. With a box office gross of ₦95 million, *Isoken* established Osiberu as a significant voice in Nollywood, blending comedy with critical discussions on race and gender roles in contemporary Nigerian society. ##### *The Wedding Party* (2016) Before Kemi Adetiba’s directorial debut with *The Wedding Party* in 2016, she had established herself in the industry through music videos and short films, showcasing her creative vision. Her success with *The Wedding Party* laid the groundwork for her later acclaimed projects, including *King of Boys* and its subsequent series. *The Wedding Party* is a romantic comedy that captures the chaos and excitement surrounding a couple’s wedding day. The film received positive reviews for its humour and relatable storyline, quickly becoming a box office sensation that grossed over ₦453 million, making it one of the highest-grossing Nigerian films at the time. Its engaging narrative, star-studded cast, and ability to resonate with audiences have firmly established *The Wedding Party* as a milestone in Nollywood and a beloved entry in the romantic comedy genre. ##### *Ojuju* (2014) C.J. “Fiery” Obasi made an interesting transition from a degree in Computer Science to filmmaking, driven by his passion for storytelling and genre films. His directorial debut film, *Ojuju*, premiered at the Africa International Film Festival in 2014 and quickly garnered critical acclaim, winning the award for Best Nigerian Film,earning Obasi the Trailblazer of the Year award at the Africa Magic Viewers’ Choice Awards, setting the stage for his distinctive career in genre filmmaking. *Ojuju* is a 2014 Nigerian zombie thriller that uniquely adapts the zombie genre to a Nigerian context, focusing on a viral outbreak in a slum area. The film’s realistic portrayal of societal issues, combined with its grassroots production approach and minimal budget, resonated with audiences. *Ojuju* won awards for Best Editing at the Golden Icons Academy Movie Awards and Best Supporting Actress for Omowunmi Dada at the Best of Nollywood Awards, further solidifying its significance in Nollywood and showcasing Obasi’s innovative vision. Its success at various film festivals and recognition for its engaging storytelling and craftsmanship solidified *Ojuju* as a significant work in Nollywood and a testament to Obasi’s innovative vision. ##### *Irapada* (2006) Kunle Afolayan is a distinguished actor, producer, and director who has significantly impacted Nollywood by enhancing film quality through larger budgets and improved storytelling. His journey in film began with acting in the political drama *Saworoide* in 1999, leading to his directorial debut with *Irapada* in 2006. The film won the Africa Movie Academy Award for Best Film in an African Language, marking a pivotal moment in Afolayan’s career and establishing him as a key figure in the industry. *Irapada* (meaning “Redemption”) is a supernatural thriller that delves into themes of sacrifice and spirituality, centered on Dewunmi, who faces a series of tragic events after refusing to perform a ritual. The film was acclaimed for its engaging narrative and unique storytelling, earning it a spot among the Must-See African Films of the 21st century by CNN in 2013. It not only showcased Afolayan’s directorial prowess but also received recognition for its cultural significance, making it a staple in Nollywood cinema and solidifying Afolayan’s reputation as a leading filmmaker. ##### *Render to Caesar* (2014) Desmond Ovbiagele is a Nigerian filmmaker known for his impactful storytelling. He made his directorial debut with *Render to Caesar*, a film he wrote, produced, and co-directed, which was selected for official competition at prestigious festivals, including FESPACO and the Pan African Film Festival in 2015, showcasing his talent and vision as a filmmaker. *Render to Caesar* is a 2014 drama that explores themes of morality, justice, and societal challenges in Nigeria. Despite receiving mixed reviews, the film was celebrated for its engaging storyline and won multiple awards, including Best Supporting Actor and Best Screenplay at the Nollywood Movies Awards, Best International Feature Film at the Nile Diaspora International Film Festival, and Best Sound Design at the Best of Nollywood Awards. Its success not only highlighted Ovbiagele’s skillful direction but also set the stage for his subsequent work, including the highly regarded film *The Milkmaid*, further establishing his reputation in the Nigerian film industry. ##### *Kasala!* (2018) Prior to directing *Kasala!*, Ema Edosio gained valuable experience working with various production companies and directing music videos for notable artists. She returned to Nigeria in 2013 and honed her skills in the industry, contributing to projects such as the TV series *Skinny Girl in Transit*, the short film *AMCOP: Faults & Blames*, and the African Movie Channel Original Production *We Tha Boyz*. While she had directed several short films and television projects, *Kasala!* marks her directorial debut in feature films. The film follows the story of Tunji, a quick-talking young man, and his friends who borrow their uncle’s car for a joyride. Their adventure takes a turn when they crash the vehicle and have just five hours to raise money for repairs before their uncle returns. Released on October 12, 2018, and later premiering on Netflix on January 31, 2020, *Kasala!* has been praised for its engaging narrative and representation of Lagos life. Ema Edosio’s direction brings a unique blend of comedy and realism, making the film both entertaining and relatable. The film’s ability to capture the essence of youthful camaraderie while addressing deeper societal issues has garnered it a positive reception, solidifying Edosio’s reputation as a star in the Nigerian film industry. The emergence of talented Nollywood directors making their feature film debuts has significantly enriched Nollywood, introducing audiences to diverse narratives and fresh perspectives. As we celebrate the successes of these filmmakers, it’s clear that their innovative storytelling set a new standard for the industry for what we even expect till this day. With exciting new films slated for release this year and beyond, we eagerly anticipate the unveiling of more directors who will bring their unique voices to the forefront. These new talents have the potential to further shape Nollywood, ensuring that it continues to evolve and flourish, providing us with captivating stories that reflect the beauty and complexity of Nigerian culture. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-directors-that-had-outstanding-movie-debuts/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-directors-that-had-outstanding-movie-debuts/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-directors-that-had-outstanding-movie-debuts/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-directors-that-had-outstanding-movie-debuts/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-directors-that-had-outstanding-movie-debuts/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Bolanle Austen-Peters, CJ Obasi, Ema Edosio, Isoken, Jade Osiberu, Kasala!, Kemi Adetiba, Kunle Afolayan, Living in bondage, Ramsey Nouah, The Wedding Party --- ### [AFRIFF 2024: A Celebration of African Cinema And Cultural Wealth](https://nollycritic.com/afriff-2024-a-celebration-of-african-cinema-and-culture/) **Published:** November 11, 2024 **Author:** Shalom O. Obisesan **Excerpt:** The 13th Africa International Film Festival (AFRIFF 2024) took place from November 3 to 9, 2024, in Lagos, showcasing the brilliance of African storytelling. **Content:** The[ 13th Africa International Film Festival (AFRIFF 2024)](https://www.afriff.com " 13th Africa International Film Festival (AFRIFF)") took place from November 3 to 9, 2024, in Lagos, showcasing the brilliance of African storytelling. This year’s theme, “Indigenous to Global: Cultural Wealth to Global Prosperity,” honoured the resilience and growth of African filmmaking. As the continent’s largest film festival, AFRIFF serves as a crucial platform for Nollywood filmmakers, financiers, and enthusiasts to gather and engage in meaningful dialogue about the industry’s future. ###### Day 1: Opening Night – Sunday, 3 November 2024 AFRIFF 2024 opened with a spectacular night at the Royal Box at Cube 65, hosted by comedian, Bovi. The event attracted a mix of local and international dignitaries, including the Minister of Art, Culture, Tourism, and Creative Economy, Hannatu Musa Musawa; Lagos State Governor Babajide Sanwo-Olu; U.S. Ambassador to Nigeria Richard M. Mills Jr.; and media mogul Nduka Obaigbena. Their presence underscored the festival’s significance as a cultural beacon for Nigeria and the African continent. The opening film, *Headless*, directed by Nigerian filmmaker Michael W. Ndiomu, set a powerful tone for the week. The film narrated the story of an ambitious filmmaker navigating the challenges of Lagos. ###### Day 2: Herbert Day – Monday, 4 November 2024 A significant highlight of AFRIFF 2024 was the introduction of the Herbert Wigwe Trailblazer Award, honouring the late Herbert Wigwe, former Access Bank Group chairman and a long-time supporter of Nigeria’s creative industries. The inaugural recipients of this award were Afreximbank President Benedict Oramah and Governor Sanwo-Olu, recognised for their contributions to fostering growth in Nigeria’s creative sector. The day featured multiple panel discussions addressing critical industry topics. For instance, Brenda Fashugba of the British Council emphasized the importance of dialogue in analyzing and solving industry challenges, stating, “If you’re trying to solve problems, you first need to talk about them.” This approach aligns with AFRIFF’s mission to serve as a “sounding board” for filmmakers, providing a platform for discussing the future of African cinema. ###### Day 3: Co-Production Day – Tuesday, 5 November 2024 On Day 3, themed Co-Production Day, the festival hosted discussions on the importance of co-production in the industry. The first panel, moderated by Ronya Man, highlighted successful co-productions, with panelists emphasizing Africa’s potential in this realm. “Nigeria has a lot of amazing talents. So, for you to shine here, you’d need to do very well and partnership cannot be left behind,” noted Asurf Oluseyi. The day also included the screening of the psychological thriller *Agemo*. ###### Day 4: Animation Day – Wednesday, 6 November 2024 AFRIFF 2024 Animation Day focused on the burgeoning field of animation in Africa and its potential to tell unique stories, preserve cultural heritage, and achieve global success. The theme for the day was “Exploring the Burgeoning Field of Animation in Africa.” The first panel, titled “Animating the Future: Iwaju and the Evolution of African Storytelling,” explored Iwaju as a groundbreaking collaboration in African animation. It highlighted how this project incorporates unique African storytelling and cultural roots, alongside partnerships with major studios like Disney that can amplify African narratives globally. The second panel, “Financing and Marketing African Animation Projects + Comic Republic Demo,” provided insights into various funding and financing options available for co-productions, both within Africa and internationally. The third panel discussed “Animation as a Medium for Cultural Expression and Education: Animating African Folklore, Bringing Traditional Stories to Life.” This session explored the potential of animation as a tool for cultural expression and education, emphasizing the importance of bringing traditional stories to life through this medium. Unfortunately, the disorganization that plagued the festival was evident on Animation Day, as well as throughout the entire event. Films that were supposed to screen often did so at completely different times or not at all, as many activities occurred simultaneously. A faith-based film panel discussion was also scheduled for the same day, but there was little to no publicity about it, leading to confusion among attendees. This lack of proper time management and organization detracted from the festival experience, leaving many participants frustrated. ###### Day 5: Television Day – Thursday, 7 November 2024 On Television Day, Showmax joined AFRIFF 2024 to celebrate African stories with the screening of *Princess on a Hill*, a limited series co-created by Abiola Sobo and Tolu Ajayi. The series followed the story of Zara, a young executive navigating a high-stakes corporate environment after winning a reality show. This screening exemplified Showmax’s commitment to telling authentic African stories. ###### Day 6: Afro Unity Day – Friday, 8 November 2024 Day 6, themed Afro Unity Day, highlighted the importance of collaboration and unity among African filmmakers. The day featured various screenings and discussions aimed at fostering partnerships across the continent. ###### Day 7: Grand Finale Closing Film – Saturday, 9 November 2024 The festival concluded on November 9, 2024, with the announcement of *Phoenix Fury* as the winner of the Best Film award. Directed by Ifeoma Nkirka Chukuogo, the film showcased a filmmaker’s ability to blend past and present elements, following the story of Ifeatu through a series of unfortunate events that lead her to seek revenge against a man named Yali. Featuring a talented cast including Uzoamaka Onuoha, Richard Mofe Damijo, and Onyinye Odokoro, *Phoenix Fury* captivated audiences with its storytelling and seamless transitions between different worlds. ###### At the AFRIFF 2024 Globe Awards held on the final night, the complete list of winners included: – Best Feature Film: *Phoenix Fury* – Directed by Ifeoma N. Chukwuogo (Nigeria) – Best Director: Ifeoma N. Chukwuogo – *Phoenix Fury* (Nigeria) – Best Female Performance: Uzoamaka Onuoha – *Agemo* (Nigeria) – Best International Feature Film: *Calladita/The Quiet Maid* – Directed by Miguel Faus (Spain) – Best Screenplay: *The Man Died* – Bode Asiyanbi (Nigeria) – Best Documentary Shorts: *From God to Man* – Directed by Lansana Mansaray (Sierra Leone) – Best African Documentary: *Mother City* – Directed by Miki Redelinghuys (South Africa) – Best International Documentary: *Memories of Love Returned* – Directed by Ntare Guma Mbaho Mwine (USA) – Best Animation: *Hadu* – Directed by Damilola Solesi (Nigeria) – Best Student Short Film: *Last Minutes* – Directed by Nicole E. Emechebe (Nigeria) – Best African Short Film: *Adunni* – Directed by Tola Falonipe (Nigeria) – Best International Short Film: *Cookie Box*– Directed by Adam Zurawiecki (Poland) The festival also featured honorees such as: – Ambitious Work Jury Prize: *Freedom Way* – Directed by Afolabi Olalekan (Nigeria) – Herbert Wigwe Trailblazer Awards for Culinary Arts: Chef Tolu Eros (Nigeria) – Herbert Wigwe Trailblazer Awards for Fashion: Ugo Mozie (Nigeria) [AFRIFF 2024](https://nollycritic.com/afriff-2024-film-screeningsheres-how-its-been-so-far/ "AFRIFF 2024") emerged as a celebration of the rich narratives of African cinema, bridging cultures and inspiring change on a global stage. The exclusive nature of the festival parties, where Nollywood insiders gather and connect, further emphasizes the festival’s role as a networking hub where ideas and projects can be born in a more relaxed setting. However, the disorganization and scheduling conflicts experienced throughout the festival highlight areas for improvement, ensuring that future festivals can better serve their participants. As articulated by program director Isioma Idigbe, “AFRIFF is doing what it’s supposed to do,” providing a vital platform for the next generation of filmmakers to flourish. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/afriff-2024-a-celebration-of-african-cinema-and-culture/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/afriff-2024-a-celebration-of-african-cinema-and-culture/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/afriff-2024-a-celebration-of-african-cinema-and-culture/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/afriff-2024-a-celebration-of-african-cinema-and-culture/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/afriff-2024-a-celebration-of-african-cinema-and-culture/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** afriff, AFRIFF 2024, Bovi, nollycritic, nollywood --- ### [Queen Lateefah is The Highest Grossing Nollywood Movie of 2024](https://nollycritic.com/wumi-toriolas-queen-lateefah-grosses-over-n300000000/) **Published:** November 11, 2024 **Author:** Fisayo Adekoya **Excerpt:** In an extraordinary turn of events, Queen Lateefah has soared to new heights, becoming the highest-grossing Nollywood film in history. **Content:** In an extraordinary turn of events, [*Queen Lateefah* ](https://nollycritic.com/queen-lateefah-the-next-level-alakada-with-a-twist/ "Queen Lateefah ")has soared to new heights, becoming the highest-grossing Nollywood film in history. Directed by Tolu Ogunleye, this epic drama has captivated audiences worldwide with its compelling narrative, strong performances, and stunning visuals. With a storyline that mixes political intrigue, personal sacrifice, and cultural pride, Queen Lateefah has not only broken box office records but also redefined Nollywood’s potential on the global stage. *Queen Lateefah* tells the gripping tale of a young princess who is thrust into power after the untimely death of her father, the king. Faced with betrayal and overwhelming challenges, she must navigate the complexities of leadership, fight for her birthright, and protect her people from external threats. Set in the fictional kingdom of Adolu, the film explores themes of tradition, identity, and the heavy burden of leadership, all while highlighting the strength and resilience of women in power. What sets *Queen Lateefah* apart from other films in its genre is its striking portrayal of a strong, dynamic female leader in a traditionally male-dominated space. Played by the talented Ngozi Nwosu, Queen Lateefah is a character whose courage and determination resonate with viewers. Nwosu’s portrayal of the queen has garnered critical acclaim, with many praising her ability to bring depth and authenticity to the role. The film’s supporting cast, including Richard Mofe-Damijo, Chika Ike, and Ramsey Nouah, also contribute to the powerful performances that drive the narrative forward. Produced by Uche Chukwuemeka, *Queen Lateefah* also stands out for its impeccable production values. From the breathtaking set designs to the intricate costumes, every detail has been carefully crafted to bring the world of Adolu to life. Cinematographer Jide Afolabi has captured the kingdom’s majestic landscapes and intimate moments with stunning visual flair, making *[Queen Lateefah](https://www.imdb.com/title/tt33093742/ "Queen Lateefah")* a feast for the eyes. The soundtrack, composed by popular Nigerian artist Simi, perfectly complements the film’s emotional and dramatic moments, further elevating its cinematic experience. The film’s success is not just a triumph for its cast and crew but also a testament to the growing sophistication of Nigerian cinema. According to, Since its release, *Queen Lateefah* has shattered box office records, as at the time this publication, it has a cumulative earning of ₦333,735,192. The movie already made an impressive start with ₦57 million in its first weekend of release. The film’s widespread appeal demonstrates the global appetite for African stories, particularly those that showcase rich cultural narratives and strong, relatable characters. What has also contributed to *Queen Lateefah*’s massive success is its deep connection with audiences. The film speaks to the complexities of leadership and power, issues that resonate universally. But at its core, it is a celebration of African culture, tradition, and the role women play in shaping the future of their communities. The film’s ability to bridge cultural gaps while staying true to its roots is one of the key reasons it has garnered such widespread praise. Other nollywood movies. to have grossed over ₦200,000,000. this year includes; *Àjosepò* (₦257,254,189), *Beast of Two Worlds: Ajakaju* (₦252,801,675), *Lakatabu* (₦202,253,250) With its box office dominance, critical acclaim, and cultural impact, *Queen Lateefah* has cemented its place as a landmark film in Nollywood’s history. As it continues to inspire and entertain audiences around the world, it is clear that the film’s success marks a new era for African cinema. In the years to come, *Queen Lateefah* will undoubtedly be remembered not only as the highest-grossing Nollywood film but also as a defining moment in the evolution of the industry. See the trailer below! - [Instagram](https://www.instagram.com/nolly.critic/profilecard/?igsh=MWg5NWFuaTRicWdlcw==) - [TikTok](https://www.tiktok.com/@nollycritic?_t=8rAUppnRQkK&_r=1) - [X](https://x.com/nollycritic) - [YouTube](https://youtube.com/@nollycritic?si=LS-FL0J7x1IDybWo) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/wumi-toriolas-queen-lateefah-grosses-over-n300000000/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/wumi-toriolas-queen-lateefah-grosses-over-n300000000/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/wumi-toriolas-queen-lateefah-grosses-over-n300000000/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/wumi-toriolas-queen-lateefah-grosses-over-n300000000/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/wumi-toriolas-queen-lateefah-grosses-over-n300000000/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** african film industry, film, Jide Kosoko, movie premiere, nigerian cinema, nollycritic, nollywood, nollywood 2024 --- ### [Family Gbese Set to Premiere in Cinemas on November 8](https://nollycritic.com/family-gbese-set-to-premiere-in-cinemas-this-friday/) **Published:** November 6, 2024 **Author:** Fisayo Adekoya **Excerpt:** This Friday, November 8, Nollywood’s latest dramedy, Family Gbese, hits cinemas across Nigeria. Directed by award-winning filmmaker Michelle Bello **Content:** This Friday, November 8, Nollywood’s latest dramedy*,[ Family Gbese](https://www.google.com/search?client=safari&rls=en&q=family+gbese&ie=UTF-8&oe=UTF-8 " Family Gbese")*, hits cinemas across Nigeria. Directed by award-winning filmmaker Michelle Bello and written by renowned screenwriter Chinaza Onuzo, Family Gbese promises a relatable story filled with humor, heart, and a deep exploration of family life and loyalty. The film offers a fresh take on *“gbese”*—a Yoruba term for debt or obligation—blended with humor and authenticity that only Nollywood can deliver. At the film’s core is Nnamdi, played by Uzor Arukwe, a young Nigerian man facing a difficult choice when his mentor makes an unexpected request. This favor threatens his ambitions, putting him in a situation familiar to many Nigerians, where loyalty to family and mentors often tests personal boundaries. The story resonates with anyone balancing family expectations and personal dreams, offering an emotional yet humorous view of family dynamics and tradition. The ensemble cast includes celebrated Nollywood actors like Teniola Aladese, Lillian Afegbai, and Mike Ezuruonye, joining Arukwe in the lead roles. Veteran icons Ireti Doyle and Muyiwa Ademola add depth to the film, grounding its comedic twists with emotional weight. Together, the cast paints a portrait of modern Nigerian family life, showcasing a range of personalities audiences will recognize from their own families. Through humor and drama, the actors capture the tensions and love that shape these relationships. Produced by Inkblot Productions in collaboration with Meristem and distributed by Film One Entertainment, *Family Gbese* follows the success of *[Muri & Ko](https://nollycritic.com/muri-and-ko-biodun-stephens-satirical-comedy-offers-a-much-needed-comic-relief/ "Muri & Ko")*, which grossed over N130 million at the Nigerian box office earlier this year. This new release continues Inkblot’s tradition of telling relatable, family-centered stories. Inkblot has become a leading force in Nollywood, combining strong narratives, high production values, and a keen eye for casting. The title *Family Gbese* reflects both the film’s central plot and a core cultural concept. In Nigerian society, especially among Yoruba families, “*gbese*” signifies not only financial debt but also the “debts” of respect, loyalty, and duty passed down through generations. The film explores this debt in a modern context, showing how traditional expectations clash with the ambitions of younger generations. As Nnamdi faces a life-changing decision, the theme of loyalty and duty plays out, resonating with audiences who will see reflections of their own lives. This mix of comedy and cultural insight makes Family Gbese both entertaining and thought-provoking. While the film offers plenty of laughs, it also addresses the pressures of family loyalty and the burden of carrying others’ expectations. For many viewers, the film will serve as a mirror, reflecting the joys and challenges of growing up in Nigerian households where family comes first and independence is earned. As Family Gbese hits theaters this weekend, it is expected to be a hit with audiences who enjoy content that is both entertaining and meaningful. The film captures the essence of Nigerian family life with humor, truth, and cultural resonance. Whether you’re drawn by the star-studded cast, the comedic moments, or the cultural themes, *Family Gbese* promises to leave a lasting impression. Don’t miss it when it opens this Friday—it’s a story that celebrates family ties and the laughs that strengthen them. See the trailer below! *For more stories and updates, follow us on our social media pages:* - [Instagram](https://www.instagram.com/nolly.critic/profilecard/?igsh=MWg5NWFuaTRicWdlcw==) - [TikTok](https://www.tiktok.com/@nollycritic?_t=8rAUppnRQkK&_r=1) - [X](https://x.com/nollycritic) - [YouTube](https://youtube.com/@nollycritic?si=LS-FL0J7x1IDybWo) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/family-gbese-set-to-premiere-in-cinemas-this-friday/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/family-gbese-set-to-premiere-in-cinemas-this-friday/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/family-gbese-set-to-premiere-in-cinemas-this-friday/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/family-gbese-set-to-premiere-in-cinemas-this-friday/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/family-gbese-set-to-premiere-in-cinemas-this-friday/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** Family Gbese, Film One Entertainment, Michelle Bello, Must-watch Nollywood 2024, nigerian cinema, nollycritic, nollywood, Uzor Arukwe --- ### [AFRIFF 2024: Here’s How The 13th Edition Has Been So Far](https://nollycritic.com/afriff-2024-film-screeningsheres-how-its-been-so-far/) **Published:** November 5, 2024 **Author:** Fisayo Adekoya **Excerpt:** Three days into the 13th Africa International Film Festival (AFRIFF), the buzz around Lagos has only intensified as Africa’s finest filmmakers, actors... **Content:** Three days into the 13th Africa International Film Festival ([AFRIFF](https://www.afriff.com "AFRIFF")), the buzz around Lagos has only intensified as Africa’s finest filmmakers, actors, and creatives continue to converge for a celebration of African storytelling. Themed *“Indigenous to Global: Cultural Wealth to Global Prosperity,”* this year’s festival has attracted global attention, with film lovers, industry experts, and international delegates gathering to witness the dynamic growth of African cinema. The festival’s opening night was a grand affair hosted by Nigeria’s beloved comedian Bovi, who kept the audience entertained throughout the event. Dignitaries in attendance included the Minister of Art, Culture, Tourism, and Creative Economy, Hannatu Musa Musawa; Lagos State Governor Babajide Sanwo-Olu; and U.S. Ambassador to Nigeria Richard M. Mills Jr., underscoring the cultural and diplomatic significance of AFRIFF. Media icon Nduka Obaigbena also graced the event, adding to the star-studded crowd. Setting the tone for the week was *Headless*, a film by Nigerian director Michael W. Ndiomu, which follows the journey of an ambitious filmmaker navigating the challenges of Lagos. The opening film’s raw exploration of dreams and resilience struck a powerful chord with audiences, embodying the spirit of African cinema. The second day offered a diverse lineup, with films that delved into the complexities of African identity, tradition, and urban life. The documentary *Echoes from the South* celebrated South African heritage, while *A Lagos Night* portrayed the pulse of Nigeria’s largest city through gripping storytelling. Each screening presented a different lens on African life, capturing the vast range of narratives that make up the continent’s story. Today, on Day 3, the momentum continues with an array of screenings that explore African identity and diaspora. *Where We Belong* promises an intimate look at African youth grappling with modernity and cultural roots, while *Beyond the Horizon*, a Ghanian production, brings the struggles of migration and the search for belonging to the screen. Alongside screenings, AFRIFF is also hosting interactive workshops on digital storytelling and panel discussions on the future of African cinema. These sessions are designed to provide industry insights, empower emerging creatives, and fuel conversations on the international reach of African narratives. This year’s festival also introduced the Herbert Wigwe Trailblazer Award in honor of the late Access Bank chairman and his contributions to the creative industry. In a moving tribute, the inaugural awards went to Lagos Governor Babajide Sanwo-Olu and Afreximbank President Benedict Oramah for their dedication to nurturing the Nigerian creative economy. As [AFRIFF](https://nollycritic.com/afriff-2024-see-the-nollywood-feature-films-on-our-radar/ "AFRIFF") moves forward, attendees are already looking forward to the festival’s grand finale on November 9, which will feature the highly anticipated film *Out of Breath* by renowned Nigerian director Obi Emelonye. Over the coming days, AFRIFF will continue to celebrate the vast richness of African cinema and its ability to bridge cultures, inspire, and transform. This festival, with its powerful films and meaningful connections, stands as a testament to African storytelling’s growing influence on the global stage. --- *For more stories and updates, follow us on our social media pages:* - [Instagram link](https://www.instagram.com/nolly.critic?igsh=MWg5NWFuaTRicWdlcw==) - [TikTok link](https://www.tiktok.com/@nollycritic?_t=8r8eAU0ftmI&_r=1) ## Author - ![Fisayo Adekoya](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/8047f8e5bc64011309912b81e6ee9522.jpg?resize=80%2C80&ssl=1) [Fisayo Adekoya](https://nollycritic.com/author/fisayo/ "Fisayo Adekoya") [ ](mailto:fisayoadekoya27@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/afriff-2024-film-screeningsheres-how-its-been-so-far/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/afriff-2024-film-screeningsheres-how-its-been-so-far/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/afriff-2024-film-screeningsheres-how-its-been-so-far/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/afriff-2024-film-screeningsheres-how-its-been-so-far/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/afriff-2024-film-screeningsheres-how-its-been-so-far/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** afriff, AFRIFF 2024, nollycritic, nollywood --- ### [9 Nollywood Short films You Should Add To Your Watchlist](https://nollycritic.com/9-nollywood-short-films-you-should-add-to-your-watchlist/) **Published:** October 20, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood Short films are largely underrated. While not as popular as its features and series, Nollywood filmmakers, particularly young filmakers **Content:** Nollywood Short films are largely underrated. While not as popular as its features and series, Nollywood filmmakers, particularly young filmakers have created incredible and heartferlt short films. While audiences tend to gravitate towards mainstream feature films, there is a growing collection of short films that deserve attention for their unique narratives and outstanding quality. Short films. defined by their brief runtime of under 40 minutes, are a crucial yet often overlooked component of the global film industry. While many moviegoers are familiar with the sprawling narratives of feature-length films, short films distill storytelling into its most concentrated form, delivering interesting narratives in a brief fraction of the time. Despite their length, short films employ the same level of creativity, technical skill, and production processes as their feature-length counterparts. From casting and cinematography to lighting and design, a short film’s compact runtime does not diminish its artistic quality or its ability to leave a lasting impact on viewers. This article highlights some of the best Nigerian short films, each offering a glimpse into the future of Nollywood and the creative talent shaping it; and it could be a good choice for your watchlist! ##### *Fishbone* (33 minutes) Yup. We’re starting the list with quite a controversial one. *[Fishbone](https://www.imdb.com/title/tt12408348/ "Fishbone")* (2020), directed by Editi Effiong, is a powerful short film that dives into the dark world of drug counterfeiting, set in the slums of Makoko, Lagos. This Nollywood short film tells the story of Mama T (played by a commanding Shaffy Bello), a ruthless drug counterfeiter whose operation involves re-labelling fake drugs and pushing them into the market. Effiong’s direction creates a vivid portrayal of societal exploitation, as Mama T’s illicit empire thrives at the expense of the poor. The cinematography, with stunning drone shots and sharp lighting, transports viewers into the contrasting worlds of the wealthy and the oppressed. The film’s exploration of social injustice, karma, and the unchecked power of the elite is highlighted through Bello’s performance, with her character’s dominance gradually unravelling as karma tightens its grip. Effiong’s use of silence to communicate, especially in the exchanges between Mama T and Inspector Okon (Etim Effiong), make the tension palpable. While *Fishbone* excels in its storytelling, the film’s post-credit shift to discussing Nollywood piracy is problematic. The abrupt change in messaging from counterfeit drugs to intellectual theft feels tone-deaf, considering the devastating real-world impact of fake drugs on countless lives. Though piracy is a valid topic for discussion, raising it in this context diminishes the gravity of the film’s core message. Nonetheless, it impresses as a directorial debut, offering a fast-paced narrative with strong performances, visually striking cinematography, and an engaging exploration of justice, power, and exploitation. The film is available on YouTube. ##### *The Encounter* (22 minutes) If you’re drawn to films that peel back the layers of human motivation in the face of national tragedy, *The Encounter* (2015) will leave you haunted after the credits roll! Its strong dialogue, period accuracy, emotional performances, and brilliant cinematography make it an unforgettable piece of historical fiction, pulling you into a moment of history that may leave you questioning where your own loyalties would lie. The tense atmosphere driven by dialogue will keep you on edge, while the emotional weight of the characters’ choices might just bring a tear to your eye. *The Encounter* is a war drama that transports viewers to the final days of Nigeria’s Biafran War. Directed by Tolu Ajayi, the film is set during the period of the Nigerian Civil War and follows an encounter between two iconic figures: Major Emmanuel Ifeajuna, a disillusioned Biafran officer accused of betrayal, and General Odumegwu Ojukwu, leader of the secessionist state of Biafra. Winning critical acclaim for its storytelling and strong performances especially from Greory Ojefua, *The Encounter* has screened at numerous film festivals, including the Africa International Film Festival (AFRIFF). It won the AMVCA for Best Short Film (2016), and is available on YouTube. ##### *Bariga Sugar* (21 minutes) This is a film that will tug at your heartstrings by pulling you into the innocence of childhood amidst hardship. Directed by Ifeoma Nkiruka Chukwuogo, *Bariga Sugar* (2017) tells the story of 8-year-old Ese, a shy girl living in a Lagos brothel where her mother works. Isolated from other children and yearning for companionship, Ese’s life takes a turn when she befriends 10-year-old Jamil, and his mother, Hanatu, who move into the brothel. Their friendship provides a glimpse of joy and hope amidst the grim realities surrounding them, as Jamil dreams of becoming a doctor while Ese whimsically wishes to be the queen of Bariga Sugar. While it falters a bit in its cinematography, the film captures the essence of childhood innocence amidst adversity, evoking a deep emotional connection as it explores themes of resilience and hope. Watching Ese and Jamil navigate their struggles, we are reminded of the transformative power of friendship and the innate human spirit’s capacity to endure. *Bariga Sugar* serves as a reflection on the beauty that can emerge even in the most challenging circumstances. Also available on YouTube. ##### *Teju’s Tale* (15 minutes) For one, *Teju’s Tale* (2021) brings a powerful, personal story to the screen—based on real events that happened to the filmmaker’s grandmother. It draws you into a heartfelt exploration of resilience and strength in the face of racial discrimination. It invites you into a world of resilience, where racial prejudice is met with quiet defiance and personal strength. Set in 1950s England, this moving film uses beautiful cinematography to evoke the tension and emotion of the time, while offering a glimpse into a story that feels timeless. With brilliant, natural performances and a well-paced narrative, the film effortlessly pulls you into Teju’s journey, leaving you to reflect on themes of identity, belonging, and the power of standing firm in the face of discrimination. Written and directed by Teniola Zara King, is set in 1950s England and follows Teju, a Nigerian nurse who relocates from Lagos to London. While pursuing her studies, Teju faces the harsh realities of racial discrimination, with her colleagues insisting on seeing her “tail”—a symbol of the absurd and dehumanising myths that black people were subjected to at the time. Featuring a stellar cast, including Dorcas Shola Fapson, Ellis George, and Susannah Harker, *Teju’s Tale* touches on universal themes of belonging and the immigrant experience. The film is available on YouTube. ##### *Dices* (14 minutes) *Dices* offers a powerful and unflinching look into the often-overlooked experiences of male sexual abuse survivors. Through the keen direction of Sandra Tetteh, the film sheds light on an important yet rarely discussed issue, encouraging a much-needed dialogue around the psychological impact of such trauma on boys and men. You will likely find yourself captivated by the film’s careful, nuanced storytelling and moved by the standout performances of Daniel Etim Effiong, Timi Charles Fadipe, and Uzoamaka Onuoha, among others. The film’s deep focus on mental health and its use of sensory elements make it a compelling watch for those who appreciate emotional storytelling. Written by Tomi Adesina, *Dices* blurs the lines between past and present, much like the traumatic memories it portrays. The film’s use of sound design is exceptional, drawing the viewer into the protagonist’s mind and mimicking the overwhelming presence of trauma. Moments of touch and movement on screen are underscored by this soundscape, which plays with time and space, giving the audience a palpable sense of how trauma lingers and threatens mental health. Beyond its emotional weight, *Dices* initiates important conversations about the mental and emotional well-being of male survivors, a topic long left in the shadows. ##### *Oga John* (10 minutes) *Oga John* (2019) tackles the sensitive subject of mental health, using minimal dialogue and an engaging, cinematic approach. Written by Oje Ojeaga and directed by Tolu Ajayi, the film centres on the tense interaction between Oga John, a small shop owner, and a young woman, Alero (Ade Laoye), who silently purchases rat poison with a suicidal intent. Through subtle details like Alero’s compulsive behaviour and her strained silence, the film skilfully illustrates the mental health struggles of its protagonist. With its focused narrative, Oga John critiques society’s reliance on religious and social media solutions to mental health problems, highlighted by Alero’s brief scroll through Twitter and her mother’s suggestion to “pray about it.” By using the “show, don’t tell” technique, the film evokes a deep emotional response without over-relying on dialogue, making it an impactful exploration of mental health in contemporary Nigeria. ##### *Juju Stories* *Juju Stories* (2021) is a captivating three-part anthology film rooted in Nigerian folklore and urban legends. The film brings the supernatural into everyday life, shifting away from Nollywood’s typical portrayal of the occult. Each chapter, *Love Potion*, *Yam*, and *Suffer the Witch*, offers a distinct narrative, focusing on love potions, transformations, and witches, all underlined by a blend of jazz and classical music. The film’s use of sound is an integral part of the storytelling, enhancing its magical and eerie atmosphere. It’s also notable that the project was initially conceived as Jazz Stories, playing off the Nigerian slang “jazz” for magic, which was later changed to Juju Stories during post-production. Each chapter offer a unique perspective on juju through distinct storytelling approaches. The first chapter, *Love Potion*, delves into the process of crafting a love charm, while *Yam* takes a comedic spin on an urban legend about greed and consequences. The final chapter, *Suffer the Witch*, leans into the eerie and mysterious with a modern yet vintage tone, exploring the supernatural in a familiar setting. While each story can stand alone, *Love Potion* and *Yam* complement each other when watched together, joined together through easter eggs, making *Suffer the Witch* the perfect standalone piece. The anthology, available on Prime Video, runs for a total of 1 hour and 24 minutes. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/9-nollywood-short-films-you-should-add-to-your-watchlist/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/9-nollywood-short-films-you-should-add-to-your-watchlist/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/9-nollywood-short-films-you-should-add-to-your-watchlist/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/9-nollywood-short-films-you-should-add-to-your-watchlist/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/9-nollywood-short-films-you-should-add-to-your-watchlist/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** Bariga Sugar, Dices, Juju stories, nollycritic, nollywood, short films, Teju's Tale, The Encouter --- ### [3 Working Days: How Far Can You go to Save Your Child?](https://nollycritic.com/3-working-days-a-story-of-a-fathers-race-against-a-failing-system/) **Published:** November 1, 2024 **Author:** Shalom O. Obisesan **Excerpt:** In 3 Working Days, a father’s desperate race to save his son unfolds against the backdrop of Nigeria’s cashless policy. This Nollywood... **Content:** In *3 Working Days*, a father’s desperate race to save his son unfolds against the backdrop of Nigeria’s cashless policy. This Nollywood “thriller” captures the struggle of one man battling a failing banking system, with an intense story that’s engaging but ultimately lacks the emotional depth to be a must-watch in cinemas. ## *3 Working Days* (2024) Directed by: Jerry Ossai Produced by: Deyemi Okanlawon Genre: Thriller Released on: October 18, 2024. (Cinemas) Language: English ##### Plot In[ *3 Working Days*](https://www.pulse.ng/entertainment/movies/jerry-ossai-unveils-cast-members-for-his-new-movie-3-working-days/w4npmj9 " 3 Working Days"), Onari’s life takes a brutal turn when he witnesses his wife, Valerie, fatally shot during an armed robbery that also injures their son, Jack. While we do not explicitly see Jack get shot, the film strongly implies his injury through its narrative context. With Valerie gone and Jack in critical condition, Onari is thrust into a race against time to secure the funds needed for his son’s treatment amid a cashless policy era. This policy, intended to modernise banking, now proves perilous as digital payment failures leave Onari scrambling for solutions. His desperation leads him to a chaotic bank scene, where he must contend with citizens also struggling against a failing system. In the midst of this turmoil, Onari encounters a kind stranger, who helps him bypass the queues, only for Onari to face further obstacles within the bank. Here, the film delivers a sharp critique of systemic corruption, contrasting the ease with which the privileged navigate the system against the challenges faced by ordinary citizens. The plot attempts to build suspense through this ticking clock device, but the emotional impact remains somewhat muted. Limited exploration of Onari’s inner conflict and rushed scene transitions lessen the stakes’ intensity, a common issue in Nollywood. By allowing crucial moments and performances to linger, the film could have better captured Onari’s desperation, making the viewer feel the urgency of his plight more viscerally. ##### Story The film tells a story that captures universal themes of fatherly love, desperation, and the sacrifices one is willing to make to protect loved ones. At its core, the film explores the unyielding drive of a father pushed to the edge, navigating a world that tests his every move. Onari’s journey reveals the lengths to which a parent will go when his child’s life hangs in the balance, highlighting the heartbreak of being equipped with the means to save him yet blocked by an indifferent system. The story paints a bleak picture of financial inaccessibility and the social inequities amplified by the policy’s flaws. This narrative draws parallels to films like *Saving Onome* and *Tokunbo*, which similarly depict desperate parents struggling to save their sick children. However, while those narratives often focus on raising money, Onari’s unique situation revolves around his inability to access his funds, which adds a distinctive layer to his desperation. Imagine having the means, but you can’t access it. This plot device amplifies the emotional stakes, underscoring the agony of helplessness that arises when love clashes with powerlessness. Although the film’s relatable angle is compelling, the lack of deeper psychological exploration leaves the viewer observing from afar rather than feeling Onari’s struggle viscerally. ##### The Cinema Experience The cinema experience of is fairly satisfactory, offering solid visuals that contribute to the film’s overall aesthetic. However, despite the competent technical execution, nothing particularly stands out to elevate the cinematic experience beyond the ordinary. The essence of attending the cinema lies in the ability to feel immersed in the narrative, to escape reality, and to connect emotionally with the story. While the film provides a visually appealing and sensory presence, it lacks the depth of storytelling that fully engages viewers and invites them to lose themselves in the characters’ journeys in the cinema. As a result, the film may feel more suited for casual viewing on personal devices rather than as a cinematic event. ##### Performances The performances are commendable, showcasing strong portrayals from the cast. Deyemi Okanlawon delivers a compelling performance as Onari, effectively conveying the character’s desperation and emotional turmoil especially in a scene where he cries from the pains of his loss. Even though his emotional struggles were palpable, they weren’t really convincing which is more of a script problem. Supporting actors, including Nancy Isime, Uzor Arukwe as the bank manager, Adetola James, and child actor Emmanuel Odunaro (from[ *At Ease*](https://nollycritic.com/at-ease-a-powerful-look-at-ptsd-in-soldiers-that-fails-to-engage/ " At Ease"), 2024), contribute significantly to the film’s emotional depth. Other notable performances come from Tobi Makinde, Mike Ezuruonye, and Bolaji Ogunmola, Adetola James, who, despite limited screen time, add to the overall dynamic of the narrative. However, while the fight sequences are well choreographed, they lack the engaging energy that could have elevated these moments. The sound design during the battle sequence between Onari and Queen (Nancy Isime) notably falls short, lacking the heightened auditory effects necessary to create a truly immersive experience. This absence of impactful sound design detracts from the tension of the scenes, making them feel less visceral and emotionally charged than they could have been. Overall, while the acting is strong, the technical aspects in these critical moments could benefit from further refinement to enhance the audience’s engagement. ##### Technical Aspects Having noted the place of sound design in adding depth to action sequences, the film demonstrates a solid foundation in technical execution. A notable place of sound design in *3 Working Days* is noticed in a scene which effectively creates unease with auditory cues, including simulated breathing that enhances the atmosphere, though it feels misplaced. However, the editing choices disrupt the film’s emotional resonance. The rapid transitions between scenes undermine moments of emotional gravity that should linger with the audience, preventing them from fully absorbing the characters’ emotional journeys. Additionally, noticeable costume continuity errors detract from the film’s credibility. For instance, Smart (Mike Afolarin) is seen wearing the same outfit on a different day, which raises questions about the narrative timeline. Similarly, an extra portraying a nurse appears in identical attire during two separate scenes, suggesting that these shots may have been filmed on the same day. While one might excuse the nurse’s uniform as standard attire, the framing of her appearances is strikingly similar, making the repetition more apparent. These continuity errors disrupt immersion, as viewers may become distracted by inconsistencies that draw attention away from the story being told. Overall, the technical execution showcases a commendable effort, but the editing and continuity issues impact the film’s cohesiveness and emotional engagement. ##### Final Thoughts In reflecting on *3 Working Days*, it’s important to note that while the film faced some controversy because of its marketing, which seemed to imply a character would wear a full hijab outfit, this doesn’t actually appear in the film. Instead, there’s only a brief scene with a character using a hijab mask, so the story doesn’t go as far as the promotional material suggested. This difference between the marketing and what’s in the movie raises questions about why the film was advertised this way. Misleading publicity can create confusion and might take attention away from the real themes of a story. For *3 Working Days*, this choice could make viewers wonder if the marketing helped or hurt its message, and it reminds us of the importance of aligning promotions with what a film actually offers. Moreover, by the time the film’s trailer was released, t focused more on the themes that the film aimed to portray. ##### Verdict *3 Working Days* delivers an engaging story with solid performances and a unique concept, but it falls short in delivering the emotional depth and thrill that would make it truly memorable. While the stakes are clear, the narrative lacks the heartfelt impact to fully connect with the audience. It’s a good film to watch, but it doesn’t quite warrant the cinema experience. This is a story that may be best enjoyed on a smaller screen, where its strengths still shine without the high expectations of a theatrical release. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/3-working-days-a-story-of-a-fathers-race-against-a-failing-system/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/3-working-days-a-story-of-a-fathers-race-against-a-failing-system/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/3-working-days-a-story-of-a-fathers-race-against-a-failing-system/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/3-working-days-a-story-of-a-fathers-race-against-a-failing-system/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/3-working-days-a-story-of-a-fathers-race-against-a-failing-system/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Bolaji Ogunmola, Detola Jones, Deyemi Okanlawon, Femi Adebayo, film, Linda Osifo, Mike Afolarin, Mike Ezeruonye, Nancy Isime, nollycritic, nollywood, Odunaro Emmanuel, Romeo wj, Seun Kentebe, Tobi Makinde, Uzor Arukwe, Victor Osuagwu --- ### [Nollywood in October: An Review of Nollywood's Escapades!](https://nollycritic.com/nollywood-in-october-an-review-of-nollywoods-escapades/) **Published:** November 1, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood presented us with the spooks in drama, the spooks of life, the spooks of trauma, the spooks of insecurity amd revenge **Content:** Welcome to the month of November! Seems like Mariah Carey’s powers are getting stronger as we near Christmas! Anyway, we would have expected that the month of October would give us spooky films, right? No. Instead, Nollywood presented us with the spooks in drama, the spooks of life, the spooks of trauma, the spooks of insecurity amd revenge, and even the spooks of three confused men hijacking a plane. Yes, you read that right! With these options of spooks, we found ourselves questioning our life choices even more than ever! So, let’s dive into the highlights of the month of October and see how our beloved industry “feared” ##### *Life and Dirt* (October 3, 2024) Kicking off Nollywood’s October with all the drama of a reality show reunion, Bovi Ugboma’s[ *Life and Dirt*](https://nollycritic.com/life-and-dirt-promising-supernatural-thriller-that-struggles-to-deliver/ " Life and Dirt") follows two men scheming for a quick payday that goes about as smoothly as a cat on a hot tin roof! With a storytelling style that keeps you engaged, the film also throws out some head-scratching questions like, why Yo sought help from a native doctor when Nene, a powerful figure, is right there! And let’s not get started on Nene forgiving him for attempted murder! Talk about taking the high road! Yo’s chaotic journey from prison to nearly being buried alive, then magically ending up in the hospital, leaves us more puzzled than a crossword with missing clues. While some plot threads are tied up, others are left hanging like that one sock you can never find after laundry day. Despite its uneven pacing and some questionable character choices, *Life and Dirt* manages to entertain, earning a 2.5 out of 5. You can stream it on Prime Video, just don’t forget your shovel to dig through those plot holes! ##### *Lakatabu: The Monster* (October 8, 2024) In *[Lakatabu](https://nollycritic.com/lakatabu-a-fragmented-journey-of-supernatural-chaos/ "Lakatabu")*, director Odunlade Adekola takes on the roles of director, lead actor, and writer, like a one-man band that forgot to tune its instruments! This supernatural crime drama follows Lakatabu, a fearsome criminal seeking vengeance after betrayal by the king he once served. Unfortunately, the convoluted storytelling is so tangled that it feels more like a juju gone wrong, with supernatural powers that are all smoke and mirrors. Though the visuals capture tension, with a mix of slapstick moments clashing with darker themes, *Lakatabu* struggles to find its footing, leaving viewers wondering if they’re watching a thriller or a comedy skit. A disappointing 1.5/5 ##### *A Night in 2005* (October 11, 2024) In *[A Night in 2005](https://nollycritic.com/a-night-in-2005-a-thought-provoking-drama-on-power-trauma-and-justice/ "A Night in 2005")*, director Temidayo Makanjuola serves up a haunting Nollywood tale that digs into the spooks of trauma, power, and justice, like a haunted house where the ghosts are your unresolved feelings! Sorry. The plot follows Ife, whose prom night goes from fairy tale to fright night faster than you can say “bad decisions.” Engaged but emotionally tangled, she finds herself on a quest for vengeance after encountering a political figure who’s more connected to her past than your father’s sister at family thanksgiving. While tackling serious themes like violence against women and toxic parenting, it sometimes simplifies Nigeria’s complex landscape, leaving us wondering if the ending is more of a jump scare than real closure. As Batman wisely quips, “Justice is about harmony. Revenge is about you,” and Ife’s journey blends both. Just with more emotional baggage. *A Night in 2005* earns a spirited 3.5 out of 5, perfect for those ready to confront their own spooky pasts! ##### *Inside Life* (October 11, 2024) This limited Nollywood series takes a spine-chilling plunge into non-conformist cinema, as director Clarence Peters makes his Netflix debut with a supernatural crime drama that feels like a horror buffet; offering a little bit of everything, but you might end up with a plate full of confusion! Set in a prison where the only thing scarier than the inmates is the plot twists, the film juggles multiple parallel stories that delve into dark themes like death, human trafficking, and the horrors of everyday life. The initial storytelling grips you with its gritty realism, things take a turn for the supernatural in Episodes 5 and 6, making you wonder if you accidentally tuned into a paranormal investigation instead of a crime drama. Gabriel Afolayan shines like a beacon of authenticity amid the chaos, but the cinematography sometimes distracts more than it captivates, like an animated old Nollywood ghost trying so hard to be spooky. Despite its ambitious themes, *Inside Life* stumbles over its own plot twists, earning a cheeky 3 out of 5. ##### *At Ease* (October 16, 2024) *[At Ease](https://nollycritic.com/at-ease-a-powerful-look-at-ptsd-in-soldiers-that-fails-to-engage/ "At Ease")* dives into the heavy topic of PTSD in soldiers with all the finesse of a military drill gone awry! Directed by Seun Richards, this Nollywood drama follows Major Agbo, a Nigerian Army veteran whose life takes a nosedive after surviving a bomb blast—because who needs a calm life when you can have nightmares and hallucinations instead? While the film attempts to shed light on mental health, it sometimes feels like it’s tiptoeing through a minefield of clichés, wrapping up its two-hour journey a bit too neatly, just like putting a band-aid on a grenade wound! The technical aspects stumble over small details, like a scar that plays hide-and-seek, and a few misplaced names. Despite its good intentions, *At Ease* struggles to engage, earning a lukewarm 2.5 out of 5. ##### *Wives on Strike: The Uprising* (October 18, 2024) *[Wives on Strike 3: The Uprising](https://nollycritic.com/the-uprising-abstinence-to-activism-and-a-darker-reckoning/ "Wives on Strike 3: The Uprising")* returns after a seven-year break, and it’s like a horror movie where the real monsters aren’t the kidnappers but the men obliviously whining about their lost bedroom privileges! Just joking. Directed by Omoni Oboli, this installment dives into the darker side of maternal love as Ebiere, played by Hilda Dokubo, transforms from a grieving mother into a fierce warrior on a mission to rescue her kidnapped son. While the film attempts to tackle serious issues like activism and societal neglect, some male characters still act like they’re trapped in a sitcom, more concerned about their dwindling intimacy than the chaos around them. With a mix of emotional depth and misplaced comedic moments, the film’s visual storytelling elevates the experience, making it a compelling watch that earns a solid 4 out of 5, perfect for those who enjoy a blend of humor, and a healthy dose of female empowerment on the big screen! ##### *3 Working Days* (October 18, 2024) In [*3 Working Days*,](https://nollycritic.com/3-working-days-a-story-of-a-fathers-race-against-a-failing-system/ "3 Working Days,") the stakes are higher than your bank’s signal during a cashless crisis, as father Onari races against time to save his son amid Nigeria’s chaotic banking system. After witnessing his wife’s tragic demise during a robbery, Onari finds himself navigating a nightmarish world filled with unhelpful bank clerks and a systemic failure that seems to have a personal vendetta against him. While Deyemi Okanlawon delivers a gripping performance as a father on the edge, the film’s emotional depth is about as flat as your phone battery when Nigeria’s power grid collapses for the third time. The action sequences might have you on edge, but the sound design is more like a whisper of danger than a full-blown scream! With commendable attempts at storytelling and a unique premise, *3 Working Days* earns a 3 out of 5. ##### *Hijack 93* (October 25, 2024) *[Hijack ’93](https://nollycritic.com/hijack-93-a-timely-attempt-at-retelling-nigerian-history/ "Hijack '93")* is like a horror movie where the real terror isn’t the hijackers but the sheer lack of planning. Seriously, who thought a “let’s just wing it” approach would work for a plane heist? Directed by Robert Peters, this Nollywood thriller attempts to dramatize the infamous 1993 Nigeria Airways hijacking, featuring armed men with flakey ideas about social change. With a plot that sputters more than a dying engine, the hijackers demand political reform while threatening to set the plane ablaze because nothing says “I care about democracy” like a fire hazard 30,000 feet in the air. While the cinematography tries to evoke the early ’90s, it misses the mark, leaving us wondering if they accidentally time-traveled to a different decade. *Hijack ’93* earns a grim 1.5 out of 5 ##### *Soft Love* (October 26, 2024) *[Soft Love](https://nollycritic.com/soft-love-a-charming-romcom-that-delivers-heartfelt-humour-and-chemistry/ "Soft Love")* is a delightful romcom that proves even love gurus can have a bad day especially when your fiancé pulls a dramatic escape on your wedding day! Directed by Holmes Awa, this vibrant film follows Zandi, a South African love expert who decides romance is overrated, only to find herself entangled with Edward, a Nigerian photographer with his own baggage. Their chemistry is as palpable as the awkwardness in Zandi’s first attempt at pounded yam and egusi, let’s just say it’s a culinary disaster that’s as hilarious as it is relatable! While the film flirts with predictability, it throws in some delightful surprises, like Zandi’s unexpected role in Edward’s job loss, keeping viewers on their toes. With a colorful backdrop of South Africa and Lagos, the visual appeal is eye-catching. Overall, *Soft Love* earns a charming 3.5 out of 5. And as we wrap up the month with this delightful romcom, it’s clear that October has given us a colorful mix of Nollywood films to enjoy! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-in-october-an-review-of-nollywoods-escapades/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-in-october-an-review-of-nollywoods-escapades/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-in-october-an-review-of-nollywoods-escapades/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-in-october-an-review-of-nollywoods-escapades/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-in-october-an-review-of-nollywoods-escapades/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** 3 Working Days, A Night in 2005, At Ease, Hijack 93, Inside Life, Lakatabu, Life and Dirt, nollycritic, nollywood, Soft Love --- ### [Dimeji Ajibola: The Visionary Filmmaker Who Transformed Nollywood](https://nollycritic.com/dimeji-ajibola-passes-away-after-battle-with-illness/) **Published:** November 4, 2024 **Author:** Shalom O. Obisesan **Excerpt:** The Nigerian film industry is in mourning following the passing of acclaimed filmmaker Dimeji Ajibola, who died on Sunday.. **Content:** The Nigerian film industry is in mourning following the passing of acclaimed filmmaker[ Dimeji Ajibola](https://www.imdb.com/name/nm7970786/ " Dimeji Ajibola") on Sunday, November 3, 2024, after a prolonged illness. Known for his pioneering work in Nigerian cinema and animation, Ajibola’s death was announced by his colleague Samuel Olatunji, who shared his grief on Instagram: “Dimeji Ajibola was my client and guy! So sad to hear this sad news. Rest in peace to a great guy!” Actor Bolanle Ninalowo also expressed his sorrow, saying, “I love you, brother, and I miss you, Dimeji Ajibola. May God heal your family and loved ones. Till we meet again, didi dox, rest on the champ.” Ajibola’s career, which spanned nearly two decades, was marked by his innovative contributions to both the Nigerian film and advertising industries. He began his journey as an animator, where his talent and creativity quickly captured attention. Early in his career, he worked on *The Campus Queen* (2004), bringing his animation expertise to the popular Nigerian musical, which blended African culture and youthful energy. This project set the stage for Ajibola’s career, highlighting his ability to infuse Nigerian narratives with dynamic visual storytelling. An alumnus of the New York Film Academy and Animation Mentor Academy in California, Ajibola pursued further studies in visual effects at VFXLearning. He expanded his skills in cinematography, advanced animation, and visual effects, which allowed him to push the boundaries of Nollywood. Ajibola’s dedication to localising his craft led him to pioneer high-quality animations and visual effects within Nigeria; achievements that had previously been outsourced abroad. This approach contributed to award-winning advertisements for major brands such as MTN and Coca-Cola. Ajibola’s directorial debut, *Hoodrush* (2012), stands out as Nigeria’s first urban musical film, acclaimed for its creative integration of music and drama. The film won Best African Movie at the Green Me International Film Festival in Germany in 2013 and earned twelve nominations at the Nollywood Movies Awards in 2012, winning Best Male Act and Best Soundtrack. Ajibola’s talent for combining a powerful narrative with musical elements elevated *Hoodrush*, making it a groundbreaking film in Nollywood’s landscape. In 2017, Ajibola directed *Ovy’s Voice*, which quickly became the top-ranked film on Iroko TV for the year. His 2020 film *Ratnik*, a post-apocalyptic thriller, showcased his adeptness at blending high-concept themes with technical expertise, earning him critical acclaim. Most recently, he directed *Shanty Town* (2023), a Nigerian crime thriller series that underscored his versatility across various genres, followed by successful works such as *Slum King* and *Wura*. Ajibola’s enduring impact on [Nollywood](https://nollycritic.com/nollywood-movies-and-series-to-see-in-november-2024/ "Nollywood") is not only evident in his films but also through his role as CEO and Technical Director of Flipsyde Studios Ltd., where he continuously worked with local talent to bring authentic Nigerian perspectives to his projects. His contributions to the animation and visual effects sectors in Nigeria have set a new standard for what is possible within the industry, inspiring countless filmmakers and animators. Dimeji Ajibola’s passing leaves a void in the hearts of many, with tributes pouring in from fans and colleagues who remember him as a visionary with an unwavering commitment to his craft. His legacy lives on through his films, his technical innovations, and his dedication to uplifting Nigeria’s creative talents. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/dimeji-ajibola-passes-away-after-battle-with-illness/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/dimeji-ajibola-passes-away-after-battle-with-illness/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/dimeji-ajibola-passes-away-after-battle-with-illness/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/dimeji-ajibola-passes-away-after-battle-with-illness/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/dimeji-ajibola-passes-away-after-battle-with-illness/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Nollywood News **Tags:** Dimeji Ajibola, nollycritic, nollywood, Shanty Town --- ### [AFRIFF 2024: See The Nollywood Films On Our Radar](https://nollycritic.com/afriff-2024-see-the-nollywood-feature-films-on-our-radar/) **Published:** October 31, 2024 **Author:** Shalom O. Obisesan **Excerpt:** As the 13th edition of the Africa International Film Festival (AFRIFF) draws near, excitement builds around the selection of films expected to be showcased. **Content:** As the highly anticipated 13th edition of the [Africa International Film Festival (AFRIFF)](https://www.afriff.com/features "Africa International Film Festival (AFRIFF)") draws near, come November 3rd to 9th, excitement builds around the selection of films expected to be showcased. The 2024 edition, themed “Indigenous to Global: Cultural Wealth to Prosperity,” promises to provide a platform for both established and emerging filmmakers to share their unique perspectives and narratives with a global audience. Building on the triumphs of previous editions, AFRIFF 2024 is set to be even more exhilarating and impactful, continuing its tradition of showcasing the best of African cinema with a diverse selection of feature films, documentaries, short films, and animation. In the midst of this, here are a few [Nollywood](https://nollycritic.com/the-versatile-faces-of-nollywood-celebrating-range-and-talent/ "nollywood") films on our radar: ##### *Headless* (2024) This year’s festival opens with *Headless*, a feature film and thriller directed by Michael Ndiomu, which will premiere on November 3. Set in the morally complex world of Nollywood, *Headless* follows the chilling discovery of a decapitated head in the boot of a car belonging to a Nollywood film producer. As investigations unfold, hidden links between crime, politics, and the Nigerian film industry come to light, painting a gritty picture of ambition and corruption. Starring Gideon Okeke, Uzoamaka Anuinoh, and Baaj Adebule, this action-packed film promises an intense look at the dark intersections of fame and power. ##### *Recall* (2024) *Recall*, the latest psychological feature thriller by Kunle Afolayan, which is set to premiere on November 7. *Recall* follows the emotional journey of Goke and Anita as their seemingly perfect love story takes a mysterious turn. Starring Sharon Ooja, the film promises to captivate viewers with its suspenseful narrative and complex character arcs. ##### *Out of Breath* (2024) *Out of Breath*, directed by Obi Emelonye, has been selected as the closing film for AFRIFF 2024. This Igbo-language epic, written by Ngozi Ideh, unfolds in a 1940s Igbo village steeped in tradition, where the revered elder “Nna Obioha” challenges a cruel custom that mandates the sacrifice of a servant upon an elder’s death. Starring Kanayo O. Kanayo, Chidi Mokeme, Jide Kene Achufusi, Ebele Okaro, and Queen Nwokoye, *Out of Breath* is inspired by true events and delves into themes of defiance and resilience against entrenched societal norms. ##### *Phoenix Fury* (2024) One of the anticipated films this year, *Phoenix Fury*, directed by Ifeoma Chukwuogo for Fizzy K Pictures, promises a unique journey across different periods. Though details about the plot remain under wraps, the film’s settings in Nigeria and Ghana hint at an immersive and culturally rich backdrop. The film features an impressive cast, including Uzoamaka Aniunoh, Richard Mofe-Damijo (RMD), Fadekemi Olumide-Aluko, Onyinye Odokoro, Shalewa Ashafa, and Joseph Momodu. This stellar lineup, combined with the film’s multi-era narrative, sets high expectations for *Phoenix Fury* at AFRIFF 2024. ##### *A Ghetto Love Story* (2024) We’re thrilled to see A Ghetto Love Story also premiering alongside Recall on the 7th of November, giving audiences a first look at Basketmouth’s highly anticipated leap into feature filmmaking. Imagine being one of the elite Batch B to experience this film before its cinema run on 22 November! Already receiving early praise for its fresh, humour-filled take on love and urban life, this film is set to shape conversations in Nollywood as it rolls out across cinemas later in the month of November. ##### *The Man Died* (2024) Highly anticipated since its exclusive premiere in July, *The Man Died* is now set to screen at AFRIFF 2024, offering audiences an early glimpse before its official cinema release. Inspired by Wole Soyinka’s prison memoirs, this film is a fictionalised retelling of the Nobel Laureate’s 22-month imprisonment under the Yakubu Gowon regime. Directed by Awam Amkpa and produced by Femi Odugbemi’s Zuri24Media, *The Man Died* was created entirely by Nigerian talent, with no foreign involvement in production. Amkpa, a former student and associate of Soyinka, opted to collaborate with a local team for cultural authenticity, featuring contributions from screenwriter Bode Asiyanbi, director of photography Agbo Kelly, and production designer Theo Lawson, among others. This screening marks a key moment in the film’s global festival tour, bringing audiences closer to the powerful narrative of one of Africa’s literary icons. Under the short films category, we really look forward to: ##### *Conversations From The Past* (2024) Following the recent buzz surrounding *Efunroye: The Unicorn*, we are keen to see *Conversations from the Past: Sara Forbes Bonetta and Efunroye Tinubu* at AFRIFF 2024, where this reimagined short drama explores a fictional exchange between two influential women from Nigeria’s past. Set in 1863, the film delves into the contrasts between Efunroye Tinubu (Fadekemi Olumide Aluko), a wealthy merchant who continued slave trading despite its abolition, and Sara Forbes Bonetta (Kuchi Chris), a former slave and Nigerian-born goddaughter of Queen Victoria. Though both women are successful, their perspectives are sharply defined by their experiences with the transatlantic slave trade: Sara as a survivor, and Efunroye as a seller. Crafted by director Adesola Oni and screenwriter Tunde Leye, the film promises a gripping exploration of power, survival, and legacy, inviting viewers to confront complex questions that resonate today. ##### *The Hotel Room* (2024) Adding to AFRIFF 2024’s exciting line-up, *The Hotel Room* marks the highly anticipated Nollywood debut of reality TV star and writer Comfort Booth, known from *The Real Housewives of Abuja*. This short film, based on Booth’s collection of short stories, *Human Nature*, explores complex human relationships and themes of betrayal and revenge. Directed by Uyoyou Adia and scripted by Abdul Tijani-Ahmed, the story follows a woman’s haunting journey to the afterlife, fuelled by a desire to settle scores with her abusive husband. Produced by Judith Audu, with Booth and Adebowale Adeyemo as executive producers, and starring Tope Olowoniyan and Ibrahim Suleiman, *The* *Hotel Room* promises a gripping narrative and powerful performances that are set to make a lasting impact on festival audiences. ##### *Oga Mike* (2024) The short, *Oga Mike*, written by playwright and actor Olatunji Adebayo, brings a fresh perspective to the festival. This narrative revolves around the life of a community leader navigating the challenges of leadership, societal expectations, and personal ambition. With sharp humour and interesting moments, *Oga Mike* promises to resonate with audiences while shedding light on the intricacies of local governance and community dynamics. We’re excited to see the Nollywood short animation films at AFRIFF 2024, which highlight the remarkable growth of Nigerian animation. *Melon Street* and *No One Hears Us*, directed by Adeoye Adetunji and Kemi Gbadamosi respectively, utilise stop-motion animation, one of the most impressive and complex forms of the medium, and we’re eager to witness their creative artistry. Additionally, we can’t wait to experience *Leon and the Professor* by Chekwube Okonkwo, and *Scars of Love* by Ibejigba Joshua, the latter being a solo effort by Joshua, who wore many hats to realise this 2D animated film which is currently available on YouTube. This festival is an exciting opportunity to appreciate the innovative strides being made in the Nigerian animation landscape. Other official selections that will be showcased at AFRIFF 2024, sorted according to their categories include: ###### Feature Film Selections *A Ghetto Love Story* – Directed by Daniel Oriahi *Definitely Not an Angel (DNA)* – Directed by Precious I. Okpala *Freedom Way* – Directed by Afolabi Olalekan *God-Dafi* – Directed by Collins Adindu *Kaka* – Directed by Prince Daniel *O̗jo̗ché* – Directed by Yemi “Filmboy” Morafa *Tagwaye, A Tale of Twins* – Directed by Abubakar Mohamed Marwa *The Other Side of the Bridge* – Directed by Fiyin Gambo *The Legend of the Vagabond Queen of Lagos* – Directed by a collaborative team ###### Short Film Selections *Àbíkẹ́* – Directed by E. Sarah Ifidon *Adunni* – Directed by Tola Falonipe *Acta Non Verba* – Directed by Miriam Dera *Angie’s Love* – Directed by Bayo Lambo *Ayanola* – Directed by Abraham E. Elebesunu *Brukaci* – Directed by Jide ‘Jblaze’ Oyegbile *Chosen* – Directed by Fiyin Gambo *Closed Book* – Directed by Isiaka O. Shem *Diamond (A Chunk of Coal in Disguise)* – Directed by Opeoluwa Adetunji, Folashade Akintunde *Evil Spirit, Get Out!* – Directed by Theo-Ziny Joel *Ekún Ìyàwó: A Tale of a Runaway Bride* – Directed by Moses Ipadeola *Ihunanya m* – Directed by Abiodun Odu *Ikoy-Iko* – Directed by Sarah E. Daniel *In Her Shoes* – Directed by Nehita O. Irieme *Juliet’s Cry* – Directed by Bryan O. Adekunle *Kimono Kid* – Directed by Josef Adamu, Seyi Akinlade *Love, Olaitan* – Directed by Moyosore Akinsete *Obara Nna m* – Directed by Debby Amaechi *Salamatu* – Directed by Olajide Adelaja *Shreds* – Directed by Jones B. Mairubutu *Telephobillia* – Directed by Paul Edoze *The Lord’s Manor* – Directed by Aniee Essien *The Waiting Song* – Directed by Russel Oru *Toll-Free* – Directed by James Amuta, Mel Rouge *Tribal Mark* – Directed by D.Okechukwu, J.Adesunloye, H.Dockrill *Ura* – Directed by Samuel E. Erhahon *Vancouver* – Directed by Deji D. Ajose-Ojikutu *We Have Bleach* – Directed by Aisha Salaudeen ###### Student Shorts Selections *Creation Story* – Directed by David Ikani *Echoes of War* – Directed by Fisayo J. Ogunmodede *Flawed Cupid* – Directed by Emerald Obahiagbon, Feyisayo Rotimi *Last Minute* – Directed by Nicole E. Emechebe *Rekiya* – Directed by Wuraola Adeniran, Deborah O. Ahmed *Trinket* – Directed by Sarah Juma ###### Documentary Selections *African Identity* – Directed by James Amuta *Ancestry* – Directed by Jubilian Ngaruwa, Tessa Barlin *Call Me Shamsz* – Directed by Geoff Browne *Dan Bature Kudawa* – Directed by Charles Solomon *Ebrohimie Road: A Museum of Memory* – Directed by Kolawole Olatubosun *Hadu* – Directed by Damilola Solesi *Nigeria Laughs* – Directed by Oluwasesan Jigan *The Queen* – Directed by Chisom Ifeakandu The 2024 Africa International Film Festival (AFRIFF) promises an immersive lineup of events, blending cinematic screenings with opportunities for creative development and industry networking. The festival kicks off with an awards nominee party on November 2nd, followed by the grand opening ceremony on November 3rd, which will include the screening of *Headless* and an after-party later that evening. Film screenings, running from November 4th to 8th, will showcase over 50 feature films, shorts, and documentaries, accessible both in-person and online. AFRIFF is also hosting masterclasses and workshops, where industry experts will lead sessions on directing, screenwriting, producing, and other specialised topics. From November 4th to 8th, the programme includes daily panel discussions, fireside chats, and presentations by country partners and industry leaders. Topics will range from alternative film financing and the role of music in films to co-production models and international tax incentives. The festival culminates with the closing film on November 8th and the prestigious Globe Awards on November 9th, bringing together filmmakers, audiences, and professionals in celebration of African and global cinema. This year’s jury includes a distinguished panel of industry experts including Stephen ‘Dr’ Love (They Cloned Tyrone), Ego Boyo, Dennis Ruh, Victor Okhai, Cynthia Okoye, Wafa’a Céline Halawi, Yolanda Mogatusi, and Lanre Olupona, all representing a diverse array of international perspectives and expertise. Together, they will evaluate the entries, each bringing unique insights from their experiences in production, distribution, and storytelling across continents. With 150 films set to screen from across Africa and the Diaspora, AFRIFF 2024 offers not only an array of powerful narratives but also industry discussions, keynote talks, and high-profile networking events featuring renowned speakers and facilitators. With its diverse program and innovative initiatives, AFRIFF 2024 is an event not to be missed for film enthusiasts, aspiring filmmakers, and anyone curious about African culture. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/afriff-2024-see-the-nollywood-feature-films-on-our-radar/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/afriff-2024-see-the-nollywood-feature-films-on-our-radar/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/afriff-2024-see-the-nollywood-feature-films-on-our-radar/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/afriff-2024-see-the-nollywood-feature-films-on-our-radar/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/afriff-2024-see-the-nollywood-feature-films-on-our-radar/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** 2024, A ghetto love story, afriff, Headless, nollywood, Out of Breath, Phoenix Fury, recall, the man died --- ### [In the Shadows of Good Fortune Selected for Post-Production Lab at Marrakech International Film Festival](https://nollycritic.com/in-the-shadows-of-good-fortune-selected-for-post-production-lab-at-marrakech-international-film-festival/) **Published:** October 29, 2024 **Author:** Shalom O. Obisesan **Excerpt:** In the Shadows of Good Fortune, directed and written by Babatunde Apalowo and produced by Kemi Lala Akindoju,has been selected... **Content:** *In the Shadows of Good Fortune*, directed and written by Babatunde Apalowo and produced by Kemi Lala Akindoju, has been selected for the prestigious post-production segment of the 7th Atlas Workshops at the Marrakech International Film Festival (FIFM). This selection places the film among a select group receiving support to reach completion at the event, set to run from 1 to 5 December 2024. Apalowo and Akindoju’s collaboration has sparked excitement, as both have gained recognition for their recent achievements: Apalowo’s *[All the Colours of the World Are Between Black and White](https://nollycritic.com/nollywoods-lgbtq-portrayals-under-nigerias-legal-lens/ "All the Colours of the World Are Between Black and White")* received critical acclaim across the international festival circuit, and Akindoju has produced popular titles including *[Gangs of Lagos](https://www.imdb.com/title/tt19704612/ "Gangs of Lagos")* and *The Black Book*. The production also features contributions from Nkechi Okere, Jamiu Shoyode, and Oludara Egerton-Shyngle, underscoring the strong creative team behind the project. The Atlas Workshops, established in 2018, provides a platform to emerging filmmakers from Africa and the Arab world, offering mentorship and international exposure. This year’s programme received over 300 applications from 13 countries, with *In the Shadows of Good Fortune* among the 10 films in production or post-production and 17 projects in development selected for inclusion. Esteemed filmmaker Jeff Nichols, known for *The Bikeriders*, will be mentoring participants, bringing invaluable insights to this year’s lineup. The selection of *In the Shadows of Good Fortune* highlights the expanding impact of our cinema on the global stage. Many films that have passed through the Atlas Workshops have gone on to achieve significant success at major festivals, raising anticipation for more details about the film’s plot and cast in the coming weeks. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. 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Obisesan **Content:** Nollywood star, Lateef Adedimeji, is set to captivate audiences with his latest project, *Lisabi*, a two-part epic biopic scheduled for release on Netflix. This film, which delves into the life and legacy of the revered Yoruba hero Lisabi, promises to be a monumental addition to the growing slate of Nigerian historical dramas. *Lisabi* narrates the story of an 18th-century Egba farmer who courageously led a rebellion against the powerful and oppressive Oyo Empire. The film aims to portray Lisabi as a figure of defiance whose leadership ultimately resulted in the defeat of over 6,000 Oyo soldiers, securing independence for the Egba people after years of subjugation. His story is a testament to Yoruba resilience and marks a pivotal moment in the region’s history. The biopic is structured in two parts: *Lisabi: The Uprising*, which will premiere on 27th September 2024, with its sequel, *Lisabi: A Legend is Born*, slated for release in January 2025. The first part focuses on Lisabi’s rise as a leader and the initial sparks of rebellion, while the sequel will explore the aftermath of his victory and the enduring impact of his legacy on Yoruba history. Lisabi features a formidable cast of Nollywood’s finest, including Femi Adebayo, Odunlade Adekola, Ibrahim Itele Yekini, Ibrahim Chattah, and Mo Bimpe, alongside Lateef Adedimeji himself. Directed by the acclaimed Niyi Akinmolayan, known for his ability to bring Nigerian stories to life with vivid detail and emotional depth, the film is expected to set new standards in the portrayal of African historical epics. The film’s production, handled by Al Notions Studios and Anthill Studios, benefits from high production values and a compelling script written by Niyi Akinmolayan and Yinka Olaoye. Mo Bimpe, a notable actress and producer, and also Lateef’s wife, plays a crucial role in bringing this project to fruition, highlighting the collaborative effort behind the scenes. For Lateef Adedimeji, *Lisabi* is a deeply personal project. He dedicates the film to the Egba people, the entire Yoruba race, and the global black community, emphasising its significance beyond mere entertainment. As anticipation builds for its release, *Lisabi* gears up to be a cinematic milestone that celebrates Yoruba heritage and honours the enduring legacy of one of its greatest heroes. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/lateef-adedimeji-unveils-two-part-netflix-epic-biopic-lisabi-celebrating-yoruba-heroism/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/lateef-adedimeji-unveils-two-part-netflix-epic-biopic-lisabi-celebrating-yoruba-heroism/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/lateef-adedimeji-unveils-two-part-netflix-epic-biopic-lisabi-celebrating-yoruba-heroism/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/lateef-adedimeji-unveils-two-part-netflix-epic-biopic-lisabi-celebrating-yoruba-heroism/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/lateef-adedimeji-unveils-two-part-netflix-epic-biopic-lisabi-celebrating-yoruba-heroism/?share=linkedin) - **Categories:** Blog, Nollywood News **Tags:** Lateef Adedimeji, lisabi: The Uprising, nollycritic, nollywood --- ### [Efunronye: Faithia Williams’ Controversial Celebration of a Complex Figure](https://nollycritic.com/efunronnye-faithia-williams-controversial-celebration-of-a-complex-figure/) **Published:** October 27, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood actress Faithia Williams’ latest project, Efunroye: The Unicorn, has placed her amid a heated online debate. **Content:** Nollywood actress [Faithia Williams](https://www.imdb.com/name/nm2099511/ "Faithia Williams")’ latest project, *Efunroye: The Unicorn*, has placed her amid a heated online debate, and it hasn’t even hit theatres yet. Following her announcement of the [film](https://nollycritic.com/the-nollywood-box-office-in-2023/ "film"), intended to portray the story of the historical figure Efunroye Tinubu, Williams encountered an unexpected backlash, as some Nigerians criticized her portrayal of Tinubu as a celebrated leader and warrior while overlooking her controversial role in the transatlantic slave trade. The film focuses on the life of Efunroye Tinubu, a figure who, while influential, remains highly controversial due to her involvement in the transatlantic slave trade, an episode that marks one of the darkest periods in African history. As conversations spark online, many viewers are rightfully wary of any portrayal that might glorify Tinubu without addressing her complexities. Faithia Williams, who teased *Efunroye: The Unicorn* on her official social media platforms, described Tinubu as “more than a warrior,” highlighting her as a ruler who “rewrote history.” In her post, she shared an image of the film’s poster, adding: “Power. Trade. Legacy. She was more than a warrior; she was a ruler who rewrote history.” https://www.instagram.com/p/DBW17n9sypq/?igsh=MXZwOTZhcXpicXVxMg%3D%3D However, while some responded positively, others expressed outrage, arguing that Williams’ description risked painting Tinubu in an overly flattering light, sidestepping aspects of her involvement in the slave trade. According to historical records, Tinubu was both powerful and controversial. On the controversy, Wikipedia notes: > “Following British victory in the Reduction of Lagos, the British removed Oba Kosoko from his throne and replaced him with Akitoye, who was backed by Tinubu. The British had Akitoye sign the 1852 Treaty Between Great Britain and Lagos, which required Lagosians to abolish the Atlantic slave trade. However, Tinubu covertly persisted in operating the slave trade with Brazilian and European merchants, in violation of the treaty, and Akitoye willingly permitted this. British consul Benjamin Campbell denounced Tinubu’s economic hegemony over Lagos and her secret slave-trading, and she came into conflict with the British and rival Lagos merchants.” Such details make it understandable why some viewers are wary; in recounting Tinubu’s life, there’s a risk of glorifying her power without acknowledging her entanglement in a painful, morally questionable past. The criticism quickly spread, especially on X (formerly Twitter), where users aired their grievances. Some argued that glorifying Tinubu without addressing her role in selling people into slavery sent the wrong message. A user posted, “When we visited Badagry, we learned about African leaders who sold their people for trivial items. I hope the movie portrays her accurately.” Others shared analogies, comparing the situation to presenting historical figures like Pablo Escobar as kind-hearted heroes, suggesting that Williams’ project could distort Nigeria’s painful history. Faced with mounting criticism, Williams took to Instagram to clarify her intentions. In a lengthy post, she assured her audience that *Efunroye: The Unicorn* was not created to “glorify or whitewash” Tinubu. Instead, she described the film as an “artistic interpretation” intended to explore the complex, layered nature of the historical figure. “This film is purely a work of artistic interpretation and storytelling,” She explained, adding that it “does not carry any political intent or affiliation.” https://www.instagram.com/p/DBhQJd-soK2/?igsh=dHJrcXhlbzdmZXNh Acknowledging the mixed emotions surrounding the project, Williams expressed her gratitude for the support the film had garnered, noting that her post had received over six million views. She highlighted her intention to provide a balanced portrayal of Tinubu, incorporating both her triumphs and controversies. > “The movie is an attempt to present Madam Tinubu’s life in a balanced and nuanced way, showcasing her triumphs, challenges, and the complex legacy she left behind. “…Like all historical figures, Madam Tinubu’s story is layered, and this film aims to capture both her strengths and controversies” She wrote. Faithia Williams also emphasized that, as a creative work, *Efunroye: The Unicorn* draws from historical events while taking liberties for storytelling purposes. Yet, we must remember that art, especially film, is subjective. A filmmaker draws on sources, interprets events, and ultimately decides how to portray their perspective. In Williams’ own words, Tinubu was “more than a warrior; she was a ruler who rewrote history.” She has also emphasised that the film aims to capture both the triumphs and challenges of Tinubu’s life, not to “glorify or whitewash” her legacy, and that *Efunroye: The Unicorn* is ultimately an “artistic interpretation.” This perspective, though valid, contrasts with the historical realities of Tinubu’s involvement in slavery, creating a tension between Williams’ intentions and the uncomfortable legacy Tinubu left behind. She, however, hoped that the film would educate, entertain, and ignite thoughtful conversations about Nigeria’s complex history, not mislead audiences, or serve as a political commentary. This response has somewhat tempered the criticism, though the conversation continues. Some Nigerians remain skeptical, questioning the representation of historical figures in popular media, while others have expressed an eagerness to see the film and form their own opinions. In many ways, this heated online response is beneficial. It prompts Nollywood audiences and film lovers to actively think about the themes they wish to engage with on screen. The debate allows viewers to approach *Efunroye: The Unicorn* with a more critical eye, aware of both its artistic intentions and the history behind the character. By keeping expectations in check, we can better appreciate the film for what it is: an interpretation, a point of view, and, ultimately, an invitation to reflect on history through the lens of art. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/efunronnye-faithia-williams-controversial-celebration-of-a-complex-figure/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/efunronnye-faithia-williams-controversial-celebration-of-a-complex-figure/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/efunronnye-faithia-williams-controversial-celebration-of-a-complex-figure/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/efunronnye-faithia-williams-controversial-celebration-of-a-complex-figure/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/efunronnye-faithia-williams-controversial-celebration-of-a-complex-figure/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** efunroye: The Unicorn, Faithia Williams, madam Tinubu, nollycritic, nollywood --- ### [The Uprising: Abstinence to Activism, and A Darker Reckoning](https://nollycritic.com/the-uprising-abstinence-to-activism-and-a-darker-reckoning/) **Published:** October 24, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Wives on Strike 3: The Uprising continues the franchise’s familiar theme of fighting for justice. Written by Cheta Chukwu and directed by Omoni Oboli **Content:** I approached the news of *[Wives on Strike 3: The Uprising](https://www.imdb.com/title/tt33294485/?ref_=fn_al_tt_1 "Wives on Strike 3: The Uprising")* with apprehension. From its beginnings in 2016 through its 2017 sequel, the franchise returns in 2024 after a seven-year hiatus. This raised several questions: What pressing social issue is Omoni Oboli aiming to tackle this time? How will she structure the narrative and address the inconsistencies from the earlier films? Most importantly, will the women’s form of protest resonate with a Nigerian audience? Will it inspire meaningful action? And is withholding sex, as portrayed in the previous installments, truly a viable tool for societal progress and change? These lingering questions left me hoping the film would rise to the occasion and provide some much-needed answers. ## *The Uprising* –*Wives on Strike* Directed by: Omoni Oboli Written by: Cheta Chukwu Genre: Crime Drama Released on: October 18, 2024 (Cinemas) Language: English ##### Story *[Wives on Strike 3: The Uprising](https://nollycritic.com/wives-on-strike-3-omoni-oboli-annouces-third-instalment/ "Wives on Strike 3: The Uprising")* continues the franchise’s familiar theme of fighting for justice. Written by Cheta Chukwu and directed by Omoni Oboli, it departs mildly from the comedic undertone of its predecessors, adopting a darker tone that adds emotional weight and urgency. It explores themes of love, particularly maternal love, alongside pain and heartbreak. The narrative examines how this maternal instinct can push parents to extremes, either toward noble justice or vengeance. Beyond being a topical social commentary, the story is human at its core, drawing the audience in with relatable emotions to reflect on the pressing issue of insecurity in Nigeria. The film picks up where the previous installments left off, continuing its mission of advocating for societal progress through unconventional protests. However, unlike the earlier films, which focused on wives withholding sex from their husbands to effect change, this chapter adopts more tangible and practical actions to press for development. It also calls on the government to take citizens’ demands seriously. Yet, the narrative ultimately reflects a harsh reality familiar to many Nigerians: justice remains elusive, and sometimes, one must take it into their own hands. The film closes with the unsettling but recognizable truth that justice is not always guaranteed. The film strives for a representational balance between women and men. In the earlier parts of the franchise, the protest initiated by Mama Ngozi against her husband, Baba Ngozi, for his inaction in combating child marriage leads her to withhold sex as a form of protest. This tactic spurs other women to follow suit. However, the men’s portrayal in these instances often comes across as somewhat irritating and insensitive; their discussions revolve mainly around their frustration with the lack of sexual intimacy, seemingly oblivious to the deeper issues at stake. This portrayal raises questions about the men’s understanding of the social implications of the women’s actions. While I hoped this one-dimensional depiction would be rectified in *Wives on Strike 3*, the film offers only a slight improvement. Although the men remain focused on their sexual gratification, Baba Ngozi eventually participates in the protest, asserting that men should not accept the silencing of their women and children. This moment provides a small but significant shift in perspective, suggesting that perhaps the men are beginning to learn the gravity of the situation and the importance of standing in solidarity with their wives and families. ##### Plot The plot centers on Ebiere (Hilda Dokubo), a grieving mother thrust into a quest to rescue her kidnapped son. This inciting event plunges her into a violent and dangerous world, escalating the film’s tension from the outset. The rising action unfolds as Ebiere, alongside other women initiated by Madam 12:30 (Uche Jombo), and led by Mama Ngozi (Omoni Oboli), channels her anguish into collective action, mirroring the franchise’s overarching theme of female empowerment. While previous installments relied on sexual abstinence as a symbolic protest, *The Uprising* shifts focus toward confrontation with societal issues, engaging more practical tactics to demand justice. This shift reflects not only a narrative evolution but also a thematic one, resonating with the growing frustration of Nigerian citizens facing systemic neglect. As Ebiere ventures deeper into the criminal underworld, the stakes grow higher, with each revelation forcing her to navigate difficult moral terrain. The climax delivers a powerful collision between Ebiere’s grief and the broader societal fight for justice. Her dangerous pursuit raises difficult questions about the thin line between justice and vengeance, leaving the audience to wrestle with the morality of her choices. The emotional weight of her journey is compounded by the unpredictable nature of justice in the film’s world, where institutional failure forces individuals to take matters into their own hands. The film concludes with an ambiguous ending that mirrors Nigeria’s societal reality where justice is not always guaranteed, and citizens often fight battles alone. There is no neat resolution, only the unsettling recognition that justice remains elusive. This resolution reinforces the film’s social commentary: societal change is a continuous struggle, slow and demanding, and real justice, like activism, requires relentless persistence. ##### The Cinema Experience This cinematic experience is undoubtedly designed for the big screen. The visual storytelling invites the audience’s gaze to dance across the frame, guiding our focus from one corner of the screen to another. You will feel immersed in its story with the heightened soundtrack and score. ##### Technical Aspects The technical aspects of *Wives on Strike 3: The Uprising* represent a significant leap forward from its predecessors, showcasing an elevated level of storytelling that captivates and engages. One standout feature is the soundtrack, which masterfully heightens the mood and elevates the narrative stakes. The carefully curated tracks are memorable and seamlessly integrated, adding emotional depth to key moments throughout the film. The cinematography captivates, directing your gaze from one corner of the frame to another, immersing you in every detail of the story. It invites you to explore the world the characters inhabit, making the viewing experience feel vibrant and alive. However, in the film’s early segments, the editing choices sometimes feel a bit excessive. The frequent cuts and transitions, while showcasing the film’s impressive visuals, can become distracting. It’s as if the filmmakers are eager to display every stunning shot, yet without a cohesive visual cue, the transitions feel more jarring than seamless. Nevertheless, the film excels in its ability to create a “lived-in” world. From the authentic costumes to the meticulously crafted settings, every element feels genuine and relatable, immersing the audience in the story’s environment. This attention to detail serves as a testament to the filmmakers’ commitment to authenticity, enhancing the viewer’s overall experience. Overall, *Wives on Strike 3: The Uprising* is a visual feast that merits a visit to the cinema, where its artistic merits can truly shine. ##### Performances The performances in *Wives on Strike 3: The Uprising* are a blend of the exceptional and the misplaced. While the central characters deliver compelling portrayals that anchor the story, certain comedic choices detract from the seriousness of the narrative, creating an imbalance. Hilda Dokubo, as Ebiere, delivers the most exceptional performance. Her portrayal of a grieving mother on a relentless quest for justice is heart-wrenching and nuanced, grounding the film in raw emotion. She’s natural. Dokubo skillfully navigates the complex layers of a woman torn between love and vengeance, capturing the helplessness and desperation that make Ebiere’s character unforgettable. Omoni Oboli returns as Mama Ngozi, whose role as a determined activist and community leader continues to evolve. Oboli balances the emotional turmoil of personal loss with the demands of leadership, making her character’s journey one of the most engaging in the film. Her portrayal suggests maturity and growth, especially as Mama Ngozi learns to work with the men around her; most notably Baba Ngozi (Okey Bakassi), redefining the film’s approach to collective activism. In this installment, Kie-Kie’s portrayal comes off as overly exaggerated and obnoxious, clashing with the film’s darker tone. Her antics, intended as comic relief, instead become a distraction, undermining the emotional weight of the narrative. Kie-Kie’s comic interjections, though likely included to maintain continuity with the lighter elements from previous films, feel forced and unnecessary in a story that leans more towards drama and activism. A misstep in tone that disrupts the film’s flow. ##### Final Thoughts The film’s turning point comes when Mama Ngozi’s husband, Baba Ngozi, finally breaks from the passive, self-centered portrayal of the previous films, actively joining the protest. His involvement marks a subtle but significant shift, hinting at a potential reconciliation between the men and their wives. This development adds a layer of character growth and injects emotional complexity into the narrative. In closing, it’s important to highlight some noteworthy aspects of the Wives on Strike franchise. One recurring issue is the inconsistency in casting; characters are portrayed by different actors across the installments. For instance, the character of Baba Ngozi is now played by Okey Bakassi instead of the familiar Kenneth Okwonkwo. While this may jar longtime fans, it doesn’t detract from the narrative coherence. The film stands on its own, allowing viewers to engage with the story even if they haven’t watched the previous installments. For those interested in the complete experience, the earlier films are readily available on various streaming platforms. However, *Wives on Strike 3: The Uprising* is currently exclusively available in cinemas, where it truly shines. The film’s emotional depth and relevant themes make it a worthwhile watch, further enriching the ongoing conversation around female empowerment and societal change in Nigeria. ##### Verdict Overall, *Wives on Strike 3: The Uprising* is a commendable continuation of the franchise that tackles important societal issues with emotional depth. Despite some inconsistencies in performance and a few distracting editing choices, it offers a compelling story and visually engaging experience, justifying a score of 3.5 stars. **Rating**:4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-uprising-abstinence-to-activism-and-a-darker-reckoning/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-uprising-abstinence-to-activism-and-a-darker-reckoning/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-uprising-abstinence-to-activism-and-a-darker-reckoning/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-uprising-abstinence-to-activism-and-a-darker-reckoning/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-uprising-abstinence-to-activism-and-a-darker-reckoning/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Bukunmi Adeaga-Ilori, Cheta Chukwu, Hilda Dokubo, Kie Kie, nollycritic, nollywood, Omoni Oboli, The Uprising: Wives on Strike, Toyin Abraham, Wives on Strike --- ### ['Ogbedun' Set to Premiere in Cinemas This November](https://nollycritic.com/ogbedun-set-to-premiere-in-cinemas-this-november/) **Published:** October 18, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Nigerian filmmaker and actor Seyi Akinsola is set to captivate audiences with his latest production, Ogbedun, an epic tale of royal succession, betrayal, and redemption. **Content:** Nigerian filmmaker and actor Seyi Akinsola is set to captivate audiences with his latest production, *[Ogbedun](https://www.tntheatrical.com/all-titles/ogbedun "Ogbedun")*, an epic tale of royal succession, betrayal, and redemption. The film will premiere in cinemas across Nigeria on November 29, 2024. Directed by Farouk Abisoye (TAMPAN), *Ogbedun* promises a gripping story of an unacknowledged son, Ogbedun, born to the late Oba Agana through a secret affair with a palace maid. After years spent in exile, Ogbedun returns to his homeland, only to find himself caught in a fierce battle for the throne following the death of a young monarch. The ensuing power struggle between rival families leads to chaos, betrayal, riots, and an unyielding fight for justice. In the lead role is [Nollywood](https://nollycritic.com/the-versatile-faces-of-nollywood-celebrating-range-and-talent/ "Nollywood") star, Jide Awobona, and is supported by an impressive cast that includes Nollywood icons Jide Kosoko, Antar Laniyan, Akin Lewis, Joke Muyiwa, Miriam Peters, and Babaseun Faseru. Seyi Akinsola, who also plays a key role in the film, is the executive producer under Astrocraft Productions. Speaking about *Ogbedun*, Akinsola explained that the film embodies a timeless message: even in the face of overwhelming odds and corruption, good will ultimately triumph. “No matter how many people support wrongdoing, or how well-placed they are, righteousness always wins, even when the victory seems far from reach,” Akinsola shared. The film’s distribution will be handled by Tribe Nation Theatrical Distribution Limited. Tribe Nation has expressed confidence in *Ogbedun*, seeing it as a culturally resonant story that will engage viewers with its emotionally charged plot and richly portrayed characters. With its powerful themes, star-studded cast, and a narrative grounded in royal politics, *Ogbedun* promises to be a major cinematic event. Be sure to catch this thrilling epic when it arrives in cinemas nationwide on November 29. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ogbedun-set-to-premiere-in-cinemas-this-november/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ogbedun-set-to-premiere-in-cinemas-this-november/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ogbedun-set-to-premiere-in-cinemas-this-november/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ogbedun-set-to-premiere-in-cinemas-this-november/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ogbedun-set-to-premiere-in-cinemas-this-november/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** Akin Lewis, Antar Laniyan, Farouk Abisoye, Jide Awobona, Jide Kosoko, Joke Muyiwa, Miriam Peters, nollycritic, nollywood, Ogbedun, Seyi Akinsola --- ### [Lakatabu: A Fragmented Journey of Supernatural Chaos](https://nollycritic.com/lakatabu-a-fragmented-journey-of-supernatural-chaos/) **Published:** October 15, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Lakatabu marks another project where Odunlade Adekola takes on multiple key roles, serving as the director, lead actor, and one of the writers. **Content:** *[Lakatabu](https://www.imdb.com/title/tt32631962/ "Lakatabu")* marks another project where Odunlade Adekola takes on multiple key roles, serving as the director, lead actor, and one of the writers. Released in cinemas around four to five months ago, the film arrived amidst a surge of Yoruba [“epic” themed productions](https://nollycritic.com/the-evolution-of-yoruba-epic-movies/ ""epic" themed productions") that have flooded the market since 2023. With the popularity of films Yoruba action dramas like *Jagun Jagun*, this trend has become oversaturated and somewhat concerning, creating an air of predictability in Nollywood’s offerings. It was evident during *Lakatabu*’s cinema run that Adekola’s fanbase largely drove ticket sales. While he certainly commands an audience, this points to a wider issue in the industry. It is troubling that a portion of the Nigerian audience remains drawn to content that is often lacking in substance. \\ This creates a cycle where filmmakers continue to cater to these tastes, producing stories that frequently lack coherence, with contrived and exaggerated actions that undermine the narrative. Sadly, this type of storytelling does little to challenge or enrich its viewers, instead fostering a cinematic landscape where thoughtfulness is often sacrificed for sensationalism. ## *Lakatabu* Directed by: Odunlade Adekola Produced by: Odunlade Adekola Genre: Supernatural Crime Drama and Comedy? Released date: October 8, 2024 (Prime Video) Language: Yoruba and English ##### Story *Lakatabu* centers around the emotional and psychological transformation of its protagonist, Lakatabu (Odunlade Adekola), as he transitions from being an enforcer for the kingpin/king to becoming a vengeful force against the criminal society that betrayed him. What drives this shift is the betrayal by the very power structure he once helped elevate, leading him to use his mystical powers and criminal influence for destructive purposes. While the film attempts to delve into the broader societal implications of unchecked power and corruption, it ultimately struggles under the weight of convoluted storytelling. The storytelling is marred by a lack of logic and common sense, leaving audiences appalled by the nonsensical developments on screen. Key elements that should have served as highlights, such as Lakatabu’s supernatural powers, come across as unconvincing. Despite his formidable abilities, the film showcases an overwhelming reliance on conventional weaponry, reducing the supernatural to mere spectacle. The moments that do attempt to demonstrate his powers are few and far between, often overshadowed by melodrama and gunfire. When traditional methods fail, Lakatabu’s response is dismay rather than the strength one might expect from a character endowed with such extraordinary capabilities. Furthermore, the narrative does not adequately explore the emotional depth of Lakatabu’s transformation, instead opting for clichéd tropes that dilute the story’s potential impact. This results in a tale that ultimately feels disjointed and lacking in coherence, failing to fully engage with its themes of loyalty, betrayal, and the cyclical nature of vengeance. Lakatabu, anyway, reflects on how individuals, driven by personal grievances, can turn against the very systems that once empowered them. And it does so in a manner that leaves much to be desired. ##### Plot In *Lakatabu*, Odunlade Adekola portrays Lakatabu, as a fearsome and enigmatic criminal who commands a gang that terrorizes the community with their audacious and violent operations. Lakatabu’s power stems from mystical fortifications granted by a Babalawo (herbalist), making him nearly untouchable. His reign of terror is seemingly unchallenged until the authorities become involved. The plot attempts to delve into Lakatabu’s past, revealing that he was once a tool in the hands of the king, aiding in the monarch’s rise to power. However, this backstory is revealed slowly and in an unengaging manner, detracting from the overall narrative impact. The film’s structure feels dull and disengaging, failing to captivate the audience as it meanders through Lakatabu’s history. After his betrayal by the king, Lakatabu turns against the society he once helped shape, embarking on a violent vendetta characterized by kidnappings, murders, and the spread of fear. The authorities appear confused and powerless against him, unable to grasp the full extent of his brutality or their incompetence in addressing it. In a twist, Bolanle Ninalowo’s character, initially presented as an independent criminal figure, is revealed to have a shared past with Lakatabu. This revelation feels forced and ill-timed, undermining the tension and coherence of the story. Rather than enhancing the narrative, it serves to further dilute the stakes. The film culminates in a series of flashbacks designed to unpack Lakatabu’s motivations, exposing the betrayal by the king and the assassination attempt that followed. However, by this point, the lack of a compelling build-up to these revelations leaves the audience feeling disconnected and unimpressed, rendering the climax less impactful than it could have been. ##### Technical Aspects Lakatabu showcases commendable visual storytelling. The cinematography effectively captures the tension between the serene community and the chaos instigated by Lakatabu, enhancing the film’s dramatic weight. From the very first scene, there is a palpable atmosphere of uneasiness, accentuated by careful attention to visual detail, which reflects Odunlade Adekola’s directorial intent. One particularly striking camera technique is the repeated slow circular shot that draws the audience into the protagonist’s twisted mind. While this approach initially creates a compelling sense of disorientation, its overuse diminishes its impact as the film progresses. Although the CGI starts strong, it gradually diminishes in effectiveness, yet remains manageable overall. The integration of special effects serves to enhance the mystical aspects without overshadowing the narrative. The set design, particularly for Lakatabu’s hideout is lazy and unrealistic. The designs and banners of skulls for a “hideout” are quite ridiculous. The film’s use of music is also subpar. However, the overall technical execution is barely average, and this is further compounded by unconvincing costuming choices. The costumes, particularly for the protagonist, lack authenticity and fail to elevate the character’s imposing presence, detracting from the immersive experience the film seeks to create. ##### Performances Tope ‘Teddy A’ Adeniyi stands out as one of *Lakatabu*’s more grounded performances, playing Lakatabu’s second-in-command with his charisma and controlled presence that contrasts with the over-the-top moments of others. This helped anchor scenes that might otherwise veer into melodrama, making his performance a notable highlight. Odunlade Adekola delivers a familiar yet serviceable portrayal of Lakatabu, the embittered protagonist. His performance captures the menacing nature of a man who has been betrayed, but it lacks the emotional depth that could have elevated his character. In pivotal scenes where Lakatabu’s internal conflict should have been more palpable; particularly moments of frustration or triumph. Adekola’s performance falls short of conveying the full intensity of his character’s emotional turmoil. This leaves his portrayal feeling more functional than transformative, sticking too closely to Adekola’s established action-hero persona from previous roles. Adunni Ade’s performance provides a critical pivot in the film’s climax. Cast as the unlikely hero who ultimately confronts Lakatabu, she does well in moments that require her to show emotional vulnerability. However, her character is ultimately written as a narrative device rather than a fully fleshed-out individual, which limits the scope of her performance. Bolanle Ninalowo, introduced as a kidnapping kingpin turned agent of justice, struggles with an inconsistent character arc. His initial portrayal as a stranger to Lakatabu, only to reveal a long-standing acquaintance later, creates a confusing dynamic that undercuts the tension between the two. While Ninalowo’s physicality and screen presence are commendable, the character’s lack of coherent motivation diminishes the performance’s impact. Lateef Adedimeji reprises his spiritually fortified persona, similar to his role in *Jagun Jagun*, but his performance wavers. His introduction is powerful, immediately grabbing attention, but the consistency of his delivery falters as the film progresses. Adedimeji shines in ritualistic moments of incantation and mysticism, but his performance lacks the gravitas necessary to fully anchor the film’s mystical elements. Tina Mba, as one of the supporting characters, unfortunately over-dramatizes her role. Her exaggerated facial expressions and vocal delivery, while intended to heighten the drama, often feel out of place in the film’s otherwise gritty atmosphere. This overacting breaks the immersive experience and detracts from the tension built. Broda Shaggi, as a streetwise character, brings his signature slapstick humour to the film, but his comedic antics feel disconnected from the darker, more serious tone of the narrative. His scenes often feel like skits inserted to fill time rather than integral components of the plot, weakening the film’s overall cohesion. ##### Final Thoughts *Lakatabu* exemplifies the pitfalls of attempting to handle too many roles when making a film. A recurring issue in Nollywood, particularly with films like this, is when one person takes on the duties of producer, director, writer, and, in some cases, lead actor. This overwhelming load often results in a lack of focus across key aspects of the film. In *Lakatabu*, Odunlade Adekola has yet to determine where his strengths lie. Should he prioritize his acting or refine his directorial skills? The film leaves us questioning his choices, as each part spirals into disarray without any clear sense of direction. The story and plot are unengaging, devolving into another run-of-the-mill Nollywood Yoruba supernatural (juju) drama, devoid of coherence or serious effort. Performances lean heavily on melodrama, failing to bring any sense of realism or gravitas to the supernatural elements. It is surprising that the film initially saw success in cinemas, especially given its superficial treatment of the genre. From the opening scenes, there’s a faint hope for something remotely impressive, but as the plot unravels, it becomes clear that this promise will not be fulfilled. The narrative lacks a clear trajectory, leaving viewers confused and disinterested. *Lakatabu* prompts one crucial question: where is this story headed? When you realize it’s going nowhere, you’ve already lost interest. ##### Verdict *Lakatabu* struggles to deliver a cohesive and engaging narrative, ultimately falling prey to the pitfalls of overambition. While Odunlade Adekola’s multifaceted role as director, lead actor, and writer hints at a strong vision, the film often loses its way amidst disjointed storytelling and a reliance on familiar tropes. Despite commendable technical aspects and some noteworthy performances, the lack of emotional depth and coherent character arcs undermines its potential. The film serves as a reminder of the challenges inherent in juggling multiple creative responsibilities, highlighting the need for clarity and focus in filmmaking. **Rating**: 1.5/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/lakatabu-a-fragmented-journey-of-supernatural-chaos/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/lakatabu-a-fragmented-journey-of-supernatural-chaos/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/lakatabu-a-fragmented-journey-of-supernatural-chaos/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/lakatabu-a-fragmented-journey-of-supernatural-chaos/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/lakatabu-a-fragmented-journey-of-supernatural-chaos/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Akin Lewis, Lakatabu, Lateef Adedimeji, nollycritic, nollywood, Odunlade Adekola, Prime Video, Reviews, Tina Mba --- ### [A Night in 2005: A Compelling Drama on Power, Trauma, and Justice](https://nollycritic.com/a-night-in-2005-a-thought-provoking-drama-on-power-trauma-and-justice/) **Published:** October 11, 2024 **Author:** Shalom O. Obisesan **Excerpt:** In A Night in 2005, director and writer Temidayo Makanjuola crafts a resonant narrative that examines the enduring effects of trauma **Content:** In[ *A Night in 2005*](https://www.imdb.com/title/tt33373345/ " A Night in 2005"), director and writer Temidayo Makanjuola crafts a resonant narrative that examines the enduring effects of trauma while unearthing the complex dynamics of power, justice, and vengeance. The film confronts pressing social issues such as violence against women and the psychological toll of toxic maternal control, exploring how such manipulation shapes the emotional and mental well-being of children across different contexts. Through this lens, with its blend of emotional intensity and social relevance, Makanjuola presents a topical story that reflects the far-reaching consequences of unresolved trauma in a society still grappling with these pervasive problems. Within this framework, she invites the audience on an introspective journey that is both gripping and reflective. ## *A Night in 2005* Directed by: Temidayo Makanjuola Written by: Temidayo Makanjuola Genre: Drama Released on: October 11, 2024 (Cinemas) Language: English ##### Plot The plot follows Ife (Ini Dima-Okojie), a woman grappling with the long-term effects of a traumatic incident from her youth in 2005. At the age of 17, an event during a prom afterparty becomes a pivotal moment that alters the course of her life, creating a persistent emotional shadow over her present. Now engaged to her long-time partner Paul (Taye Arimoro), Ife’s character arc reveals her struggle with intimacy and emotional connection, exacerbated by her mother’s (Bimbo Akintola) insistence on selling a family property to settle her late father’s debts—a clear manifestation of familial pressure that serves as a critical plot device. As the narrative unfolds, Ife’s journey takes her to her uncle’s rural farm, where she embarks on a quest for self-discovery and connection with her heritage, highlighting the use of the setting as a symbolic backdrop for her internal conflict. The story reaches a dramatic turning point when Ife unexpectedly encounters Opeyemi Dada, a prominent political figure whose history is intricately linked to her own. This encounter propels Ife to seek vengeance and justice, driving the plot forward and exposing hidden truths that challenge her emotionally. The unfolding of the plot in *A Night in 2005* presents a compelling narrative arc. While the revelation of the protagonist’s dilemma is strategically positioned near the midpoint of the film, elevating the climax, the subsequent pursuit of vengeance and justice lacks convincing depth. As Ife navigates her path toward justice, the narrative fails to convincingly portray the complexities of the Nigerian sociopolitical landscape that it seeks to replicate. This disconnect arises from the film’s failure to adhere to the established rules and logic of its semi-realistic Nigerian setting, where the processes of justice are nuanced and often complicated. Instead, the narrative leans on plot devices that simplify these complexities, leading to an execution of justice that feels implausible within the film’s world. The film conflates vengeance with justice, presenting a resolution that lacks the moral weight necessary to completely validate Ife’s journey. The conclusion arrives abruptly, creating a sense of uncertainty that still provides the audience with unsatisfactory closure. ##### Story Set against the backdrop of contemporary Nigeria, the narrative follows Ife, a woman whose life is irrevocably altered by the resurfacing of dark secrets from her past. The film adeptly employs themes of resilience, empowerment, and the fight for justice through vengeance as it uncovers long-suppressed family secrets, culminating in a confrontation that challenges Ife’s resolve and compels her to reclaim her narrative. ##### Technical Aspects The production design significantly enhances the film’s overall aesthetic, complementing the characters’ beauty while effectively replicating the nuances of reality. The cinematography is both seamless and visually arresting, with striking frames that captivate the audience. The thoughtful choice of costumes further enriches the visual landscape, contributing to the film’s authenticity and emotional resonance. Some frames are beautiful to behold, and they elevate the standard of cinematography, showcasing the filmmakers’ artistic vision. This dedication to visual excellence not only enhances the storytelling but also immerses the audience in the film’s world, creating a vivid and engaging viewing experience. Conversely, the film’s soundtrack and score, while present, tend to blend into the background, making them somewhat unnoticeable. ##### Performances The film showcases standout performances, particularly from Uzoamaka Aniunoh and Efa Iwara. Uzoamaka portrays Kelechi, the politically ambitious wife of Opeyemi Dada (played by Efa Iwara). Known for her roles in high-profile projects, Uzoamaka shines in this film, continuing her impressive 2024 run and solidifying her reputation as an actress capable of embodying a demure charisma. Her portrayal feels remarkably natural as if Kelechi was crafted specifically for her, resulting in a performance that resonates with authenticity and depth. [Efa Iwara](https://nollycritic.com/insecure-efa-iwara-and-beverly-naya-fight-for-love/ "Efa Iwara") also delivers a compelling performance, particularly evident during his powerful monologue, where he encapsulates the essence of his character with great vocal and physical intensity. He effectively embodies Opeyemi Dada’s complexity, showcasing the emotional layers that define him. This depth is further enhanced by the well-developed psychological makeup of his character, skillfully crafted by the writer. As Ife grapples with her turmoil complicated by her mother (Bimbo Akintola), Opeyemi’s struggles with his mother (Ireti Doyle) are equally poignant, revealing how their relationship has shaped his character and motivations. Together, Uzoamaka and Efa’s performances enrich the film, adding significant emotional weight to the narrative and highlighting the intricacies of their respective characters. ##### Final Thoughts *A Night in 2005* presents a compelling exploration of trauma, empowerment, and the complexities of justice, raising topical commentary on the prevalent violence against women in our society and the toxicities of some parenting choices. The standout performances from Uzoamaka Aniunoh and Efa Iwara significantly elevate the film, supported by a mix of talented young and upcoming actors who also deliver strong performances, collectively raising the overall standard. ##### Verdict Ultimately, while *A Night in 2005* offers a thought-provoking examination of justice and trauma, it grapples with resolution in its plot, leaving the audience to ponder the complexities of the narrative. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-night-in-2005-a-thought-provoking-drama-on-power-trauma-and-justice/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-night-in-2005-a-thought-provoking-drama-on-power-trauma-and-justice/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-night-in-2005-a-thought-provoking-drama-on-power-trauma-and-justice/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-night-in-2005-a-thought-provoking-drama-on-power-trauma-and-justice/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-night-in-2005-a-thought-provoking-drama-on-power-trauma-and-justice/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** A Night in 2005, Bimbo Akintola, efa Iwara, Ireti Doyle, nollycritic, nollywood, teda makanjuola, Uzoamaka Aniunoh --- ### [The Nigerian Cinema Beyond Its Shores: An Overview](https://nollycritic.com/the-nigerian-cinema-beyond-and-across-its-shores/) **Published:** October 11, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Nigerian cinema has ventured beyond geographical limits to create captivating stories in a variety of international settings. Films crafted outside Nigeria do more than entertain **Content:** [Nigerian cinema ](https://en.wikipedia.org/wiki/Cinema_of_Nigeria "Nigerian cinema ")has ventured beyond geographical limits to create captivating stories in a variety of international settings. Films crafted outside Nigeria do more than entertain; they reveal narratives steeped in the richness of Nigerian culture while exploring the complex dynamics between place and identity. This exploration invites you to discover a selection of these compelling films, showcasing how their diverse locations elevate the storytelling and amplify the emotional depth of the characters’ journeys. Join us as we dive into these cinematic works that beautifully connect cultures and narratives across the globe. ##### [*Water and Garri*](https://nollycritic.com/water-and-garri-so-beautiful-yet-so-dull/ "Water and Garri") (2024) Directed by Meji Alabi, this film is set in Nigeria but filmed in Cape Coast, Ghana. The choice of location was intentional, using the aesthetic beauty of Cape Coast to enhance the film’s overall visual appeal. This picturesque setting contrasts sharply with the protagonist’s memories of Nigeria, symbolizing her sense of disconnect and highlighting how much her society has changed in her absence. The unfamiliar landscape reflects her struggle to reconnect with a place that no longer feels like home. ##### [*Òlòtūré: The Journey* ](https://nollycritic.com/oloture-the-journey-another-dull-sequel-that-never-arrives/ "Òlòtūré: The Journey ")(2024) The sequel series to *Òlòtūré* (2019), deepens the exploration of human trafficking with its choice of locations. Set in both Lagos, Nigeria, and Mauritania, the film captures the city’s role as a major hub for trafficking, reflecting its chaotic and complex environment. The inclusion of Mauritania, with its harsh landscapes, underscores the perilous migration routes used by traffickers and highlights the stark contrast between the relative safety (home) of Lagos and the dangers faced by migrants. The film’s authenticity is bolstered by the cast’s commitment to realism, such as spending the entire shoot in Mauritania without combing their hair, which reinforces the harsh realities portrayed. ##### *[Postcards](https://nollycritic.com/postcards-a-journey-through-love-and-identity/ "Postcards")* (2024) *Postcards*, released on May 3, 2024, is a Nigerian-Indian Netflix series created by Hamisha Daryani Ahuja, featuring a diverse cast including Sola Sobowale and Richard Mofe Damijo. Set in the vibrant landscapes of Lagos and Mumbai, the series follows four Nigerians on their journeys of love, acceptance, and self-discovery, showcasing the rich cultural exchange between Nigeria and India. As the characters navigate the complexities of identity and family dynamics in a foreign land, the interplay between their backgrounds enhances themes of personal growth and relationships. This unique backdrop highlights the connections and contrasts between the two cultures and fosters a deeper understanding of the characters’ transformations. The series stands out for its exploration of cross-cultural experiences and the challenges that come with them. ##### *[A Song from the Dark](https://nollycritic.com/postcards-a-journey-through-love-and-identity/ "A Song from the Dark")* (2024) This Nigerian-British horror film directed by Ogodinife Okpue is set in both England and Nigeria, following Ashionye, a reluctant spirit hunter portrayed by Vanessa Vanderpuye, as she confronts her tragic past while battling vengeful spirits. The setting of *A Song from the Dark* is significant as it juxtaposes England’s modern landscape with Nigeria’s rich cultural heritage, highlighting the blend of African mysticism and contemporary life. This contrast emphasizes Ashionye’s estrangement from her roots and illustrates how unresolved traumas can transcend borders. The use of both English and Igbo languages adds authenticity, underscoring the characters’ struggles and the haunting legacy they confront, while reinforcing themes of revenge, justice, and identity within the framework of African folklore. ##### [Black Mail](https://nollycritic.com/black-mail-a-slow-burn-action-thriller-that-struggles-to-deliver/ "Black Mail") (2022) *Black Mail*, directed by Obi Emelonye, serves as an ambitious British-Nigerian crime thriller that tackles issues of privacy and blackmail in the digital age. Shot in London during the lockdown, the film follows Ray Chinda, played by O.C. Ukeje, a successful actor whose seemingly perfect life unravels when he becomes the target of a cyber-blackmail scheme. As Ray races against time to protect his reputation, the film explores themes of vulnerability, fame, and the impact of digital threats. The subplot involving a failed footballer-turned-hacker, Vitali, highlights a larger issue of cybercrime and the exploitation of privacy, adding layers to the storyline. Despite the critique regarding the film’s competing plots and pacing, *Black Mail* stands as an example of a Nigerian filmmaker pushing the boundaries of storytelling by situating a Nollywood narrative within the context of a contemporary London setting. This cross-cultural approach enriches the film’s narrative, demonstrating how Nigerian stories, when told outside their shores, can engage with universal themes while still retaining their unique perspective. ##### Christmas in Miami (2021) This comedy film directed by Robert Peters is set in Miami, USA, and follows the Dafe family as they participate in an intercontinental Christmas fiesta alongside families from various countries. The Miami setting is significant as it showcases a vibrant cultural milieu, emphasizing the beauty of diversity and the spirit of togetherness during the festive season. This backdrop not only highlights the contrast between the Nigerian family’s traditions and those of other cultures but also reinforces the film’s themes of love and unity. The film’s portrayal of various cultures coming together in a celebratory context underscores the idea that shared experiences can transcend differences, illustrating the universal nature of the holiday spirit and the importance of familial bonds. ##### *[Shine Your Eyes](https://www.google.com/search?client=safari&rls=en&q=shinne+your+eyes&ie=UTF-8&oe=UTF-8 "Shine Your Eyes")* (2020) Set in the bustling streets of Brazil, this drama directed by Matias Mariani follows Nigerian musician Amadi Igbomaeze on a quest to find his estranged brother, Miro Kuzko. The film examines the contrast between Amadi’s expectations and the reality of his brother’s life, highlighting the complexities of familial bonds and personal identity in an unfamiliar environment. The Brazilian setting provides a backdrop that underscores the challenges of navigating cultural differences while exploring universal themes of belonging and connection. Through a unique blend of languages, including Igbo, Portuguese, and English, *Shine Your Eyes* prompts viewers to reflect on relationships shaped by distance. ##### *Rattlesnake: The Ahanna Story* (2020) In *Rattlesnake: The Ahanna Story*, Ahanna travels to Cape Town, South Africa, as part of his escape plan following a series of criminal activities in Nigeria. The trip to Cape Town represents a strategic move to avoid legal consequences and continue his criminal enterprises under a different jurisdiction. Cape Town’s inclusion in the film adds an international layer to Ahanna’s journey, reflecting his attempts to navigate and manipulate global borders in his pursuit of power and survival. The city’s setting also enhances the film’s narrative by contrasting Nigeria’s urban landscape with a more cosmopolitan environment, illustrating the protagonist’s broader ambitions and the extent of his reach. ##### *Gone Too Far!* (2013) *Gone Too Far!* is a British Nigerian comedy-drama directed by Destiny Ekaragha, based on Bola Agbaje’s Olivier Award-winning play. The film, starring Malachi Kirby, OC Ukeje, and Adelayo Adedayo, is set in the multicultural neighborhood of Peckham, South London, where Nigerian-born Yemi navigates his relationship with his older brother, Iku, who has just arrived from Nigeria. Filmed on location in London, the setting plays a crucial role in exploring themes of cultural identity and heritage, capturing the atmosphere that reflects the characters’ struggles and connections. ##### *30 Days in Atlanta* (2014) *30 Days in Atlanta* is a 2014 Nigerian romantic comedy that was filmed in Lagos and Atlanta, Georgia. Directed by Robert Peters and produced by Ayo Makun, the film follows Akpos, who wins a trip to Atlanta and invites his cousin Richard along. The storyline unfolds as Akpos and Richard navigate cultural differences, romantic entanglements, and legal troubles while encountering various characters, including Kimberly and her father, Odiye. Its use of Atlanta’s urban setting contrasts with the vibrant Lagos scenes, emphasizing the cultural clash and comedic elements central to the film’s plot. ##### Mirror Boy (2011) *D*irected *by Obi E*melonye, is a film that showcases the journey of Tijan, a young boy who moves from London to Gambia. As he navigates a mystical forest, Tijan embarks on a transformative adventure that reveals deep family secrets about his absent father. Shot in England and The Gambia, the film features a strong cast, including Genevieve Nnaji and Osita Iheme. It was nominated for three Africa Movie Academy Awards and is noted for its significant impact on Nollywood’s recognition in British cinemas. This film not only highlights the beauty of African culture but also marks a crucial moment for Nollywood cinema, achieving record-breaking success in British cinemas and reinforcing the relevance of Nigerian stories told outside its shores. By bridging the gap between the diaspora and homeland, Mirror Boy offers a poignant exploration of identity, belonging, and the connection to one’s roots. ##### A Trip to Jamaica (2016) This comedy-drama unfolds the adventures of a newly engaged couple navigating life in the United States and later Jamaica. The setting plays a crucial role as it contrasts the couple’s Nigerian roots with the lavish lifestyles of upper-class Americans and the vibrant culture of Jamaica. This juxtaposition highlights the culture shock experienced by the characters, emphasizing themes of identity and the challenges of adapting to new environments. As they encounter humorous situations and unexpected revelations, including the secrets of their hosts, the film underscores the complexities of love and relationships amidst different cultural landscapes, ultimately showcasing the importance of understanding and communication in a cross-cultural context. Nollywood’s expansion beyond Nigeria’s borders marks a significant evolution in storytelling. By incorporating diverse international locations, Nigerian cinema enriches its narratives with global perspectives and enhances its portrayal of themes that cross-cultural and geographical boundaries. The result is a broader global reach and a deeper exploration of universal issues such as identity, struggle, and ambition. Nollywood now reflects both local and global realities, showcasing African stories in a way that speaks to audiences around the world. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-nigerian-cinema-beyond-and-across-its-shores/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-nigerian-cinema-beyond-and-across-its-shores/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-nigerian-cinema-beyond-and-across-its-shores/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-nigerian-cinema-beyond-and-across-its-shores/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-nigerian-cinema-beyond-and-across-its-shores/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** 30 Days in Atlanta, A song from the dark, A Trip to Jamaica, Black Mail, Christmas in Miami, Gone Too Far!, Mirror Boy, nigerian cinema, nollycritic, nollywood, Òlòtūré: The Journey, Postcards, rattlesnake: The Ahanna Story, Shine Your Eyes, water and garri --- ### [Most Versatile Actors: Celebrating Nollywood Finest Talent](https://nollycritic.com/the-versatile-faces-of-nollywood-celebrating-range-and-talent/) **Published:** October 7, 2024 **Author:** Shalom O. Obisesan **Excerpt:** The Nigerian film industry is home to numerous actors and actresses whose performances have captivated audiences. Today, we take a dip at nollywood's most versatile actors. **Content:** “There is absolutely no movie role Aki and Pawpaw haven’t played” an X (formerly called Twitter) user once tweeted. And we couldn’t agree more! They are one of the most versatile actors from the old [Nollywood](https://nollycritic.com/nollywood-september-recap-the-drama-and-thrills/ "Nollywood") era! From the comedic antics of Aki and Pawpaw, who have comically portrayed a wide array of characters: from lawyers and cultists to mortuary attendants, afrobeat singers, and even crossdressers. There is no role beyond their reach. This playful observation highlights the extraordinary breadth of talent within Nollywood. The Nigerian film industry is home to numerous versatile actors and actresses whose performances have captivated audiences, showcasing not only their adaptability but also their profound emotional depth and remarkable range. At Nollycritic we have made a list of such exceptional actors. These actors have proven their versatility through their ability to seamlessly transition across a wide range of film genres, convincingly portray diverse character archetypes, and exhibit an impressive emotional range in their performances. Whether navigating complex character development or consistently delivering standout portrayals, these actors demonstrate that versatility is not just a skill but an art form in itself. ##### Gabriel Afolayan [Gabriel Afolayan ](https://en.wikipedia.org/wiki/Gabriel_Afolayan "Gabriel Afolayan ")is widely celebrated as one of Nollywood’s most versatile actors, and he has earned a reputation through his meticulous approach to characterization and his standout performances across various roles. In Hoodrush (2012), a musical thriller, Afolayan’s portrayal of Tavier Jambari exemplifies his versatility across genres. In Coming from Insanity (2019), he brings Kossi to life with a profound depiction of intense vulnerability and transformative confidence tied to newfound wealth. His performance as Wale in *Gold Statue* (2019) skillfully balances the seriousness and absurdity of the character’s situation, blending humour and drama to enhance the film’s genre while portraying Wale’s desperation. In the *Blood Sisters* (2022) series, Afolayan’s portrayal of Femi reveals the internal struggle of a man caught between ambition and loyalty, showcasing his ability to navigate complex emotional landscapes. His on-screen chemistry with Kehinde Bankole, who plays Yinka, adds depth to their relationship, making it one of the most compelling aspects of the series. ##### Genoveva Umeh Genoveva Umeh’s journey through film and television paints a vivid picture of her remarkable versatility as an actress. It’s quite impressive with her little filmography how she has expressed so much. Her breakout performance as Timeyin, a rich spoiled drug addict in *Blood Sisters* (2022) catapulted her into the spotlight, immersing audiences in the turbulent life of a daring anti-hero. This role, brimming with intensity and emotional complexity, set the stage for her future success. We then see her in *Far From Home* (2022) as Zina, a free-spirited teenager and loyal friend to *A Tribe Called Judah* (2023), where she plays Testimony, an independent, bold, loyal, and fiercely lover who emerges as the unexpected hero. She didn’t stop surprising us here. In Breath of Life, Genoveva embodies Anna, a spirited and empathetic figure who defies social barriers to support her partner, Umeh’s ability to seamlessly transition is dynamic. ##### Richard Mofe Damijo (RMD) RMD has mesmerized audiences for decades with his astonishingly diverse portrayals. His roles span from Reverend Ifeanyi, a morally conflicted and compromising religious figure in King of Boys (2018), and King of Boys: The Return of the King (2021). In Fine Wine (2021) he delivers a nuanced portrayal of Mr George, a wealthy, lonely man who falls for a younger woman. RMD’s performance captures Mr George’s vulnerability and charm, effectively conveying his loneliness and romantic desperation while navigating societal judgments about age-gap relationships. He doesn’t stop there, in *The Black Book* (2023), he takes on the role of Paul Edima, a vengeful father driven by grief and pain. His motivations take us on a thrilling ride of emotions as he moves in vengeance for his son’s death. In His portrayal adds depth and authenticity, making him the ideal actor for this complex role. Each performance uncovers a new dimension of his talent, revealing his exceptional ability to reinvent himself and deliver shockingly fresh and compelling portrayals. His magnetic presence on screen ensures a powerful connection with his audience. ##### Wale Ojo In *Phone Swap* (2012), Wale Ojo plays Akin Cole, a strict corporate executive who transforms from a rigid businessman into a more empathetic and relatable figure. His portrayal shows Akin’s journey from cold professionalism to genuine warmth. In *Kasanova* (2019), Ojo’s role as Femi, a widower and womanizer, reveals his ability to shift from a cynical character to one capable of meaningful connections. Meanwhile, in Blood Sisters (2022), Ojo’s portrayal of Inspector Slo Jo Obasanjo, reminiscent of classic Hollywood detectives, underscores his diverse acting skills. His performances in these films demonstrate a range from intense drama to light-hearted comedy, highlighting his impressive versatility. However, he didn’t stop to wow us here. In Breath of Life (2023), his portrayal of Timi, a bitter and rigid man, then transforms into a compassionate character is so heartwarming and impactful. From stage to TV to screen, Wale Ojo has continued to impress effortlessly with his acting prowess, within and outside the shores of Nigeria. ##### Nse Ikpe-Etim Nse Ikpe-Etim has such range. First, in Mr. and Mrs. (2012), she plays the character Susan Abbah, a married woman grappling with the issues of marriage. From a married woman, she portrays Theresa in the film, 4-4-44 (2022), a character whose mental illness deeply affects her and her family. Her performance conveys the emotional weight of Theresa’s condition, showing her struggles with depression and violent episodes. Nse Ikpe-Etim’s versatility as an actress is evident across her diverse roles. In Shanty Town (2023), she brings depth to her role as Ese, navigating the intricate dynamics of violence and survival within a harsh environment. Her performance blends emotional vulnerability with a steely resolve, revealing the nuanced struggles of a character caught between fear and resilience. And lastly, one of her best is her performance in *King of Boys* as Jumoke Randle, a woman dominating the political scene as First Lady. ##### Kehinde Bankole Kehinde Bankole’s versatility as an actress is evident in the wide range of characters she has brought to life, each with distinct emotional depth and complexity. In *The Setup* (2019), she delivers a chilling performance as Grace, a master manipulator whose composed exterior hides a tumultuous past and dark ambitions. Her portrayal of Sista in *Sista* (2022) is equally compelling, where her transformation from a heartbroken single mother to a determined woman provides a heartwarming core to the film. Bankole’s ability to switch seamlessly between vulnerability and strength is also seen in her role as *Funmilayo Ransome-Kuti* in the 2023 biopic. Here, she embodies the emotional grit, anger, and passion of Funmilayo’s fight for women’s rights in Egba, making her portrayal both moving and empowering. Through these performances, Bankole consistently demonstrates a remarkable range that solidifies her as one of Nollywood’s most versatile talents. ##### Adesua Etomi-Wellington Since her debut in *Knocking on Heaven’s Door*, Adesua has become a prominent figure in Nollywood. Her roles in major hits like *The Wedding Party* to a Cool Arts Teacher in *Far from Home*, reflect her range as a leading actress with a commanding presence. Adesua Etomi demonstrates remarkable versatility across her roles. In *Knocking on Heaven’s Door* (2014), she delivers a compelling performance and showcases her singing talent, adding a unique dimension to her acting. In *Falling* (2015), she portrays Muna, a woman grappling with personal and professional turmoil. Her role as Dara in *The Arbitration* (2016) further underscores her ability to handle complex characters involved in intense legal and emotional conflicts. Each role highlights different facets of her acting skills. ##### Blossom Chukwujekwu Blossom Chukwujekwu’s versatility is highlighted through his roles in a range of genres. In *The Trade* (2023), he navigates the complexities of a crime drama. He played a businessman (Eric) entangled in moral dilemmas, showcasing his ability to handle complex, serious characters. His portrayal in *Okafor’s Law* (2016) combines humour with a nuanced examination of relationships. In *Okafor’s Law*, he portrayed a charming but flawed romantic lead, demonstrating his knack for blending comedy with drama. Additionally, his intense role where he demonstrated musical ability in *Knocking on Heaven’s Door* (2014) and dramatic depth in *The Visi*t demonstrates his ability to handle diverse and challenging characters. The collective efforts of filmmakers and actors in Nollywood have truly elevated the art of storytelling, bringing forth characters that are both believable and relatable. Their dedication to crafting authentic portrayals and their commitment to bringing these characters to life is commendable. It is through their hard work, creativity, and passion that audiences can connect deeply with the stories told on screen. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-versatile-faces-of-nollywood-celebrating-range-and-talent/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-versatile-faces-of-nollywood-celebrating-range-and-talent/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-versatile-faces-of-nollywood-celebrating-range-and-talent/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-versatile-faces-of-nollywood-celebrating-range-and-talent/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-versatile-faces-of-nollywood-celebrating-range-and-talent/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Adesua Etomi-Wellington, Blossom Chukwujekwu, Gabriel Afolayan, Kehinde Bankole, nollycritic, nollywood, Nse Ikpe Etim, Richard Mofe-Damijo, Wale Ojo --- ### [Queen Lateefah: The Next-Level 'Alakada' With a Twist](https://nollycritic.com/queen-lateefah-the-next-level-alakada-with-a-twist/) **Published:** October 2, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Wumi Toriola has delivered a remarkable debut with Queen Lateefah. The film captures attention with its sharp wit and a level of sophistication **Content:** For her first foray into cinema production, Wumi Toriola has delivered a remarkable debut with *Queen Lateefah.* Despite being new to this format, Toriola’s film captures attention with its sharp wit and a level of sophistication. Reminiscent of the *Alakada* franchise, which portrays a protagonist living a double life with reckless abandon and comedic exaggeration, *Queen Lateefah* takes this concept to a more refined level. The narrative, helmed by *A Tribe Called Judah* director Adeoluwa Owu, features an ensemble of Nollywood stars, including Kunle Remi, Femi Adebayo, and Nancy Isime. It enjoyed a successful opening weekend, grossing ₦57 million, adding to the anticipation for Wumi Toriola’s cinema run as both a filmmaker and executive producer. ## *Queen Lateefah* (2024) Directed by: Adeoluwa Owu Written by: Anthony Kehinde Joseph Genre: Comedy Drama Released on: September 27, 2024 (Cinemas) Language: English and Yoruba ##### Plot *[Queen Lateefah](https://www.imdb.com/title/tt33093742/ "Queen Lateefah")* centers on the life of Lateefah Adeleke, a 30-year-old businesswoman whose external charm and sophistication mask a life built entirely on deception. The plot introduces the protagonist as someone who meticulously crafts a facade, drawing on her wit and knowledge to pass as part of society’s upper echelon. Her ability to manipulate appearances and live a double life is central to the story’s conflict. When she crosses paths with Jide Rhodes, a 35-year-old eligible bachelor and successful businessman, the film introduces the inciting incident: their meeting marks the beginning of a romantic entanglement that drives the plot forward. Jide, blinded by Lateefah’s charm and how she fits seamlessly into his world, views her as the ideal partner, highlighting the theme of illusion versus reality. The narrative escalates as Lateefah not only wins Jide’s affection but also assists him in securing a lucrative government contract, enhancing her role as both love interest and enabler of Jide’s professional success. The rising action builds tension as Lateefah’s past and true identity loom over her relationship with Jide. Her backstory, that of a woman raised in poverty, living in a dilapidated communal house, contrasts sharply with the world of wealth she pretends to belong to. This contrast introduces the motif of duality: the luxury Lateefah outwardly displays versus the squalor of her reality. Her mastery of storytelling and fabricating details about her life speaks to the theme of deception, with her lies acting as a shield against her socioeconomic struggles. As the plot progresses, the audience is drawn deeper into the consequences of Lateefah’s deceit, anticipating the moment when her house of cards might collapse. The tension lies in whether her true identity will be revealed and how Jide and his family will respond to the revelation. The plot unfolds with a seamless fluidity that captivates the audience and maintains their investment in the narrative. The film skillfully introduces a plethora of star-studded cameos, infusing the story with a sense of surprise and excitement that compels viewers to remain engaged, eagerly anticipating the next reveal. While the plot adheres to a conventional structure, it is complemented by a plot twist that, although somewhat predictable, adds a layer of intrigue without detracting from the overall enjoyment. ##### Story *Queen Lateefah* tackles themes that feel very familiar, drawing close parallels to *Pretty Liars*, the *Jenifa* series, and the *Alakada* franchise. It delves into identity, deception, and social mobility, with Lateefah’s outward persona reflecting her deep-seated desire to escape her humble roots and the shame she associates with her impoverished background. Throughout the film, we witness her wrestling with the tension between who she pretends to be and who she is, highlighting her internal conflict between ambition and authenticity. Her relationship with Jide isn’t about love or vulnerability but a strategic move. Lateefah sees him as a way to achieve the stability and acceptance she longs for. The romance feels unconvincing because her intentions are not rooted in affection but in manipulating the situation for her benefit. As her lies unravel, Jide’s family begins to suspect her deceit, making it harder for her to keep up the façade. Despite this, she tries to rekindle the relationship, but her plans are thwarted when Arese steps in, complicating her efforts even further. While the film positions itself as a romantic comedy, the balance between romance and humour falters. The romantic elements lack conviction, and the story leans more towards drama, with moments of comedy sprinkled in. Ultimately, Queen Lateefah delivers a mix of comedy and drama, with a narrative that explores the consequences of reshaping one’s identity to fit into a world that values status and wealth over genuine self-acceptance. ##### The Cinema Experience The cinema was even more packed than it had been for *Farmer’s Bride* the previous day. Many attendees entered with modest expectations, anticipating an enjoyable experience but not fully prepared for the cinematic delight that awaited them. In contrast to Farmer’s Bride, where audience anticipation was high and ultimately met, Queen Lateefah pleasantly surprised viewers, with several patrons already buzzing about its quality, albeit without fully expecting such an impressive outing. While the cinema’s sound system left much to be desired, the subtitles remained consistently visible throughout the screening, ensuring that viewers could follow the narrative from start to finish—a welcome change from the often unreliable subtitles that disappear at crucial moments. These subtitles were expertly crafted, providing precise translations of the Yoruba dialogue and capturing the cultural nuances. This film debunked the notion that deep Yoruba meanings are often lost in translation; instead, it presented the essence of the language with clarity and sophistication. Given the protagonist’s intelligence, this thoughtful translation approach felt entirely appropriate. The audience experienced a rollercoaster of emotions, transitioning from laughter to amazement, surprise to empathy, particularly in response to the protagonist’s clever comebacks and poignant moments that drew a collective “aww.” The film masterfully engages viewers emotionally, inviting them to invest in the narrative journey. The big screen elevated the stunning visuals, showcasing beautifully composed shots that captivated the audience. Further details on these aspects will be explored in the Technical Aspects segment. Finally, the film’s soundtrack deserves special mention; it was not just memorable but also perfectly complemented the film’s emotional beats, enhancing the overall viewing experience. ##### Technical Aspects Set in contemporary times, *Queen Lateefah* showcases exceptional visuals that embody a post-modern aesthetic, striking a balance between realism and artistic flair. Emmanuel Igbekele Odihiri, who served as the Director of Photography for *Farmer’s Bride*, once again delivers a visually stunning experience in this film. The cinematography is truly beautiful, with the colorist skillfully achieving a consistent and appealing visual style from beginning to end. The visuals not only please the eye but also include inventive camera shots that effectively enhance the comedic and dramatic elements of the narrative. The film’s soundtrack stands out as one of its highlights, with each track acting as a narrative device that enriches the storytelling. The most memorable piece, “Expensive Shit,” (sorry, that’s the title) resonates throughout the film and leaves a lasting impression, and it does have replay value. It was particularly exciting to discover that the soundtrack was released shortly after leaving the cinema, further enhancing the overall experience. Collectively, these technical aspects contribute to a worthwhile cinematic visit, allowing the audience to engage with the grandeur of film in a shared environment. ##### Performances The performances are undeniably one of the film’s greatest strengths, showcasing the remarkable level of talent of the cast. Wunmi Toriola shines as Lateefah, delivering a performance that is both authentic and captivating. Her portrayal of a complex character navigating morally ambiguous circumstances with charm and wit leaves a lasting impression. Toriola’s smart comebacks and strong command of language position Lateefah as an intelligent and formidable character. Wunmi Toriola delivers those sharp dialogues with ease, making them come off as natural despite their heightened eloquence, though at times, one might still wonder whether anyone speaks with such finesse in real life. Kunle Remi, embodying Olajide Rhodes, matches Toriola’s energy with an exceptional performance. His chemistry with Lateefah is palpable, enhancing the emotional depth of the story and providing moments that give viewers goosebumps. Yet, similar to Toriola, some of Remi’s performances can veer towards the theatrical due to the dialogue, which may detract from the overall authenticity of their interactions. Elvina Ibri impresses as Mrs. Omolara Rhodes, Jide’s mother, fully embodying the character of an affluent, classy woman who can sniff out Lateefah’s bluff as if it were a pungent odor wafting through a pristine garden. Her character is so well-developed that she adds an intriguing dynamic to the story, showcasing a blend of sophistication and shrewdness. Fausat ‘Madam Saje’ Balogun portrays Lateefah’s mother, effectively blending comedy with seriousness. In a comedy film, she embodies a motherly figure who comically advises her daughter, delivering her lines with a gravity that enhances the scene’s emotional resonance. Lateefah’s initial dismissal of her mother’s advice serves as effective foreshadowing. Balogun’s portrayal is relatable and engaging, capturing the essence of a funny yet caring mother who embodies a childlike spirit while genuinely caring for her daughter. Nancy Isime takes on the role of the jealous Arese. Her performance is strikingly natural, making Arese a compelling antagonist. For some of her fans, Isime’s charm and charisma make it challenging to dislike her, leading them to root for her character regardless of her intentions. Bolaji, portrayed by Folakemi Babatunde, delivers a hilarious and endearing performance that steals the show. Her character is a delightful blend of playful naivety and dramatic flair, providing comedic relief and earning plenty of laughs throughout the film. Babatunde’s ability to embody this mixture so effectively adds depth to the ensemble. Shade Rhodes exemplifies unwavering support for Lateefah, adding a refreshing layer to the storyline. The film features a star-studded ensemble cast, including Boda Shaggi, Bukunmi ‘Kie-Kie’ Adeaga-Ilori, Officer Woos, and Adedimeji Lateef, all providing comedic relief. Kie-Kie and Broda Shaggi’s characters possess a depth that contributes meaningfully to the plot. Additionally, Enioluwa Adeoluwa, Femi Adebayo, Fathia Williams, Bimbo Manuel, Chizzy Alichi-Mbah, Aisha Lawal, Rotimi Salami, and Oladapo Gbadamosi, among others, complete the impressive cast. The combination of strong acting and well-crafted characters contributes to an engaging and believable narrative that keeps the audience invested. ##### Final Thoughts *Queen Lateefah* presents a compelling narrative enriched by well-crafted characters and their emotional journeys, allowing audiences to connect with Lateefah’s aspirations and challenges. While the plot unfolds smoothly, maintaining a captivating pace, some predictable twists may lessen the surprise factor. Nonetheless, the performances shine, with Wunmi Toriola and Kunle Remi delivering strong portrayals, complemented by a talented supporting cast that adds depth and authenticity. Overall, the film successfully blends humor and heartfelt moments, creating an enjoyable cinema experience that resonates long after the credits roll. ##### Verdict With *Queen Lateefah*, Wumi Toriola establishes herself as a formidable talent in Nollywood, seamlessly blending humor, intrigue, and a refreshing narrative style. The film elevates the familiar theme of deception and double lives, offering a sharper and more nuanced exploration of lies, ambition, and the pursuit of an idealized life. Toriola’s debut presents a more intelligent and sophisticated approach to this well-worn concept, signaling her potential as both a filmmaker and storyteller. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/queen-lateefah-the-next-level-alakada-with-a-twist/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/queen-lateefah-the-next-level-alakada-with-a-twist/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/queen-lateefah-the-next-level-alakada-with-a-twist/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/queen-lateefah-the-next-level-alakada-with-a-twist/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/queen-lateefah-the-next-level-alakada-with-a-twist/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Adedimeji Lateef, Bukunmi 'Kie-Kie' Adeaga-Ilori, Femi Adebayo, kunle remi, nollycritic, nollywood, oda Shaggi, Officer Woos, Queen Lateefah, Wumi Toriola --- ### [Nollywood September Recap: The Drama And Thrills](https://nollycritic.com/nollywood-september-recap-the-drama-and-thrills/) **Published:** October 1, 2024 **Author:** Shalom O. Obisesan **Excerpt:** September 2024 has proven to be a remarkable month for Nollywood, showcasing a diverse range of films that truly captivated audiences. **Content:** September 2024 has proven to be a remarkable month for Nollywood, showcasing a diverse range of films that truly captivated audiences. With a total of four notable releases: *When Love Strikes*, *Lisabi: The Uprising*, *Farmer’s Bride*, and *Queen Lateefah*; the month offered an impressive blend of drama, comedy, and cultural storytelling. Each film brought its unique flavor to the screen. We will take a humorous dive into what made us laugh, angry, cry, and occasionally made us question our life choices. ##### *All of Us* (September 1) To start the month, Enioluwa Adeoluwa’s *[All of Us](https://nollycritic.com/all-of-us-a-disappointing-mystery-with-uninspired-performances/ "All of Us")* released on [YouTube](https://www.youtube.com/@nollycritic "YouTube"), graced our screens. But sadly, it’s less of a gripping murder mystery and more of a sleep-inducer wrapped in a school drama. Set against the backdrop of a new school year, we’re introduced to a cast of characters whose lives are so tangled up in teenage angst and melodrama that we half expect a soap opera theme to play in the background. The series kicks off with a shocking twist—Marcus, the teacher, winds up lifeless, leaving the students more concerned about their head girl race than about the crime scene. While the plot tries to keep us guessing, it ends up feeling like navigating a maze with no exit, confusing and ultimately pointless. With uneven lighting, inconsistent sound, and dialogue that struggles to engage, *All of Us* lacks the suspense to keep viewers on the edge of their seats. We appreciate the nod to diverse Nigerian languages and family dynamics, but even the police asking students about their phone passwords raises eyebrows and questions about their investigative skills. In the end, with its four short episodes, the series is a quick watch that ultimately leaves you feeling like you’ve missed the main event. We rate it a 1.5/5. ##### *Ajaga: The Yoke* (September 6) *Ajaga (The Yoke)* attempts to be a thought-provoking drama, but it feels more like a confusing sermon where the pastor forgets his lines. Released at cinemas, the promotional material sets us up for a tale of a pastor wrestling with his moral failings, but instead, we find ourselves following Bolusefe. With themes of justice against sexual violence, the film promises depth but delivers a narrative that often feels like it’s stumbling around in the dark. The film’s attempts at emotional depth fall flat, and when it tries to deliver a spiritual resolution, it feels more like a forced prayer than a genuine moment. Despite its ambition to tackle significant themes, *Ajaga* ends up feeling disjointed and underwhelming. If you’re keen on dissecting its layers, grab some popcorn and brace yourself, but don’t expect a smooth ride. We rate it a generous 2.5/5. Not exactly a holy grail, but worth a watch if you enjoy puzzling narratives. ##### *Last Year Single* (September 6) Omoni Oboli’s *Last Year Single* is a slow-burn drama that feels like it took a stroll from 2019 to our screens—maybe it was waiting for the right moment to explore societal pressures around marriage, or perhaps it just wanted to test our patience. Just joking. Released on Netflix, it follows the lives of three eager-to-marry women: Belinda, Tammy, and Afua, the series dives into their journeys, but with dialogue so repetitive, you might think they’ve all suffered from a case of déjà vu. Thankfully, the performances shine, with the trio delivering genuine chemistry that makes their friendship relatable. However, the series wraps up with a cliffhanger that feels more like a last-minute plot twist than a satisfying conclusion. Overall, *Last Year Single* is a reflective watch for those who enjoy a slow-paced drama, earning a modest *2.5/5*, ideal for lazy afternoons when you need something to ponder while contemplating your relationship status as a single pringle. ##### *Black Mail* (September 12, 2024) Obi Melonye’s *Black Mail*, which debuted on Prime Video, promises a thrilling adventure but instead serves up another slow burn that feels more like a lukewarm cup of tea. Following Ray Chinda, a man who desperately tries to prevent a private video from leaking online, the plot quickly spirals into a realm of implausibility—because let’s be honest, in this digital age, who hasn’t heard of phishing? The marital woes between Ray and his wife are resolved faster than you can say “plot device,” and the parallel blackmail subplot involving Ruben feels like an unnecessary detour on this already meandering journey. O.C. Ukeje delivers a solid performance, but Julia Holden’s Nikki struggles to keep up, leaving scenes feeling a bit unbalanced. Despite its relatable premise, the film misfires with underwhelming action, questionable decision-making (seriously, Ray, why would you choose that moment to… well, you know), and glaring plot holes that leave viewers scratching their heads. The soundtrack is a saving grace, heightening tension amidst the slow pacing, but ultimately, *Black Mail* feels like a missed opportunity for a gripping thriller. It earns a patient 3/5. Best enjoyed if you’re in the mood for a drama that takes its sweet time getting to the point. ##### *When Love Strikes* (September 13, 2024) *When Love Strikes*, directed by Adeoluwa Owu, takes a swing at the sports drama genre, but instead of scoring a goal, it feels more like a missed penalty kick. Released in cinemas, the film follows Ibukun, a promising young footballer torn between chasing his dreams and satisfying his family’s academic expectations. While the premise is refreshing, the execution leaves much to be desired, as the emotional connection with Ibukun seems as elusive as a stray ball on the pitch. The football scenes are engaging, but when the film tries to inject tension with Hollywood-inspired editing, it often results in unintended laughter. Who knew a dramatic moment could double as a comedy sketch? Despite its commendable visuals and a catchy football chant set to an afrobeat, *When Love Strikes* struggles to fully immerse the audience in Ibukun’s journey, ultimately earning a sympathetic 3/5. Perfect for those who enjoy a light-hearted take on the pressures of ambition and family. ##### *Lisabi: The Uprising* (September 27, 2024) *Lisabi: The Uprising*, directed by Niyi Akinmolayan, attempts to be an ambitious epic steeped in cultural authenticity but often trips over its own CGI feet, leaving viewers wondering if they accidentally tuned into a video game instead of a historical film. Following the story of Lisabi Agbongbo-Akala, a farmer turned revolutionary, the film explores themes of unity and resistance against tyranny, but the character development is about as deep as a puddle after a light rain. With a star-studded cast, including Lateef Adedimeji and Ibrahim Chatta, the performances are commendable, yet the emotional impact falls flat like a poorly kicked football. The visuals are striking, but when the CGI takes center stage, it often distracts from the authenticity the film strives for, making it hard to take pivotal moments seriously. Released on Netflix, this film showcases Nollywood’s ambition but also highlights the growing pains of merging traditional storytelling with modern technology. While *Lisabi: The Uprising* has its moments, it ultimately earns a modest 3/5. Perfect for those who appreciate cultural narratives but are willing to overlook a few digital missteps along the way. ##### *Farmer’s Bride* (September 27) *Farmer’s Bride* is a delightful romp through the fields of love and societal expectations that manages to exceed expectations like a cow jumping over the moon! Following Funmi, a young woman reluctantly wed to the elderly farmer Odun, the film cleverly explores her journey from grief to self-discovery. While she navigates life on a secluded farm with her mother-in-law and a handsome companion named Femi, you can practically feel the romantic tension sizzling hotter than pepper soup. The plot is packed with enough twists to make you wonder if you’re watching a romantic drama or a surprise episode of “Who Wants to Marry a Farmer?” Though the screenplay stumbles with some abrupt transitions and a conclusion that leaves you scratching your head, the lush cinematography and soundtrack, complete with ironic tunes that practically wink at the audience, keep things lively. Mercy Aigbe steals the show as the mother-in-law, while Gbubemi Ejeye and Tobi Bakre share a chemistry that’s almost too hot for the farm! While *Farmer’s Bride* may not delve deeply into existential themes, it’s still a fun watch for anyone who enjoys a good romantic tale sprinkled with cultural flair, earning a solid 4/5. Perfect for your next movie night. ##### *Queen Lateefah* (September 27) *Queen Lateefah* is a delightful adventure through the world of drama and comedy that leaves you grinning like a Cheshire cat! Imagine *Alakada* +, with a protagonist who delivers her award-winning line, “If you want to lie, at least make it real. Google is your friend,” and you’ve got a recipe for a film that’s equal parts laugh-out-loud funny and relatable. The plot twists are predictably convenient, like finding an extra chip at the bottom of the bag, yet somehow it all works! Lateefah, our cunning heroine, is quick-witted and clever, making you root for her even as she throws logic out the window. Let’s be honest, who needs it when you have charisma? The dialogue may feel a bit too rehearsed at times, but hey, we’ll excuse that for the charm and intelligence, the film convinces us she possesses. With a stellar cast that includes comedians Broda Shaggi, Kie Kie, and social media personality Enioluwa Adeoluwa, every character shines in their role, adding to the film’s overall hilarity. *Queen Lateefah* earns a solid 4/5, perfect for those looking to indulge in a feel-good flick that makes you laugh while reminding you that, sometimes, it’s okay to let logic take a back seat! September’s line-up of nollywood movies not only surpassed the offerings of August but also demonstrated the evolving landscape of Nollywood storytelling. The varied themes and compelling performances in this month’s releases have set a new standard, showcasing the industry’s potential to deliver both heartwarming narratives and thought-provoking content. As audiences continue to seek out quality entertainment, the films of September stand as a testament to the creativity and talent present in Nigerian cinema. And we’re very much eager for what the next month will bring. With the success of these films, it’s clear that the industry is on an upward trajectory, and we can only hope for more captivating stories in the future! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-september-recap-the-drama-and-thrills/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-september-recap-the-drama-and-thrills/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-september-recap-the-drama-and-thrills/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-september-recap-the-drama-and-thrills/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-september-recap-the-drama-and-thrills/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** Ajaga (The Yoke), all of us, Blackmail, Farmers bride, Last Year Single, Lisabi The Uprising, Netflix, nollycritic, nollywood, Queen Lateefah, When Love Strikes --- ### [The Allure of Nollywood Adaptations From Page To Screen](https://nollycritic.com/the-allure-of-nollywood-adaptations-from-page-to-screen/) **Published:** August 21, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood adaptations; where beloved books, folktales, and historical events are reimagined for the screen, hold a special place in the hearts of viewers. **Content:** Among its many offerings, Nollywood adaptations, where beloved books, folktales, and historical events are reimagined for the screen, hold a special place in the hearts of viewers. These films bridge the gap between traditional narratives and contemporary experiences, offering a fresh lens through which we connect with our past and explore our shared identity. But what is it about these Nollywood adaptations that make them so compelling? Why do we find ourselves drawn to these familiar stories, even when we know how they will end? We’ve selected a few [Nollywood](https://nollycritic.com/scores-and-cinematic-symphony-a-nollywood-musical-evolution/ "Nollywood") adaptations, and here’s why we love them. ##### Half of a Yellow Sun (2013) Chimamanda Ngozi Adichie’s “[Half of a Yellow Sun](https://en.wikipedia.org/wiki/Half_of_a_Yellow_Sun "Half of a Yellow Sun")” (2006) is a powerful novel set against the backdrop of the Nigerian-Biafra Civil War. Its adaptation, directed by Biyi Bandele and released in 2013, successfully translates the novel’s intricate characters and historical context onto the screen. **Why We Love It:** The film captures the concept of Adichie’s narrative through its evocative cinematography and stirring soundtrack, bringing the historical setting and personal dramas to life. While the film condenses the novel’s extensive plot, it faithfully retains the original work’s emotional core and thematic depth. The cinematic portrayal allows viewers to experience the intensity of the character’s struggles and the historical atmosphere more immediately and viscerally, making the story’s impact even more profound. ##### Saworoide (1999) Tunde Kelani’s Saworoide is an adaptation of Akinwunmi Ishola’s novel, exploring the intersection of politics and tradition in the fictional town of Jogbo. The film’s use of traditional Yoruba music and ceremonial elements not only honours the source material but also introduces these cultural aspects to a wider audience. **Why We Love It:** The film’s creative incorporation of cultural elements and satire adds multiple layers of meaning to the narrative. Kelani’s adaptation is celebrated for its vivid portrayal of Yoruba traditions and insightful commentary on political corruption. The blend of storytelling with cultural and political critique enriches the viewing experience, making it both entertaining and thought-provoking. ##### Elesin Oba: The King’s Horseman (2022) Under the deft direction of Biyi Bandele, *Elesin Oba* emerges as a compelling adaptation of Wole Soyinka’s revered play, *Death and the King’s Horseman*. Set in 1940s Oyo, Nigeria, the narrative follows the journey of Elesin Oba, a character brought to life by Odunlade Adekola. As he prepares for an act of ritual suicide, a sacred duty is to escort his departed king into the realm beyond. His penchant for indulgence ignites a tumultuous clash with the British colonial powers, spiraling into dire repercussions that reverberate through both his existence of his community. **Why We Love It**: This film is a visual feast, that richly portrays Yoruba culture through its stunning imagery, vibrant traditional music, and ceremonial rites. It breathes life into a world steeped in history, evoking a powerful sense of place and identity. Bandele’s dedication to the source material shines brightly, delving deep into a plethora of themes: duty, the shadows of colonialism, and the often tumultuous interplay of cultures. We love this adaptation because it stands as a work that offers a culturally resonant and intellectually stimulating cinematic odyssey. ##### The Concubine (2007) Based on Elechi Amadi’s debut novel called “The Concubine”, the adaptation by Andy Amenechi, delves into themes of love, fate, and supernatural influences. The film adaptation captures the novel’s tragic romance through its faithful portrayal of characters and their emotional journeys. **Why We Love It:** The film’s visual and dramatic portrayal of Ihuoma’s story intensifies the novel’s emotional depth. The adaptation enhances the romantic and tragic elements of the narrative, allowing viewers to connect with the characters’ experiences on a deeper level. By translating the novel’s rich imagery and emotional resonance into a cinematic format, the film makes Ihuoma’s tale more accessible and impactful. ##### Dazzling Mirage (2014) *Dazzling Mirage* is a powerful, heart-rending adaptation of Olayinka Abimbola Egbokhare’s novel directed and produced by Tunde Kelani. The story follows Funmiwo, a young woman living with sickle cell disease, portrayed by Kemi Lala Akindoju. **Why we love it:** It’s a story of resilience. We adore this film for how it beautifully captures the strength and vulnerability of someone battling a chronic illness. What draws us in is its raw and honest portrayal of the emotional and physical challenges that come with the condition. The film doesn’t shy away from difficult topics like love, trauma, and societal stigmatization, making it incredibly relatable for anyone who has ever felt like an outsider due to circumstances beyond their control. We also admire the film’s cultural authenticity and how it celebrates African culture, even in its depiction of modern struggles. The use of original soundtracks and the detailed artistic presentation make it a visual and auditory delight. The cinematography, while not without its flaws, adds to the film’s charm, grounding it in a reality that feels both familiar and poignant. ##### The Perfect Church (2011) Adapted from Ebi Akpeti’s novel by Wale Adenuga Productions (WAP), the film explores themes of faith, morality, and the imperfections of human nature. **Why we love it:** We are drawn to its portrayal of spiritual and moral dilemmas, making it relatable. The film’s ability to portray flawed characters seeking redemption endears it to viewers, offering a compelling narrative about the complexities of spiritual life. This film doesn’t shy away from showing the imperfections within all of us, especially in a religious context. The characters are so real and flawed, that it’s impossible not to see a bit of ourselves in them. Watching them navigate their moral struggles feels like watching our journeys unfold on screen, making the story all the more compelling. ##### Maami (2011) *Maami*, adapted to screen by Tunde Babalola, is based on Femi Osofisan’s novella of the same name. It touches on the bond between a mother and her son amidst societal challenges. **Why we love it:** This film holds a special place in our hearts because it’s not just about a mother’s love, it’s about the sacrifices and struggles that come with it. Funke Akindele’s portrayal of Maami is so authentic and touching that it reminds us of the strength and selflessness of our mothers. The story of Kashimawo rising to greatness, all while reflecting on the lessons his mother taught him, is both inspiring and heart-wrenching. It’s a film that makes us appreciate the unseen efforts of the women who raise us. The film has emotional depth and cultural accuracy, capturing the essence of maternal love and sacrifice. The heartfelt portrayal of the struggles faced by single mothers connects with viewers, making it a moving story about love, endurance, and hope. ##### Things Fall Apart (1971) *Things Fall Apart*, directed by Hans Jürgen Pohland, brings Chinua Achebe’s seminal work to life. It captures the essence of cultural clashes, colonialism, and the tragic story of Okonkwo. **Why we love it:** This adaptation is not just a retelling of a classic, but it’s a visual celebration of our history and heritage. Watching Okonkwo’s story unfold on screen allows us to connect with our roots in a way that’s both educational and deeply moving. It’s a film that makes us reflect on our past while appreciating the power of storytelling to keep our culture alive. This adaptation is revered for its faithfulness to the novel and its ability to introduce a key piece of African literature to a broader audience. The film preserves the cultural and historical significance of the story while engaging viewers with its compelling storyline, making it a beloved classic. https://www.youtube.com/watch?v=rfAj_wKZRbY ##### The Narrow Path (2007) *The Narrow Path* is adapted from Bayo Adebowale’s novel, “The Virgin”. It explores the traditional values and societal pressures on young women. **Why we love it:** We love this film for its honest portrayal of the pressures young women face in a world full of expectations. We follow the journey of the protagonist as she navigates cultural norms and discovers she feels so close to home. It’s a story that speaks to anyone who’s ever felt the weight of societal expectations, making it incredibly relatable and empowering. Adaptations serve as a testament to Nollywood’s creative resilience and cultural relevance. They remind us of the timeless power of storytelling; how familiar tales can be reborn to resonate with new generations, and how the silver screen can breathe life into words that have long lived in our imaginations. We love Nollywood adaptations not just for their entertainment value, but for the way they celebrate our heritage, reflect our realities, and inspire us to see our world through different eyes. As Nollywood continues to grow, so too will our appetite for these cinematic reimaginings. What is your favourite Nollywood adaptation? ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-allure-of-nollywood-adaptations-from-page-to-screen/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-allure-of-nollywood-adaptations-from-page-to-screen/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-allure-of-nollywood-adaptations-from-page-to-screen/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-allure-of-nollywood-adaptations-from-page-to-screen/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-allure-of-nollywood-adaptations-from-page-to-screen/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Dazzling Mirage, Half of a Yellow sun, nollycritic, nollywood, nollywood adaptations, Saworoide, The Concubine --- ### [See The Trailer for Izu Ojukwu's 77 The Festac Conspiracy](https://nollycritic.com/see-the-trailer-for-izu-ojukwus-77-the-festac-conspiracy/) **Published:** September 27, 2024 **Author:** Michael Arowoselu **Excerpt:** The trailer for 77 - The Festac Conspiracy has just been realesd. The film is written by Olisa Eloka and directed by Izu Chukwu **Content:** The trailer for a new political thriller; *[77 The Festac Conspiracy ](https://www.imdb.com/title/tt27831221/# "77 - The Festac Conspiracy ")*[has just been realesd](https://www.imdb.com/title/tt27831221/# "77 - The Festac Conspiracy "). The film is written by Olisa Eloka and directed by Izu Chukwu. It is set against the Second World African Festival of Arts and Culture (FESTAC) of 1977. The memorable event in Nigerian history lasted a month from January 15 – February 12, 1977, in Lagos, Nigeria. A sequel to *76;* a political thriller that is based on the unsuccessful military coup and the assassination of Gen. Murtala Mohammed in 1976. Two days before the commencement of the Second World African Festival of Arts and Culture (FESTAC) of 1977, an aggrieved ex-serviceman is invited to be part of a cause out to upset the political order of the continent. *[77 The Festac Conspiracy](https://www.imdb.com/title/tt27831221/# "77 - The Festac Conspiracy ")* also features;[ Ramsey Nouah](https://nollycritic.com/tokunbo-see-the-teaser-for-ramsey-nouahs-crime-thriller/ " Ramsey Nouah"), Daniel K. Daniel, Rita Dominic, Seun Kuti, Ibinabo Fiberesima and many others. See the trailer for *[77 The Festac Conspiracy](https://www.imdb.com/title/tt27831221/# "77 - The Festac Conspiracy ")* below! ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-trailer-for-izu-ojukwus-77-the-festac-conspiracy/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-trailer-for-izu-ojukwus-77-the-festac-conspiracy/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-trailer-for-izu-ojukwus-77-the-festac-conspiracy/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-trailer-for-izu-ojukwus-77-the-festac-conspiracy/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-trailer-for-izu-ojukwus-77-the-festac-conspiracy/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** 76, 77 the festac conspiracy, Chidi Mokeme, Daniel K Daniel, Izu Ojukwu, nollycritic, nollywood, Ramsey Nouah, rita dominic --- ### [Idris Elba to Play Okonkwo in 'Things Fall Apart' Adaptation](https://nollycritic.com/things-fall-apart-idris-elba-to-lead-a24-tv-adaptation/) **Published:** September 27, 2024 **Author:** Michael Arowoselu **Excerpt:** Idris Elba will step into the role of Okonkwo in Things Fall Apart. Elba will also serve as an executive producer on the show produced by A24 **Content:** [Idris Elba](https://nollycritic.com/idris-elba-will-direct-dust-to-dreams-for-mo-abudus-ebonylife-studios/) has found his next project, and it will be a television adaptation of an impressively popular book. According to [Variety](https://variety.com/2024/tv/news/idris-elba-things-fall-apart-tv-series-a24-david-oyelowo-1236156154/), the actor will step into the role of Okonkwo in *Things Fall Apart*. Elba will also serve as an executive producer on the show produced by A24. The team behind the series hasn’t found a distributor yet. David Oyelowo and Amanda N’Duka will also be involved with the title through the Yoruba Saxon production company. *Things Fall Apart* is the title of the novel written by Chinua Achebe. The book is split into three parts, each exploring Okonkwo’s personal history and the Ibo culture. Achebe went on to write a sequel titled *No Longer at Ease*. Both novels use Okonkwo’s journey to allow readers to experience the character’s culture and the environment surrounding him during his struggle. The official description for *Things Fall Apart* states: “(The show is) the story of Okonkwo (Elba), one of literature’s most iconic characters—a fearless African warrior and leader who is resolute about preserving his people and culture. As British colonizers disrupt his world, Okonkwo’s struggle to maintain power and tradition spirals into a heart-wrenching confrontation. His fierce resolve, a fatal flaw in the face of unstoppable change, makes him an unforgettable character, embodying the tension between strength, vulnerability, and adaptability.” “Things Fall Apart” is widely regarded as one of the greatest novels ever written. It has been translated into over 60 languages and won awards like the Nigerian National Merit Award and the Man Booker International Prize. It is the first book of Achebe’s African Trilogy, followed by “No Longer at Ease” and “Arrow of God.” It has previously been adapted as both a film and miniseries, with Pete Edochie starring as Okonkwo in the miniseries. Idris Elba has kept himself busy with a wide variety of projects over the past couple of years. The actor was recently seen in the second season of [*Hijack*](https://collider.com/hijack-series-review/), where he plays Sam Nelson. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/things-fall-apart-idris-elba-to-lead-a24-tv-adaptation/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/things-fall-apart-idris-elba-to-lead-a24-tv-adaptation/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/things-fall-apart-idris-elba-to-lead-a24-tv-adaptation/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/things-fall-apart-idris-elba-to-lead-a24-tv-adaptation/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/things-fall-apart-idris-elba-to-lead-a24-tv-adaptation/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** David Oyelowo, Idris Elba, nollycritic, nollywood, Things Fall Apart --- ### [Backline: Embiid Teams Up with Editi Effiong for New Sports Drama](https://nollycritic.com/backline-joel-embiid-teams-up-with-editi-effiong-for-sports-drama/) **Published:** September 25, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Backline is a new sports drama from NBA star Joel Embiid's production company, Miniature Géant, in collaboration with Lebron James' athlete empowerment brand, Uninterrupted. **Content:** *Backline* is a new sports drama from NBA star Joel Embiid’s production company, Miniature Géant, in collaboration with Lebron James’ athlete empowerment brand, Uninterrupted. This feature film will focus on the journey of African athletes breaking into professional American football, inspired by the real-life experiences of current NFL players. *Backline* tells the story of two Nigerian friends striving to achieve their dreams of playing professional football in America. Directed and written by [Editi Effiong](https://www.imdb.com/name/nm10296537/ "Editi Effiong") (*[The Black Book](https://nollycritic.com/mimi-bartels-joins-anakle-films-as-creative-head-and-co-founder/ "The Black Book")*), the film will begin production in 2025, with filming scheduled to take place in both Nigeria and the United States. Effiong expressed enthusiasm for the project, stating that *Backline* is about the resilience of the human spirit, friendship, and hope. He emphasized the importance of telling the athletes’ stories and is thrilled to have Embiid, Miniature Géant, and Uninterrupted on board to bring this project to life. Miniature Géant, founded by Embiid in partnership with The SpringHill Company—an entertainment entity created by James and Maverick Carter—focuses on telling stories of individuals who have pursued unconventional paths to success. Embiid’s journey from Cameroon to the NBA exemplifies the type of narratives the studio aims to produce. Executive producers of *Backline* include two-time Super Bowl champion Osi Umenyiora, Editi Effiong, and [Anakle Films](https://nollycritica.com/mimi-bartels-joins-anakle-films-as-creative-head-and-co-founder/ "Anakle Films"). The project is represented by 3Point0 Labs, while Embiid, Miniature Géant, and The SpringHill Company are represented by WME/WME Sports. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/backline-joel-embiid-teams-up-with-editi-effiong-for-sports-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/backline-joel-embiid-teams-up-with-editi-effiong-for-sports-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/backline-joel-embiid-teams-up-with-editi-effiong-for-sports-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/backline-joel-embiid-teams-up-with-editi-effiong-for-sports-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/backline-joel-embiid-teams-up-with-editi-effiong-for-sports-drama/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** anakle films, Editi Effiong, Embiid, Miniature Géant, nollycritic, nollywood, Uninterrupted --- ### [Ajaga: The Burden of Narrative Subversion and Deficient Faith](https://nollycritic.com/ajaga-the-burden-of-narrative-subversion-and-deficient-faith/) **Published:** September 25, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Upon approaching Ajaga (The Yoke), viewers may grapple with conflicting expectations due to its dual messaging in the promotional materials. **Content:** Upon approaching *[Ajaga (The Yoke)](https://www.imdb.com/title/tt33355141/fullcredits/?ref_=tt_cl_sm "Ajaga (The Yoke)")*, viewers may grapple with conflicting expectations due to its dual messaging in the promotional materials. One narrative positions the pastor as the central character, while another highlights universal themes of justice against sexual violence, unwavering faith, and the uncovering of hidden truths. The film ultimately succeeds by centering on the latter perspective, presenting an engaging and thought-provoking angle. However, it falters in several key areas. ## *Ajaga (The Yoke)* Directed by: Remi Ibinola Produced by: Femi Adebayo Olukotun Genre: Drama Released on: September 6, 2024 (Cinemas) Language: English ##### Story *Ajaga (The Yoke)* primarily unfolds around Bolusefe (Adenike Odubawo), the wife of Pastor David (Femi Jacobs). Its narrative focus is not on Pastor David, but on Bolusefe’s quest for truth and justice, highlighting the story’s unexpected depth. ##### Plot Bolusefe runs the Bolusefe Foundation, an organization dedicated to humanitarian efforts and advocating for justice for victims of sexual violence. Recently, she secured justice for a young girl who was sexually assaulted by the son of a wealthy man. While David and Bolusefe’s marriage appears idyllic on the surface, troubling signs suggest deeper issues, particularly David’s unsettling tendencies, which Bolusefe initially embraces as part of their intimacy. However, as Bolusefe receives a threatening message, it triggers an investigation into her husband’s actions, which catalyzes the plot. ##### The Cinema Experience This was significantly hampered by poor sound quality. The trailer hinted at this issue, which was further amplified in the cinema; the bass was excessively loud and distracting, making it challenging to fully engage with the dialogue. Fortunately, subtitles were provided, as the film employed a bilingual approach, incorporating both Yoruba and English. However, the subtitles were not consistently reliable, ending abruptly halfway through the film. While the soundtrack and score were generally difficult to discern, the track playing during the credits stood out for its messaging. The visuals were competent, yet nothing particularly distinctive emerged to elevate the overall experience. ##### Technical Aspects This [film](https://nollycritic.com/nollywood-movies-and-series-to-see-in-september-2024/ "film") presented various strengths and weaknesses. While the visuals were generally well-executed, the subtitles proved inconsistent, and the sound quality, as noted in the trailer, remained subpar. The protagonists’ costume choices were visually appealing; however, Pastor David’s attire in one scene was notably inappropriate for his environment. As a pastor, would one truly dress so casually for a Sunday service? Such choices raise questions about character authenticity. Additionally, some hair and costuming decisions raised concerns regarding character integrity. For instance, a character who had recently come into a significant sum of money maintained the same hairstyle throughout the two to three months depicted in the film. This lack of evolution in her appearance felt static and unrealistic, detracting from the narrative’s credibility. ##### Performances The performances in *Ajaga (The Yoke)* were largely underwhelming. While not entirely lacking, they failed to leave a lasting impression. The characters lacked the emotional depth needed to engage with their feelings, which is crucial for a film centered on such intense themes. Bolusefe (Adenike Odubawo) was meant to guide the audience through an emotional journey; however, her reactions often came across as unrealistic and unrelatable. For instance, after her alarming discovery about her husband, viewers would expect a profound emotional breakdown. Yet, when a church member seeks counsel from Bolusefe and her husband, her response appears morally weak, twisting the situation into baseless platitudes of “faith.” Instead of demonstrating emotional and character growth, this moment is squandered with inadequate counsel in front of her husband, culminating in her dialogue being muted—perhaps a reflection of the vacuity of her statements. Femi Jacobs as Pastor David seems to grasp his character’s nuances well. His behavior subtly foreshadows his perverse tendencies, whether deliberate or not. However, the character’s initial portrayal as wholly virtuous becomes problematic when he delivers faith-related sexual jokes to Bolusefe. While these jokes could be interpreted as playful banter, they feel incongruous within a faith context, undermining the integrity of the character and the narrative. If his character was intended to be flawed from the outset, this approach could work; however, it inadvertently exposes his psychological complexity to the audience. Thus, when the investigator arrives to unravel his “mysterious” character, the revelations lose their impact. Jaiye Kuti as Bolusefe’s mother, however, delivers a noteworthy performance that sparked discussion among viewers. Her reaction upon Bolusefe’s revelation of her husband’s actions was a kind of unintended relief. Until she uncovers another layer into the narrative. ##### Final Thoughts Soon, it becomes apparent that “the yoke” within the narrative transcends a mere burden for the characters; it embodies a fundamental, generational issue that unfolds gradually. However, to fully grasp this intricate layer, viewers must invest their time and attention, as the film itself does little to explicitly preach this underlying message. *Ajaga (The Yoke)* illustrates a recurring issue in Nollywood’s marketing and publicity approach: the misdirection of narrative focus. The Yoruba term “Ajaga,” meaning burden or yoke, sets the expectation of a character grappling with a weighty dilemma. Promotional material reinforced this assumption, presenting loglines such as “When faith meets deception, the truth is the ultimate test” and “Preaching faith by day, living lies by night. What happens when the truth comes to light?” These statements prime audiences to anticipate a tale centered around a preacher’s moral and spiritual conflict. Silverbird Cinemas, the film’s primary distributor, added to this notion with a synopsis that promised “a pastor wrestling with his moral failings, particularly his womanizing tendencies. The movie explores themes of hypocrisy and personal conflict within a religious context.” This synopsis solidified expectations of an exploration into the pastor’s internal struggle and moral dilemmas. However, the narrative employs a form of marketing misdirection, ultimately shifting its focus away from the pastor to his wife, whose journey becomes the real crux of the story. While this perspective shift is a refreshing narrative subversion, it reveals a deeper issue: the film’s treatment of faith is fundamentally flawed. As a faith-based narrative, the portrayal of religious elements lacks the depth and sincerity necessary to engage the audience genuinely. The depiction of the pastor and his wife’s spirituality feels superficial, making it challenging to invest in their supposed faith journey. Consequently, when the film attempts to deliver a “spiritual” resolution, it comes across as contrived and unconvincing, undermining the very themes it seeks to explore. This failure to establish a credible foundation of faith reduces what could have been a powerful narrative to something far less compelling. ##### Verdict *Àjàgà (The Yoke)* challenges viewers to engage with its narrative complexities, revealing that the true burden extends beyond personal struggles to generational issues of faith and morality. While it provides a thought-provoking experience, the film’s execution falters in areas such as sound quality character depth, and story integrity. While the film attempts to tackle significant themes of faith and justice, the narrative lacks a compelling connection to its central characters, leaving it feeling somewhat disjointed. Therefore, approach the film with an open mind, prepared to dissect its layers rather than expecting a straightforward tale. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ajaga-the-burden-of-narrative-subversion-and-deficient-faith/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ajaga-the-burden-of-narrative-subversion-and-deficient-faith/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ajaga-the-burden-of-narrative-subversion-and-deficient-faith/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ajaga-the-burden-of-narrative-subversion-and-deficient-faith/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ajaga-the-burden-of-narrative-subversion-and-deficient-faith/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Ajaga, Ajaga (The Yoke), Carol Kig, Carol King, Femi Jacobs, JaiyeKuti, Lola Smart, nollycritic, nollywood, Tomiwa Kukoyi --- ### [Nigeria Cinema Day: Affordable Fun or Another Exploitation?](https://nollycritic.com/nigeria-cinema-day-affordable-fun-or-another-exploitation/) **Published:** September 24, 2024 **Author:** Shalom O. Obisesan **Excerpt:** According to CEAN, the discounted price for the Nigeria Cinema Day, sought to tackle rising ticket costs and celebrate Nigeria’s bright film industry. **Content:** **Nigeria Cinema Day – The True Experience** On the 21st of September 2024, Nigeria celebrated its second [Nigeria Cinema Day](https://nollycritic.com/world-cinema-day-nigerian-cinemas-set-to-slash-ticket-prices/ "Nigeria Cinema Day"), led by the[ Cinema Exhibitors Association of Nigeria (CEAN)](https://ceanigeria.com " Cinema Exhibitors Association of Nigeria (CEAN)"). The initiative aimed to make cinema tickets more affordable by reducing prices to 1,000 naira nationwide, a significant drop from the usual 4,000 to 5,000 naira. This move was designed to revive the cinema-going culture, making it accessible to a wider audience, especially for those who found regular ticket prices unaffordable. According to CEAN’s National Chairman, Ope Ajayi, the discounted price for the Nigeria Cinema Day, sought to tackle rising ticket costs and celebrate Nigeria’s bright film industry. The results were encouraging, with over 16,000 tickets sold across the country, marking a 196% increase from the 5,458 tickets sold the previous weekend. However, this was still a 25% decline from the 21,556 tickets recorded during the inaugural Cinema Day in 2023, based on data from the Nigerian Box Office. Despite the promising turnout, some cinema operators took advantage of the event, much to the dismay of moviegoers. Some cinemas advertised the 1,000 naira ticket price but added a “terms and conditions apply” clause, which translated into an obligation to purchase snacks as a condition for receiving the discounted ticket. For instance, FilmHouse Cinema Samonda, Ibadan, insisted that customers buy popcorn priced at 3,500 naira, effectively raising the cost to 4,500 naira—more than the usual ticket price, defeating the essence of the discount. A particular group of friends faced this exploitation firsthand when they were informed that they could not buy just drinks, which were worth 1,000 naira each, to qualify for the reduced ticket price. Instead, they were compelled to buy popcorn, pushing their expenses far beyond what they had planned for the day. This situation was not unique, as similar practices were reported in other states, with some cinemas refusing to honour the 1,000 naira ticket price. This wasn’t an isolated incident. Across several states, similar complaints surfaced, sparking discussions on X (formerly known as Twitter). A user, @ariiyikeLomo, expressed her frustration about the Genesis Cinema at Maryland Mall, where tickets were indeed reduced to 1,000 naira, but purchasing popcorn at 5,500 naira was mandatory. Her tweet read, “I was looking forward to this only to go to Genesis cinema at Maryland mall and tickets are 1k but I have to buy popcorn. Guess how much popcorn is? 5500!!! Why now?? This defeats the whole purpose of doing this in the first place.” Her sentiments quickly gained traction, with other users expressing their dissatisfaction. @sir\_yuwa remarked, “Nigerian businesses will always find a way to sneak in that profit margin,” while @iam\_khrystal added, “As if I knew Genesis Maryland would find a way to scam people. Not nice of them at all.” The skepticism was palpable, with @olajide\_a commenting, “You want to watch a movie for 1k? You should have known it’s a bait.” Others confirmed similar experiences, with @petite\_kara stating that she experienced the same issue at Maryland Mall. The consensus? Nigerian cinemas had turned a day meant for fun and affordability into another opportunity for exploitation. Some moviegoers found themselves both pleasantly surprised by the reduced ticket prices and frustrated by the unexpected additional costs. What could have been a perfect opportunity to encourage a shared love for cinema and celebrate the magic of Nollywood was overshadowed by the exploitation and opportunism exhibited by some cinema operators. This widespread exploitation paints a clear picture of why many Nigerians are always skeptical about things like this. While some patrons genuinely enjoyed the discounted rates, many others felt deceived. This mix of genuine goodwill and blatant exploitation underscores a deeper problem within the Nigerian cinema landscape, where even well-meaning initiatives often come with hidden catches. It’s this recurring pattern that leaves Nigerians skeptical, and rightfully so. Even with what appeared to be a genuine attempt by CEAN to make cinema more accessible, some cinemas took advantage of the situation, turning what could have been a joyous occasion into one riddled with frustration and disappointment. For future editions of Nigeria Cinema Day to truly achieve their goal of affordability and inclusivity, the CEAN must enforce stricter guidelines to prevent cinemas from taking advantage of the initiative. Otherwise, this potentially fantastic tradition might end up being just another case study of how not to treat customers. ![cinema day](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/09/cinema-day-1.jpg?resize=640%2C360&ssl=1) ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nigeria-cinema-day-affordable-fun-or-another-exploitation/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nigeria-cinema-day-affordable-fun-or-another-exploitation/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nigeria-cinema-day-affordable-fun-or-another-exploitation/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nigeria-cinema-day-affordable-fun-or-another-exploitation/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nigeria-cinema-day-affordable-fun-or-another-exploitation/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Nollywood News **Tags:** CEAN, Cinema day, Cinema Exhibitors Association of Nigeria, Nigeria Cinema Day, nollycritic, nollywood --- ### [Nigeria Cinema Day: Nigerian Cinemas Set To Slash Ticket Prices](https://nollycritic.com/world-cinema-day-nigerian-cinemas-set-to-slash-ticket-prices/) **Published:** September 19, 2024 **Author:** Shalom O. Obisesan **Excerpt:** To celebrate World Cinema Day on September 21, 2024, Nigerian cinemas will slash ticket prices to just N1,000. **Content:** Cinephiles, film lovers, enthusiasts, and moviegoers are in for a treat this Saturday! To celebrate Nigeria Cinema Day on September 21, 2024, Nigerian cinemas will slash ticket prices to just N1,000. Thanks to the[ Cinema Exhibitors Association of Nigeria (CEAN)](https://ceanigeria.com " Cinema Exhibitors Association of Nigeria (CEAN)"), this massive price drop, down from the usual N4,000 is a fantastic opportunity to enjoy your favourite films on the big screen without breaking the bank. CEAN’s National Chairman, Ope Ajayi, shared that the initiative is a way to thank Nigerian audiences for their continued support while reviving a stronger cinema-going culture. With affordable tickets, more people can gather to experience the magic of the movies, something that’s often missed in the hustle of daily life. Last year’s National Cinema Day drew over 21,500 eager moviegoers, and this year promises to be even bigger. In celebration of Nigeria Cinema Day on September 21, 2024, movie lovers can catch some of the top films.[ Films currently available](https://nollycritic.com/nollywood-movies-and-series-to-see-in-september-2024/ " Films currently available") include *Ajaga (The Yoke)*, the football drama *When Love Strikes*, the exciting thriller[ ](https://nollycritic.com/the-weekend-finally-a-thriller-that-checks-the-right-boxes/ " The Weekend")[*The Weekend*](https://nollycritic.com/the-weekend-finally-a-thriller-that-checks-the-right-boxes/ " The Weekend"), and the romantic comedy *American Japa*, all running strong in cinemas. With such a wide variety of genres and stories, this is the perfect time to visit the cinemas and experience the magic of Nollywood on the big screen! Get ready for a fun-filled day at the movies this weekend and make sure to grab those N1,000 tickets! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/world-cinema-day-nigerian-cinemas-set-to-slash-ticket-prices/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/world-cinema-day-nigerian-cinemas-set-to-slash-ticket-prices/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/world-cinema-day-nigerian-cinemas-set-to-slash-ticket-prices/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/world-cinema-day-nigerian-cinemas-set-to-slash-ticket-prices/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/world-cinema-day-nigerian-cinemas-set-to-slash-ticket-prices/?share=linkedin) - **Categories:** Blog, Movies, Nollywood News **Tags:** Ajaga (The Yoke), CEAN, Cinema, nollycritic, nollywood, The Weekend, When Love Strikes --- ### [Last Year Single: A Slow Burn Drama With An Interesting Cliffhanger](https://nollycritic.com/last-year-single-a-slow-burn-drama-with-an-interesting-cliffhanger/) **Published:** September 23, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Last Year Single raises intriguing questions about pacing and narrative depth, with its themes albeit relevant in today's climate. **Content:** *Omo*ni Oboli’s *Last Year Single* raises intriguing questions about pacing and narrative depth, with its themes albeit relevant in today’s climate. At first, seeing the late Karibi T. Fubara in the cast sparked curiosity about this series’ production timeline. While watching, I happened to discover that it was filmed in 2019. And that explained a lot. ## *Last Year Single* Directed by: Omoni Oboli Written by: Omoni Oboli Genre: Drama Released on: September 6, 2024 (Netflix) Language: English ##### Story The series revolves around three women who are fervently eager to marry, offering a critical examination of the societal pressures surrounding marriage and the intricacies of their journeys. While the premise is intriguing, it is not entirely new; *Last Year Single* strives to strike a balance between entertainment and thought-provoking content, prompting viewers to reflect on the significance of individual identity within the realm of relationships. However, engagement with the series may be limited to those with a genuine interest in films exploring these themes, as its appeal may not extend beyond this niche audience. ##### Plot *Last Year Single* executes its narrative through a combination of character-driven storytelling and thematic exploration, skillfully intertwining the main plot with various subplots that focus on the individual journeys of the three central characters: Belinda, Tammy, and Afua. This method allows viewers to engage with their unique personalities, backgrounds, and aspirations, adding layers of complexity to the storyline. While dialogue is crucial for revealing the characters’ thoughts, struggles, and societal expectations, it becomes overly repetitive as the three women often revisit previous actions and discussions. This rehashing slows the pacing, turning potentially engaging moments into drawn-out reiterations of witnessed events. The pacing suffers as the series shifts between the main narrative and subplots. This structure is meant to encourage viewers to consider the broader implications of the characters’ choices, yet it often leads to redundancy instead of depth. While this rhythmic structure is intended to encourage viewers to consider the broader implications of the characters’ choices, it often results in redundancy rather than depth. Although moments of reflection are a valid narrative technique and can enhance storytelling, the slow pacing is further exacerbated by montages that sometimes feel unnecessary. Rather than enriching the plot, these montages contribute to a sense of stagnation, making it difficult for the audience to stay fully engaged. The series aims to explore deeper themes through these reflections, but the execution often feels repetitive, detracting from the overall narrative momentum. ##### Technical Aspects The film showcases commendable technical proficiency, particularly considering the era in which it was produced and the technological limitations of that time. However, several noticeable errors persist, even within the trailer, that detract from its overall execution. The intro score starts with a jazz-like rhythm, upbeat yet restrained, maintaining a steady tempo with a consistent beat, gradually incorporating a trumpet-like, repetitive “chorus” that adds depth to the melody. This combination abruptly fades, leaving the striking chords of a keyboard that conclude in a melancholic tune, effectively establishing the film’s intended tone. The visuals largely meet expectations, delivering a quality that aligns with the romantic drama’s aesthetic. However, the film struggles with inconsistent colour grading and, in some scenes, suffers from overexposure and poor lighting. The production values and costume choices reflect a keen attention to detail, enhancing the overall ambiance and genre-specific elements. This results in a visually pleasing experience that juxtaposes the ironic pains and struggles of the characters, creating a compelling contrast that enriches the narrative. ##### Performances The performances are quite impressive. The actors bring their characters to life, infusing them with emotional depth that resonates throughout the series. Each actress, Omoni Oboli (as Belinda), Toni Tones (as Tammy), and Bimbo Ademoye (as Afua), does a fantastic job of capturing the complexities of their role, which allows us to connect with their struggles and triumphs. We can especially appreciate the chemistry between the three leads; it makes their friendships feel authentic and relatable. Overall, the strength of the performances significantly enhances the show’s ability to engage the audience and communicate its themes effectively. We also have good performances from the supporting cast: Karibi Fubara (as Bayo), Tayo Arimoro (as James), Mawuli Gavor (as Victor), Chy Nwakanma (Gloria), Abiola Segun Williams (Tammy’s Mum), among others. ##### Final Thoughts *Last Year Single* presents a mixed bag of storytelling that engages viewers on certain levels while leaving much to be desired in others. The series effectively tackles themes of societal pressure surrounding marriage and individual identity, but its execution falters under the weight of repetitive dialogue and pacing issues. While the production values are solid, they do not elevate the film to any remarkable heights. This lack of standout elements, combined with pacing issues and a somewhat convoluted narrative structure, limits the series’ broader appeal. The series concludes with an unexpected cliffhanger that feels somewhat disjointed, generating a sense of intrigue for the upcoming season. Key questions arise: Has season 2 already been filmed? How will Bayo’s character evolve if it hasn’t? Moreover, while our enthusiasm is tempered, one must ponder the architect behind this pivotal plot twist. These unanswered queries invite viewers to speculate on the narrative’s direction and character development, heightening anticipation for what lies ahead. ##### Verdict Ultimately, *Last Year Single* is best suited for [Nollywood](https://nollycritic.com/nollywood-movies-and-series-to-see-in-september-2024/ "nollywood") viewers who appreciate slow-paced dramas that delve into relationship dynamics. While it has its merits, the inconsistencies in pacing and narrative depth hinder its overall impact. It’s a series that offers valuable insights but may not resonate with all audiences. *Last Year Single* is currently streaming on [Netflix](https://www.netflix.com/browse "Netflix"). **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/last-year-single-a-slow-burn-drama-with-an-interesting-cliffhanger/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/last-year-single-a-slow-burn-drama-with-an-interesting-cliffhanger/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/last-year-single-a-slow-burn-drama-with-an-interesting-cliffhanger/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/last-year-single-a-slow-burn-drama-with-an-interesting-cliffhanger/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/last-year-single-a-slow-burn-drama-with-an-interesting-cliffhanger/?share=linkedin) - **Categories:** Articles, Blog, Reviews, TV **Tags:** Bimbo Ademoye, Chy Nwakanma, Karibi Fubara, Mawuli Gavor, Netflix, nollycritic, nollywood, Omoni Oboli, Tayo Arimoro, Toni Tones --- ### [Black Mail: A Slow Burn Action Thriller That Struggles To Deliver](https://nollycritic.com/black-mail-a-slow-burn-action-thriller-that-struggles-to-deliver/) **Published:** September 22, 2024 **Author:** Uju Okosieme **Excerpt:** Obi Melonye's 2022 film Black Mail recently debuted on Prime Video, and we couldn’t pass up the chance to watch what promised to be an adventure. **Content:** Obi Melonye’s 2022 film *[Black Mai](https://www.imdb.com/title/tt19370038/?ref_=ttexr_ov "Black Mai")l* recently debuted on Prime Video, and with O.C. Ukeje’s long absence from our screens, we couldn’t pass up the chance to watch what promised to be a thrilling adventure. ## *Black Mail* Directed by: Obi Melonnye Produced by: Obi Melonye Genre: Action Thriller Released date: September 12, 2024 (Prime Video) Language: English #### Plot ‘Black Mail’ follows Ray Chinda, an actor and family man, as he scrambles to prevent a private video of himself from being leaked online, a threat that could destroy his professional and personal life. However, the plot leaves much to be desired regarding relevance and pacing. The marital issues between Ray and his wife seem significant initially, only to be magically resolved once he explains what’s happening. The Igor scam network and the dynamic between Igor and Ivana form the crux of the conflict, but it’s a long and slow journey to reach that resolution. #### Story The film’s premise—someone being blackmailed online—is very relatable, especially in today’s digital age. But the believability fades when you consider that at this point, most people, especially someone seemingly high profile, would know better than to fall for phishing schemes. It’s hard to understand why Ray waited so long to tell his wife about the blackmail, making it feel like a plot device to extend the story artificially. Ruben’s parallel blackmail subplot also seems unnecessary, adding little to the overall narrative. His reluctance to confide in Ray about his situation feels underdeveloped and unconvincing. #### Performances O.C. Ukeje delivers a good performance as Ray Chinda, but Julia Holden as Nikki doesn’t quite match his energy, leaving some scenes feeling unbalanced. Petra’s (Jelena Borovskaya) early emotional breakdown upon hearing about Ivana also falls flat, as her reaction felt premature and lacked authenticity. The climactic fight scene, which should have been the high point of the film, ends up being underwhelming. Overall, no performance in the film truly stands out. #### Technical Aspects The film’s use of music was one of its stronger points. The soundtrack effectively heightens tension and underscores key moments, but it stands out as one of the few highlights in an otherwise slow-paced narrative. The film’s look suits the tone save for some. distracting harsh blue lights in some indoor scenes. The location and set design are also believable. #### Final Thoughts ‘Black Mail’ raises an intriguing question: how far would you go to hide your private life? However, Ray doesn’t take the extreme measures the film’s tagline seems to promise leaving us with a slow-burn drama instead of the high-octane action we anticipated. Additionally, certain plot elements feel disconnected. For instance, How career-damaging would the supposed video of Ray masturbating be in this day and age? especially as there is no form of nudity in the video? Furthermore, Ray recklessly chooses to masturbate while being blackmailed, even though his porn habits are the very thing being used against him, making his decision feel nonsensical. Moreover, the police had most of the relevant information early on, so why it took them so long to show up at the scene is a mystery. #### Verdict ‘Black Mail’ offers a fresh premise compared to the typical [Nollywood](https://nollycritic.com/nollywood-movies-and-series-to-see-in-september-2024/ "Nollywood") fare, but its sluggish pace and missed opportunities for stronger storytelling prevent it from truly shining. Overall, it makes for an enjoyable watch, if you are patient enough to see it through. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/black-mail-a-slow-burn-action-thriller-that-struggles-to-deliver/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/black-mail-a-slow-burn-action-thriller-that-struggles-to-deliver/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/black-mail-a-slow-burn-action-thriller-that-struggles-to-deliver/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/black-mail-a-slow-burn-action-thriller-that-struggles-to-deliver/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/black-mail-a-slow-burn-action-thriller-that-struggles-to-deliver/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Black Mail, Blackmail, nollywood, O.C. Ukeje, Obi Melonye, Prime Video, Reviews --- ### [Ranking The Most Expensive Nollywood Movies of All Time](https://nollycritic.com/ranking-the-most-expensive-nollywood-movies-of-all-time/) **Published:** September 20, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood has seen significant growth over the years, evolving from its modest beginnings into a powerhouse in African entertainment both in terms of storytelling and production quality. **Content:** Nollywood has seen significant growth over the years, evolving from its modest beginnings into a powerhouse in African entertainment both in terms of storytelling and production quality. This evolution is evident when comparing the industry’s early days to its current state. One major factor contributing to this growth is the increasing budgets allocated to film production, allowing filmmakers to undertake more ambitious projects that reflect the industry’s expanding capabilities. As a result of these investments, Nollywood has produced films with substantial production costs, showcasing its ability to compete on a global stage. Below is a detailed look at the most expensive Nollywood films ever made, ranked from highest to lowest budget, with both historical and today’s estimated budgets provided: ##### *Half of a Yellow Sun* (2013) *Half of a Yellow Sun* tops the list as the most expensive Nollywood film, with a budget estimated between ₦1.27 billion and ₦1.6 billion ([Daily Trust](https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://dailytrust.com/nollywoods-most-expensive-films/&ved=2ahUKEwjjkb3o2qiIAxVsRUEAHZ1tHXMQFnoECC8QAQ&usg=AOvVaw19S__GlmmGlYwwMMa1X9eR "Daily Trust")). Directed by Biyi Bandele, this historical drama is based on Chimamanda Ngozi Adichie’s acclaimed novel. The film tells the story of two sisters caught in the turmoil of the Nigerian Civil War. ##### *Ije* (2010) Following closely is *Ije*, directed by Chineze Anyaene, with a budget of ₦375 million ([List ng](https://lists.ng/10-most-expensive-nollywood-movies/ "List ng")). This film is a powerful drama centered around a woman’s quest to uncover the truth behind her sister’s arrest in the United States. Featuring Nollywood superstars Genevieve Nnaji and Omotola Jalade Ekeinde, the film had a substantial production cost at the time. Adjusted for today’s exchange rate, the budget would be approximately ₦1.9 billion using an exchange rate of ₦750 per USD ([XE.com](https://www.xe.com/currencytables/?from=USD&date=2024-08-22 "XE.com")). ##### *’76* (2016) Directed by Izu Ojukwu, ‘*76* is another high-budget production, costing ₦600 million ([Pulse Nigeria](https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://www.pulse.ng/entertainment/movies/5-most-expensive-nigerian-films/wplqrfx&ved=2ahUKEwjjkb3o2qiIAxVsRUEAHZ1tHXMQFnoECFEQAQ&usg=AOvVaw1z7BN5jANHLV3L8Z3t57FS "Pulse Nigeria")). In today’s terms, the budget would be around ₦1.1 billion. This film uniquely blends historical events with a touching love story, set against the backdrop of Nigeria’s 1976 military coup. The movie’s detailed portrayal of the political tension of the time, combined with its emotional depth, makes it a standout in Nollywood’s filmography. ##### *The CEO* (2016) Another film with a substantial budget is *The CEO*, directed by Kunle Afolayan. This thriller also had a budget of ₦600 million (Pulse Nigeria). The budget in today’s terms would be approximately ₦1.1 billion. The story revolves around five top executives competing for the position of CEO in a multinational company, set against the backdrop of stunning African landscapes. The film’s suspenseful plot and visual appeal have made it one of the most captivating Nollywood productions. ##### *The Black Book* (2023) According to[ Businessday. ng, ](https://businessday.ng/life-arts/article/the-black-book-when-tech-founders-turn-nollywood-producers/ " Business day.ng, ")this crime thriller directed by Editi Effiong, was produced with a budget of $1,000,000. When considering the exchange rate at the time of production in 2023, this would have been approximately ₦770 to ₦775 million. It features a star-studded cast including Richard Mofe-Damijo, Sam Dede, and Ireti Doyle. The film, released on Netflix, has been compared to international hits like John Wick due to its gripping storyline involving a former hitman drawn back into the criminal underworld. ##### *93 Days* (2016) *93 Days*, directed by Steve Gukas, follows with a budget of ₦400 million ([Daily Trust](https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://dailytrust.com/nollywoods-most-expensive-films/&ved=2ahUKEwjjkb3o2qiIAxVsRUEAHZ1tHXMQFnoECC8QAQ&usg=AOvVaw19S__GlmmGlYwwMMa1X9eR "Daily Trust")). Adjusted for today’s economy, the budget would be around ₦760 million. This documentary drama recounts the heroic efforts of Nigerian health workers who fought to contain the Ebola outbreak in 2014. The film is a tribute to the courage and resilience of those who risked their lives to prevent a nationwide crisis, and its gripping narrative and powerful performances have earned it critical acclaim. ##### *October 1* (2014) Kunle Afolayan’s *October 1* is another high-budget film, produced for ₦330 million ([Daily Trust](https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://dailytrust.com/nollywoods-most-expensive-films/&ved=2ahUKEwjjkb3o2qiIAxVsRUEAHZ1tHXMQFnoECC8QAQ&usg=AOvVaw19S__GlmmGlYwwMMa1X9eR "Daily Trust")). Set in 1960, just before Nigeria’s independence, this period thriller follows a police detective as he investigates a series of murders in a small town. The film’s rich storytelling, combined with its historical setting, earned it praise both locally and internationally, further establishing Afolayan’s reputation as a leading filmmaker in Nollywood. The estimated budget in today’s economy would be about ₦540 million. ##### *The Wedding Party 2: Destination Dubai* (2017) The sequel *The Wedding Party 2: Destination Dubai*, directed by Niyi Akinmolayan, was made with a budget of ₦300 million ([Lists ](https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://dailytrust.com/nollywoods-most-expensive-films/&ved=2ahUKEwjjkb3o2qiIAxVsRUEAHZ1tHXMQFnoECC8QAQ&usg=AOvVaw19S__GlmmGlYwwMMa1X9eR "Lists ng)")[n](https://lists.ng/10-most-expensive-nollywood-movies/ "Lists ng)")[g)](https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://dailytrust.com/nollywoods-most-expensive-films/&ved=2ahUKEwjjkb3o2qiIAxVsRUEAHZ1tHXMQFnoECC8QAQ&usg=AOvVaw19S__GlmmGlYwwMMa1X9eR "Lists ng)"). This romantic comedy continues the story of a newly married couple as they navigate the challenges of their relationship, with the glamorous backdrop of Dubai adding to the film’s visual splendor and production cost. ##### T*he Figurine: Araromire* (2009) Also directed by Kunle Afolayan, this supernatural thriller was produced with a budget ranging between ₦50 million and ₦70 million [(Daily Trust](https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://dailytrust.com/nollywoods-most-expensive-films/&ved=2ahUKEwjjkb3o2qiIAxVsRUEAHZ1tHXMQFnoECC8QAQ&usg=AOvVaw19S__GlmmGlYwwMMa1X9eR "(Daily Trust")). Adjusted for today’s economy, the budget would range between ₦250 million and ₦350 million. The film tells the story of two friends who discover a mystical figurine that brings seven years of good luck, followed by dire consequences. The film’s success at the box office, where it grossed ₦30 million domestically, solidified its place as a classic in Nollywood. ##### *Flower Girl* (2013) Directed by Michelle Bello, this romantic comedy was produced with a budget of ₦50 million ([Daily Trust](https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://dailytrust.com/nollywoods-most-expensive-films/&ved=2ahUKEwjjkb3o2qiIAxVsRUEAHZ1tHXMQFnoECC8QAQ&usg=AOvVaw19S__GlmmGlYwwMMa1X9eR "Daily Trust")). The film tells the story of a young woman eager to get married and her boyfriend, who is more focused on his career. The light-hearted narrative explores the complexities of love and relationships, making it a popular choice among Nollywood audiences. It’s important to note that while this list highlights some of the most expensive Nollywood films, many big-budget projects in the industry do not have their budgets publicly disclosed. For example, the budget for *Gangs of Lagos* has not been officially revealed. Given the film’s scale, production quality, and the involvement of Amazon Prime Video, it is speculated that the budget is substantial by Nollywood standards. The film’s action sequences, special effects, and various location shoots suggest that the budget could be in the range of several million dollars, though these figures remain unconfirmed. Similarly, the budget for *Breath of Life* has not been made public. As is often the case with high-profile Nollywood productions, exact figures are kept confidential, making it challenging to accurately assess the financial scope of such films. This lack of transparency in budget disclosures underscores the difficulty in fully understanding the economic landscape of Nollywood, even as the industry continues to grow and produce films that compete on a global scale. Despite this, the available information shows that Nollywood is increasingly capable of delivering high-quality, big-budget films that capture the attention of audiences worldwide. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ranking-the-most-expensive-nollywood-movies-of-all-time/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ranking-the-most-expensive-nollywood-movies-of-all-time/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ranking-the-most-expensive-nollywood-movies-of-all-time/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ranking-the-most-expensive-nollywood-movies-of-all-time/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ranking-the-most-expensive-nollywood-movies-of-all-time/?share=linkedin) - **Categories:** Articles, Blog, Nollywood --- ### [Peter Sefudia's "One Night Guest" Set For December Release](https://nollycritic.com/peter-sefudias-one-night-guest-wraps-up-production/) **Published:** September 17, 2024 **Author:** Michael Arowoselu **Excerpt:** Peter Sedufia’s One Night Guest has officially wrapped up production. The Ghana-Nigrian drama is set for a Christmas Day release. **Content:** [Peter Sedufia](https://www.imdb.com/name/nm9406059/ "Peter Sedufia")’s *One Night Guest*, which began in 2022, has officially wrapped up production. The film, written and directed by Peter Sedufia and produced by Chris Odeh, is set for a Christmas Day release. The project is a collaboration between OldFilm Productions (Ghana), Sozo Films (Nigeria), and Gravel Road Studios (South Africa), featuring an impressive cast including Yvonne Okoro, Majid Michel, Warri Pikin, Roselyn Ngissah, Ini Edo, Chidi Mokeme, James Gardiner, Lasisi Elenu, and Akah Nani. Peter Sedufia is an acclaimed filmmaker known for his versatility in directing both short and feature-length films. He holds a BFA in film directing and a diploma in business management. With a creative writing background, Peter’s films, including *Keteke (2017) and Sidechic Gang (2018)*, have garnered various awards such as FESPACO. His notable works also include the comedy series *Master and 3 Maids (2016–2017), Away Bus (2019), and Alovera (2020).* The collaboration between Ghana and [Niger](https://nollycritic.com/nollywood-movies-and-series-to-see-in-september-2024/ "Nigeria")ia highlights the strengthening of cultural ties between the two nations. Both countries are powerhouses in African cinema, and their joint ventures help elevate the continent’s global representation in film. By bringing together talents like Chidi Mokeme, Majid Michel, and Ini Edo, the film showcases how African filmmakers are uniting across borders to create powerful narratives that resonate widely. This cooperation enhances storytelling while fostering mutual growth in West African cinema. *One Night Guest* will be released by 2024 Christmas making it another December contender audiences can look out for. ![One night guest](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/09/Screenshot-2024-09-17-at-16.04.44.png?resize=640%2C678&ssl=1) ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/peter-sefudias-one-night-guest-wraps-up-production/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/peter-sefudias-one-night-guest-wraps-up-production/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/peter-sefudias-one-night-guest-wraps-up-production/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/peter-sefudias-one-night-guest-wraps-up-production/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/peter-sefudias-one-night-guest-wraps-up-production/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Chidi Mokeme, Chris Odeh, Ini Edo, James Gardiner, Lasisi Elenu, Majid Michel, One Night Guest, Peter Sedufia, Roselyn Ngissah, Warri Pikin, Yvonne Okoro --- ### [A Ghetto Love Story: See The Trailer For Basketmouth's New Film](https://nollycritic.com/a-ghetto-love-story-see-the-trailer-for-basketmouths-new-film/) **Published:** September 16, 2024 **Author:** Michael Arowoselu **Excerpt:** A Ghetto Love Story, is a collaborative effort between Basketmouth and Victoria Eze. The film celebrates the resilience and resourcefulness of communities often pushed to the margins. **Content:** Comedian [Basketmouth](https://en.wikipedia.org/wiki/Basketmouth), known by his stage name Bright Okpocha, is stepping behind the camera for his first feature film, “A Ghetto Love Story,” scheduled for release later this year. The film, *A Ghetto Love Story*, is a collaborative effort between Basketmouth and co-writer Victoria Eze. The film aims to celebrate the resilience and resourcefulness of communities often pushed to the margins. With a realistic touch, the story explores themes of socioeconomic disparities and societal biases while diving into the complex nature of human connection through a blooming love. Directed by[ Daniel Oriahi](https://nollycritic.com/daniel-oriahis-the-weekend-selected-for-the-2024-bfi-festival/ " Daniel Oriahi"), “A Ghetto Love Story” boasts a star-studded lineup, including Akah Nnani, Beverly Osu, Wale Ojo, Patience Ozokwor, Nkem Owoh, Mercy Johnson Okojie, Bright Okpocha, Daniel Etim Effiong, Genoveva Umeh, Dorathy Bachor, Bethel Njoku, Vandora, Ehiz Dadaboy, and Romeo WJ. The film is set to hit the screens in late November 22, 2024, with distribution handled by FilmOne. See the teaser below. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-ghetto-love-story-see-the-trailer-for-basketmouths-new-film/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-ghetto-love-story-see-the-trailer-for-basketmouths-new-film/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-ghetto-love-story-see-the-trailer-for-basketmouths-new-film/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-ghetto-love-story-see-the-trailer-for-basketmouths-new-film/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-ghetto-love-story-see-the-trailer-for-basketmouths-new-film/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** A ghetto love story, Akah Nnani, Basket Mouth, Bethel Njoku, Beverly Osu, Bright Okpocha, Daniel Etim Effiong, Daniel Oriahi, Dorathy Bachor, Ehiz Dadaboy, Genoveva Umeh, Mercy Johnson Okojie, Nkem Owoh, nollycritic, nollywood, Patience Ozokwor, Romeo wj, Vandora, Victoria Eze, Wale Ojo --- ### [Arese Ugwu's "The Smart Money Woman" Set For October Release](https://nollycritic.com/arese-ugwus-the-smart-money-woman-set-for-october-release/) **Published:** September 16, 2024 **Author:** Michael Arowoselu **Excerpt:** The Smart Money Woman is a financial literacy comedy-drama following a group of stylish and ambitious best girlfriends in Lagos, Nigeria, the mecca of culture in Nigeria. **Content:** The second season of Arese Ugwu’s *The Smart Money Woman* heads to YouTube this October. *The Smart Money Woman* is a financial literacy comedy-drama following a group of stylish and ambitious best girlfriends in Lagos, Nigeria, the mecca of culture in Nigeria. The series which initially aired as a single season of 13 episodes on Africa Magic was released on Netflix as a single season with 7 episodes on 16 September 2021. This new season will stream on [Azuwa Studios YouTube Page.](https://www.youtube.com/@AzuwaStudios "Azuwa Studios YouTube Page.") Azuwa is a multi-faceted entertainment media company committed to telling authentic African stories with the impact that drives important conversations. The company houses Film & TV, digital, audio, and entertainment marketing arms. Directed by Wande Thomas & Bunmi Ajakaiye, the series features an ensemble cast, including; Osas Ighodaro, Toni Tones, Ini Dima-Okojie, Kemi Lala Akindoju, [Timini Egbuson, ](https://nollycritic.com/is-timini-egbuson-the-ultimate-nollywood-golden-boy/ "Timini Egbuson, ")Eso Dike, Seun Ajayi, Tania Omotayo, Enyinna Nwigwe, Eku Edewor, Tobi Bakre, Bolanle Olukanni, Jesse Suntele, and Eby Eno. Arese Ugwu produces the series for Azuwa Studios, Isoken Ogiemwonyi for Studio Ogiso Inc., Akin ‘Marine’ Marinho for Utopia Media, and Lala Akindoju for The Make It Happen Productions. The Show will air on October 10, 2024. See the teaser below. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/arese-ugwus-the-smart-money-woman-set-for-october-release/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/arese-ugwus-the-smart-money-woman-set-for-october-release/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/arese-ugwus-the-smart-money-woman-set-for-october-release/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/arese-ugwus-the-smart-money-woman-set-for-october-release/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/arese-ugwus-the-smart-money-woman-set-for-october-release/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Bolanle Olukanni, Eku Edewor, Enyinna Nwigwe, Eso Dike, Ini Dima-Okojie, Jesse Suntele, Kemi Lala Akindoju, nollycritic, nollywood, Osas Ighodaro, Seun Ajayi, Tania Omotayo, The smart money woman, Timini Egbuson, Tobi Bakre, Toni Tones, Youtube --- ### [Kasala: The Film That Gave Nollywood a Comedy Makeover](https://nollycritic.com/kasala-the-film-that-gave-nollywood-a-comedy-makeover/) **Published:** September 10, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Kasala, directed and shot by Ema Edosio remains significant for addressing topical societal issues and its revolutionary, unconventional visual style. **Content:** Wahala Turn Bicycle! Well, *[Kasala](https://en.wikipedia.org/wiki/Kasala_(film) "Kasala")* took that quite literally. It’s Throwback Thursday, and we’re revisiting the film *Kasala*, directed and shot by Ema Edosio. This film remains significant for addressing topical societal issues and its revolutionary, unconventional visual style. Let’s dive in. ##### Plot and Story The plot follows four teenage friends: Chikodi (Mike Afolarin), Abraham (Chimezie Imo), Effiong (Tomiwa Tegbe), and T.J. (Emeka Nwagbaraocha). T.J. takes his uncle’s car without permission for a joyride with his friends, but they end up crashing it. Desperate to fix the damage, they resort to shady schemes to secure the necessary funds. Simply put, the film is about how these teenage boys secure funds to fix the damage. And, they’re in for comedic and hilarious experiences. The story is different, quirky, relatable, unique, and unconventional, making it an intriguing watch. Released in 2018, this film stood out because teenage-centric stories were a rarity in Nollywood at the time. Even now, while there’s a growing interest in coming-of-age narratives—evidenced by recent films like Kunle Afolayan’s *Ijogbon* and the popular series *Far from Home*—*Kasala* remains unique as one of the pioneers of coming-of-age stories in Nollywood. What sets *Kasala* apart is its bold approach. The film combines experimental comedy with a meaningful exploration of a controversial topic, which is not its central focus. This blend not only breaks away from the typical Nollywood formula but also sparks important conversations. How the film went about portraying this is interesting to debate about. ##### Visual and Cinematic Style The film features good and interesting cinematography with some unique angles and shots. The fish-eye effect was beautiful and experimental, not something you would usually see in Nollywood films. The raw and unfiltered location sets—complete with garbage on the streets, untidy rooms, and dirty gutters, even “okada” onlookers —added to the story’s realism. The film was set in a real environment. The color grading effectively complements this with its gritty palette, although it falters in some parts due to poor lighting. The film’s aesthetic encapsulates its genre and enhances the gritty, ghetto-like setting, underscoring the thrilling adventures and lightheartedness of teenagehood. The characters encounter a serious situation, made relatable and real by the setting, but their experiences unfold in hilariously relatable circumstances. It’s funny, but also profoundly reflective. Director and cinematographer Ema Edosio uses the film’s look to heighten the genre’s unseriousness. Her approach is experimental, employing unconventional and unusual shots to capture unique, humorous angles that satirize society and the story. Edosio focuses on how visuals enhance comedy, not just the action and narrative. She utilizes long lenses to give characters a caricature-like appearance at times, showcasing their points of view. The film’s color palette is gritty with moderate vibrance, adding to its unique visual appeal. We don’t see this unique visual style often in [Nollywood](https://nollycritic.com/nollywood-movies-and-series-to-see-in-july-2024/ "Nollywood") comedies, even today, though there are a few exceptions. “Kasala” serves as a stepping stone, introducing this approach to Nigerian cinema and exemplifying Nollywood’s growth in combining fun and deliberate filmmaking techniques. All these elements are brought to life through seamless editing, color grading, and good cinematography. However, there were continuity errors here and there, with long montages and slow-motion sequences that, while not bad, felt a bit lengthy. ##### Performances It’s exciting to see many actors from “Kasala” who are now making big waves in Nollywood. Their performances are all good, believable, and come off as natural. Chimezie Imo’s character was quite silent, though he had his moments to shine. Following his recent win at the AMVCA, we’ve witnessed his growth in Nollywood. Alongside him, Mike Afolarin and Emeka Nwagbaraocha (both featured in “Far from Home”) are outstanding actors whose performances and characters truly shine. Their growth in the industry highlights the film’s role as a stepping stone in their careers. ##### Kasala’s Sociocultural Impact on Nollywood Filmmaking In a time when coming-of-age narratives were not apparent, *Kasala* experiments with its bold, gritty portrayal of teenage life in Nigeria. It serves as a pioneer in coming-of-age narratives within Nollywood, challenging conventional storytelling and visual styles. The film’s authentic depiction of societal issues gives a nostalgic feeling, making it relevant even today. Director[ Ema Edosio](https://www.imdb.com/name/nm8061992/ " Ema Edosio")‘s approach is experimental, employing unconventional and unusual shots to capture unique, humorous angles that satirize society. This visual style, rarely seen in Nollywood comedies, marks *Kasala* as a groundbreaking work in Nigerian cinema. In the context of recent awareness raised by the Nigerian Film Censors Board regarding portrayals of homosexuality in Nollywood films, *Kasala* subtly addresses sensitive subjects within the confines of the law. This nuanced approach allows the film to tackle controversial issues without confrontation, reflecting the complexities of navigating societal norms and censorship in Nigeria. By embedding these topics within a broader narrative, *Kasala* engages viewers in a deeper reflection on societal challenges, promoting dialogue and understanding in a subtle yet impactful way. *Kasala* stands out for its bold narrative, experimental visual style, and authentic portrayal of teenage life, addressing and reflecting societal issues that contribute to important conversations about youth, societal norms, and filmmaking in Nigeria. The film’s impact on Nollywood is notable, pioneering coming-of-age stories and subtly approaching controversial topics within the context of Nigerian censorship laws. But, one question arises. Do laws and ethical conduct by the NFVCB limit creativity on this topical issue? Well, *Kasala* proved not. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kasala-the-film-that-gave-nollywood-a-comedy-makeover/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kasala-the-film-that-gave-nollywood-a-comedy-makeover/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kasala-the-film-that-gave-nollywood-a-comedy-makeover/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kasala-the-film-that-gave-nollywood-a-comedy-makeover/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kasala-the-film-that-gave-nollywood-a-comedy-makeover/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews **Tags:** Ema Edosio, Kasala, Mike Afolarin, Netflix, nollycritic, nollywood --- ### [The Weekend: Finally, A Thriller That Checks The Right Boxes](https://nollycritic.com/the-weekend-finally-a-thriller-that-checks-the-right-boxes/) **Published:** September 4, 2024 **Author:** Shalom O. Obisesan **Excerpt:** The Weekend stirred a flicker of anticipation. Nothing overwhelming, but enough to pique my curiosity. And, to my surprise, the film delivered. **Content:** Entering the cinema with virtually no expectations has become my approach, a safeguard against the disappointment that often follows overhyped trailers. Yet, following updates on [*The Weekend* ](https://www.imdb.com/title/tt32151255/ "The Weekend ")stirred a flicker of anticipation. Nothing overwhelming, but enough to pique my curiosity. And, to my surprise, the film delivered. It exceeded my cautious hopes, offering a commendable, if not groundbreaking, entry into the Nollywood psychological slasher-horror genre. With its unsettling family secrets, psychological tension, and moderate graphic violence, it stands as the finest Nollywood horror/thriller film, marking a significant win for the industry. Let’s dive further. ## *The Weekend* Directed by: Daniel Oriahi Produced by:Uche Okocha Genre: Thriller Released date: August 30, 2024 (Cinemas) Language: English ##### Plot An orphaned woman, desperate for family bonds, convinces her fiancé, Luke Chezeta (Bucci Franklin), to visit his estranged relatives. Nikya (Uzoamaka Aniunoh), who has yearned for a family since childhood, sees this as her chance for completeness. However, Luke, who has been estranged from his family for over a decade, is hesitant. Undeterred, Nikya’s insistence leads them to his childhood home in Kwasa, where she uncovers unsettling truths. As the layers of family secrets unravel, Nikya realizes that the price of belonging may be far more perilous than she ever imagined. The film opens in media res, with a chilling sequence, instantly establishing a sense of dread. The storyline then transitions to a more contemporary and relaxed atmosphere, where Luke receives a call from his mother, Omicha (Gloria Anozie-Young), inviting him to celebrate his parents’ 50th wedding anniversary. Although Luke has been estranged from his family for the past 15 years, his fiancé, Nikya encourages him to return to his hometown of Kwasa. Upon their arrival, Luke and Nikya encounter a complex blend of warmth and underlying tension. Luke’s family, including his authoritative father Meki (Keppy Ekpeyong Bassey) and his distant sister Kama (Meg Otanwa), stands in stark contrast to the brash and self-proclaimed “man of substance,” Zeido (James Timothy Gardiner). The plot unfolds at a deliberate pace, meticulously exploring the psychology of its characters without haste. It avoids rushing or skimming over details, instead laying intensity gradually as the story progresses. This steady build-up ensures that by the time we reach the climax, we are deeply invested in the narrative. The ending, with its irony, feels both surprising and inevitable upon reflection—a subtle, lingering conclusion that underscores the film’s thematic depth. ##### Story As *The Weekend* unfolds, the initial family drama spirals into horror, revealing dark family secrets and unsettling acts. This transformation from a domestic narrative to gruesome horror accentuates the film’s dual character, skillfully merging melodrama with slasher elements. While some pacing issues and familiar tropes may lessen its overall impact, the film presents a distinctive fusion of family satire and horror, offering a unique, albeit somewhat predictable, interpretation of genre conventions. It offers a narrative that, while not wholly original, is adapted to fit a Nigerian context following familiar Hollywood tropes. The film explores family dynamics and generational clashes, emphasizing Luke’s conflict between his past and his current life. ##### The Cinema Experience The cinema experience is deeply immersive, drawing viewers into the narrative with its compelling narrative. The film’s soundtrack enhances the atmosphere, intensifying the emotional impact as the story unfolds. Throughout the screening, audience reactions varied from shocked gasps to laughter at cleverly crafted inside jokes, highlighting the film’s ironic elements. Viewers connected with the characters personally, expressing frustration at Nikya’s intrusive curiosity. The collective experience of laughter, silence, and astonishment created a memorable and engaging cinematic event. ##### Technical Aspects The cinematography is subtly and seamlessly integrated with the narrative, enhancing the storytelling through its visual approach. The framing effectively conveys themes of disconnection and distance, immersing the audience in the characters’ experiences. Notably, scenes like those with Zeido and Kama in their car showcase the film’s ability to use visuals to deepen the narrative. The striking contrasts between the cast’s appearances and their settings add a layer of visual interest. The film’s costume design, particularly for the character of Kama, is noteworthy. Costume changes symbolize her evolution underscoring significant character development without revealing too much. Overall, the production value is commendable, with a meticulous focus on the film’s aesthetic and visual presentation. The soundscore, while functional in supporting the tension, does not stand out prominently but does contribute to the audience’s engagement with the story. Additionally, the moderate exposition adds a layer of realism, blending seamlessly with the film’s overall tone. ##### Performances In terms of exposition, the film handles character dynamics and motivations with precision. Dialogues often reveal underlying tensions and relationships, contributing to a sense of realism in the interactions between Luke and Nikya. This helps heighten the performance. Bucci Franklin’s portrayal of Luke Chezeta captures the essence of a man tormented by his past, caught between the allure of modernity and the gravity of family tradition. His performance effectively conveys Luke’s internal struggle and the pull of his family’s dark legacy. Nikya, played by[ Uzoamaka Aniunoh](https://nollycritic.com/with-difficulty-comes-ease-a-strong-tale-of-loss-and-faith/ " Uzoamaka Aniunoh"), is a character-driven by a deep-seated desire for connection and belonging. Aniunoh’s subtle and nuanced performance highlights Nikya’s naivety and relentless curiosity, making her descent into the nightmarish reality of the film both believable and compelling. Keppy Ekpeyong Bassey, as Meki, embodies the archetypal patriarch with a complex mix of sternness and affection. His portrayal of a man who reveres family traditions while masking a sinister undertone is executed with finesse. Gloria Anozie-Young, in the role of Omicha, navigates the dualities of warmth and complicity with a layered performance that adds depth to her character’s involvement in the family’s secrets. James Timothy Gardiner’s Zeido is a striking representation of toxic masculinity, with his arrogant and abusive demeanor creating a sharp contrast to Luke’s more introspective nature. Gardiner’s performance brings out the caricature of a “man of substance” with a level of arrogance that effectively elicits audience disdain. Meg Otanwa’s portrayal of Kama is a compelling exploration of loyalty and personal conflict. Her transformation from a submissive girlfriend to a more assertive character is both engaging and pivotal to the film’s dramatic arc. ##### Final Thoughts This film presents a narrative that, while not authentically Nigerian, is plausible within a Nigerian context. The story follows familiar tropes from Hollywood, reflecting a broader trend where Nollywood films often adapt and reconfigure established Western narratives to fit local settings. This approach, though not inherently bad, raises questions about Nollywood’s original identity. By leaning on borrowed frameworks rather than crafting distinctly Nigerian stories, the film prompts a reflection on whether the industry is cultivating its unique voice or merely mirroring global conventions. *The Weekend* stands out as a remarkable addition to the burgeoning landscape of Nollywood’s horror genre. Nevertheless, for die-hard horror fans; those who crave the visceral thrills or the deep psychological layers that characterize more established works, this film may feel a bit wanting. Still, it captivates and engages, wielding power to surprise certain viewers, which highlights the refreshing and relatively uncharted territory of horror within the Nigerian cinematic sphere. ##### Verdict The engaging plot and solid performances contribute to the film’s appeal, though it occasionally falls into predictable territory. The production quality enhances the immersive experience. Overall, it offers a compelling addition to Nollywood’s horror genre while still adhering to genre conventions. **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-weekend-finally-a-thriller-that-checks-the-right-boxes/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-weekend-finally-a-thriller-that-checks-the-right-boxes/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-weekend-finally-a-thriller-that-checks-the-right-boxes/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-weekend-finally-a-thriller-that-checks-the-right-boxes/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-weekend-finally-a-thriller-that-checks-the-right-boxes/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Bucci Franklin, Keppy Ekpeyong Bassey, nollycritic, nollywood, The Weekend, Trino Motion Pictures, Uche Okocha, Uzoamaka Aniunoh --- ### [Daniel Oriahi's The Weekend Selected for The 2024 BFI Festival](https://nollycritic.com/daniel-oriahis-the-weekend-selected-for-the-2024-bfi-festival/) **Published:** September 5, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Daniel Oriahi’s psychological thriller The Weekend has been officially selected to screen at the 2024 BFI London Film Festival. **Content:** Nollywood is once again stepping onto the global stage, as Daniel Oriahi’s psychological thriller *[The Weekend](https://nollycritic.com/the-weekend-finally-a-thriller-that-checks-the-right-boxes/ "The Weekend")* has been officially selected to screen at the 2024 BFI London Film Festival. The 68th edition of the festival will run from October 9 to October 20, 2024, showcasing films from 80 countries, with 255 titles spanning various genres and formats, including features, shorts, series, and immersive works. Oriahi’s latest offering, *The Weekend*, has already gained significant traction. The film had earlier premiered at the 2024 Tribeca Film Festival, where it was the only Nollywood film featured. Following its release on August 30, 2024, *The Weekend* grossed ₦8 million at the Nigerian box office, further cementing its place as a standout in the psychological thriller genre. The movie, which tells the story of Nikya, an orphan girl seeking a family, who visits her fiancé’s seemingly perfect family only to uncover their dark secret, stars Uzoamaka Aniunoh as Nikya, alongside Bucci Franklin, Meg Otanwa, Keppy Ekpenyong Bassey, Gloria Anozie-Young, and Damilola Ogunsi. Oriahi, known for his earlier works like *Taxi Driver: Oke Ashewo* (2015) and *Sylvia* (2018), expressed his excitement about *The Weekend* being selected for the BFI London Film Festival. He took to Instagram to share his joy: “I am deeply honored and proud to announce that *The Weekend* has been officially selected to screen at the 2024 BFI London Film Festival, the largest film festival in the UK. This selection comes as *[The Weekend](https://www.imdb.com/title/tt32151255/?ref_=ra_gb_ln "The Weekend")* continues to break box office records for its genre in Nollywood.” The film will be showcased in the BFI (LFF) Cult Section, alongside some of the most anticipated thrillers and horror films of the season. It will be screened on October 13, 16, and 17, 2024, further highlighting the growing influence of Nigerian cinema on the international scene. Oriahi’s journey as a filmmaker began with his debut feature *Misfit*, a psychological horror produced on a shoestring budget. Since then, he has continued to push the boundaries of Nigerian storytelling, and *The Weekend* solidifies his reputation as a key player in the new wave of Nigerian filmmakers. With this latest recognition, *The Weekend* is poised to make a lasting impact, bringing Nollywood thrillers into the global spotlight and inspiring more Nigerian filmmakers to explore new genres and storytelling techniques. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/daniel-oriahis-the-weekend-selected-for-the-2024-bfi-festival/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/daniel-oriahis-the-weekend-selected-for-the-2024-bfi-festival/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/daniel-oriahis-the-weekend-selected-for-the-2024-bfi-festival/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/daniel-oriahis-the-weekend-selected-for-the-2024-bfi-festival/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/daniel-oriahis-the-weekend-selected-for-the-2024-bfi-festival/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** BFI, BFI London Festival, Bucci Franklin, Daniel Oriahi, Gloria Anozie-Young, Keppy Ekpenyong Bassey, Meg Otanwa, nollycritic, nollywood, The Weekend, Uzoamaka Aniunoh --- ### [Lisabi The Uprising: See The Trailer For Lateef Adedimeji's New Epic](https://nollycritic.com/lisabi-the-uprising-see-the-trailer-for-lateef-adedimejis-new-epic/) **Published:** September 3, 2024 **Author:** Michael Arowoselu **Excerpt:** The official trailer for Lisabi The Uprising has just been released by Netflix. The biopic is scheduled for release on September 27, 2024. **Content:** The official trailer for the Niyi Akinmolayan directed,[ *Lisabi The Uprising*](https://nollycritic.com/lateef-adedimeji-unveils-two-part-netflix-epic-biopic-lisabi-celebrating-yoruba-heroism/ " Lisabi: The Uprising") has just been released by [Netflix](http://www.netflix.com "Netflix"). The two-part epic biopic is scheduled for release on September 27, 2024. This film, which delves into the life and legacy of the revered Yoruba hero Lisabi, promises to be a monumental addition to the growing slate of Nigerian historical dramas. *Lisabi* *The Uprising* narrates the story of an 18th-century Egba farmer who courageously led a rebellion against the powerful and oppressive Oyo Empire. The film aims to portray Lisabi as a figure of defiance whose leadership ultimately resulted in the defeat of over 6,000 Oyo soldiers, securing independence for the Egba people after years of subjugation. His story is a testament to Yoruba resilience and marks a pivotal moment in the region’s history. The biopic is structured in two parts: *Lisabi The Uprising*, which will premiere on 27th September 2024, with its sequel, *Lisabi: A Legend is Born*, slated for release in January 2025. The first part focuses on Lisabi’s rise as a leader and the initial sparks of rebellion, while the sequel will explore the aftermath of his victory and the enduring impact of his legacy on Yoruba history. *Lisabi The Uprising* features a formidable cast of Nollywood’s finest, including Femi Adebayo, Odunlade Adekola, Ibrahim Itele Yekini, Ibrahim Chattah, and Mo Bimpe, alongside Lateef Adedimeji himself. Directed by the acclaimed Niyi Akinmolayan, known for his ability to bring Nigerian stories to life with vivid detail and emotional depth, the film is expected to set new standards in the portrayal of African historical epics. See the trailer below! ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/lisabi-the-uprising-see-the-trailer-for-lateef-adedimejis-new-epic/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/lisabi-the-uprising-see-the-trailer-for-lateef-adedimejis-new-epic/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/lisabi-the-uprising-see-the-trailer-for-lateef-adedimejis-new-epic/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/lisabi-the-uprising-see-the-trailer-for-lateef-adedimejis-new-epic/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/lisabi-the-uprising-see-the-trailer-for-lateef-adedimejis-new-epic/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Lateef Adedimeji, Lisabi, Lisabi The Uprising, Netflix, nollycritic, nollywood --- ### [Nollywood in August: Emotions and Entertaining Disappointments](https://nollycritic.com/nollywood-in-august-emotions-and-entertaining-disappointments/) **Published:** September 2, 2024 **Author:** Shalom O. Obisesan **Excerpt:** As we step into a new month, let’s take a moment to reflect on the cinematic gems and not-so-great films that Nollywood served us in August. **Content:** As we step into a new month, let’s take a moment to reflect on the cinematic gems and not-so-great films that Nollywood served us in August. From the heart-wrenching tales of grief to predictable thrillers, this past month showcased a mix of emotions, leaving us chuckling, frowning, and occasionally scratching our heads in confusion. Here’s our humorous take on the films that graced our screens. ##### With Difficulty Comes Ease (August 1) Kicking off August was *[With Difficulty Comes Ease](https://nollycritic.com/with-difficulty-comes-ease-a-strong-tale-of-loss-and-faith/ "With Difficulty Comes Ease")*, a film that felt like a slow, melancholic stroll through Aisha’s grief. This Muslim widow’s journey through heartache was beautifully portrayed, but the film’s sluggish pace might leave you questioning your life choices—or just your choice of movie snacks. While we felt every painful moment Aisha endured, the rushed ending wrapped up her struggles in a neat little bow, leaving us with a bittersweet sense of ease. We rate this film 3/5, definitely, one of the best this year, even if it had us fighting off the urge to sleep. ##### The Betrayed (August 2) Next up, *[The Betrayed](https://nollycritic.com/the-betrayed-fifty-shades-of-red-in-a-crimson-mess/ "The Betrayed")* hit cinemas with a promise of thrills, but it was as predictable as a Nollywood plot twist. Spoiler alert: someone close is the betrayer! With stunning visuals and a catchy soundtrack, this film had its moments—especially when the handsome playboy met his untimely end. Despite its cohesive plot and engaging storyline, the film’s suspense felt more like a gentle nudge than a punch to the gut. We give it 3.5/5 for its efforts, but we can’t help but wish for a twist that didn’t feel like it was written in stone. ##### Something Like Gold (August 17) Now, *Something Like Gold* left some viewers raving, while we found ourselves yawning. Despite its technical prowess, the protagonist’s exaggerated antics pushed the boundaries of believability, causing a disconnect that made us question why we should care about her journey. With a direction that felt indecisive and shallow, this film barely held our interest. We rate it 2.5/5. An ironic title for a film that felt more like a heavy burden than a treasure. ##### Tokunbo (August 23) Arriving on the scene was *[Tokunbo](https://nollycritic.com/tokunbo-a-low-stakes-crime-thriller-with-predictable-twists/ "Tokunbo")*, another mixed bag. It had its strengths, with well-planned camera shots and decent transitions, but it leaned heavily on clichés and predictability. Despite its strengths, audiences were treated to a conventional narrative that left us yearning for more excitement. Ramsey Nouah’s film managed to tick some boxes, but it felt like it was playing it safe. We score it 3/5. A solid effort, but not quite a home run. ##### Force Empire (August 23) Also released on the 23rd, *Force Empire* tackled the pressing issue of gender inequality in the workplace, particularly in the Nigerian Ploce force. With Nse Ikpe-Etim shining as the protagonist, this film brought an important message to the forefront. However, despite its commendable intentions and moderate visuals, it fell short of being an immersive experience worthy of a cinema trip. We give it a 3/5. A thought-provoking watch, but maybe better suited for a cozy night. ##### Break of Dawn (August 23) Last but not least, *Break of Dawn* attempted to confront serious issues surrounding blood money, but it stumbled through its narrative. Despite a decent premise and some impressive night-time visuals, the film failed to deliver a coherent message, leaving us more confused than enlightened. The characters felt flat, and the performances struggled to connect. We rate it 2.5/5. A missed opportunity that left us wishing for a better plot twist. As we bid farewell to August, it’s evident that we received slightly better films than in July, with most falling on the moderate side of the quality spectrum. While some films had us appreciating the effort behind Nollywood filmmaking, others left us chuckling at their absurdities. As we draw the curtain on August, it’s clear that Nollywood has presented us with a varied array of cinematic experiences. While some films soared with heartfelt storytelling and stunning visuals, others stumbled into the realm of predictability and confusion. This month’s lineup reminded us that the journey of filmmaking is a labour of love, filled with both triumphs and trials. Despite the ups and downs, we appreciate the creativity and effort behind these films, and it’s evident that Nollywood is evolving. Whether we laughed, sighed, or rolled our eyes, each film sparked conversations and reflections about our society and culture. So, here’s to August—may it be a stepping stone for even bolder narratives and more daring stories in the months to come. We’re excited to see what Nollywood has in store next, and we’ll be right here, popcorn in hand, ready for the next cinematic adventure! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-in-august-emotions-and-entertaining-disappointments/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-in-august-emotions-and-entertaining-disappointments/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-in-august-emotions-and-entertaining-disappointments/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-in-august-emotions-and-entertaining-disappointments/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-in-august-emotions-and-entertaining-disappointments/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** break of dawn, Break of dWN, Force Empire, nollycritic, nollywood, Something Like Gold, The betrayed, Tokunbo, With Difficulty Comes Ease --- ### [Jade Osiberu’s Christmas in Lagos; A Festive Rom-Com With Studded Cameos and Afrobeats](https://nollycritic.com/jade-osiberus-christmas-in-lagos-a-festive-rom-com-with-studded-cameos-and-afrobeats/) **Published:** August 29, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Christmas in Lagos is a portrayal of the festive season in Lagos, filled with interwoven romantic relationships and the vitality that characterizes the city during December. **Content:** [Jade Osiberu](https://nollycritic.com/an-overview-of-the-astronomical-rise-of-women-in-nollywood/ "Jade Osiberu"), the acclaimed Nigerian filmmaker known for her action-packed films, is set to return this December with the highly anticipated romantic comedy *Christmas in Lagos*. Following her success with *[Gangs of Lagos](https://www.imdb.com/title/tt19704612/ "Gangs of Lagos")* in 2023, Osiberu has remained relatively silent until recently, when she teased her upcoming projects, including this Detty December-themed film. *Christmas in Lagos* is a portrayal of the festive season in Lagos, filled with interwoven romantic relationships and the vitality that characterizes the city during December. The film features an all-star cast, including Richard Mofe Damijo (RMD), Shaffy Bello, Wale Ojo, Teniola Aladese, and Shalom C. Obiago. Notably, Afrobeats stars Ayra Starr and Adekunle Gold make their acting debut, with Ayra Starr’s cameo marking a significant entry into Nollywood. The film follows the story of Fiyin (Aladese), who, after a heartbreak, believes her best friend, Elo (Obiago), is the love of her life. However, complications arise when Elo returns from New York with plans to propose to his secret girlfriend, Yagazie (Angel Anosike). Meanwhile, Gbemi (Bello) faces a dilemma between her current boyfriend and a past lover. At the same time, Ivie (Rayxia Ojo), a London-raised character, unexpectedly finds love with Ajani (Ladipoe) during her memorable Detty December in Lagos. Osiberu’s decision to incorporate Afrobeats music and artists into the film underscores her intention to capture the essence of contemporary Nigerian culture, particularly during the festive season. The soundtrack is expected to be a vibrant mix of Nigerian pop songs that resonate with the holiday spirit in Lagos. *Christmas in Lagos* will premiere globally on Prime Video this December. Despite Prime Video’s recent decision to halt new African productions, Osiberu’s film will still be released under their banner, fulfilling the last of her three-year deal with the streaming platform. In addition to this romantic comedy, Osiberu has hinted at future action projects, including a possible sequel to *Gangs of Lagos*, assuring her fans that she has more thrilling stories in the pipeline. > [View this post on Instagram](https://www.instagram.com/reel/C_NgMd-MGpk/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Jade Osiberu (@jadeosiberu)](https://www.instagram.com/reel/C_NgMd-MGpk/?utm_source=ig_embed&utm_campaign=loading) ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/jade-osiberus-christmas-in-lagos-a-festive-rom-com-with-studded-cameos-and-afrobeats/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/jade-osiberus-christmas-in-lagos-a-festive-rom-com-with-studded-cameos-and-afrobeats/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/jade-osiberus-christmas-in-lagos-a-festive-rom-com-with-studded-cameos-and-afrobeats/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/jade-osiberus-christmas-in-lagos-a-festive-rom-com-with-studded-cameos-and-afrobeats/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/jade-osiberus-christmas-in-lagos-a-festive-rom-com-with-studded-cameos-and-afrobeats/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** Adekunle Gpld, Ayra Starr, Christmas in Lagos, Jade Osiberu, nollycritic, nollywood, Richard Mofe-Damijo, Shaffy Bello, Teniola Aladese, Wale Ojo --- ### [Force Empire: A Mixed Bag of Potential and Shortcomings](https://nollycritic.com/force-empire-a-mixed-bag-of-potential-and-shortcomings/) **Published:** August 26, 2024 **Author:** Shalom O. Obisesan **Excerpt:** n Force Empire, we are invited to explore the murky waters of corruption and violence within the Nigerian Police Force through the eyes of DCP Mfon. **Content:** In [*Force Empire*,](https://www.imdb.com/title/tt27281189/ "Force Empire,") we are invited to explore the murky waters of corruption and violence within the Nigerian Police Force through the eyes of DCP Mfon. This film promises a not-so-new narrative that tackles pressing issues such as sexual assault and gender discrimination, all while navigating Mfon’s personal and professional challenges. However, as the film unfolds, it becomes clear that it grapples with shortcomings that may leave some viewers wanting more. So, does Force Empire live up to its potential or fall short of delivering a captivating cinematic experience? ## *Force Empire* Directed by: Uduak Ubong Patrick Written by: Ufoumah Metitiri Genre: Police Crime Drama Released on: August 23, 2024 (Cinemas) Language: English ##### Story *Force Empire* takes a fictional delve into the corruption and violence within the Nigerian Police Force through the lens of DCP Mfon. Driven by an unwavering passion for justice, Mfon perceives her role within the Nigerian Police Force as a platform to champion what is right. However, she finds herself in a dilemma of balancing familial obligations with her professional aspirations, all while navigating the persistent challenges posed by gender-based obstacles in her career. As she navigates these challenges associated with her role, the film captures the audience’s attention with its exploration of sexual assault, and gender discrimination, a theme highlighted in the trailer. The narrative intensifies when her colleague, Halima, falls victim to a devastating ordeal, igniting Mfon’s resolve to unveil the perpetrator and confront the corruption that tarnishes the very essence of the Nigerian Police Force. As she embarks on this journey, Mfon must contend with resistance from the upper echelons of the organization, testing her courage and integrity in a battle against systemic injustice. This narrative not only engages viewers but also offers a perspective on a critical issue, presenting it within the specific context of the police force. Despite its familiar backdrop, the film succeeds in delivering a story that encourages reflection on deeply rooted societal problems. ##### Plot The film opens with the crime itself, an intriguing choice that establishes the driving force of the plot from the outset. However, while this technique is commonly used in Nigerian crime dramas, it serves its purpose in setting the stage. The use of flashbacks to explore the perspectives of those involved in the crime is well-executed, but the overall plot structure lacks shocks, surprises, or strong thrills. Instead, viewers find themselves passively observing the narrative without being fully engaged. The absence of emotional stakes or unexpected twists diminishes the potential impact of Mfon’s journey, leaving the audience yearning for a more immersive experience. In summary, while the plot effectively outlines the central themes and motivations, it would benefit from heightened tension and more dynamic storytelling to captivate its audience fully. ##### The Cinema Experience Disappointing. The film’s scale felt smaller than the screen, leading me to suspect that cinemas may be screening dubbed copies instead of the original versions. The colours appeared dull, likely due to poor projection, making it difficult to assess the film’s visual quality. Then, the lack of consistent subtitles. This proved frustrating. We can say for a fact that most Nollywood films released in cinemas are not accommodating for deaf viewers. That aside, subtitles are essential on both sides. This recurring issue often results in missing subtitles or poorly translated ones. In scenes where Igbo was spoken, though frequent, non-Igbo speakers were left in the dark, as subtitles were either inconsistent or absent. Overall, it’s best not to expect reliable subtitle support. ##### Technical Aspects Nothing stands out in the technical aspects. Most elements were executed moderately, merely capturing and projecting the story rather than enhancing it. Some editing fell short, with poor transitions between scenes appearing amateurish and reminiscent of old Nollywood techniques. However, the sound design was a notable exception. At no point did the sound falter or flicker; it was consistently clear and well-executed. Unfortunately, the film’s score included a track that incorporated the tune of the USA national anthem, which was jarring given the film’s Nigerian context. This choice felt out of place. Overall, for a cinema experience, none of the technical aspects are impressive; you could easily watch this film on your device instead. ##### Performances Nse Ikpe-Etim as DCP Mfon is a natural actor, even demonstrating subtle breathing techniques that show her deep understanding of the character. Richard Mofe-Damijo also performs exceptionally as IGP Ejiro, along with Mercy Aigbe, who delivers a strong performance. Another standout performance comes from Enwongoabsi Ibom as ASP Halima, effectively conveying her character’s pain. However, the overall performances reflect a mix of exceptional actors and those who underperform, which can detract from the overall experience. Other performances in the film include Uwem Umoh as Osaretin, Moses Armstrong, Tony Umez, Sonny McDon, Kunle Coker, Bassey Ekpo Bassey, Aniebiet Francis, and Segun Arinze as AIG Omotosho. ##### Final Thoughts While *Force Empire* presents an exploration of corruption and violence within the Nigerian Police Force, it ultimately feels like an echo of past filmmaking techniques. While the film tackles relevant issues, it falls short of delivering a fresh cinematic experience. The narrative, while topical, tends to rely on familiar tropes without pushing the boundaries of storytelling or visual style. Audiences may find it an okay film highlighting important themes, yet it lacks the innovative approach needed to resonate in today’s cinematic literacy and landscape, truly. While the storyline is not entirely new, it shares thematic similarities with *Offshoot*, released last month, which also addresses the complexities of choosing between career and family. This struggle is particularly relevant for married Nigerian women who aspire to serve their country; some often find themselves forced to prioritize familial bonds and responsibilities over duty and passion, a reality deeply entrenched in societal expectations. This narrative angle is both interesting and relatable, yet it ultimately lacks a resolution to this pressing issue. Mfon’s journey leads her to choose her job without facing significant consequences for her family, raising questions about the film’s engagement with its central theme. Moreover, the film touches on a critical aspect of feminism in the Nigerian context. Many Nigerian women resist being labeled as feminists while advocating for female causes because of its societal and social consequences. *Force Empire* navigates this delicate terrain, emphasizing that women are human first, without indulging in societal labels. This approach stays neutral, not only resonating with viewers but also inspiring thoughts on social justice issues, making the story relevant and provocative. Despite its familiar backdrop, the film encourages reflection on these deeply rooted societal problems, offering a nuanced perspective that sparks important conversations. ##### Verdict Ultimately, *Force Empire* offers important commentary on societal issues but falls short of delivering a fresh and compelling cinematic experience, making it more suitable for home viewing rather than a cinema outing. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/force-empire-a-mixed-bag-of-potential-and-shortcomings/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/force-empire-a-mixed-bag-of-potential-and-shortcomings/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/force-empire-a-mixed-bag-of-potential-and-shortcomings/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/force-empire-a-mixed-bag-of-potential-and-shortcomings/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/force-empire-a-mixed-bag-of-potential-and-shortcomings/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Reviews **Tags:** Force Empire, nollycritic, nollywood, Nse Ikpe-Etim, Richard Mofe-Damijo, Uduak Ubong Patrick --- ### [Break of Dawn: A Thriller Turned Flashback-Fueld Farce](https://nollycritic.com/break-of-dawn-a-thriller-turned-flashback-fueld-farce/) **Published:** August 29, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Break of Dawn delivers an absurd spectacle that defies logic at every turn. From baffling narrative shifts and nonsensical character decisions to poorly executed sound and tedious pacing, **Content:** For a ‘blockbuster’,[ *Break of Dawn*](https://shockng.com/umanu-elijahs-break-of-dawn-sets-august-23rd-theatrical-release/ " Break of Dawn ") aims to be a thriller with elements of crime and drama. The expectation is for a high-stakes, suspenseful experience. So the question is: does it deliver the intense thrill and intricate plot twists that its premise suggests? ## *Break of Dawn* Directed by: Umanu Elijah Produced by: Temisan Ereyitomi/Princess Eme Genre: Thriller Released on: August 23, 2024 (Cinemas) Language: English ##### Story Jade Fakorede (Debby Felix) is the daughter of a rich and influential politician. She has a habit of drugging and stealing from her clients while pretending to be a prostitute, all while suffering abuse from her boyfriend, Uche (Jidekene Achufusi). One night, she encounters a seemingly naive man, Osas (Stan Nze), who seeks her services. However, both Jade and Osas harbor hidden agendas, turning their encounter into a game of who outsmarts whom before the break of dawn. The story explores the dangers of indulging in ritual killings for money (blood money) and the repercussions of making bad choices. However, it ultimately falls short in developing its characters to learn that lesson effectively. The film attempts to convey the dangers of poor choices and the concept of “blood money,” but the inclusion of comedy undermines the seriousness of the narrative even though it was intended for comic relief. ##### Plot The film begins with a brief backstory on Jade, showing how she manages her risky profession. Down the line, the film shifts from different perspectives from Jade to Osas and even the Second in command, leading to confusion and disconnect. Everyone seemed to be narrating their own stories through flashbacks. Jade’s motivations remain unclear until the very end, where a late reveal attempts to explain her actions and psychological state. This delay makes her character seem irrational. The hidden agendas of both Jade and Osas are revealed through excessive flashbacks, which diminish the impact of the plot twists. The reliance on this device becomes tiresome, and key visual cues are often missing, leading to confusion during critical revelations. This results in a frustrating viewing experience, compounded by several plot conveniences. ##### The Cinema Experience The main reason people go to the cinema is to experience immersive visuals and sound, to feel pulled into the narrative, to escape reality, and to have a good time. This film fails to offer any of that. At times, the sound quality was shaky, lacking the depth needed to engage the audience and draw them into the story. The cinema experience felt like just watching a movie, nothing more. There was no excitement, no connection. As the credits rolled (and even as they were yanked off), the audience left feeling indifferent. ##### Technical Aspects One notable strength of the film is the effort put into the night scenes. The cinematography is commendable, successfully creating a dark, atmospheric setting. The vision was clear: everything happens before the “break of dawn.” The majority of the scenes took place at night, and credit should be given for attempting to shoot these scenes well. Unfortunately, poor sound quality and shoddy editing fail to enhance the storytelling. ##### Performances Most performances are hampered by a lack of coherent storytelling and direction. While Jidekene Achufusi’s character Uche starts menacing, he quickly devolves into delivering cheap jokes, this creates a disconnect and we can’t take his threats seriously. Craze Clown and Omini Aho, playing Officer Boma and Officer Toma respectively, are used for unnecessary comic relief, further trivializing the film’s serious themes. Kanayo O. Kanayo’s portrayal of Otunba, “The Chief Priest of the Sacred Order,” is commendable and aligns well with his established persona in similar roles. Mike Ezuruonye delivers an appropriate performance as Lavish, drawing on his previous character traits. Despite Stan Nze’s solid performance as Osas, the film’s inconsistent tone hinders any real connection to his character. Debby Felix effectively portrays Jade, but her character often comes off as silly due to the film’s overall approach. Efe Irele, Segun Arinze, and Moet Abebe also deliver decent performances, which are overshadowed by the film’s inconsistencies and poor direction. ##### Final Thoughts *[Break of Dawn](https://nollycritic.com/nollywood-movies-and-series-to-see-this-august/ "Break of Dawn")* had potential, with its atmospheric night scenes and intriguing premise. However, these elements are overshadowed by significant pitfalls in storytelling and character development. The excessive reliance on flashbacks disrupts the narrative flow and diminishes audience engagement. The sound quality and editing further weaken the experience, creating a sense of detachment rather than immersion. Performances that could have been strong are marred by poor direction and an awkward shift towards unneeded comedy, which clashes with the film’s serious themes. This lack of tonal consistency makes it difficult for viewers to take the characters or their struggles seriously. ##### Verdict *Break of Dawn* struggles in key areas like storytelling and character development, despite some redeeming qualities in its production values. Unfortunately, these strengths are not enough to make the film a worthwhile experience in the cinema. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/break-of-dawn-a-thriller-turned-flashback-fueld-farce/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/break-of-dawn-a-thriller-turned-flashback-fueld-farce/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/break-of-dawn-a-thriller-turned-flashback-fueld-farce/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/break-of-dawn-a-thriller-turned-flashback-fueld-farce/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/break-of-dawn-a-thriller-turned-flashback-fueld-farce/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** break of dawn, Kanayo O. Kanayo, nollycritic, nollywood, Review, unmanu elijah --- ### [Ayo Makun's "The Waiter" Set For December Release](https://nollycritic.com/ayo-makuns-the-waiter-set-for-december-release/) **Published:** August 21, 2024 **Author:** Michael Arowoselu **Excerpt:** The Waiter directed by Toka McBaror and produced by Ayo Makun Productions. While the full details of the film are yet to be communicated **Content:** *The Waiter* is a new feature film from Nigerian comedian and film producer, [Ayo “AY” Makun.](https://en.wikipedia.org/wiki/Ayo_Makun "Ayo "AY" Makun.") Ayodeji Richard Makun is a Nigerian actor, comedian, radio, and TV presenter, writer, producer, and film director. He hails from Ifon, Ose local government in Ondo State. He is the host of the A.Y live shows and A.Y comedy skits. His debut movie, *30 Days in Atlanta* was produced by him and directed by Robert O. Peters. In addition, Makun was made a U.N Peace Ambassador in 2009 and is now the CEO of Corporate World Entertainment Nigeria. The movie’s principal photography is ongoing, and its plot has yet to be revealed to the public. *The Waiter* directed by Toka McBaror and produced by Ayo Makun Productions. While the full details of the film are yet to be communicated, the BTS revealed the presence of Nollywood actors including Regina Daniel, Deyemi Okanlawon, Rahama Sadau, Brain Jotter, William Uchemba, and many others. According to the producer Ayo Makun, the movie is set for release in December 2024. In [Nollywood](https://nollycritic.com/nollywood-movies-and-series-to-see-this-august/ "Nollywood"), December is known for the season of box office movie competition as a result of the general end-of-the-year holiday. Every December, certain filmmakers are consistent at the box office such as Funke Akindele, Toyin Abraham, Ebonylife Studios, and many others. > [View this post on Instagram](https://www.instagram.com/p/C-fa7k1NjNT/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Richard Ayodeji Makun (AY) MFR (@aycomedian)](https://www.instagram.com/p/C-fa7k1NjNT/?utm_source=ig_embed&utm_campaign=loading) ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ayo-makuns-the-waiter-set-for-december-release/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ayo-makuns-the-waiter-set-for-december-release/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ayo-makuns-the-waiter-set-for-december-release/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ayo-makuns-the-waiter-set-for-december-release/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ayo-makuns-the-waiter-set-for-december-release/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** AY, Ayo Makun, nollywood, The Waiter --- ### [Something Like Gold: This Drama is Nothing Like Gold](https://nollycritic.com/something-like-gold-this-drama-is-nothing-like-gold/) **Published:** August 17, 2024 **Author:** Shalom O. Obisesan **Excerpt:** As the opening scene of Something Like Gold unfolded, I initially thought, "This is shaping up to be a rom-com," but that clarity soon faded **Content:** As the opening scene of *Something Like Gold* unfolded, I initially thought, “This is shaping up to be a rom-com,” but that clarity soon faded as the film lost its direction. Are we meant to root for the protagonist? Certainly not—that’s not the intention. Are we supposed to connect with her emotions and grasp the severity of her predicament? Absolutely, given the narrative’s focus. Yet, the film ultimately leads us into a state of indifference, merely observing the outrageousness of the protagonist and the increasingly absurd situations she finds herself in. The film was released on Netflix on August 17, 2024, following its cinema run in September last year. However, aside from its visuals, it falls short of justifying a trip to the cinema. ## *Something Like Gold* Directed by: Kayode Kasum Produced by: Sandra Okunzuwa Genre: Drama Released on: Aug 17, 2024 (Netflix) Language: English ##### Story The film *[Something Like Gold](https://www.imdb.com/title/tt28943289/ "Something Like Gold ")* follows Tamara Jola-Scott, a spoiled daughter of a wealthy Lagos socialite, whose life falls apart when her father is caught in an embezzlement scandal, leading to the loss of her family’s fortune and the abandonment of her by her fiancé. Left alone to face a harsh new reality, Tamara finds unexpected refuge when Aunty Mayowa, the family’s former housemaid, steps in to help her. Thrust into a completely different environment, Tamara is forced to confront her superficial values and adapt to a life far removed from the luxuries she once took for granted. While the film seems poised to deliver a narrative of redemption and self-discovery, it struggles to maintain a consistent tone. It oscillates between being a drama and a romantic comedy, never fully committing to either. ##### Plot The lack of focus leads to a disjointed plot where key moments that should evoke strong emotions are underplayed, leaving the viewer disengaged. The protagonist’s detachment from her new reality is revealed too slowly, with scenes repetitively driving home the same point, causing the audience to lose emotional investment. Moreover, the protagonist’s journey toward self-awareness feels rushed and unconvincing, as the time dedicated to her character’s growth is insufficient to make her transformation believable. ##### Technical Aspects Once you see [Kayode Kasum](https://nollycritic.com/ajosepo-kayode-kasums-unusual-union-of-family-love-and-chaos/ "Kayode Kasum"), expect high-quality visuals. He always delivers with his technical aspects of production and getting the right people for the job. However, the sound design is relatively unobtrusive and does not stand out, likely overshadowed by the film’s more absurd performances. ##### Performances Mercy Johnson’s performance stands out. As a veteran actress, she shows her exceptional skills and accurate portrayals. Timini Egbuson will always shine as a gentleman flirt. Kunle Remi’s performance is endearing. These individual acting skills help bring some depth to the film, even though it struggles with its overall narrative cohesion. Sandra Okunzuwa’s portrayal of Tamara Jola-Scott, characterized by the exaggerated nature of her role, often comes across as overly performative. While the direction aims to craft an unrelatable character, this approach undermines the film’s attempt to be emotionally impactful. Even during key plot twists designed to reveal her psychological depth and evoke surprise, the disconnect remains, failing to elicit a genuine understanding of her character’s emotional journey. The film also features performances from Broda Shaggi, Teniola Aladese, Tope Olowoniyan, Patrick Doyle, Segun Arinze, Bukky Ogunnote, Olayemi Soyeju, Waliu Fagbemi, child actor Beloved Osagie, Ebere Doris Okorie, Bella Salami, and Runo Efe. ##### Final Thoughts *Something Like Gold* is a film that attempts to blend drama and romantic comedy but ultimately succumbs to its absurdity. The narrative, which should have delivered a poignant tale of self-discovery, instead spirals into increasingly ridiculous scenarios. The protagonist’s journey, intended to evoke empathy and emotional engagement, is undermined by her exaggerated portrayal, leaving the audience detached from her experiences. While the film’s visuals are commendable, its disjointed plot and lack of character depth result in a superficial story that fails to resonate. Despite a few strong performances from its cast, the film’s overall incoherence and absurdity prevent it from achieving the emotional impact it strives for. ##### Verdict Ultimately, *Something Like Gold* falls short due to its inability to explore the complexities of its characters and their situations fully. It’s a film that had potential but was marred by its indecisive narrative, resulting in a shallow portrayal of what could have been a powerful story. While it has some redeeming qualities, the disjointed plot and lack of emotional engagement weigh heavily against it. Perhaps Kayode Kasum’s poorest outing. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/something-like-gold-this-drama-is-nothing-like-gold/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/something-like-gold-this-drama-is-nothing-like-gold/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/something-like-gold-this-drama-is-nothing-like-gold/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/something-like-gold-this-drama-is-nothing-like-gold/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/something-like-gold-this-drama-is-nothing-like-gold/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Kayode Kasum, Mercy Johnson, Netflix, nollywood, Sandra Okunzuwa, Timini Egbuson --- ### [Tokunbo: See The Teaser For Ramsey Nouah's Crime Thriller](https://nollycritic.com/tokunbo-see-the-teaser-for-ramsey-nouahs-crime-thriller/) **Published:** August 20, 2024 **Author:** Michael Arowoselu **Excerpt:** Tòkunbọ̀, a new movie directed by Ramsey Nouah, is set to premiere on Netflix. Tokunbo centers on the intense journey of an ex-car smuggler **Content:** *[Tòkunbọ̀](https://nollycritic.com/ramsey-nouahs-tokunbo-to-premiere-on-netflix/ "Tòkunbọ̀")*, a new movie directed by Ramsey Nouah, is set to premiere on Netflix. *Tokunbo* centers on the intense journey of an ex-car smuggler who must race against time to save a kidnapped girl. The narrative delves into critical issues in Nigeria, such as kidnapping, political corruption, and the fight for survival, presenting a gritty portrayal of the nation’s darker side. The cast features some top Nigerian talents including Gideon Okeke, Chidi Mokeme, Funlola Aofiyebi–Raimi, Nobert Young, Majid Michel, Adunni Ade, Ivie Okujaye, Tosin Adeyemi, Stanley ‘funnybone’ Chibunna, Darasimi Nadi and Aaron Sunday. Tòkunbọ̀*,* marks Ramsey Nouah’s third directorial release, it’s an original story by Story Story Hub and is produced by Ramsey Films and Sozo Films. *Tokunbo* heads to [Netflix](https://www.netflix.com/browse) on August 23, 2024. See The Teaser ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/tokunbo-see-the-teaser-for-ramsey-nouahs-crime-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/tokunbo-see-the-teaser-for-ramsey-nouahs-crime-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/tokunbo-see-the-teaser-for-ramsey-nouahs-crime-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/tokunbo-see-the-teaser-for-ramsey-nouahs-crime-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/tokunbo-see-the-teaser-for-ramsey-nouahs-crime-thriller/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Adunni Ade, Chidi Mokeme, Funlola Aofiyebi–Raimi, Gideon Okeke, Ivie Okujaye, Majid Michel, Nobert Young, Ramsey Nouah, Stanley ‘funnybone’ Chibunna, Tokunbo, Tosin Adeyemi --- ### [Scores and Cinematic Symphony: A Nollywood Musical Evolution](https://nollycritic.com/scores-and-cinematic-symphony-a-nollywood-musical-evolution/) **Published:** August 15, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood has produced films where the music not only complements the narrative but also stands out as a memorable element on its own. **Content:** [Nollywood](https://en.wikipedia.org/wiki/Nollywood "Nollywood") has produced films where the music not only complements the narrative but also stands out as a memorable element on its own. From the 1990s to the early 2000s, Nollywood soundtracks often took the form of recurring theme songs. These songs were integral to the film’s message and played repeatedly throughout the movie. For example, “Iyeme” by Stanley Okorie for the 1999 film, *Chain Reaction*. The song preaches that “in this world, you reap what you sow.” Another memorable one is Wale Adenuga’s *Super Story* TV series, performed by Uwale ‘Essence’ Okoro. In the mid-2000s, there was a shift. Nollywood’s musical landscape evolved from iconic theme songs to a greater emphasis on creativity and intentionality in cinematic music; film scores and soundtracks. A film score is the original instrumental music composed for a film while a soundtrack consists of all the music used in the film, including the score and any licensed songs. While the score is often subtle, the soundtrack can be a more diverse music collection. From the Western-influenced tracks of the 90s that captured the essence of their era to the modern, infectious beats of Afrobeats, Nollywood soundtracks have played a significant role in the cinematic experience. We can’t start this list without mentioning Kunle Afolayan, with his film *Irapada*. He is one of the first filmmakers to introduce scores into Nollywood films. Examples of other memorable scores and soundtracks can be seen in the following films: ##### The Figurine: Araromire (2009) – Composer: **Eliam Hoffman** The film score for *The Figurine* was composed by Eliam Hoffman, with contributions from Netto and George Nathaniel. The soundtrack is notable for its quality, particularly the song “Araromire,” which has been highly praised for Wale Waves’ vocals. The soundtrack, produced under Cisum Entertainment, also includes tracks like “We Are Together” by George Nathaniel and “Africalypso” by Lagbaja. The music has been acclaimed as one of the most anticipated and well-received film soundtracks of the 2000s. ##### October 1 (2014) – Composer: **Kulalen Ikyo** Kulanen Ikyo’s score for *October 1* stands out for its evocative sense of nostalgia and patriotism. By incorporating traditional Nigerian instruments and melodies, Ikyo creates a sound that enhances the film’s period setting and emotional resonance, making the audience feel deeply connected to the historical narrative. ##### King of Boys (2018) – Composer: **Bayo Adepetun** This soundtrack features an impressive lineup of artists, including iLLBLISS, Reminisce, Bayo Adepetun, Banky W, and Adekunle Gold. Each track is notable for invoking a sense of power, mirroring the intense struggle for dominance depicted in the film. One key score is “Oba Is Here” (Eniola’s Entry), composed by Dr. Bayo Adepetun, which captures the formidable presence of the protagonist, Eniola. Adepetun later composed two additional tracks for the 2021 series *King of Boys: Return of the King*. His innovative approach to fusing genres adds a contemporary edge to the film, enhancing its modern narrative while staying rooted in Nigerian cultural elements. ##### Anikulapo (2022) – Composer: **Kent Edunjobi** Kent Edunjobi’s work on *Anikulapo* is a masterclass in creating immersive soundscapes. The melodic sounds of the talking drum, combined with his vocal performances, create an unforgettable auditory experience. Edunjobi’s score won him the 2023 AMVCA for Best Composer and highlighted his talent for weaving traditional and contemporary sounds to enhance cinematic storytelling. The soundtrack, in its entirety, featured performances from Kehinde Daniel Hassan and Anu Kayode Afolayan. ##### Jagun Jagun (2023) – Composer: **Tolu ‘Tyanx’ Obanro** *Jagun Jagun* tells a narrative of power, class struggle, and spiritual warfare, following Gbotija’s journey from a simple, spiritually connected man to a formidable warrior. His challenges, from duels with fellow warriors to surviving impossible tests, are not just battles of physical strength but also of moral and spiritual fortitude. The film’s portrayal of these themes is rich and multi-layered, blending classic heroism with deeper social commentary on how the powerful exploit the weak. The score, composed by Tolulope Obanro, serves as an essential element in reinforcing the film’s epic and mystical atmosphere. It underscores the tension and drama of the narrative, providing a powerful auditory backdrop that intensifies the emotional and spiritual undertones of the story making it even more memorable. Each character’s journey is mirrored in the music, with Gbotija’s mystical experiences accompanied by eerie, otherworldly sounds; while Ogundiji’s dominance and menace are accentuated by foreboding, intense themes. ##### The Black Book (2023) – Composer: **Kulanen Ikyo** Produced by award-winning composer Kulanen Ikyo, known for his innovative contributions to the Nigerian film industry. He brings *The Black Book* to life with an experimental and emotionally charged soundtrack. His score amplifies the tension and drama of this crime thriller, weaving African musical traditions with symphonic elements to create bold cinematic soundscapes. The standout track, “Greetings Mr. Paul,” exemplifies this fusion. It begins with a slow build, transforming into the iconic theme of “The Battle Hymn of the Republic.” A smooth electric guitar plucks the anthemic notes, while triumphant horns and resonating percussion swell, mirroring the film’s escalating tension and conflict. Another iconic track is the “Saks Operation” giving an eerie and pensive feel to the event at hand. Kulanen’s composition captures the narrative’s magnitude, blending dark tones with emotional peaks to enhance the story’s intensity. His collaboration with director Editi Effiong aimed to reflect the film’s raw grit and emotionally charged moments, resulting in a powerful soundtrack that elevates the viewer’s experience. ##### A Tribe Called Judah (2023) – Composer: **Tolu Obanro** The soundtrack of *A Tribe Called Judah* (2023), composed by Tolu Obanro, is a profound and evocative collection that resonates with the film’s themes. It consists of nine tracks, excluding the theme song, which stands out for its striking sound. The theme song is particularly memorable, incorporating elements of Egyptian-style singing that transports listeners to another realm—one that feels almost spiritual. This is fitting, given the film’s title and its subtle nod to the Christian spiritual context associated with the Tribe of Judah. The theme song, much like the film, centers around the idea of “gbigbe ija ara eni ija,” a Yoruba phrase encapsulating helping another person in a state of defenselessness. This concept is reflected throughout the soundtrack, emphasizing the protective and vengeful love of a child for the mother, which serves as the driving force for Jedidiah’s children. Tracks like “Iya” celebrate the love of a mother, while “Iyaniwura” likens a mother’s worth to gold. These songs, along with others like “Owuro,” “Aye,” and “Jaiye Ori Mi,” build upon the theme song’s foundation, creating a cohesive musical narrative that echoes the film’s exploration of sacrifice, resilience, and the powerful bond between mother and child. The soundtrack doesn’t just complement the film—it amplifies it. It serves as a reminder that the love of a child for the mother could be fierce and unyielding. A force that shapes destinies and fights battles, both seen and unseen. The music in *A Tribe Called Judah* is not merely background; it is a narrative force that reinforces the film’s exploration of single parenthood, societal stigma, and the enduring strength of maternal love. ##### Breath of Life (2023) – Composer: **Kaline Akinkugbe Njoku** Kaline Akinkugbe Njoku, a Berklee College of Music-trained composer, delivers a heart-wrenching soundtrack for *Breath of Life*. Her original compositions and contributions to the film evoke deep emotions, adding layers to the narrative. Directed by BB Sasore, this faith-based film’s music pulls at the heartstrings, making the audience’s experience truly ‘breathless’. Kaline’s background in music shines through, making the soundtrack a crucial element of the film’s impact. ##### Mami Wata (2023) – Composer: **Babatunde Jegede** “From its opening title design to the last notes of Tunde Jegede’s score, Mami Wata is a work of art.” —Katie Rife And we couldn’t agree more. *[Mami Wata](https://nollycritic.com/cj-obasis-mami-wata-bags-naacp-nomination/ "Mami Wata")* is a true cinematic masterpiece, and its brilliance is profoundly amplified by Tunde Jegede’s evocative score. From the first haunting notes to the final crescendo, the music serves as an immersive force, pulling the audience deep into the film’s world of spiritual mysticism and societal tension. Jegede’s composition is not merely an accompaniment but a living, breathing element of the story, with brooding, atmospheric sounds that mirror the film’s exploration of otherworldly realms and the human conflicts within them. The score’s hypnotic rhythms and ethereal melodies elevate the narrative, transporting viewers to a space where the boundaries between the spiritual and physical worlds blur. The score of *Mami Wata* does more than set the mood; it connects the viewer’s spirit to the mystical essence of the story, making it a truly transcendent experience. These examples demonstrate how [Nollywood](https://nollycritic.com/nollywood-movies-and-series-to-see-this-august/ "Nollywood") soundtracks have consistently been a part of the industry. As we draw the curtains on our exploration of Nollywood’s musical landscape, it becomes clear that the symphony of soundtracks has been instrumental in shaping the cinematic experience. Looking forward, the continued evolution of these cinematic scores promises to elevate Nollywood’s storytelling to new heights, ensuring that its musical legacy remains as compelling and transformative as ever. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/scores-and-cinematic-symphony-a-nollywood-musical-evolution/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/scores-and-cinematic-symphony-a-nollywood-musical-evolution/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/scores-and-cinematic-symphony-a-nollywood-musical-evolution/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/scores-and-cinematic-symphony-a-nollywood-musical-evolution/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/scores-and-cinematic-symphony-a-nollywood-musical-evolution/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** bayo adepetun, film music, Kulanen Ikyo, mami wata, nollycritic, nollywood, Tolu Obanro --- ### [LGBTQ: Nollywood Portrayals Under Nigeria's Legal Lens](https://nollycritic.com/nollywoods-lgbtq-portrayals-under-nigerias-legal-lens/) **Published:** August 12, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood has long been a mirror reflecting the nation's diverse cultural and societal narratives. but when it comes to LGBTQ representation **Content:** **Lights, Camera, Controversy: Nollywood’s [LGBTQ](https://en.wikipedia.org/wiki/LGBT "LGBTQ") Portrayals Under Nigeria’s Legal Lens** [Nollywood](https://nollycritic.com/nollywood-movies-and-series-to-see-in-july-2024/ "Nollywood") has long been a mirror reflecting the nation’s diverse cultural and societal narratives. However, when it comes to LGBTQ representation, the reflection is distorted by stringent laws and societal taboos. ##### Early Depictions In the early days of Nollywood, the industry’s focus was primarily on themes that resonated with mainstream Nigerian culture, often avoiding controversial subjects. When LGBTQ characters did appear, they were often depicted negatively, reinforcing stereotypes and societal prejudices. In the 1990s to 2000s, films like *Total Eclipse* (2000) introduced LGBTQ characters but often portrayed them as comedic or villainous figures. These characters were frequently depicted as being possessed, influenced by bad friends, or forced into homosexuality, always needing “saving.” Even as late as the 2010s, this exact trope persisted, as seen in the film *Men in Love*. However, in the Late 2000s to 2010s, gradual changes began with some filmmakers daring to explore LGBTQ themes more sensitively. Though such films were still rare and often faced backlash. ##### Notable Titles and Their Approach Movies like *Hell or High Water* (2016) presented more nuanced characters while delving into the internal conflicts faced by individuals grappling with their sexuality in a conservative society. This short film, directed by Oluseyi “Asurf” Amuwa, tackles homophobia, religion, and love highlighting the emotional toll of such struggles. In the midst of it all, narratives like those in *Kasala* (2018) often touch on darker realities, such as rape and child exploitation, though they might not fully delve into these issues. While such portrayals may risk overshadowing the nuanced representation of queer identities, they nevertheless bring crucial awareness to the existence of these harsh realities in Nigerian society. From 2019 to present day, there have been significant improvement in the portrayals. The film, *We Don’t Live Here Anymore* (2018), directed by Tope Oshin, tells the story of two teenage boys who navigate their relationship amid societal pressures with the threat of expulsion from school. The film humanizes their love, portraying the emotional struggles they face. *Country Love* (2022) follows a queer man returning to his hometown after many years. The film exploring themes of memory, family bonds, and love. Directed by Wapah Ezeigwe, it challenges societal norms and confronts the prejudices faced by femme queer individuals. *Tack: Live & Let’s Live* (2022), written and directed by Patrick Kidochukwu Iwe, shines a light on the struggles faced by LGBTQ+ individuals in Nigeria, reflecting the pervasive hypocrisy that resides in the hearts of many Nigerians on this topic. In the case of the 2023 ongoing series, *[Wura](https://76crimes.com/2023/04/11/new-tv-series-tells-nigerian-gay-love-story-realistically/ "Wura")*. We observe two queer characters confront the harsh realities of navigating their sexual orientation in Nigerian society. It’s something that they have to keep hidden or face societal consequences. The film received both acclaim and criticism for its realistic, positive, and believable portrayal of same-sex relationships, with some accusing it of promoting homosexuality. In an interview with[ Premium Times](https://www.premiumtimesng.com/entertainment/nollywood/634529-how-playing-gay-role-boosted-my-career-actor-iremide-adeoye.html?tztc=1 " Premium Times") one of the actors who played a queer character in *Wura*, Iremide Adeoye claims that playing a gay character boosted his career. Another significant milestone in Nollywood’s portrayal of LGBTQ themes came with the film *Ife* (2020). Directed by Uyaiedu Ikpe-Etim and produced by Pamela Adie. *Ife* tells the story of two women falling in love over three days, confronting the realities of being in a same-sex relationship in Nigeria. According to Pamela Adie, producer of *Ife*, the film aimed to show an accurate picture of lesbian and bisexual women in Nigerian movies. She explained, “If a lesbian woman does appear in a standard Nollywood movie they are often portrayed as being possessed, influenced by bad friends, or forced into homosexuality and always needing ‘saving.’ You rarely see stories about LGBTQ people, especially about queer women, that speak to the realities of our lives. *Ife* was made to bridge the gap and to get the conversation going in Nigeria.” Still, *Ife* faced significant opposition from the National Film and Video Censors Board (NFVCB), which warned that Adie and Ikpe-Etim could be jailed for promoting homosexuality. The same with Babatunde Apalowo’s *All the Colours of the World* *Are Between Black and White*. This 2024 film, the most recent on this topic, perceived by its openly queer portrayals, might never see the light of day in the Nigerian cinema space. But its message is clearly passed on the international scene. ##### The Double-Edged Sword of Regulations The head of the NFVCB, Adebayo Thomas, has stated unequivocally that there is no space for *Ife* or other homosexual movies in Nigeria, citing the law. “There’s a standing law that prohibits homosexuality, either in practice or in a movie or even in a theatre or on stage.” He said. “If it’s content from Nigeria, it has to be censored.” While it is true that homosexuality is frowned upon by many within the cultural context of Nigeria, the outright rejection of these representations is a disservice to the complex and varied experiences that exist within the country. The Same-Sex Marriage (Prohibition) Act of 2014 not only prohibits same-sex marriages but also outlaws associations supporting LGBTQ rights. This significantly impacts the creative freedom of filmmakers. And it has caused what the Director of *Ife*, Ikpe-Etim called, telling “one-sided stories.” This law stipulates severe penalties for those found guilty of promoting LGBTQ themes, creating a climate of fear and self-censorship within the industry. The law, as it stands, not only hinders free expression but also prevents an honest and factual portrayal of the society. By censoring such content, the government perpetuates a cycle of denial, ignoring the prevalence of homosexuality and the lives of those who navigate their existence within this hostile environment. This approach stifles dialogue and progress, further entrenching discrimination and ignorance rather than fostering understanding. Filmmakers face the risk of legal action, including imprisonment, if their work is perceived as advocating for LGBTQ rights or depicting same-sex relationships in a positive light. The National Film and Video Censors Board (NFVCB) plays a crucial role in enforcing these laws. It rigorously monitors and censors film content to ensure compliance with national regulations. The NFVCB’s stringent guidelines prevent the release of films that contain content deemed inappropriate, which includes any positive portrayal of LGBTQ individuals or themes. This regulatory environment stifles the representation of LGBTQ stories and characters in Nollywood, making it challenging for filmmakers to explore these narratives openly and honestly. ##### Contemporary LGBTQ Storytelling in Nollywood Despite these challenges, some filmmakers have bravely tackled LGBTQ themes, often using metaphor and subtext to circumvent censorship. While regulations aim to preserve cultural values, they also stifle creative expression and the accurate portrayal of Nigeria’s diverse society. This has led to a form of self-censorship among filmmakers, who often avoid LGBTQ themes altogether to ensure their films can be distributed without issues. Well, in the case of *Kasala*, the issue of homosexuality was treated along the confines of rape. Fo[r ](https://www.google.com/search?client=safari&sca_esv=f70d7bfa2b8e9720&sca_upv=1&rls=en&sxsrf=ADLYWIKJvzEEVOxFWSk-sl6k93q-hd8CuA:1723482926189&q=All+the+Colours+of+the+World+Are+Between+Black+and+White&udm=2&fbs=AEQNm0BglSNKPbDQcL4Et01QEIYve0hELFbVSWiuPqv0f0AN4hcnVinVLzkA7fxLn8J4IS2QECpVGRsY6kwbnbwlwBfdpXR1zzmdcMzrgP4ugxotc1-M0WF09zPdXAaiNhujVTNs6aINjKEVl6P4830qowG17zAYuHLVjpSlAczFTgJ9MTk9IYCAC_6FVq7yfkGL8pX8ol8zNWuGnlYmfm02xkvTmP7OgQ&sa=X&ved=2ahUKEwj-xt2c-u-HAxUuhf0HHQrEAkAQtKgLegQIDRAB&biw=1680&bih=922&dpr=2 "r All the Colours of the World Are Between Black and White,")[*All the Colours of the World Are Between Black and White*](https://www.google.com/search?client=safari&sca_esv=f70d7bfa2b8e9720&sca_upv=1&rls=en&sxsrf=ADLYWIKJvzEEVOxFWSk-sl6k93q-hd8CuA:1723482926189&q=All+the+Colours+of+the+World+Are+Between+Black+and+White&udm=2&fbs=AEQNm0BglSNKPbDQcL4Et01QEIYve0hELFbVSWiuPqv0f0AN4hcnVinVLzkA7fxLn8J4IS2QECpVGRsY6kwbnbwlwBfdpXR1zzmdcMzrgP4ugxotc1-M0WF09zPdXAaiNhujVTNs6aINjKEVl6P4830qowG17zAYuHLVjpSlAczFTgJ9MTk9IYCAC_6FVq7yfkGL8pX8ol8zNWuGnlYmfm02xkvTmP7OgQ&sa=X&ved=2ahUKEwj-xt2c-u-HAxUuhf0HHQrEAkAQtKgLegQIDRAB&biw=1680&bih=922&dpr=2 "r All the Colours of the World Are Between Black and White,")[,](https://www.google.com/search?client=safari&sca_esv=f70d7bfa2b8e9720&sca_upv=1&rls=en&sxsrf=ADLYWIKJvzEEVOxFWSk-sl6k93q-hd8CuA:1723482926189&q=All+the+Colours+of+the+World+Are+Between+Black+and+White&udm=2&fbs=AEQNm0BglSNKPbDQcL4Et01QEIYve0hELFbVSWiuPqv0f0AN4hcnVinVLzkA7fxLn8J4IS2QECpVGRsY6kwbnbwlwBfdpXR1zzmdcMzrgP4ugxotc1-M0WF09zPdXAaiNhujVTNs6aINjKEVl6P4830qowG17zAYuHLVjpSlAczFTgJ9MTk9IYCAC_6FVq7yfkGL8pX8ol8zNWuGnlYmfm02xkvTmP7OgQ&sa=X&ved=2ahUKEwj-xt2c-u-HAxUuhf0HHQrEAkAQtKgLegQIDRAB&biw=1680&bih=922&dpr=2 "r All the Colours of the World Are Between Black and White,") director Babatunde Apalowo had to relocate from Nigeria to complete the film, owing to the challenging environment for producing such a controversial piece within the country. Although the film is set in Lagos, parts of it were shot abroad. For *Ife*, the film is intended for release via alternative channels and streaming platforms, same as many others mentioned previously. ##### The Future of LGBTQ Storytelling in Nollywood The global push for LGBTQ rights and representation is influencing Nollywood, albeit slowly. International platforms like YouTube and Netflix are providing Nigerian filmmakers with opportunities to tell stories that might be restricted locally. The success of Nigerian films on global streaming platforms could encourage more filmmakers to explore LGBTQ themes, knowing they have an international audience. Additionally, local advocacy groups are working to change perceptions and push for more inclusive storytelling within Nollywood. Nollywood’s journey with LGBTQ representation is fraught with challenges imposed by legal and societal norms. Filmmakers often adhere to these rules to avoid legal repercussions, which limits the scope of LGBTQ narratives. However, the determination of filmmakers and the influence of global platforms offer a glimmer of hope for more inclusive storytelling. As the industry evolves, so too might its ability to authentically represent the full spectrum of Nigerian society. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywoods-lgbtq-portrayals-under-nigerias-legal-lens/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywoods-lgbtq-portrayals-under-nigerias-legal-lens/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywoods-lgbtq-portrayals-under-nigerias-legal-lens/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywoods-lgbtq-portrayals-under-nigerias-legal-lens/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywoods-lgbtq-portrayals-under-nigerias-legal-lens/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Ife, Kasala, LGBTQ, nollycritic, nollywood, Total Eclipse, Wura --- ### [The Betrayed: Fifty Shades of Red in a Crimson Mess](https://nollycritic.com/the-betrayed-fifty-shades-of-red-in-a-crimson-mess/) **Published:** August 12, 2024 **Author:** Shalom O. Obisesan **Excerpt:** The Betrayed. You might be wondering what this title is all about. Trust me, it's not just a fancy way to grab your attention **Content:** *[The Betrayed](https://nollycritic.com/the-betrayed-see-the-trailer-for-zulu-oyibos-new-thriller/ "The Betrayed")*. You might be wondering what this title is all about. Trust me, it’s not just a fancy way to grab your attention. It’s a promise. Romance, thriller, and suspense all collide in this film. How? Buckle up; we’re diving in with no spoilers. ## *The Betrayed* Directed by: Zulu Oyibo Written by: Tosan Ayanfulu, Chinaza Onuzo Genre: Romantic Thriller Released on: August 2, 2024 (Cinemas) Language: English ##### Story Amarachi’s picture-perfect marriage shatters when her husband is arrested for a shocking crime. Caught between loyalty and a devastating truth, she’s faced with making a heart-wrenching decision: to stand by her husband or walk away from the life she thought she had. ##### Plot Amarachi has been married to Bala Franklin for 10 years, and they have two children. The tranquillity of their life shatters when Bala decides to attend a Serendipity party with his friend, Batista. What follows is a storyline rich in love, romance, and a crime that turns everything upside down. The film delivers on suspense, as Amarachi faces a heart-wrenching decision, culminating in a plot twist that unveils the true betrayer. While the plot has a few logical irregularities, such as the unexplained disruption of the children’s school term. It remains engaging, keeping the audience firmly invested in the unfolding drama. But, the ending? Quite questionable. ##### The Cinema Experience The cinema quality, unfortunately, dampened what could have been a more immersive experience. While the film boasted good visuals with dull colour grading —the cinema’s presentation didn’t do it justice. The colours appeared dull, likely a result of the cinema’s poor calibration, rather than the filmmakers’ efforts. Another setback was the cropping of the video; it’s clear the filmmakers intended a specific aspect ratio, but the cinema’s screen couldn’t accommodate it, resulting in a frustratingly cropped image. On the positive side, the sound was immersive, with intelligently chosen soundtracks that elevated the viewing experience. Dinachi’s music, in particular, stood out—her ‘cinematic’ tracks are both calming and deeply engaging. ##### Technical Aspects The first scene suffered from too many cuts, which became distracting. As the film progressed, the cuts were less abrupt, with transitions used to soften the effect, but they still occurred too frequently. The cinematography, however, was calm and offered multiple points of interest within each scene, providing a visually stimulating experience, especially on the big screen. The film featured good visuals and well-chosen locations, all aimed at drawing the viewer into the emotional core of the story. ##### Performances The film portrayed strong performances across the board, focusing on talent and visual appeal. Uche Montana Nwaefuna shines as Amara, delivering a beautifully subtle and elegant performance. Ibrahim Suleiman, playing Batista, is solid, though not particularly standout. Vine Olugu as Kunle Coaker is captivating, his handsome appearance perfectly suited to his charming yet villainous role. Gabriel Afolayan as Bala, a lover boy and cheater? Interesting. Aderonke Onuoha impresses as Candy/Seun, the unfortunate character, while Darasimi Nadi holds her own as one of the children. Jemima Osunde as Tolu deserves special mention for her ability to infuse authenticity into her dialogue, showcasing her character’s emotional depth with believable reactions. Finally, there are noteworthy performances from Stephanie Zibili and the ever-elegant Adunni Ade. ##### Final Thoughts *The Betrayed* shows a strong command of ‘establishment,’ using visual cues effectively to communicate relationships and reveal the psychological trends of its characters. The film’s attention to detail extends to its soundtrack, where the use of Banky W’s ‘Yes/No’ not only complements the mood but is also sampled within the score itself. ##### Verdict *[The Betrayed](https://www.imdb.com/title/tt33008473/ "The Betrayed")* is a film that successfully blends romance, thriller, and suspense, delivering an emotionally charged experience. The film’s strengths lie in its strong visual storytelling, immersive sound design, and commendable performances, particularly by Uche Montana Nwaefuna and Jemima Osunde. The clever use of colour, especially the recurring red, adds depth to the narrative, symbolizing the tumultuous emotions of the characters. However, the film is not without its flaws. The plot, while engaging, suffers from a few logical inconsistencies. The cinema experience also detracted from the film’s potential, with poor visual calibration and frustrating video cropping. Additionally, the ending leaves some loose ends, leading to questions that remain unanswered. Overall, *The Betrayed* is a solid film that manages to engage and move its audience, despite its shortcomings. The best film released by Inkblot so far this year. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-betrayed-fifty-shades-of-red-in-a-crimson-mess/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-betrayed-fifty-shades-of-red-in-a-crimson-mess/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-betrayed-fifty-shades-of-red-in-a-crimson-mess/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-betrayed-fifty-shades-of-red-in-a-crimson-mess/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-betrayed-fifty-shades-of-red-in-a-crimson-mess/?share=linkedin) - **Categories:** Articles, Movies, Nollywood, Popular reviews, Reviews --- ### [All Of Us: See The Trailer For The New YouTube Series](https://nollycritic.com/all-of-us-see-the-trailer-for-the-new-youtube-series/) **Published:** August 6, 2024 **Author:** Michael Arowoselu **Excerpt:** This highly anticipated series, All of Us, follows the lives of 10 high school students whose worlds are turned upside down by a single lie **Content:** This highly anticipated series, [All of U](https://nollycritic.com/all-of-us-set-to-premiere-on-youtube-this-august/ "All of US")s, follows the lives of 10 high school students whose worlds are turned upside down by a single lie. The title will delve into themes like friendship, sexual assault, and the myriad challenges and victories of adolescence. The film stars; Eni Adeoluwa, Jemima Osunde, Tobe Ugeh, John Merry, Eronini Osinachim, Nimiee Ogunjebgbe, Jerry Chuks, Tomi Ojo, Priscilla Ojo and Chinasa Unigwe. Also; Kate Henshaw, Uzee Usman, Maryam Booth, Yemi Solade, Adunni Ade, Deyemi Okanlawon, Rahama Sadau, Iyabo Ojo, Chioma Akpota, Lilian Esoro, Femi Durojaye, Saga Deolu, Ray Adeka, & Chy Nwakanma. Directed by Orire Nweni & Oluchi Nsofor Produced by Eni Adeoluwa & Gbolahan Gaffar Written by Mannie Oiseomaye. Premieres on Youtube on August 30. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/all-of-us-see-the-trailer-for-the-new-youtube-series/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/all-of-us-see-the-trailer-for-the-new-youtube-series/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/all-of-us-see-the-trailer-for-the-new-youtube-series/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/all-of-us-see-the-trailer-for-the-new-youtube-series/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/all-of-us-see-the-trailer-for-the-new-youtube-series/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** ; Eni Adeoluwa, Eronini Osinachim, Jemima Osunde, Jerry Chuks, John Merry, Nimiee Ogunjebgbe, nollycritic, nollywood, Priscilla Ojo, Tobe Ugeh, Tomi Ojo --- ### [Criminal: Desperation and Ethical Dilemmas? Who Exactly is The Criminal?](https://nollycritic.com/criminal-desperation-and-ethical-dilemmas-who-exactly-is-the-criminal/) **Published:** June 4, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Criminal is a well-executed film with a truly engaging story. The sense of direction and attention to detail in the film is actually a testament of expertise. **Content:** Criminal…from the start of the film’s publicity, one mantra kept ringing: “We are not Criminals.” Given the obvious threats and looming violence depicted in the trailer, this raises intriguing questions. What does that phrase truly mean in the context of the story? And, it’s quite interesting how this was unveiled. Whoopsie, a little spoiler alert: **avoid the plot segment if you don’t wish to have the fun spoiled!** Unless you don’t mind. ## *Criminal* Directed by: Dolapo Adigun Written by: Niyi Akinmolayan Genre: Crime Drama Released on: May 31, 2024 (Cinemas) Language: English/Pidgin English ##### Story One fateful day at the hospital, Dr. Amara is immersed in her routine duties, and everything seems to be running smoothly. However, the day takes a drastic turn when Uzor arrives, desperately seeking medical aid for his brother, Chima, and subsequently holding the hospital hostage. The story explores themes of brotherly and familial love, highlighting the extreme lengths one might go to in order to save their loved ones. Through contrasting situations and moral compasses, it illustrates how the powerful urge to protect loved ones can push someone towards criminal or morally questionable actions, challenging and crossing ethical boundaries. ##### Plot Because of its subject matter, *Criminal* explores a man versus love dynamic in the debate on moralism. Uzor, driven by brotherly love, continuously resorts to crime, while Dr. Amara faces her own ethical dilemmas, ultimately crossing professional boundaries to save others. In *[Criminal](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-may/ "Criminal")*, the contrasting paths of Uzor and Dr. Amaka serve as the backbone of the story. Uzor is a deeply flawed character, torn between greed and love. His life is marked by a tendency towards violence, a trait that alienates him from society and even his own parents, despite his actions often being driven by a desire to protect those he cares about. From childhood to adulthood, Uzor’s violent reactions place him at odds with societal norms, and his moral compass is constantly questioned. In stark contrast stands Dr. Amara, a beloved doctor admired for her dedication to saving lives. Her moral dilemmas, however, are shrouded in dramatic irony. Faced with a critical decision, Dr. Amara must choose between adhering to her medical ethics or risking the life of one to save many. Ironically, while her actions parallel Uzor’s morally questionable decisions, she is celebrated and rewarded for her choices, despite crossing ethical boundaries. The plot takes an unexpected turn with a shocking revelation about Uzor. Despite his professed love for his brother, Chima, Uzor is willing to pull the trigger on him to save himself from the consequences of his actions. The true extent of Uzor’s selfishness is unveiled when, in a moment of desperation, he even attempts to shoot an innocent child to get what he wants –to save his brother. However, a twist of mere coincidence alters the course of events. Just as Uzor is about to shoot his brother, someone else fires the fatal shot, leading to Chima being rushed to the hospital where the central plot unfolds. The coincidences don’t end here. As Uzor tries to shoot the child, the gun mysteriously malfunctions, refusing to fire despite his repeated attempts. In a surprising twist of fate, the gun works perfectly when pointed elsewhere. Set in the hospital, through a series of flashbacks, and movement from the primary setting to the police station, the film reveals these pivotal moments, gradually uncovering the layers of moral complexity and the intertwined fates of the characters. However, there are many questionable plot holes that plague the story. ##### Technical Aspects It’s no doubt that this film was well executed with expertise. Everything used to communicate the story—from the perspectives of the characters, the explanation of character dynamics, and the enhancement of suspense through sound—was masterfully executed, making the film an immersive experience. In detail, we caught sight of shots which were deliberately chosen to exert dominance of Uzor’s character –He has literary taken over. Notably, the cinematographer captures Uzor from below to emphasize his towering influence. Moreover, to heighten the palpable tension of the unfolding events, for the audience, the cinematographer goes for the use of handheld shots to add a sense of immediacy, mirroring the unsteady movements of the characters and placing viewers in the midst of the unsettling atmosphere. As perspectives shift, as emotional tensions change, so does the camera techniques. Additionally, the use of sound was particularly effective in one standout scene where gunshots and the corresponding reactions of shock from everyone brilliantly heightened the severity and authenticity of the situation. Although sound was used to heighten this suspense, the performance and some corresponding actions don’t help to make it believable. If not for sound, the suspense value was not up to par. ##### Performance Funlola Aofiyebi-Raimi, who plays Dr. Amara, deserves commendation for her commanding tone and exceptional voice acting. Her portrayal truly set her apart from the other characters. Dr. Amara is an audacious character, and Funlola’s every tone embodies that audaciousness perfectly. But her character is thoroughly flawed. A problem of poor writing. Her character seems all too audacious that the believability of her character is questionable. The choice to name Uzor Arukwe’s character after himself, Uzor, adds an intriguing layer of authenticity to his role. [Arukwe](https://en.wikipedia.org/wiki/Uzor_Arukwe "Arukwe") effortlessly embodies his character, avoiding any sense of contrivance in portraying his intimidating persona. Particularly noteworthy is a scene where he gazes at Dr. Amara with an enigmatic expression, conveying the unpredictability of his character. Arukwe’s performance captivates the audience, leaving us intrigued by the inner workings of his character’s mind, especially during moments of intense conflict like when Dr. Amara refuses to save his brother. With this standout performance, it’s flawed with inconsistency in some scenes. It’s noteworthy that comedian and actor OG Tega, who is also a trained doctor, plays a role in the film. This deliberate casting choice adds depth, especially considering the film’s exploration of medical themes. It’s important to note that an actor’s performance is deeply connected to the ensemble cast and the collective effort of the entire team. And with a few standout perofrmaces from the extras, some faltered. Some looked confused and their reactions to the situation at hand did not correspond. ##### Cinema Experience The thing that does this film a huge favour was the quality of the sound which immerses you into the narrative. There was so much attention to the sound that it invoked a perceived emotional connection to the situation presented in the film. At the end of the film, as the director’s name, Dolapo Adigun, appeared on screen, the audience erupted into an applause. This signifies that something was done right! A clear indication that the film had struck the right chords! Although the film had a stretchy ending to drive the message home, it seems like majority of the audience chose to excuse some irregularities in the storytelling. ##### Final Thoughts *Criminal* is a well-executed film in technical prowess. The sense of direction is a testament of expertise. The crux of the story is to have a connection with both Amara and Uzor. However, Dr Amara’s motivations are not so clear. Some things were done to establish it, but it just wasn’t enough. As the hero, she’s not really the main focus. All our attention is on Uzor whose backstory is well fleshed out. The film started on a very good note, and as the plot unfolded, it wasn’t as suspenseful as expected. Uzor’s actions became somewhat predictable due to his constant threats. His unpredictable nature paradoxically made his negative responses expected. But within this itself, we see good writing –we actually understand him to the point that we know how he will respond. And the story was flawed with diverse chatacter decisions. In its slight suspense, comes the good and the bad side. It’s good because it genuinely gives good background stories to keep the audiences enough exposition into the character through flashbacks. But, 40 to 50 minutes in, and yet nothing had been done to help Uzor’s brother (given the time wasted he’s supposed to be dead), the stakes were so high that it created apprehension. Lives were in danger, but yet we’re still here trying to get help with threats flying all about. Therefore, it felt too long. And then, the end posed some questions with convenience. How could a character with such pent-up anger, whom we fully expect to respond with violence, suddenly decide not to act in the heat of the moment when his life was at stake? And, doesn’t Dr Amara have one ounce of fear? Yes, she’s audacious, but at this point, she remains too constant to her character, lacking any development in her character arc. So, why should we root for her? Additionally, and finally, why would someone, clearly knowing they are playing a loosing game not fight to the very end and simply just give up? Summarily, it had a good premise with convenient end that only served cinematic purpose. Through the contrasting moral dilemmas and actions of the characters, especially Uzor and Dr. Amara, the film effectively explores themes of love, desperation, and ethical dilemmas, illustrating how these can lead to actions that defy simple categorization as “criminal.” It challenges the audience to empathize with the characters’ struggles and question the true nature of criminality, while ultimately rooting for Dr. Amara. ##### Verdict The suspense value of the film, *Criminal*, is average and remains a properly executed film created purely for a cinematic experience. It includes moderate bloodshed that is also believably shot. And for that, *Criminal dese*rves a good 3/5. Kudos to the director, Dolapo Adigun in her directorial debut. *Criminal* is now available on Prime Video. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/criminal-desperation-and-ethical-dilemmas-who-exactly-is-the-criminal/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/criminal-desperation-and-ethical-dilemmas-who-exactly-is-the-criminal/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/criminal-desperation-and-ethical-dilemmas-who-exactly-is-the-criminal/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/criminal-desperation-and-ethical-dilemmas-who-exactly-is-the-criminal/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/criminal-desperation-and-ethical-dilemmas-who-exactly-is-the-criminal/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** anthill, Criminal, Dolapo Adigun, Funlola Aofiyebi, Niyi Akinmolayan, nollywood, Reviews, Uzor Arukwe --- ### [Oscars: NOSC Calls For Feature Film Submissions](https://nollycritic.com/97th-oscars-nosc-calls-for-feature-film-submissions/) **Published:** July 31, 2024 **Author:** Shalom O. Obisesan **Excerpt:** The Nigerian Official Selection Committee (NOSC) has announced the opening of submissions for the 97th Academy Awards (Oscars). Nigerian filmmakers can submit their feature film **Content:** The [Nigerian Official Selection Committee](https://www.thenosc.org "Nigerian Official Selection Committee") (NOSC) has announced the opening of submissions for the [97th Academy Awards](https://www.oscars.org/node/1 "97th Academy Awards") (Oscars). Nigerian filmmakers can submit their feature films for consideration in the International Feature Film (IFF) category from August 1 to August 30, 2024. This announcement, made through various media outlets and social platforms, highlights the criteria for eligibility. Films must be feature-length, produced outside the United States, and contain at least 50% of dialogue in a non-English language. The films must also have accurate English subtitles and meet specific technical standards. The committee. will be responsible for selecting Nigeria’s official entry for the IFF award at the 97th Oscars and has introduced new voting members to its 16-person team. The new members include [Ali Nuhu](https://nollycritic.com/ali-nuhu-to-head-the-nigerian-film-corporation-after-tinubu-appointment/ "Ali Nuhu"), Managing Director of the Nigerian Film Corporation; Blessing Effiom Egbe, producer-director; actress Ijeoma Grace Agu; Kene Okwuosa, Co-Founder and Group CEO of Filmhouse Cinemas; and journalist and film critic Victor Akande. Returning members include actress and filmmaker Stephanie Linus, who chairs the committee. Other members are President of the Directors Guild of Nigeria Victor Okhai, actress Omotola Jalade-Ekeinde, former DGN President Andy Amenechi, theatre practitioner Yibo Koko, writer-director Izu Ojukwu, film producer Emem Isong, director Dimeji Ajibola, writer-director Jude Idada, filmmaker John Njamah, and actress Meg Otanwa. Stephanie Linus emphasized that the inclusion of new members with diverse creative backgrounds aims to enhance the selection process. “The inclusion of new members brings together individuals with diverse creative backgrounds, enhancing the process of selecting the best film from Nigeria. The team is tasked with collecting, screening, and voting on entries to represent the country in the IFF category,” she stated. Important dates for the upcoming award season include the submission window for the NOSC from August 1-30, 2024, and the Academy’s submission deadline on October 2, 2024. The process will involve two rounds of voting by the Academy. The first round will determine a shortlist of 15 titles. The second round will decide the final five nominations for the International Feature Film award. The shortlist will be announced on December 17, 2024, and the nominations on January 17, 2025. The 97th Oscars ceremony is scheduled for March 3, 2025, at the Dolby Theatre in Ovation Hollywood, Los Angeles. It will be broadcast live to over 200 territories worldwide. Last Years Oscar selection for Nigeria was, CJ Obasi’s *Mama Wata*. For more information on submission criteria and detailed guidelines, filmmakers are encouraged to visit the NOSC [website](https://www.thenosc.org "website"). ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/97th-oscars-nosc-calls-for-feature-film-submissions/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/97th-oscars-nosc-calls-for-feature-film-submissions/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/97th-oscars-nosc-calls-for-feature-film-submissions/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/97th-oscars-nosc-calls-for-feature-film-submissions/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/97th-oscars-nosc-calls-for-feature-film-submissions/?share=linkedin) - **Categories:** Blog, Nollywood News **Tags:** 97th Oscars, Ali Nuhu, Dimeji Ajibola, Emem Isong, Izu Ojukwu, nollywood, NOSC, oscars --- ### ["Wrong Number": A Drama Plagued by Flaws Beyond Numerals](https://nollycritic.com/wrong-number-a-drama-plagued-by-flaws-beyond-numerals/) **Published:** July 31, 2024 **Author:** Shalom O. Obisesan **Excerpt:** From the trailer to the teaser, and even the publicity of Wrong Number, different things are communicated, making it difficult to understand the film’s genre. **Content:** “In a twist of fate, one wrong number changes the lives of a group of close-knit friends.” From the trailer to the teaser, and even the publicity of *Wrong Number*, different things are communicated, making it difficult to understand the film’s genre. For all we know, a drama about a ‘wrong number’ is what to expect. Marketed as an action-filled and thought-provoking exploration of the implications of mistaken identity, the film ultimately fails to deliver the promised thrills and excitement. Instead, it comes off as a comedy due to its absurdity, and is treated as such. The implications are unfelt and lack impact. ## Wrong Number Directed by: Uche Chukwu Written by: Uche Chukwu Genre: Drama Released on: July 12, 2024 (Cinemas) Language: English ##### Story The story starts with a promising premise: one wrong number that has the potential to unravel lives. The initial curiosity stems from intriguing questions—why did the musician include his number in a song, and what drama unfolds as a result? The film follows an unpredictable trajectory with an interesting twist that engages viewers initially. However, the execution quickly becomes tedious, causing the audience to feel disconnected from the narrative. While attempting to address themes of mistaken identity and abduction, the film does so in a superficial manner. It lacks a thorough exploration of the underlying issues, rendering its message shallow and unconvincing. This lack of depth prevents the film from resonating on a deeper level and diminishes its potential for meaningful commentary. ##### Plot The plot flows relatively smoothly. As typical, following one event after another. With a major plot hole. The plot is riddled with a significant inconsistency that detracts from its overall coherence. Key events and character decisions lack coherence, making it difficult for the audience to suspend disbelief. For instance, the premise of a man being abducted due to a mistaken identity based on a wrong number is far-fetched and not convincingly executed. So, the abductors can’t recognize Reminisce in this simulated society where he’s so popular?! Come on. In short, the plot lacked logic as it progressed. ##### The Cinema Experience Before the film started, adverts were run, and the sound quality from the adverts of other films were really impressive. So, I expected the best viewing experience pertaining sound. But, the sound quality of Wrong Number fell short. The sound lacks the depth needed to fully engage viewers, and the musical score is forgettable, failing to enhance the film’s mood or tone. It feels more like an afterthought than a crucial element of the storytelling, diminishing the film’s overall impact. The editing is rushed, with abrupt cuts that disrupt the narrative flow. Long, unnecessary montages pad the runtime but ultimately contribute to a dragging pace. This results in a viewing experience that is both boring and frustrating. ##### Technical Aspects In summary, Wrong Number reflects poor filmmaking. The cinematography is uninspired, with bland shot compositions and a lack of visual creativity. The film fails to utilize the visual medium to enhance its storytelling, providing only the basics needed to convey the story. While the visuals look decent, they lack the flair to make the film stand out, contributing to its overall mediocrity. The film suffers from erratic pacing, especially during scene transitions. The jarring cuts leave little time for viewers to process the previous scene, while the choppy editing disrupts the flow. Abrupt transitions between scenes further contribute to a disjointed viewing experience, making it difficult for the audience to stay engaged. Long montages exacerbate these pacing issues, making the film feel padded and unfocused. ##### Performances The performances struggle to make an impact due to the disengaging story. Nancy Isime delivers a competent performance, but her character remains one-dimensional. Seun Ajayi, the lead actor, performs adequately but with exaggerated flair. Similarly, Baaj Adebule’s character is irritating, and his shift in responsibility feels off-putting, possibly due to a poorly executed character arc. Both Seun and Baaj’s performances are exaggerated, primarily for comedic effect, which feels misplaced given that the film was marketed as an action-packed and thought-provoking piece. Reminisce’s performance is also lackluster, possibly due to his absence from the cinematic scene for a while now. Additionally, the trope of giving a character a cigar to signify them as a “bad ass” feels clichéd and uninspired, reducing the character to a stereotype, as seen with Manuel Bimbo’s role. Furthermore, Shaffy Bello’s portrayal lacks believability and consistency but there is relatability. ##### Final Thoughts *Wrong Number* is a prime example of bad filmmaking. It lacks logic, coherence, and creativity, resulting in an annoying and frustrating viewing experience. The film’s numerous shortcomings in plot, direction, acting, and technical execution make it a forgettable entry in Nigerian cinema. Instead of engaging the audience, it leaves them questioning the decisions behind its creation. A more thoughtful approach to the script, better direction, and improved production quality could have salvaged this film, but as it stands, Wrong Number fails to deliver on almost every front. The direction of this film doesn’t have a clear vision, only in the sense that the film look is consistent with the neo-naturalist society the film is set in. The overall production quality is not bad but subpar, nothing really stands out. Despite being rated 15, it features a scene that seem inappropriate for its rating, such as a woman wearing a bra and shorts. This not only raises questions about the film’s adherence to its rating but also feels gratuitous and unnecessary. ##### Verdict Based on the extensive premise covering poor execution in story, plot, technical aspects, and performances, *Wrong Number* warrants a 1.5 out of 5. This rating reflects its significant shortcomings and the overall negative impact on the viewing experience. **Rating**: 1.5/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/wrong-number-a-drama-plagued-by-flaws-beyond-numerals/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/wrong-number-a-drama-plagued-by-flaws-beyond-numerals/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/wrong-number-a-drama-plagued-by-flaws-beyond-numerals/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/wrong-number-a-drama-plagued-by-flaws-beyond-numerals/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/wrong-number-a-drama-plagued-by-flaws-beyond-numerals/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** nollycritic, nollywood, Seu Ajayi, Wrong Number --- ### [Big Brother Naija Stars: From Reality TV To Nollywood](https://nollycritic.com/big-brother-naija-stars-from-reality-tv-to-nollywood/) **Published:** July 27, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Big Brother Naija has captivated millions of viewers across Nigeria and beyond and has become a significant launchpad for aspiring actors. **Content:** Big Brother Naija has captivated millions of viewers across Nigeria and beyond and has become a significant launchpad for aspiring actors. This reality TV show has produced several stars who have transitioned into Nollywood, making their mark in the industry. This article highlights some of the most notable Big Brother alumni who have successfully ventured into acting, highlighting their filmography and assessing their performances. ##### Tobi Bakre [Tobi Bakre](https://www.imdb.com/name/nm10691239/ "Tobi Bakre") has impressed many with his acting skills, taking on significant roles in notable films. His performance in *Brotherhood* showcased his versatility and depth as an actor. Additionally, his role in *Gangs of Lagos* further solidified his place in Nollywood, demonstrating his ability to handle complex characters. ##### Bisola Aiyeola Bisola Aiyeola is another BBNaija alumna who has significantly impacted Nollywood. Known for her roles in *Sugar Rush* and *This Lady Called Life*, Bisola has consistently delivered powerful performances. She has also starred in *Introducing The Kujus* and its sequel, *The Kujus Again*, where her dynamic acting skills have been on full display. https://www.youtube.com/watch?v=hGNGTHKbDmU&t=32s ##### Gideon Okeke Gideon Okeke, a prominent alumnus from the very first season of Big Brother Naija in 2006, has had a consistent presence in the Nigerian entertainment industry. He began his career with the popular Africa Magic TV show *Tinsel*, where he gained widespread recognition. Over the years, he has showcased his acting prowess in notable films, including *When Love Happens*, *93 Days*, *Palava*, and *The Trade*. His upcoming film, *Tokunbo*, is set to premiere on Netflix, further solidifying his position in Nollywood. In addition to his film career, Gideon has appeared in television shows such as Movement Japa and Slum King, demonstrating his versatility and commitment to his craft. Gideon’s journey from a reality TV star to a seasoned actor is a testament to his talent and dedication to the Nigerian film industry. ##### Erica Nlewedim Erica Nlewedim had already built a portfolio before her stint on BBNaija, but her fame from the show propelled her acting career further. She starred in *The Blood Covenant*, delivering a memorable performance. Other notable films in her repertoire include *A Weekend to Forget*, *Devil in Agbada*, and *Hire a Woman*, where she continued to showcase her talent. ##### Tayo Faniran Tayo Faniran transitioned from Big Brother Africa to Nollywood, with commendable performances in films like *Gangs of Lagos* and *Ada Omo Daddy*. His ability to bring characters to life has earned him a spot among the notable BBNaija alumni in Nollywood. ##### Beverly Osu Beverly Osu, who transitioned from Big Brother Africa to Nollywood, has carved out a successful acting career with several notable film appearances. Among her standout performances are her roles in *Oloture* and its sequel, *[Oloture: The Journey](https://nollycritic.com/oloture-the-journey-another-dull-sequel-that-never-arrives/ "Oloture: The Journey")*. So far, she has garnered critical acclaim and demonstrated her significant talent and range as an actress. ##### Pere Egbi Pere Egbi, known for his role in *The Perfect Arrangement*, has also made a name for himself in the Nigerian film industry. His appearance in the popular series *Men’s Club* and a brief role in *Blood Vessel* has showcased his versatility and growing acting prowess. Pere also produced and featured in *The Silent Intruder.* ##### Elozonam Ogbolu Though Elozonam Ogbolu has yet to secure many lead roles, he has demonstrated his talent in ensemble casts. His performance in *A Weekend to Forget* was noteworthy. Additionally, his work in *Before Valentine’s* and digital content like *My Name is Zozo* on YouTube have displayed his range and creativity as an actor. ### Evaluating Performances While some Big Brother Naija stars have distinguished themselves with exceptional acting skills, others still find their footing in Nollywood. Notably, Tobi Bakre, Bisola Aiyeola, Elozonam Ogbolu, and Tayo Faniran have delivered standout performances, showcasing their ability to embody diverse characters and deliver compelling portrayals. Boma Akpore, Teddy Adenibuyan (Teddy A), Bambam Adenibuyan, Mercy Eke, and Tacha Akide, though having appeared in a few films, are yet to truly make their mark. It will be interesting to see the direction their careers take. The influx of Big brother Naija stars into Nollywood has introduced a fresh wave of talent and diversity to the industry. These actors attract their BBNaija fanbase and contribute to the growing popularity and success of Nigerian films. Their performances have generally been well-received by audiences and critics alike, indicating a positive impact on Nollywood. Big Brother has proven to be more than just a reality TV show; it has become a significant platform for aspiring actors to launch their careers in Nollywood. The journey of these stars from reality TV to acting highlights their dedication, talent, and the expanding opportunities in the Nigerian film industry. As they continue to hone their craft, the future looks promising for Big Brother alumni in Nollywood, with the potential for even greater achievements and contributions to the industry. [A new season of Big Brother Naija ](https://www.dstv.com/africamagic/en-ng/show/big-brother-naija "A new season of Big Brother Naija ")begins on the 28th of July 2024. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/big-brother-naija-stars-from-reality-tv-to-nollywood/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/big-brother-naija-stars-from-reality-tv-to-nollywood/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/big-brother-naija-stars-from-reality-tv-to-nollywood/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/big-brother-naija-stars-from-reality-tv-to-nollywood/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/big-brother-naija-stars-from-reality-tv-to-nollywood/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** BBNaija, Beverly Osu, Big Brother, big brother Naija, Bisola Aiyeola, Elozonam Ogbolu, Gideon Okeke, Pere Egbi, Tayo Faniran, Tobi Bakre --- ### [Ramsey Nouah’s Tokunbo To Premiere on Netflix This August](https://nollycritic.com/ramsey-nouahs-tokunbo-to-premiere-on-netflix/) **Published:** July 26, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Netflix has secured the distribution rights for Tokunbo, an upcoming crime thriller directed by Ramsey Nouah. **Content:** [Netflix](https://www.netflix.com/browse "Netflix") has secured the distribution rights for *[Tokunbo](https://nollycritic.com/the-most-anticipated-nollywood-movies-of-2024/ "Tokunbo")*, an upcoming crime thriller directed by Ramsey Nouah. The film marks Nouah’s third directorial project, following his successful works *Rattlesnake: The Ahanna Story* (2020) and *Living in Bondage: Breaking Free* (2019). *Tokunbo* centers on the intense journey of an ex-car smuggler who must race against time to save a kidnapped girl. The narrative delves into critical issues in Nigeria, such as kidnapping, political corruption, and the fight for survival, presenting a gritty portrayal of the nation’s darker side. The film boasts an impressive cast, including Gideon Okeke in the lead role, alongside Adunni Ade, Tosin Adeyemi, child actress Darasimi Nnadi, and Funlola Aofiyebi-Raimi. Produced by Chris Odeh and co-produced by Joy Odiete, *Tokunbo* also features Mohammed Attah as the Director of Photography, with principal photography completed in November 2022. This project continues the collaboration between Ramsey Nouah and producer Chris Odeh, known for their previous work together. *Tokunbo* heads to [Netflix](https://www.netflix.com/browse "Netflix") on August 23, 2024. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ramsey-nouahs-tokunbo-to-premiere-on-netflix/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ramsey-nouahs-tokunbo-to-premiere-on-netflix/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ramsey-nouahs-tokunbo-to-premiere-on-netflix/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ramsey-nouahs-tokunbo-to-premiere-on-netflix/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ramsey-nouahs-tokunbo-to-premiere-on-netflix/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Adunni Ade, Chris Odeh, Darasimi Nnadi, Funlola Aofiyebi-Raimi, Netflix, nollycritic, nollywood, Ramsey Nouah, Tokunbo, Tosin Adeyemi --- ### [Kofa (The Door): A Gripping Two-Sided Thriller](https://nollycritic.com/kofa-the-door-a-gripping-two-sided-thriller/) **Published:** July 25, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Finally! After two years of anticipation, Kofa (The Door) finally hit the screens. The thing is, there are two sides to its narrative. **Content:** Finally! After two years of anticipation, *Kofa (The Door)* finally hit the screens. The thing is, there are two sides to its narrative. Back in 2022, the film garnered significant acclaim at the Africa International Film Festival (AFRIFF), winning awards, including Best Film, Best Screenplay, and Best Actor for Daniel Etim Effiong’s performance. For those eagerly awaiting its release, it’s available on Prime Video. ## *Kofa* (2024) Directed by: Jude Idada Written by: Jude Idada Genre: Thriller Released on: May 17, 2024 (Prime Video) Language: English ##### Story As it reads on Prime: “Eight people suddenly awaken in a decrepit room stripped down to their underwear. Besides their names, they have no memories of who they are, where they are, and why they are there. Confusion and mutual suspicion escalate their predicament. When an armed man starts taking them out, one after the other, they struggle to remember, believing that their memories hold the pathway to their escape.” From this, we know what to expect: suspense. The story of *Kofa* is unique, diverging from the typical narratives often seen in Nollywood. The film later adopts a dual-narrative approach which is certainly ambitious and piques interest. The real challenge lies in how effectively the film merges these two distinct storylines. ##### Plot The plot of *Kofa* is essentially divided into two parts, with the storylines feeling somewhat separate after a significant plot twist. The first half introduces us to an intriguing and original plotline. It progresses smoothly and coherently, allowing the audience to understand and follow the narrative. However, the second half shifts focus to the topical issues of the Chibok girls’ abduction and Boko Haram terrorism. After the twist, the second half becomes disjointed and confusing. It comes off as abrupt and feels like the viewer is taken from one film and plunged into another. Despite the potential of the plot twist, the transition between the two halves is neither smooth nor seamless; it is jarring, abrupt, and confusing, making it difficult for the viewer to stay engaged. ##### Technical Aspects It’s always good to make a strong first impression, and *Kofa* achieves this with a captivating intro sequence that fits its genre. The drone shots of what appears to be a secret service operation searching for the kidnapped individuals are awe-inspiring, effectively setting the tone. Initially, these secret service operators are integral to the plot, suggesting a search scenario. However, their dialogue comes off as annoying. The sound design is noteworthy. At first, it subtly blends into the background, but on closer inspection, it becomes evident that the sound choices foreshadow the second half of the film. The camera movement is commendable, often visually illustrating heightened tension and signaling shifts in the plot or storylines. The cinematography overall deserves praise for its “raw” and “real” visual aesthetic, aiming to present an unfiltered and authentic feel to the film. However, there are minor details that disrupt this authenticity. For instance, the women are depicted wearing matching underwear, which feels unrealistic given the unplanned nature of their situations. This detail suggests a deliberate costuming decision rather than a natural portrayal, detracting from the film’s intended realism. ##### Performances The most memorable performance comes from Daniel Etim Effiong, who portrays a thoroughly unlikeable character with such skill that even his ability to annoy viewers is commendable. His character’s shift is both interesting and believable, adding depth to his role. Ijeoma Grace Agu and Gina Castel also deliver notable performances, particularly for their boldness on screen. Zainab Balogun stands out with a convincing portrayal of her character, notably justified by her English accent. Enyinna Nwigwe’s character is marred by inauthentic stammering, though his overall performance, alongside Charles Etubiebi, Gina Castel, and Beverly Naya, is commendable. Beverly Naya starts strong but falters in one scene where her delivery sounds rehearsed and unreactive, breaking the authenticity. Additionally, Shawn Faqua makes a brief but impactful appearance, and Genevieve Nnaji delivers her usual excellent performance. ##### Final Thoughts The 2022 Africa Independent Film Festival’s Best Feature award went to *Kofa (The Door)*, a film that, despite its accolades, leaves one scratching their heads right now. What did this film a significant disservice was the muddled narrative, which ultimately resulted in an aimless direction. The story seemed to lack a clear purpose beyond addressing topical issues. The narrative, which intertwines the Boko Haram terrorism in Nigeria and the Chibok girls’ abduction, seemingly rides on the coattails of these significant events rather than delivering a cohesive story. Talk less of the original story on ‘the mind being a door’ that the film initially appeared to focus on. One could argue that the film’s topical relevance to Boko Haram’s atrocities and the plight of the Chibok girls played a significant role in its award win. The gravity of these issues is undeniable, but a film’s merit should lie in its storytelling prowess and authenticity. In this regard, *Kofa* falls short, offering a disjointed narrative that fails to meet the standards expected of the best feature. ##### Verdict The film is undeniably suspenseful and starts with a good premise and a unique storyline. However, the incorporation of two promising narratives, while ambitious, ultimately detracted from the coherence of the storyline. The plot and story, despite having a strong plot twist, faltered as the film progressed. On the other hand, the performances were commendable, with standout roles adding depth to the characters. Yet, the English spoken by the characters did not feel relatable to the average Nigerian, particularly given the dire circumstances the kidnapped characters were in. While the intention behind *Kofa* is not bad, the execution leaves much to be desired. Its success at the festival likely reflects the weight of its subject matter rather than the quality of its cinematic delivery. We give it a 2.5 out of 5 **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kofa-the-door-a-gripping-two-sided-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kofa-the-door-a-gripping-two-sided-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kofa-the-door-a-gripping-two-sided-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kofa-the-door-a-gripping-two-sided-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kofa-the-door-a-gripping-two-sided-thriller/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Daniel Etim Effiong, Gina Castel, JUde Idada, Kofa, nollycritic, nollywood, Tunde Babalola --- ### [Moses Babatope Unveils Nile Media & Entertainment Group](https://nollycritic.com/moses-babatope-unveils-nile-media-and-entertainment-group/) **Published:** July 25, 2024 **Author:** Michael Arowoselu **Excerpt:** Moses Babatope has announced the launch of the Nile Media Entertainment Group, an expansive media and entertainment company **Content:** [Moses Babatope](https://nollycritic.com/moses-babatope-bows-out-of-filmhouse-group-after-12-years/ "Moses Babatope") has announced the launch of the [Nile Media Entertainment Group](https://variety.com/2024/film/global/moses-babatope-nile-media-entertainment-group-1236084213/ "Nile Media Entertainment Group"), an expansive media and entertainment company dedicated to providing services in film production, distribution, cinema experiences, and talent building across Africa. The Nile Group aims to redefine the landscape of African media, leveraging a substantial multi-million dollar investment/funding to drive growth and development across the industry. Over the years, the entertainment industry has grown tremendously, contributing around 5% of Nigeria’s GDP. Within this rapidly changing environment, Nile has identified opportunities for further growth in untapped markets within the West African and sub-Saharan African regions. According to Babatope, the company will focus on creating, showcasing, and distributing content globally with its multifaceted approach, encompassing film production, distribution, cinema experiences, and talent development. “We are taking a grand approach to transform the industry. Seeing how much we have grown over the years, our vision is not only to celebrate and amplify African stories globally but also to create more revenue streams and deliver exceptional returns for our investors. By leveraging cutting-edge technology and tapping into the vast pool of African talent, we are aiming to set new industry standards and drive significant economic growth. This is an exciting time for us, and we are happy to reshape the future of African entertainment.” The Nile Group operates through five entities: Nile Entertainment, Nile Cinemas, Nile Motion Pictures, Nile Studio Lab, and the Nile Foundation. Nile Entertainment will manage distribution across Africa, the US, the UK, Canada, and other key international markets including South America, the Middle East, Asia, and Australia. Nile Entertainment is opening on a strong note with the highly anticipated third installment of Omoni Oboli’s Wives on Strike 3 and according to Moses Babatope, Nile Entertainment has secured both local and international distribution rights for over 31 titles. In addition, Nile Entertainment has acquired Global rights for an impressive slate of productions, including Linda Ikeji’s latest true crime film offering “The Night of June 7” directed by Toka McBaror, “The Artefact” a GenZ-themed multi-million naira Action/Adventure written, directed, and produced by Tolu Awobiyi a long-term collaborator with Moses Babatope, “Banke” an intense drama starring Daniel Etim Effiong and Bolaji Ogunmola produced by respected Nollywood veteran filmmaker Emma Isikaku, “Is It Your Money” a one of its kind highly sought-after documentary series created and produced by the award-winning media personality Chude Jideonwo, “Afrobeats Backstory Season 2” the follow-up to the widely acclaimed Afrobeats origins docu-series by the enigmatic Ayo Shonnaiya and “The Wives” a faith-based documentary series directed by young fast-rising sensational filmmaker Orire Nwani who rose to the fore with his Amazon Prime licensed series Grind. Complementing its distribution capabilities, Nile Cinemas will be at the forefront of cinema management, overseeing operations for THC Cinemas Ifako-Ijaiye, Lagos, and Royal Roots Cinemas Ikota, Lagos, and more coming up. Through Nile Screens, the company will also provide cinema operations services for a new screening initiative called Filmhub. With the high demand for premium, personalized cinema experiences on the rise, Babatope hints that Nile X in collaboration with one of the leading Cinema chains in Nigeria is set to introduce private luxury pods, offering an exclusive and immersive viewing experience. The Pods cater to a discerning audience that seeks more than just a film screening. This venture taps into a niche market, blending the allure of cinema with the sophistication of gourmet dining, luxurious seating, and advanced audio-visual technology. As the production arm of the group, Nile Motion Pictures will develop and produce a wide range of original content. Notable projects include an untitled romantic drama with Kayode Kasum’s FilmTrybe, an action-thriller “The Porters” produced in collaboration with Wingonia Ikpi’s Boxonia Blueprint Productions, and the faith-based drama “Oluwaloni” in partnership with Biodun Stephen’s Shutterspeed Projects. Production partnerships include collaborations with Ifedayo Agoro, a renowned Nigerian entrepreneur, digital storyteller, and community manager of Diary of A Naija Girl (DANG): DANG. A 1m-strong community of women passionate about authentic storytelling. At the heart of Nile Group’s creative endeavors, Nile Studio Lab produces high-quality films and TV series for in-house and third-party productions. A recent agreement with an International Studio Consortium has been reached. Nile Group’s international partnerships include collaborations with IFEC UK, Continental Entertainment, Invention Studios, Amplify Africa, TMPL Motion Pictures, Cinemax Distribution, Papaya, Nigerian International Film & TV Summit and Africa Cinema Summit. These alliances aim to expand the reach of African stories and ensure their global impact. Dedicated to social impact, The Nile Foundation will drive community development initiatives through a series of masterclasses for filmmakers, sponsoring small projects, and discovering new talents in Africa. The Nile Foundation aims to foster a thriving and inclusive film industry across the continent by investing in local talent and supporting grassroots projects. #### The Team ##### Moses Babatope Moses Babatope, with over 20 years of experience in film exhibition, production, distribution, marketing, and sales, has been credited with many firsts in the Nigerian film industry. He has championed the global distribution of Nigerian blockbuster films, including the highest-grossing film of all time in West Africa, A Tribe Called Judah, as well as Battle on Buka Street, Omo Ghetto: The Saga, The Wedding Party movies, King of Boys, The Merry Men movies, and others. He is also responsible for the first set of direct major theatrical distribution deals with leading studios in Hollywood including the Walt Disney Company, resulting in the highest-grossing Hollywood film in West Africa, Black Panther: Wakanda Forever. Additionally, Moses Babatope collaborated with Warner Brothers and Sony Pictures distributing in West Africa hits like Barbie, Aquaman 1 and 2, Black Adam, Spiderman: No Way Home, Venom 2, and The Woman King. As a pioneer in the global digital distribution of Nigerian and African content, Moses has secured multi-picture, multi-year licensing deals with worldwide streaming giants such as Netflix and Amazon. ##### Biola Sekonu: Group Executive Director Before joining Nile Group, Sokenu led financial operations at Fleet River Productions Ltd, managing the production of Netflix’s “The Diplomat” Season 2. ##### Lolu Desalu Joins as Executive director leveraging 18 years of experience in business strategy, brand building, and strategic partnerships. Desalu’s career spans roles at NPower, Incisive Media, and TimeInc. London, and most recently as chief marketing officer at Filmhouse Group. ##### Abimbola Craig takes on the role of VP of production A lawyer-turned-filmmaker, Craig previously headed production at NdaniTV and also co-produced hits that include “Sugar Rush, “Real Housewives of Lagos, Glamour Girls” ##### Bukky George Taylor : VP of Nile X Taylor brings 17 years of strategic communications experience as the founder of Robert Taylor Media and co-founder of Crawl Africa, the first tourism app on the continent. ##### Nowekere Alexis C.I Segun-Ojo: GM of distribution and marketing With over 13 years in public relations and brand strategy, Segun-Ojo contributed to the success of West Africa’s highest-grossing cinema marketing team, executing high-profile campaigns for local and international films. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/moses-babatope-unveils-nile-media-and-entertainment-group/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/moses-babatope-unveils-nile-media-and-entertainment-group/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/moses-babatope-unveils-nile-media-and-entertainment-group/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/moses-babatope-unveils-nile-media-and-entertainment-group/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/moses-babatope-unveils-nile-media-and-entertainment-group/?share=linkedin) - **Categories:** Nollywood, Nollywood News **Tags:** Abimbola Craig, Biola Sekonu, Lolu Desalu, Moses babatope, Nile Group, Nile Media and entertainment group --- ### [All of Us: New Teen Drama Set to Premiere on YouTube](https://nollycritic.com/all-of-us-set-to-premiere-on-youtube-this-august/) **Published:** July 20, 2024 **Author:** Michael Arowoselu **Excerpt:** All of Us begins streaming on YouTube this August. Enioluwa Adeoluwa making his producing debut, explores the intricate dynamics of secondary school life. **Content:** *[All of Us](https://nollycritic.com/?s=enioluwa "All of Us")* begins streaming on YouTube this August. [Enioluwa Adeoluwa](https://www.imdb.com/name/nm9953093/bio/ "Enioluwa Adeoluwa") making his producing debut, explores the intricate dynamics of secondary school life. The title will delve into themes like friendship, sexual assault, and the myriad challenges and victories of adolescence. The film features an ensemble cast of emerging talents and seasoned actors including Enioluwa Adeoluwa, Pricilla Ojo, Chioma Chukwuka, Shaffy Bello, Iyabo Ojo, Yemi Solade, Kate Henshaw, and Jemima Osunde, among others. The series *All of Us* is written by Emmanuel ‘Mannie’ Oiseomaye and helmed by director Orire Nwani with Oluchi Nwofor. Renowned for his fearless storytelling and authentic portrayal of Nigerian experiences, Orire Nwani is a highly acclaimed and multi-award-winning film director. His work delves into societal realities, shedding light on overlooked aspects of life and captivating audiences with compelling narratives and visually stunning cinematography. As a fellow of the Multichoice Talent Factory in collaboration with the New York Film Academy, Nwani received comprehensive training across various aspects of the filmmaking industry, equipping him with a profound understanding of the art of filmmaking. Nwani’s films have achieved global recognition, reaching diverse audiences through platforms like CNN, Africa Magic Showmax, MTV Base, Netflix, and Prime Video. His work has even been featured at prestigious institutions such as the Smithsonian Museum of African Art. *All of Us* will be available on The Geng YouTube channel this August. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/all-of-us-set-to-premiere-on-youtube-this-august/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/all-of-us-set-to-premiere-on-youtube-this-august/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/all-of-us-set-to-premiere-on-youtube-this-august/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/all-of-us-set-to-premiere-on-youtube-this-august/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/all-of-us-set-to-premiere-on-youtube-this-august/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** all of us, Chioma Chukwuka, Enioluwa Adeoluwa, Iyabo Ojo, Jemima Osunde, Kate Henshaw, Pricilla Ojo, Shaffy Bello, Yemi Solade --- ### ["The Betrayed": See The Trailer For Zulu Oyibo's New Thriller](https://nollycritic.com/the-betrayed-see-the-trailer-for-zulu-oyibos-new-thriller/) **Published:** July 20, 2024 **Author:** Michael Arowoselu **Excerpt:** The trailer for Zulu Oyibo’s directorial debut The Betrayed has just been released with the film set to start screening in cinemas nationwide from August 2nd.  **Content:** The trailer for*[ Zulu Oyibo](https://www.imdb.com/name/nm8219168/ " Zulu Oyibo")*’s directorial debut *The Betrayed* has just been released with the film set to start screening in cinemas nationwide from August 2nd. Zulu Oyibo, a renowned producer for [Inkblot](https://nollycritic.com/muri-and-ko-biodun-stephens-new-drama-gets-release-date/ "Inkblot"), sits in the director’s chair for the first time in her career; assembling a talented cast including; Uche Montana, Gabriel Afolayan, and Ibrahim Suleiman. The lineup also includes Adunni Ade, Jemima Osunde, Vine Olugu, and Stephanie Zibili to help bring the script, written by Chinaza Onuzo and Tosan Ayanfulu, to life. The film promises an unforgettable cinematic experience as it explores the consequences of betrayal and succumbing to one’s darkest desires. Filming of the suspense-packed movie began in February 2024 around critical locations in Lagos. According to the producers, the ramp-up to the release of the movie in cinemas nationwide will come with different activities to sensitize society to the key messages within the film. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-betrayed-see-the-trailer-for-zulu-oyibos-new-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-betrayed-see-the-trailer-for-zulu-oyibos-new-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-betrayed-see-the-trailer-for-zulu-oyibos-new-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-betrayed-see-the-trailer-for-zulu-oyibos-new-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-betrayed-see-the-trailer-for-zulu-oyibos-new-thriller/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** inkblot, nollycritic, nollywood --- ### [What About Us: An Exploration of Modern Marital Issues](https://nollycritic.com/what-about-us-an-exploration-of-modern-marital-issues/) **Published:** July 18, 2024 **Author:** Shalom O. Obisesan **Excerpt:** What About Us? Inspired by Pastor Emmanuel Iren, it has sparked considerable interest and discussion among social media scrutinizers and netizens alike **Content:** Produced and inspired by[ Pastor Emmanuel Iren](https://en.wikipedia.org/wiki/Emmanuel_Iren " Pastor Emmanuel Iren"), *What About Us* has sparked considerable interest and discussion among social media scrutinizers and netizens alike. It’s not every day a Pastor undertakes a cinematic venture in Nigeria, let alone the first of its kind. Naturally, this has raised questions: Would Pastor Iren deliver a faith-based narrative, given his background? The trailer hinted otherwise. ## *What About Us* Directed by: Kayode Kasum Written by: Ife Olujuyigbe Genre: Drama Released on: July 12, 2024 (Cinemas) Language: English ##### Story *What About Us* explores the intricacies of marriage through the lives of two couples navigating challenges in their relationships. The film delves into personal struggles, focusing on one couple’s journey amidst marital conflicts. While the storyline or trope may not be new, the film refreshingly approaches this familiar narrative. It dissects the moralist definition of marriage and addresses issues morally uprightly, laden with lessons that resonate deeply with audiences contemplating or already in relationships. In the story, we have Jessica, who is suddenly pushed aside. Jessica, David’s fiancée, is portrayed as adhering to strict moral principles, such as refusing to stay in a man’s house unless married. Her principles, while significant, are brushed aside as the plot progresses. David mentions that her parents stand by such principles. Another time, Jessica, according to David, finds his “vision” not “dignifying.” These principles are known to be from the Christian faith, and the use of the word “dignifying” serves as a whistleblow to this phenomenon. So, for those expecting a little more explanation, out of curiosity, for Jessica, especially based on her faith, they are left with no answers. ##### Plot The plot follows Zainab (Zay), who is grappling with a major issue in her marriage. She tries to communicate this to her close friend, Imade but finds herself alone in her struggles. This loneliness in her marriage and situation deepens her sense of isolation. Enter David, a new neighbor who already has a fiancée named Jessica. The plot is delivered compellingly, gradually revealing the broader issues as the story unfolds. We don’t immediately understand Zainab’s “woes.” Instead, we uncover them piece by piece towards the end, taking us back to the past. This unfolding is dialogue-heavy, but it is executed in a way that engages rather than irritates. It remains visually pleasing, maintaining the viewer’s interest in the story. ##### The Cinema Experience Every single person seemed to say, “I’m here for Pastor Iren” or “I’m a member of CCI,” and that was the stan! It was a truly cinematic experience. One of the beautiful things about cinema is its ability to bring people together to share a similar experience. Although the film ended up targeting a specific audience, they shared an immersion, a sense of belonging, and a shared appreciation. It was beautiful to witness. People genuinely enjoyed themselves, sharing happiness, and reacting collectively with “oohs” and “ahhs.” Some even pinpointed where Iren’s influence might have shaped the script. It was nice to see. ##### Technical Aspects First off, [Kayode Kasum ](https://nollycritic.com/ajosepo-kayode-kasums-unusual-union-of-family-love-and-chaos/ "Kayode Kasum ")directed this film superbly! The film look is stunning, with vibrant color enhancing the overall aesthetic. Every element needed to make this film visually appealing was executed perfectly. One memorable scene features Zainab in her house, where her costume and skin tone perfectly complement the environment. You could say, “This is truly Zainab’s house”—her personality was evident in every detail. Kudos to the set design, costume choice, and production design overall. Oh, and the lighting was mesmerizing. There was a shot where two characters were conversing, and a beautiful light hidden in a glass container added visual interest to the scene. It was subtle, contributing to the natural lighting of the room. The lighting was brilliantly done, even in car scenes at night! The editing was seamless. One particular scene stood out: although the plot was predictable at this point, it was executed so well that it reinforced the storytelling. When we already knew David would enter the scene, the camera panned smoothly from Zainab being alone to David’s appearance in the house. This transition reassures the audience, “Yes, we know you know!”—a testament to good storytelling. I was genuinely pleased to see that. The soundtrack was delightful, featuring nice songs with excellent sound editing. One moment stood out where the sound emphasized the conflict between heart and morals—”my heart says yes, but my morals say no.” It reinforced the scene’s emotion perfectly. ##### Performances *What About Us*? features a talented cast, including Kunle Remi, Uzor Arukwe, Folu Storms, Atlanta Bridget Johnson, Marycolette Unamka, Teniola Aladese, and Seyi Awolowo. Each actor brings depth and authenticity to their roles. Kunle Remi and Uzor Arukwe, both seasoned actors, deliver compelling performances that anchor the narrative. Folu Storms and Atlanta Bridget Johnson add beauty to their characters, while Marycolette Unamka, Teniola Aladese, and Seyi Awolowo round out the cast with strong supporting roles. Their collective efforts make the film a captivating exploration of relationships and personal struggles. All actors performed exceptionally well, truly embodying their roles. The casting team did a fantastic job casting suitable people, and the actors delivered their performances with conviction. Folu Storms, as the protagonist Zainab, and Kunle Remi’s character David shared palpable chemistry. Their interactions felt genuine and heartfelt. The well-written characters added to the believability and ease of their performances. Atlanta Bridget Johnson, who plays Jessica, David’s fiancée, appears briefly but leaves a lasting impression. But, we wish we could see more of her character in the film. ##### Final Thoughts The film succeeds in delivering a convincing and engaging story that remains thought-provoking. The film succeeds in teaching the essence of communication in relationships. The only shortcoming of *What About Us?* is that it’s not as immersive as expected. And you have to actively engage, and put in the work to enjoy the film. It only helps you by giving you good visuals with nice songs to keep you glued. While the film was dialogue-laden and well-written, I would have appreciated moments where dialogue was minimal, allowing the audience more room for interpretation. After all, cinema has an unofficial show don’t tell rule. This could enhance audience engagement, giving us something to actively ponder. ##### Verdict Kayode Kasum’s *What About Us*? is a well-written film with immaculate technical and performance elements. **Rating**: 3.5/5 ⭐⭐⭐⭐ Rating: 3.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/what-about-us-an-exploration-of-modern-marital-issues/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/what-about-us-an-exploration-of-modern-marital-issues/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/what-about-us-an-exploration-of-modern-marital-issues/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/what-about-us-an-exploration-of-modern-marital-issues/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/what-about-us-an-exploration-of-modern-marital-issues/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Atlanta Bridget Johnson, Folu Storms, kunle remi, Marycolette Unamka, nollycritic, nollywood, pastor iren, Seyi Awolowo, Teniola Aladese, Uzor Arukwe, what about us --- ### [Voltage: It's Hard to See The Plot With The Lights Off](https://nollycritic.com/voltage-who-switched-the-lights-off/) **Published:** July 17, 2024 **Author:** Shalom O. Obisesan **Excerpt:** There’s something about Voltage that doesn't sit right. On the surface, it seems like a commendable attempt to address corruption in Nigeria's power sector **Content:** There’s something about *[Voltage](https://nollycritic.com/voltage-fred-amata-set-to-release-new-crime-drama/ "Voltage")* that doesn’t sit right. On the surface, it seems like a commendable attempt to address corruption in Nigeria’s power sector. However, its approach to storytelling is confusing and disjointed, making it difficult to grasp the story’s core. While Nollywood films tackling topical issues, such as *Offshoot* and *Deafening Silence*, struggle particularly with infusing the human angle, *Voltage* succeeds. However, it does so in a try-hard manner. It aims to illustrate how corruption affects the layman but gets lost in its narrative approach. This leaves viewers disconnected and questioning the film’s purpose. ## *Voltage* Directed by: Fred Amata Produced by: Ngozi Ogbonna Genre: Crime Drama Released on: July 12, 2024 (Cinemas) Language: English ##### Story At the heart of the story is a young man, Tega, who is recently burdened with the care of his sick mother. She is worried about her health and insists that Tega replace her on the board of the family business. This business, Dagogo Marine and Engineering, is headed by his late father’s best friend. Tega, a socially conscious young man, quickly realizes that his family business is a cesspit of corruption and a warehouse of everything wrong with Nigeria’s power sector. The story is interesting, and brimming with potential as it addresses a prevalent and heart-wrenching issue affecting every Nigerian. It’s a Nigerian story that promises to resonate deeply with viewers by tackling the topical issue of poor electricity distribution in the country. While the film does a fair job of touching on this angle, it is not its central focus. Instead, it evolves into a power tussle among those within the sector, albeit with the average man ostensibly at heart. ##### Plot The film follows Tega as he confronts a ruthless oil cartel to expose the truth behind power outages and their devastating impacts on Nigerian society. The plot is easy to follow, but it lacks a means of engagement. The filmmakers attempted to address this by interestingly introducing characters and splitting the film into Acts and some playful editing. However, this approach didn’t fit the genre, with its speedy appearances failing to create a deeper connection with the audience. ##### The Cinema Experience For its genre, *Voltage* failed to create an adrenaline rush even with the action sequences. At various points, the audience reacted more to the convenience of certain situations rather than the intended suspense. There were moments when the characters’ actions prompted accusations of stupidity from viewers. Ultimately, the film left us with a collective sense of indifference. We walked away thinking, “Meh, we’ve watched the movie. What did we learn?” The film’s disinteresting explanation—”They were the charge… we are the voltage” However, the sound quality in the cinema heightened the suspense feelings. One of the best attributes of the film was its careful sound design and good sound quality. Some sound effects, like doors creaking and shoes clanking on tiled floors, were notably heightened, adding a layer of immersion despite the film’s other shortcomings. ##### Technical Aspects Apart from the good sound design and quality, another strong point was its beautiful use of surroundings and ambient sounds. This added a natural quality to the audio. There was one moment that made me laugh, though—a character screamed, and it sounded like a Hanna-Barbera sound effect, which felt out of place. The film boasted good cinematography, capturing the scenes with clarity and style. However, the editing left much to be desired. Slides and glides, reminiscent of a PowerPoint presentation, detracted from the cinematic experience. Even the interesting method of introducing characters felt rushed and poorly executed. Overall, the editing was hasty and lacked finesse. The lighting wasn’t overall bad, but there were instances where it was problematic. In one night scene, the light flashed from an inexplicable source within the room, breaking the immersion and realism. ##### Performances The performances in *Voltage* were a mixed bag. The film features a talented cast, including Kate Henshaw, Linda Osifo, Segun Arinze, Olumide Oworu, Kelvin Ikeduba, WhiteMoney, Keppy Ekpenyong, Jude Chukwuka, Aaron Sunday, Rotimi Adelegan, Ricardo Agbor, and Sunny McDon. Kate Henshaw and Segun Arinze delivered solid performances, bringing depth and intensity to their roles. Linda Osifo and Olumide Oworu also stood out with their convincing portrayals, managing to evoke empathy despite the film’s shortcomings. Olumide Oworu, playing the protagonist Tega, performed well overall. However, I couldn’t help but notice remnants of his character from *A Tribe Called Judah*, where he portrayed the typical last-born child. This typecast trait peeked through in his performance at times, but it didn’t detract significantly from his role in Voltage. However, some performances felt flat and lacked the necessary emotional resonance to fully engage the audience. WhiteMoney and Kelvin Ikeduba, while charismatic, seemed underutilized, and their characters could have been developed further to enhance the story. The ensemble cast had the potential to elevate the film, but inconsistent character development and direction hindered their ability to shine. ##### Final Thoughts *Voltage* presents itself as a commendable attempt to address corruption in Nigeria’s power sector but ultimately fails to deliver a cohesive and impactful narrative. The film’s storytelling approach is confusing and disjointed, making it difficult for viewers to grasp the core of the story. Despite some strengths like good sound design and cinematography, the overall cinematic experience lacks engagement and fails to create an adrenaline rush, even during action sequences. While *Voltage* remains a watchable film, it struggles to fully capture and maintain audience interest throughout its runtime. The story’s focus on the few in positions of power may not resonate deeply with the average Nigerian viewer, who seeks narratives that more directly reflect their everyday lives and challenges. This disconnect between the film’s storyline and audience expectations could contribute to lower turnout in cinemas, as not enough people may find the story compelling or relevant to their experiences. ##### Verdict [Voltage](https://www.imdb.com/title/tt32844548/fullcredits/?ref_=tt_cl_sm "Voltage") shows potential with its thematic focus and technical execution but falls short in delivering a coherent narrative that resonates broadly. The film’s strengths in sound design and cinematography are countered by issues with storytelling clarity and performance consistency. Its thematic relevance may appeal to niche audiences interested in the power sector’s corruption issues, but its broader appeal and impact are limited by narrative shortcomings. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/voltage-who-switched-the-lights-off/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/voltage-who-switched-the-lights-off/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/voltage-who-switched-the-lights-off/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/voltage-who-switched-the-lights-off/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/voltage-who-switched-the-lights-off/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Aaron Sunday, Fred Amata, Jude Chkwuka, Kate Hensaw, Kelvin Ikeduba, Keppy Ekpeyong, Linda Osifo, nollycritic, nollywood, Olumide Oworo, Ricardo Agbo, Rotimi Adelegan, Segun Arinze, Sunny McDon, Voltage, White Money --- ### ["Beast of Two Worlds": The Tale of a Beast Trapped in a Socio-cultural Cage](https://nollycritic.com/beast-of-two-worlds-the-tale-of-a-beast-trapped-in-a-socio-cultural-cage/) **Published:** July 8, 2024 **Author:** Shalom O. Obisesan **Excerpt:** The thing about Beast of Two Worlds is that, while promising and innovative, it ultimately delivers a familiar storyline. From a Yoruba socio-cultural perspective **Content:** The thing about *[Beast of Two Worlds](https://en.wikipedia.org/wiki/Beast_of_Two_Worlds "Beast of Two Worlds")* is that, while promising and innovative, it ultimately delivers a familiar storyline. From a Yoruba socio-cultural perspective, the film is compelling, but its appeal remains confined to a Yoruba audience. This specificity renders it a niche film, not necessarily for everyone. The film brings to light various socio-cultural problems and beliefs that, surprisingly, persist in Yoruba society despite ongoing literacy and efforts to debunk them. It attempts to recreate a historical era, successfully capturing the essence of these issues. However, *Beast of Two Worlds* struggles to maintain the pace and authenticity of its time due to several issues, which will be explored further in this article. Let’s get straight in. And, **no spoilers**. ## *Beast of Two Worlds* Directed by: Adebayo Tijani, Odunlade Adekola Produced by: Eniola Ajao Genre: Drama Released on: March 29, 2024 (Cinemas) Language: Yoruba ##### Story The central narrative of *Beast of Two Worlds* revolves around a desperate king facing the threat of banishment after his three wives fail to produce a male heir. In a bid to secure his legacy. Now, we’ll deliberately stop here. It’s worth noting that whoever was responsible for uploading the film on Prime Video, maybe, the filmmakers themselves, inadvertently revealed a crucial plot point, diminishing the suspense and intrigue. Despite this misstep, the narrative unfolds in familiar territory. The tale of a man resorting to desperate measures to secure a male successor is a well-trodden path in Yoruba Nollywood storytelling. The only deviation here is that the protagonist is a king in search of an heir. This narrative is not groundbreaking but rather a cultural reflection deeply ingrained in many African and Nigerian traditions, which place significant importance on male successors. While the theme may lack novelty, it remains a compelling subject to explore, given its enduring relevance and the societal values it mirrors. ##### Plot The film unfolds in a linear progression, moving seamlessly from one event to the next. However, as we approach the climax and denouement, the narrative resorts to flashbacks to reveal the full scope of the plot. While not inherently flawed, this approach is a conventional technique in Yoruba cinema to maintain suspense. Despite employing these devices, the film falls short of fostering a sense of engagement or investment from the audience. When the flashbacks finally uncover the hidden elements, they do so without offering any clues for the audience to piece together the mystery. The narrative does not build a coherent thread linking the events to a character’s actions, merely presenting the information without persuading the viewer. This lack of engagement leaves the audience uninvested in the unfolding drama. Additionally, certain plotlines remain unresolved. For instance, Lateef Adedimeji’s character abruptly exits the story, and when his wife, portrayed by Juliana Olayode, addresses his disappearance, the dialogue inadvertently highlights continuity issues within the story. These gaps detract from the overall cohesion and impact of the narrative. ##### Technical Aspects The opening narration of *Beast of Two Worlds* was commendable and well-written. However, it was delivered in English, which detracted from the authenticity and cultural immersion that a Yoruba narration would have provided. As the first impression of the film, a Yoruba narration could have set a more appropriate tone. Innovatively, the filmmakers complemented the narration with animation created through artificial intelligence. While experimenting with new technologies in filmmaking is commendable and can lead to creative breakthroughs, this choice somewhat undermined the film’s historical authenticity. The AI-generated imagery, while visually intriguing, clashed with the period setting the film aimed to portray. The film begins with a folkloric tale, which inherently allows for a degree of fantastical elements. However, the obvious use of AI detracted from the believability and immersive quality of the story. Moving on to the costumes, the film’s portrayal of the “beast of both worlds” fell short. The costume design failed to convincingly transform the beast, instead resembling a human clad in antelope attire, reminiscent of stage drama costumes. For a film striving for authenticity, this was a significant oversight. The costume design should have been more meticulously crafted to enhance the credibility of the beast. Better still, the portrayal of the beast could have served as an opportunity for the filmmakers to introduce a groundbreaking development in Nollywood filmmaking. Imagine the impact of a realistically depicted beast, whether through practical effects or believable CGI. Finally, a recurring issue in Yoruba productions is the use of the soundtrack to narrate the story. In this film, the soundtrack revealed plot points, diminishing the element of suspense. This approach detracts from the audience’s ability to experience the unfolding narrative organically and predictably. ##### Performances Sola Sobowale delivers a standout performance, showcasing her exceptional acting prowess and effectively embodying her character’s demands within the film. Her portrayal is a testament to her skill and presence on screen. Odunlade Adekola, known for his similar roles in films like *King of Thieves* and *Orisa*, brings his signature blend of authority and vulnerability to his portrayal of the king in *Ajakaju: Beast of Both Worlds*. Performances from Lateef Adedimeji and Femi Adebayo, while notable, differ in impact. Adedimeji’s character provides moments of comedic relief but lacks depth and relevance beyond this role. His sudden disappearance from the narrative leaves his potential unfulfilled, missing an opportunity for further character development. On the other hand, Femi Adebayo’s character serves a specific purpose integral to the story, fulfilling expectations set by the narrative. [Eniola Ajao](https://nollycritic.com/eniola-ajao-set-to-release-new-yoruba-epic/ "Eniola Ajao")‘s performance, while adequate, is hampered by a character whose actions remain unquestioned and unexplored. The repercussions of her character’s decisions are glossed over, detracting from her overall impact and making her portrayal less compelling. ##### Final Thoughts Initially, one might consider that the filmmakers faced challenges beyond creative decisions, such as limited resources and financing common in Nollywood. However, it appears that ample financial resources were available to potentially elevate the film’s execution. And still, the film fell short of fully realizing its ambitious potential. Furthermore, it seems that there’s a prevalent tendency among Nigerians to settle for mediocrity in film production. As long as a film is deemed passable, it often suffices, regardless of missed opportunities for innovation and excellence. *Beast of Two Worlds* exemplifies this phenomenon, where the film fails to capitalize on crucial opportunities to distinguish itself. Instead, it culminates in a presentation reminiscent of stage drama rather than a cinematic breakthrough. This inclination toward mediocrity in Nigerian cinema can be viewed as a broader cultural issue. Despite its potential for evolution and advancement, Nigerian filmmaking frequently finds itself constrained within familiar tropes and conventional narratives. This cultural “cage” limits the exploration of bold, new ideas and inhibits the pursuit of excellence that could propel Nigerian cinema onto the global stage. ##### Verdict Hence, *Beast of Two Worlds* predominantly resonates with a specific demographic, as it remains confined within familiar cultural and narrative boundaries. It’s undeniably not a film suited for universal appeal. However, if you appreciate films like *King of Thieves*, *Orisa*, and *Jagun Jagun*” which similarly explore robust characters within traditional settings, then this film may align with your interests. **Rating**: 1/5 ⭐ Rating: 1 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/beast-of-two-worlds-the-tale-of-a-beast-trapped-in-a-socio-cultural-cage/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/beast-of-two-worlds-the-tale-of-a-beast-trapped-in-a-socio-cultural-cage/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/beast-of-two-worlds-the-tale-of-a-beast-trapped-in-a-socio-cultural-cage/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/beast-of-two-worlds-the-tale-of-a-beast-trapped-in-a-socio-cultural-cage/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/beast-of-two-worlds-the-tale-of-a-beast-trapped-in-a-socio-cultural-cage/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews **Tags:** Ajakaju, Beast of two worlds, Eniola ajao, Femi Adebayo, Juliana Olayode, Later Adedimeji, nollycritic, nollywood, Odunlade Adekola, Sola Sobowale --- ### [Alaye: A Perpetual Paradox of Star Power Overshadowing Quality](https://nollycritic.com/alaye-a-perpetual-paradox-of-star-power-overshadowing-quality/) **Published:** July 11, 2024 **Author:** Shalom O. Obisesan **Excerpt:** When Alaye was released, it was surprising to see it trending as the number one film in Nigeria on Prime **Content:** When *Alaye* was released, it was surprising to see it trending as the number one film in Nigeria on Prime. I mean, what was all the buzz about? How did this film climb to the top spot on its release day? Not just that. How did it remain Number 1 in Nigeria for the next four days? Curiosity got the best of me, and I decided to watch it. To my dismay, I found myself struggling to understand the hype. Numerous aspects got me thinking. And it only leads to one thing. ## *Alaye* Directed by: Okey Ifeanyi Produced by: Ruth Kadiri Genre: Rom-Com Released on: 5 July, 2024 (Prime Video) Language: English, Pidgin English ##### Story The synopsis on Prime Video reads, “A young lady’s life was thrown into chaos after she lost a loved one. To survive and weather her prevailing situation, she got mixed up with men from the underworld. With her life hanging in the balance, love was the least she expected to find.” From this, we understand the story is centered on romance with high stakes. Does the film meet this standard? Not really. Instead, it veers into comedy, revealing itself in the absurdity of it all. The unbelievability of the characters’ romance spurs from the writing and the dynamics of their love. ##### Plot The film follows a linear plot but undermines its own suspense by prematurely disclosing crucial information in the synopsis. While the synopsis suggests a gradual unveiling of key elements for dramatic effect, *Alaye* fails to maintain this suspense within the film itself. The premature revelation of important details reduces the overall engagement and impact of the story. For instance, why the protagonist found herself entangled with the ‘underworld’ could have been a compelling mystery, yet the film prematurely divulges these details in the synopsis. This diminishes the film’s suspense and engagement, as the main reasons behind the protagonist’s entanglement with the underworld are revealed too early. Instead, it leads to confusion, and therefore, it loses suspense value. The initial attempt to arouse viewer curiosity falls flat as the plot fails to sustain engagement. ##### Technical Aspects What makes this film a great disservice is its poor visual appearance. The cinematography is good, but all other aspects look good for YouTube standards, not Prime. From the very first scene, Alaye presents glaring issues with its lighting and color grading. This immediately detracts from its visual appeal and becomes a big turn-off for viewers. To add salt to injury, the film’s visual consistency is lacking, oscillating between moments of decent cinematography and others marred by poor lighting and inconsistent visual quality. Too much grammar. Simply put, it had an inconsistent film look. This inconsistency further undermines the film’s overall impact, contributing to a disjointed viewing experience. Another opportunity to make itself better is this: capitalizing on the comedic genre it aims to embody. Sadly, it neglects opportunities for effective visual storytelling which could enhance comedic timing and provoke laughter through simple, clever camera work. Instead, the cinematography adheres to conventional methods, missing chances to creatively engage the audience. ##### Performances Ruth Kadiri takes on the role of the protagonist, Christine, portraying her usual elite, classy character. Her performance in *Alaye* is consistent with her previous roles, offering nothing new or particularly memorable. Samuel Perry (Broda Shaggi) brings his signature comedic persona to the film, albeit with a slight twist. *Alaye* provides him an opportunity to explore the emotional depth of his character, Funmi. While his humor is evident, his usual crassness might not appeal to everyone. Nevertheless, his established reputation and following contribute significantly to the film’s viewership. Aloma Isaac Junior (Zic Saloma) is miscast as a menacing figure. Despite efforts to develop his character with unique costumes and a quirky hairstyle, these attempts feel awkward due to poor writing, making his character come across as odd rather than interesting. Better still, he comes off as more cute than intimidating. This misalignment is evident from the first scene and undermines the initial impression Christine is supposed to have of him. His character development feels lacking and unconvincing. Rose Afuwape’s portrayal of Eve, Christine’s friend, falls flat and lacks believability, likely due to her underwhelming acting. In contrast, Monica Friday’s performance as Tega, Funmi’s crass counterpart, is commendable and well-balanced, providing a good complement to Broda Shaggi’s character. Eddie Watson as Ben, Christine’s boyfriend, delivers a competent performance, though it doesn’t stand out significantly. ##### Final Thoughts Now, here are some side musings on audience dynamics and how it affects film culture in the Nigerian landscape. But why would filmmakers choose to settle for such low-quality storytelling practices? Well, we’re not using *Alaye* as a scapegoat of this phenomenon, but as a microcosm of a larger issue within the industry. The answer may lie in the producer, Ruth Kadiri, who has built a significant following on YouTube by creating morally upright and relatable content. She has really done a good job in creating content that resonates with an audience looking for morally upright films laden with moral lessons. Her massive subscriber base, the largest for any Nigerian YouTube filmmaker, gravitates toward her for this reason. *Alaye* is her first film transitioning to Prime, and she brought this loyal audience with her, which explains the film’s immediate success on the platform. Kadiri’s popularity highlights a broader issue in the industry: the reliance on established followings and star power to drive viewership, often at the expense of quality. This trend can lead to a deterioration in overall film standards, as audiences become conditioned to accept subpar content due to their attachment to popular figures. This doesn’t mean she’s not doing a good job, but it’s a silent conditioning that can be observed. It’s a familiar scenario in the Nigerian film industry: many films thrive on the followership of popular figures rather than on their inherent quality. Instead of prioritizing and appreciating films that adhere to high industry standards, we often see subpar productions that simply cater to the mass majority. This creates a challenging cycle to break. Audiences have become accustomed to a certain level of quality and are often reluctant to demand better. They are content with films that meet their basic expectations, making it difficult for filmmakers to deviate from the norm and produce compelling, high-quality stories. Consequently, mediocre films receive more publicity and viewership than truly exceptional ones, perpetuating a culture of lowered expectations. It’s a great stepping stone Ruth Kadiri moving from YouTube to Prime. This is a sign of growth. Over the years, she has shown growth in her storytelling techniques, and we believe she will continue to improve. ##### Verdict One might argue that the technical aspects weren’t entirely terrible. And that’s true to an extent. However, the issue lies in the fact that the standards suitable for YouTube content were applied to a Prime release. The aspect ratio and color grading, which work for YouTube, fall short on Prime. **Rating**: 1.5/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/alaye-a-perpetual-paradox-of-star-power-overshadowing-quality/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/alaye-a-perpetual-paradox-of-star-power-overshadowing-quality/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/alaye-a-perpetual-paradox-of-star-power-overshadowing-quality/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/alaye-a-perpetual-paradox-of-star-power-overshadowing-quality/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/alaye-a-perpetual-paradox-of-star-power-overshadowing-quality/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Broda Shaggi, nollycritic, nollywood, Prime Video, Ruth, Ruth Kadiri --- ### ["A Song From The Dark" Set For Prime Video Release](https://nollycritic.com/a-song-from-the-dark-set-for-prime-video-release/) **Published:** July 10, 2024 **Author:** Shalom O. Obisesan **Excerpt:** A Song from the Dark, a supernatural horror film directed by Nigerian filmmaker Ogo Okpue, in his feature debut. **Content:** Despite Prime Video’s recent shift away from Africa, the streaming service continues to release titles developed or licensed through pre-existing agreements. One of the latest additions is *[A Song from the Dark](https://www.imdb.com/title/tt10484164/ "A Song from the Dark")*, a supernatural horror film directed by Nigerian filmmaker[ Ogo Okpue,](https://www.imdb.com/name/nm5667401/ " Ogo Okpue,") in his feature debut. Produced by the Nigerian-British production company Adverto Studios, *A Song from the Dark* follows a woman who, after the mysterious death of her husband, hires a spirit hunter to rid her family of an evil phantom. However, the hunter is unaware of a dark family secret that complicates their mission. The film’s ensemble cast includes Nse Ikpe Etim, [Wale Ojo](https://nollycritic.com/wale-ojo-to-play-wole-soyinka-in-the-man-died/ "Wale Ojo"), Vanessa Vanderpuye, and Garcia Brown. Following its tour on the film festival circuit, including stops at the American Black Film Festival and the Pan-African Film Festival. After the mysterious death of her estranged husband, a woman hires a reluctant spirit hunter to expel a malevolent spirit tormenting her family. Unknown to the spirit hunter, the family has a dark secret that they have sworn to keep hidden at all costs. *A Song from the Dark* is part of a personal journey to push original storytelling and filmmaking from the African diaspora to wide global audiences,” Okpue said. “The cast and crew are second-to-none and collectively we have made something very special that audiences will love. The film is an homage to my heritage, to the global black community, and my British Nigerian family.” Okpue, whose previous works include short films like *Saving Cain* and *Cat Face*, draws inspiration from his childhood experiences and traditional stories he heard from his grandmother. He noted, “The inspiration of the story dates back to a certain period of my childhood when my family would visit my grandmother in our village. She happened to be a well-respected traditionalist. Tales of her would intrigue us and as I grew older, I regretted not knowing her more. She was an enigma and I wondered what it would have been like if some of her tales were captured in books.” He emphasized the significance of African storytelling in global cinema: “America has Superman and Ironman, the United Kingdom has James Bond and Harry Potter. Japan and China have Flying Swordsmen and mystical Ninjas, and India has tones. What do we have? I think in Africa, our superheroes have slept long enough. African stories are as diverse and as entertaining as the continent itself, so I thought ‘Why not add more African heroes to the fictional world of cinema?’” *A Song from the Dark* will debut on Prime Video on July 12, 2024. See the trailer below. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/a-song-from-the-dark-set-for-prime-video-release/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/a-song-from-the-dark-set-for-prime-video-release/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/a-song-from-the-dark-set-for-prime-video-release/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/a-song-from-the-dark-set-for-prime-video-release/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/a-song-from-the-dark-set-for-prime-video-release/?share=linkedin) - **Categories:** Blog, Drama, Movies, Nollywood, Nollywood News **Tags:** A song from the dark, Garcia Brow, Nse Ikpe Etim, Ogo Okpue, Vanessa Vanderpuye, Wale Ojo --- ### [See The Teaser For Omoni Oboli's Wives on Strike 3](https://nollycritic.com/wives-on-strike-3-omoni-oboli-annouces-third-instalment/) **Published:** July 10, 2024 **Author:** Michael Arowoselu **Excerpt:** Nollywood Actor and Filmmaker Omoni Oboli has shared a teaser for her latest film project, “The Uprising: Wives on Strike 3” **Content:** Nollywood Actor and Filmmaker [Omoni Oboli](https://nollycritic.com/oloture-the-journey-another-dull-sequel-that-never-arrives/ "Omoni Oboli") has shared a teaser for her latest film project, “T[he Uprising: Wives on Strike 3](https://en.wikipedia.org/wiki/Wives_on_Strike "he Uprising: Wives on Strike 3")” The third installment in the popular movie franchise is set to hit cinema screens soon, as shared by Oboli in an exciting Instagram post today. The “Wives on Strike” franchise, a blend of comedy and drama, first captured audiences’ hearts in 2016, followed by a successful sequel, “Wives on Strike: The Revolution,” In 2018, the film follows four women who deny their husbands’ sex as a form of protest against domestic violence, sparking both humour and critical conversation around important social issues. With excitement, the producer of the franchise shares “Expect to see your favourite characters in new, unexpected situations that will leave you on a rollercoaster of emotions. The journey we’ve taken to create this film has been nothing short of incredible, and we can’t wait to share it with you.” Omoni said The announcement video, reveals that “The Uprising: Wives on Strike 3 ” brings a new dynamic to the story, adding fresh excitement and intrigue for movie fans. The film features a talented cast, including Chioma Akpotha, Uche Jumbo, Omoni Oboli, and Ufuoma McDermott. While some of the known faces in the previous titles are not featured in the new title, It is confirmed that there are some exciting additions to the cast which includes veteran actress Hilda Dokubo, Bukunmi Adeaga-Ilori (Kie Kie), and others. “Wives on Strike – The Uprising” will be released in the 4th Quarter of 2024. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/wives-on-strike-3-omoni-oboli-annouces-third-instalment/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/wives-on-strike-3-omoni-oboli-annouces-third-instalment/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/wives-on-strike-3-omoni-oboli-annouces-third-instalment/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/wives-on-strike-3-omoni-oboli-annouces-third-instalment/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/wives-on-strike-3-omoni-oboli-annouces-third-instalment/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Chioma Akpotha, nollycritic, nollywood, Omoni Oboli, The Uprising, Uche Jumbo --- ### [Force Empire: Nse Ikpe-Etim To Star in New Police Drama](https://nollycritic.com/force-empire-nse-ikpe-etim-to-star-in-new-police-drama/) **Published:** July 1, 2024 **Author:** Michael Arowoselu **Excerpt:** Nigerian filmmaker and actress Ndy Akan, has shared a first look for her film, 'Force Empire' Featuring Richard Mofe Damijo **Content:** Nigerian filmmaker and actress Ndy Akan, has shared a first look for her film, ‘[Force Empire](https://www.imdb.com/title/tt27281189/?ref_=nm_knf_t_1 "Force Empire")‘ Featuring Richard Mofe Damijo (RMD), Nse Ikpe-Etim, Segun Arinze, and Mercy Aigbe. The film follows DCP Mfon, portrayed by Nse Ikpe-Etim (“A Tribe Called Judah”), who is resolute in unmasking the perpetrator who assaulted and humiliated her protégé, ASP Halima, played by an emerging actress, Enwongoabasi Ibom. Traumatized and fearful, Halima’s plight drives Mfon to expose the culprit and other corrupt officers tarnishing the Nigerian Police Force’s reputation, despite fierce resistance from the top brass. The film also stars Nollywoo Richard Mofe Damijo (“The Black Book”) who delivers a compelling performance as IGP Ejiro. Segun Arinze plays AIG Omotosho, whose actions have far-reaching consequences. Mercy Aigbe ( “Beast of Two Worlds”) shines in an undisclosed pivotal role. Other key actors include Tony Umez, Kunle Coker, Sonny McDon, Aniebiet Francis, and Richard Johnson. ‘Force Empire’ is produced by Ndy Akan under her production company, Viensa Productions. Known for her debut film, “1929: Women at War,” Ndy continues to address significant social issues through her work. ‘Force Empire’ sheds light on the issue of sexual assault faced by women in the male-dominated police force and the workplace in general. In a statement, Akan said, “Force Empire is a film about justice. It aims to highlight and encourage the outstanding police officers within the Nigeria Police Force while alsoaddressing the unfortunate actions of a few that have tarnished its reputation. The film reinforces a vital message consistently communicated by the leadership: that every officer; regardless of rank, will face consequences for any criminal behavior.” ‘Force Empire’ will be available cinemas across Nigeria from August 23, 2024. - ![force empire](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/07/Force-Empire-Still-2-.jpg?resize=640%2C360&ssl=1) - ![force empire](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/07/Force-Empire-Still-3-.jpg?resize=640%2C360&ssl=1) - ![force empire](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/07/Force-Empire-Still-4-.jpg?resize=640%2C360&ssl=1) ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/force-empire-nse-ikpe-etim-to-star-in-new-police-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/force-empire-nse-ikpe-etim-to-star-in-new-police-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/force-empire-nse-ikpe-etim-to-star-in-new-police-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/force-empire-nse-ikpe-etim-to-star-in-new-police-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/force-empire-nse-ikpe-etim-to-star-in-new-police-drama/?share=linkedin) - **Categories:** Blog --- ### [Nollywood Movies and Series To See in July 2024](https://nollycritic.com/nollywood-movies-and-series-to-see-in-july-2024/) **Published:** July 3, 2024 **Author:** Shalom O. Obisesan **Excerpt:** July promises not only entertainment but also thought-provoking nollywood movies that spans socio-political commentary, and historical significance **Content:** July promises entertainment and thought-provoking nollywood movies that span socio-political commentary, personal struggles, and historical significance. From the high-stakes thriller “Voltage,” which plunges audiences into Nigeria’s tumultuous energy sector, to the poignant exploration of marriage in “What About Us,” and the historical resonance of “The Man Died,” this month’s lineup is set to captivate audiences with diverse storylines. Here are the Nollywood movies set to be released this July. ##### Voltage – July 5 Directed by Fred Amata and produced by Ngozi Nglabelle, the film delves into the hardships faced by Tega, portrayed by Olumide Oworu, amidst Nigeria’s economic struggles worsened by a catastrophic power outage. As Tega grapples with personal tragedy, he uncovers unsettling family ties to organized crime in the energy sector. Determined to confront the global oil cartels responsible, Tega embarks on a perilous journey of justice and redemption. The film features an ensemble cast including Kate Henshaw, Linda Osifo, Segun Arinze, Kelvin Ikeduba, White Money, Keppy Ekpeyong, Jude Chukwuka, Aaron Sunday, Rotimi Adelegan, Ricardo Agbor, and Sunny McDon. *Voltage* promises to not only entertain but also provoke thought on Nigeria’s socio-political landscape. It will be available for viewing exclusively in cinemas from 5th July. ##### What About Us – July 12 Emmanuel Iren, founder of Celebration Church International, makes his debut as a film producer with *What About Us*. Directed by Kayode Kasum and produced by Emmanuel Iren, the film delves into the complexities of marriage through the intertwined narratives of two Christian couples. The film follows one couple’s uphill battle to preserve their relationship amid mounting challenges. As marital issues escalate, the wife finds solace in an unexpected friendship with their neighbor. Starring Kunle Remi, Uzor Arukwe, Folu Storms, Atlanta Bridget Johnson, Marycolette Unamka, Teniola Aladese, and Seyi Awolowo, “What About Us” promises a gripping exploration of love, fidelity, and the intricacies of human connections. The film is set to premiere exclusively in cinemas on July 12. ##### The Beads – July 12 The first Nigerian version of “Happy Death Day”? We’re here for it. Produced by Akinbayo Morakinyo and directed by Moyinoluwa Ezekiel. The story revolves around a bride-to-be who finds herself caught in a time loop on her wedding day, which repeatedly ends in her death. Desperate to break the cycle and save her life, she must uncover the mystery behind the cursed beads she was gifted. This psychological thriller promises suspense and intrigue as the protagonist battles to turn back the hands of time. The film boasts a star-studded cast, including Zainab Balogun, Shaffy Bello, Efa Iwara, Adedimeji Lateef, Idowu Phillips (Mama Rainbow), Segun Arinze, Chioma Omeruah (Chigul), Bimbo Manuel, Ronke Oshodi, Juliana Olayode, Tina Mba, Jammal Ibrahim, Bridgett Minsa, Stephanie Zibili, Caroline Igben, Temitope Aremu, and Damilola Omotoso. *The Beads* will be released from the 12th of July exclusively on Prime Video. ##### The Man Died – July 14 Directed by Awam Amkpa and produced by Prof. Awam Amkpa, “The Man Died” is an adaptation of Nobel Laureate Wole Soyinka’s memoir. The film delves into Soyinka’s profound reflections during a tumultuous period as a political prisoner in Nigeria, particularly during the Nigerian Civil War. Starring Wale Ojo, Sam Dede, Nobert Young, and others, the movie promises to provide a gripping cinematic experience, capturing the essence of Soyinka’s narrative and historical context. The film is scheduled for release on July 14, coinciding with Wole Soyinka’s 90th birthday anniversary. It is produced under the banner of Zik Zulu Film. ##### Wrong Number – July 19 Directed by Uche Chukwu and co-produced by Lanre Lawal, *Wrong Number* tells the story of a man who is abducted by a gang due to a case of mistaken identity, all triggered by a wrong phone number. This suspenseful narrative explores the unexpected twists that arise from this mistake. The film has a cast including Nancy Isime, Seun Ajayi, Remilekun Khalid Safaru (Reminisce), Baaj Adebule, Ajayi Olajumoke Ewatomi, Marilyn George, Bimbo Manuel, Mary Lazarus, Shaffy Bello.*Wrong Number* is set to hit cinemas on July 19. ##### Onyegwu – July 19 Directed by Jerome Weber and Uche Jombo, with a screenplay by Victor Alabi, Uche Jombo, and Stephen Oluboyo, this inspirational sports drama centers around Alex, a football star whose career is halted by unforeseen challenges. Just as Alex’s hope begins to wane, he encounters Nedu, a young and rising football player who reignites his passion for the sport. Alex embarks on a spiritual journey to reclaim his place in football, his world intertwines with Nedu’s, a talented player dreaming of making it big abroad. The film stars an extensive cast including Toyin Abraham, Lateef Adedimeji, Natacha Akide, Chioma Chukwuka Akpotha, Sani Danja, Ini Edo, Eric Emeka, Lilian Esoro, Emem Inwang, Nancy Isime, Uche Jombo, Magdalene Malakai, Tina Mba, Ufuoma McDermott, Zubby Michael, Emeka Nwagbaraocha, Kayode Ojuolape, Broda Shaggi, Adaora Ukoh, and Uchemba Williams. *[Onyegwu](https://www.imdb.com/title/tt20446364/ "Onyegwu")* promises a compelling tale of resilience, mentorship, and the unyielding spirit of athletes. *Onyegwu* is set to premiere exclusively on Amazon Prime Video on July 19th. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/07/Screenshot-2024-07-03-at-12.02.16.png?resize=640%2C801&ssl=1)##### House of Ga’a – July 26 *[House of Ga’a](https://nollycritic.com/house-of-gaa-new-yoruba-epic-gets-netflix-release-date/ "House of Ga'a")* is an action drama that delves into the life of Bashorun Ga’a, a prime minister and kingmaker in 18th-century Yoruba history. Known for his cunning strategies and mastery of “juju”, Ga’a wielded immense power, often surpassing the kings he served. *House of Gaa* promises an enthralling biopic that explores the rise and eventual decline of Bashorun Ga’a, showcasing his complex character and the turbulent political landscape of his era. The Nollywood film is directed by Bolanle Austen-Peters and produced by Joseph Umoibom and Bolanle Austen-Peters and features Seun Akindele, Jide J Blaze Oyegbile, Mike Afolarin, Femi Branch, Yemi Blaq, Stan Nze, Ibrahim Chatta, Gbenga Titiloye, Toyin Abraham, and Funke Akindele. Catch “House of Gaa” exclusively on Netflix, set for release on July 26. ##### KM17 – July 26 Get ready for a thrilling ride with “KM17,” premiering on Amazon Prime Video on July 26th. The cast includes Toni Tones, Blossom Chukwujekwu, Theresa Edem, Kelechi Udegbe, and Uche Louis Okocha. The film promises to be gripping and full of suspense and excitement. Which of these Nollywood movies do you anticipate the most? Be sure to stay updated as we’ll add more Nollywood movies to this list. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-movies-and-series-to-see-in-july-2024/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-movies-and-series-to-see-in-july-2024/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-movies-and-series-to-see-in-july-2024/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-movies-and-series-to-see-in-july-2024/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-movies-and-series-to-see-in-july-2024/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** House of Gaa, Netflix, nollycritic, nollywood, Prime Video, the man died --- ### [Offshoot: Strong Performances Marred By An Underdeveloped Protagonist](https://nollycritic.com/offshoot-strong-performances-marred-by-an-underdeveloped-protagonist/) **Published:** June 25, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Offshoot presents a compelling narrative centered around Modesire, who navigates the complex landscape of Nigeria's drug issues **Content:** *Offshoot* presents a compelling narrative centered around Modesire, who navigates the complex landscape of Nigeria’s drug issues while balancing familial responsibilities and career aspirations. Despite commendable performances and technical finesse, the film faces criticism for its underdeveloped protagonist and uneven storytelling. While [Kehinde Bankole ](https://en.wikipedia.org/wiki/Kehinde_Bankole "Kehinde Bankole ")delivers a standout portrayal as Modesire, her character’s motivations and depth remain ambiguous, hindering emotional engagement. The film’s thematic depth is undercut by contrived plot elements and pacing issues, despite the effective use of misdirection in unraveling its central mystery. With its dark, brooding cinematography and strong supporting cast, *Offshoot* offers moments of intrigue but ultimately falls short of delivering a cohesive and resonant narrative experience. ## *Offshoot* Directed by: Steve Ayeny Written by: Temitope Bolade and Diche Enunwa Genre: Crime Drama Released on: June 14, 2024 (Cinemas) Language: English/Pidgin English ##### Plot Modesire has just been appointed as Head of Investigation and Operations of the NDA after the demise of her boss. Dee, as she is fondly called, sees this as an opportunity to prove that she is more than capable of ridding the country of the drug menace plaguing it in recent times. She immediately hits the ground running with several successful raids and quickly catches the attention of the drug cartel. When she starts to receive death threats, her husband, Dike, becomes worried and tries to talk her out of pursuing the cartel so aggressively but for Modesire, there is no turning back. It’s all or nothing. Her constant refusal to see reason even when the threats intensify and involve their daughter greatly annoys Dike and strains their relationship. In a bid to save his wife and family as a whole, Dike has to make the best and worst decision of his life, taking them both on a roller coaster journey that threatens her job, their marriage, and eventually maybe even her sanity. ##### Story The story focuses on the drug issues in Nigeria, particularly on the issue of Cannabis. It follows Modesire as she wrestles with the challenge of prioritizing between family, responsibilities, career, and moral integrity in the face of adversity and imminent threats. ##### The Cinema Experience Entering the cinema, there were high expectations for the film, particularly regarding performances and its treatment of Nigeria’s drug issues. The trailer hinted at the tension between Modesire and her husband over prioritizing personal and family safety versus taking a dangerous stand to effect change. The trailer sparked curiosity, suggesting a captivating story with high stakes to grip the audience’s hearts. However, Modesire’s handling of these challenges lacked independence. It also suggested that the core of the story would be uncovering the identity of Boss. And the film handled this well, using misdirection and an interesting plot twist to reveal the truth. Upon reviewing, it was noticed that the plot twist actually hinted at the identity of Boss to an extent. Though the sound effectively heightened certain situations, there wasn’t enough reason to stay actively engaged as the film unfolded. Relying heavily on dialogue, the film became tedious to watch in a cinema setting. ##### Performances Overall, *Offshoot* deserves high ratings for its cast, with strong performances, particularly in portraying complex emotions and relationships. [Kehinde Bankole](https://nollycritic.com/owambe-new-film-starring-kehinde-bankole-begins-principal-photography/ "Kehinde Bankole"), who plays Modesire, is fantastic in this role, portraying a fierce, talented, and determined character. Though there are scenes where she seems a bit uncomfortable, particularly in intimate moments with her husband, but her overall performance is commendable. Kelechi Udegbe, portraying Dike (Modesire’s husband), impresses with his range of expressions and demeanor. In the beginning, he comes off as whiny, but it eventually makes sense as the film unfolds. His character showcases a spectrum of emotions, ranging from vulnerability as a lover boy to toughness, highlighting his versatility. His performance is the epitome of the film, highlighted by a brilliant monologue that captivates and underscores his versatility as an actor. Ibrahim Suleiman, as Tony, Modesire’s Chief of Staff, stands out. His performance is credible, and he adapts well to the plot’s twists and turns. Gregory Ojefua, as Skillz, is solid but seems to be typecasting himself. His performance falls short compared to his work in[ *Kill Boro*](https://nollycritic.com/kill-boro-a-powerful-tale-of-family-and-redemption/ " Kill Boro"). Known for his comedic roles, he reverts to humor, which doesn’t fit the serious tone of the film. David Jones, who plays Zukky/Azuka, delivers a decent performance. Bimbo Manuel, who plays the chairman, appears only once but delivers his role moderately. The way he is placed (throwing darts) feels too try-hard, but he fulfills his role well. However, from an outsider’s perspective, he doesn’t appear as menacing as Modesire believes him to be. Other cast members, including Fausat Balogun as Modesire’s mum, Chukwu Martin as Tega, Princess Kossy Nwogu as Amara (Modesire’s daughter), Tomiwa Kukoyi, Vera Ephraim, Kevin Ushi, Steve Asinobi, Shewa Ale, and Nonso Odogwu, deliver solid performances. ##### Technical Aspects In terms of editing and sound design, *Offshoot* displays both strengths and weaknesses. The score effectively heightens tension, crucial for maintaining the suspenseful atmosphere throughout the movie. The sound design further enhances these elements, contributing significantly to the film’s overall impact and immersive experience. However, the editing often feels inconsistent and fails to complement the cinematographic choices. The film’s look, including color and lighting, also suffers from inconsistency. Some scenes are oversaturated, and characters’ skin tones occasionally appear so washed out that they seem unrealistic. Some shots included in the final cut detract from the visual storytelling and serve no narrative or storytelling purpose, neither enhancing suspense nor adding to the plot in any meaningful way. Well, was it for misdirection? No. The film’s production design and art direction are notable, presenting believable interior sets and well-chosen locations that enhance the narrative. For instance, Dike’s home and his furniture business are realistically depicted, and subtle details like the TV screen advertisement add a layer of realism while subtly acknowledging the audience. This dual function of serving both narrative and advertisement purposes cleverly breaks the fourth wall. Color grading and cinematography play a pivotal role in setting the film’s mood and atmosphere. The use of dark, brooding tones complements the underworld theme effectively, creating a sense of intrigue and danger. The lighting and visuals in a scene where Dike expresses his love for his wife are particularly notable and well-executed. However, some aspects of the cinematography could be distracting at times. Certain camera movements, especially those switching between speakers, felt unnecessary and detracted from the narrative flow. This issue might also stem from editing choices, where shots lacking narrative relevance were included. Addressing these minor inconsistencies could further refine the film’s visual storytelling and enhance viewer engagement. Overall, while the production design, editing, sound design, and cinematography contribute positively to the film, a more cohesive approach in certain camera movements and editing decisions could elevate the viewing experience even further. ##### Final Thoughts One of the main drawbacks of *Offshoot* is the underdeveloped protagonist, Modesire. Her motivations are unclear from the outset; while she aims to tackle drug issues, her deeper reasons remain ambiguous. She is portrayed as a generally good character with good intentions, but the film fails to delve into her motivations or explore her human side effectively. Modesire is initially depicted as a strong, individualistic character; however, by the film’s conclusion, her psychological makeup seems to suggest that she is ultimately influenced and controlled by the men in her life. This portrayal challenges her independence and raises questions about the consistency of her character development. The communication between the two lovers in the film is questionable and often characterized by gaslighting. Despite being portrayed as loving, they frequently create conflicts in their interactions by pretending not to understand each other. In addition to this, it’s worth noting that these communication issues are eventually resolved by the end of the film, which can be seen as a redeeming factor. The questionable and gaslighting nature of their interactions, where conflicts arise from a lack of understanding, contrasts with their portrayal as a loving couple, casting doubt on the authenticity of their relationship dynamics. The trailer didn’t highlight many action sequences, and while the action scenes in the film were well-choreographed, they weren’t particularly captivating. Some parts felt contrived and overly convenient within the fight sequences and catch. However, these scenes still served narrative purposes that can be somewhat excused. At the point of the villain’s revelation, it becomes clear that the writer paid meticulous attention to building the character arc of the antagonist, skillfully using well-placed misdirection. Moreover, the reveal feels too easy, some scenes feel unresolved, and some catches by the NDA with so-called expertise look too easy. ##### Verdict While *Offshoot* addresses the issue of drugs with strong performances and attention to detail, it misses opportunities to delve into current trends related to cannabis in Nigeria. Instead, the focus is primarily on the protagonist rather than the broader drug-related issues. Despite the plot suggesting Modesire’s mission to rid the country of the drug menace, the film fails to convey why drugs are a significant problem, how they plague the nation, and their impact on ordinary citizens. *Offshoot* is a crime drama that focuses not on drugs themselves, but on the crimes surrounding them, filled with suspense and misdirection. While *Offshoot* has its strengths, particularly in storytelling, it falls short in character development and emotional depth, making it less suitable for a compelling cinema experience. The film doesn’t fully utilize its technical elements—such as cinematography, editing, and sound design—to immerse the audience in its narrative. Opportunities for visual and symbolic cues that could intellectually engage viewers are missed, relying heavily on dialogue instead, which can become burdensome. This lack of fully explored technical craftsmanship results in a film that, while competent, doesn’t fully captivate or stimulate its audience. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/offshoot-strong-performances-marred-by-an-underdeveloped-protagonist/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/offshoot-strong-performances-marred-by-an-underdeveloped-protagonist/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/offshoot-strong-performances-marred-by-an-underdeveloped-protagonist/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/offshoot-strong-performances-marred-by-an-underdeveloped-protagonist/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/offshoot-strong-performances-marred-by-an-underdeveloped-protagonist/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** David Jones David, Kehinde Bankole, Kelechi Udegbe, nollywood, Offshoot --- ### ["Voltage": Fred Amata Set to Release New Crime Drama](https://nollycritic.com/voltage-fred-amata-set-to-release-new-crime-drama/) **Published:** June 27, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Known for his acting prowess, Fred Amata is set to captivate audiences once again with his latest directorial venture, "Voltage." **Content:** Known for his acting prowess, [Fred Amata](https://en.wikipedia.org/wiki/Fred_Amata "Fred Amata") is set to captivate audiences again with his latest directorial venture, “Voltage.” Amata, whose career spans decades and includes a diverse portfolio of directing, acting, and producing credits, has carved a niche for himself in Nigerian cinema. Beginning with his breakthrough role in “Legacy” in 1986, Fred Amata has directed over 27 films, showcasing his talents both behind and in front of the camera. His directorial prowess shines through in acclaimed works like “Enemies” (1998), “Anini” (2005), and “RattleSnake: The Ahanna Story” (2022), where he showcased his talents as both director and actor. Amata has also acted in over 83 films, featuring in recent hits such as “Ada Omo Daddy” (2023) and “Merry Men 3: Nemesis” (2023). He produced “Road to Redemption” (2016) and “Tumini’s Song”, and gained acclaim for “Letters to a Stranger” (2007). Set against the backdrop of societal challenges, “Voltage” explores themes of deceit, resilience, and the fight against powerful interests that control the energy sector. With its satirical lens, the film aims to entertain, educate, and provoke important conversations among Nigerian and African audiences. [Olumide Oworo](https://nollycritic.com/saving-onome-a-tale-of-love-and-sacrifice-marred-by-fall-flat-narrative/ "Olumide Oworo") leads the ensemble as Tega, a young man caught between his family’s corrupt business practices and his desire to expose the deep-rooted corruption within Nigeria’s power sector. Other stellar casts include; Segun Arinze, Kate Hensaw, Olumide Oworo, Linda Osifo, Kelvin Ikeduba, White Money, Keppy Ekpeyong, Jude Chkwuka, Rotimi Adelegan, Ricardo Agbo, Aaron Sunday, Sunny McDon, and others. Producer Ngozi Ogbonna Nglabelle expressed her excitement about the project, emphasizing its potential impact on Nigerian cinema and society. “Voltage” promises thrilling entertainment and serves as a poignant reflection of Nigeria’s current realities. As Fred Amata prepares to unveil “Voltage,” his return to directing signifies a milestone in Nigerian filmmaking, blending artistic excellence with a powerful narrative that is poised to leave a lasting impact on audiences. Now, Amata takes on a new challenge with “Voltage,” produced by Ngozi Ogbonna Nglabelle in collaboration with Daylight Group and CallMeNgLabelle Kontents Ltd. The film is scheduled to premiere on June 30th, 2024, with a nationwide cinema release on July 5th, “Voltage” promises to be a blockbuster event. See the trailer below. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/voltage-fred-amata-set-to-release-new-crime-drama/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/voltage-fred-amata-set-to-release-new-crime-drama/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/voltage-fred-amata-set-to-release-new-crime-drama/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/voltage-fred-amata-set-to-release-new-crime-drama/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/voltage-fred-amata-set-to-release-new-crime-drama/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** Aaron Sunday, Jude Chkwuka, Kate Hensaw, Kelvin Ikeduba, Keppy Ekpeyong, Linda Osifo, nollycritic, nollywood, Olumide Oworo, Ricardo Agbo, Rotimi Adelegan, Segun Arinze, Voltage, White Money --- ### [The Interrogation of Lotanna: A Subtle Thriller Boosted By Compelling Performances](https://nollycritic.com/the-interrogation-of-lotanna-a-subtle-thriller-boosted-by-compelling-performances/) **Published:** June 24, 2024 **Author:** Shalom O. Obisesan **Excerpt:** The interrogation of Lotanna is a story that delves into loyalty, especially under extreme pressure. It also touches on betrayal, both potential and perceived. **Content:** Subtle, stark, and slightly intense. *The interrogation of Lotanna* is a story that delves into loyalty, especially under extreme pressure. The significance of family emerges as a crucial theme, influencing characters’ actions and decisions. ## *The Interrogation of Lotanna* Directed by: Reginald Jumbo Produced by: Serah Ibukun and Obadofin Oreoluwa Genre: Thriller Released date: TBA Language: English ##### Plot The plot centers on Captain Ardo. He is dispatched to suppress a rebellion in the East and find the elusive rebellion leader, Zuru Nkwu. Months of relentless pursuit yield nothing, until Ardo receives a crucial tip pointing to Lotanna. Lotanna is subsequently subjected to a harrowing interrogation. Despite the torture, Lotanna insists on his innocence. The film focuses on Ardo’s attempts to extract information from Lotanna, juxtaposing the themes of loyalty and the personal cost of duty. Although the story might initially seem centered on Lotanna, it is actually from Captain Ardo’s perspective. His primary objective is to fulfill his mission and restore peace. The tension between Lotanna’s loyalty to his cause and Captain Ardo’s desire to return to his family is central to the narrative. *The Interrogation of Lotanna* delves into the psychological dynamics between the two central characters, transforming their interaction into a mental chess game. ##### Performance Casey Jolomi Edema brings a rich cultural background to his role as Lotanna. Known for his previous work as Dimeji in the Showmax series, *Wura*, and as a Glo Naija Sings winner, Edema’s performance in this short film is compelling and authentic. His proficiency in the Eastern language and understanding of Hausa, even though he doesn’t speak it, add a layer of credibility to his character. This linguistic capability not only enhances the believability of his role but also underscores the depth of his portrayal. His cultural fit and natural performance make it seem as if the role of Lotanna was specifically tailored for him. Edema’s emotional range is evident in his expressive and nuanced portrayal of Lotanna. He convincingly conveys the character’s pain and resilience under torture, as well as his subtle manipulations, particularly when he mentions his family to gain sympathy. William Benson, known for his roles in *Obara’M* (2022), *A Green Fever* 2023), and *Love Is Wa*r (2019), brings a profound understanding of character nuance to his portrayal of Captain Ardo. His mastery of subtlety is evident in his performance, particularly in moments where he uses small gestures, such as touching his ring when mentioning “family.” This subtle cue not only adds depth to his character but also reveals Ardo’s personal connection and soft spot for family, which plays a significant role in the psychological dynamics of the film. Benson’s ability to convey complex emotions through minimalistic yet powerful gestures showcases his skill in understanding and embodying his character. In the film, Benson’s portrayal of Captain Ardo is marked by a compelling mix of stern authority and underlying vulnerability. His performance captures the essence of a duty-bound commander, while also exposing the character’s internal conflicts and soft spots. This duality is highlighted in the interrogation scenes where Ardo’s desperation and personal values subtly seep through his tough exterior. His nuanced acting brings out Ardo’s psychological tension and moral ambiguity, making his character both relatable and intriguing. The film also features brief compelling performances by Francis Sule as Zuru and Anthony Nwahiri as Iheanacho. ##### Technical Aspects Reginald Jumbo employs a simplistic yet effective directorial style. The pacing is fast, emphasizing tension and the agony of Lotanna’s ordeal. While this approach suits the genre, it may be too brisk for viewers to fully absorb the emotions and feel the impact of the gripping scenes. The tone oscillates between soft and harsh, mirroring the interrogation’s intensity. Jumbo’s approach evokes emotional responses, immersing viewers in the narrative and highlighting the stakes. The film employs a gritty style to enhance the harsh reality of the interrogation. The lighting is predominantly cold, using blue and neutral hues during the interrogation scenes, shifting to warmer tones like orange, teal, and yellow in other parts. Close-up shots intensify the emotional experience, drawing viewers into the characters’ feelings. The pacing is generally balanced, though some reaction shots linger longer to underscore emotional depth. The editing effectively maintains the viewer’s focus on Lotanna’s perspective, heightening the narrative’s psychological tension. *The Interrogation of Lotanna*‘s sound design is meticulously crafted to draw viewers into the story. The intro features a sound that seems to pull the audience into the narrative, creating a sense of impending psychological conflict. Throughout the film, subtle and precise sound choices heighten the tension, reflecting Lotanna’s hypersensitive state. The abrupt transition to an upbeat song at the film’s end contrasts sharply with the preceding sounds, underscoring the dramatic ending. ##### Final Thoughts The film’s significance lies in exploring personal and moral dilemmas within a high-stakes context. It challenges viewers to consider the complexities of loyalty and duty, making it a poignant and thought-provoking short film. The beauty of this short film lies in its simplicity and meticulous attention to minute details. The narrative’s elegance stems from its ability to convey profound emotions and conflicts through visual storytelling, often eschewing dialogue in favor of expressive actions. The abrupt transition to an upbeat song at the film’s end contrasts sharply with the preceding sounds, underscoring the dramatic shift in tone leading one to question, “What is going to happen to Lotanna?” ##### Verdict This minimalist approach allows the subtleties of the characters’ performances to speak volumes, inviting viewers to interpret the underlying tensions and motivations. The film’s simplicity enhances its impact, engaging the audience’s senses and opening their minds to a deeper, more nuanced understanding of the situations depicted. **Rating**: 4/5 ⭐⭐⭐⭐ Rating: 4 out of 5. - ![The interrogation of Lotanna](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/06/unnamed-6.jpg?resize=640%2C400&ssl=1) - ![The interrogation of Lotanna](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/06/unnamed-5.jpg?resize=640%2C400&ssl=1) - ![The interrogation of Lotanna](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/06/unnamed-4.jpg?resize=640%2C400&ssl=1) - ![The interrogation of Lotanna](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/06/unnamed-3.jpg?resize=640%2C400&ssl=1) - ![The interrogation of Lotanna](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/06/unnamed-2.jpg?resize=640%2C400&ssl=1) ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-interrogation-of-lotanna-a-subtle-thriller-boosted-by-compelling-performances/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-interrogation-of-lotanna-a-subtle-thriller-boosted-by-compelling-performances/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-interrogation-of-lotanna-a-subtle-thriller-boosted-by-compelling-performances/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-interrogation-of-lotanna-a-subtle-thriller-boosted-by-compelling-performances/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-interrogation-of-lotanna-a-subtle-thriller-boosted-by-compelling-performances/?share=linkedin) - **Categories:** Articles, Blog, Movies, Reviews **Tags:** nollycritic, nollywood, Reginald Jumbo, Serah Ibukun, The interrogation of Lotanna --- ### [Shina: An Unthrilling Bumpy Ride Plagued By Plot Holes](https://nollycritic.com/shina-an-unthrilling-ride-plagued-with-plot-holes/) **Published:** June 22, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Shina highlights the perilous intersection of personal desperation and satirizes Nigeria’s chaotic political landscape. The film explores themes of loyalty **Content:** The synopsis for *Shina* on [Netflix](http://www.netflix.com "Netflix") read: “A taxi driver tries his best to collect money for his dying grandma’s treatment while everything seems to be bringing him back to his past.” Intrigued by this premise, I anticipated a compelling narrative that delved into how the protagonist’s current predicament would uncover and intertwine with his past. However, the film failed to meet these expectations. The next day, the synopsis was revised to: “A taxi driver in bustling Lagos agrees to deliver a mysterious package in exchange for his dying mother’s medical treatment.” It seems someone recognized the need to adjust the description, yet despite this change, the film still fell short. Especially, in delivering a lasting emotional impact. ## *Shina* Directed by: Muyiwa Adesokun/Lilian Karmenine Ike-Okoro Written by: Muyiwa Adesokun Genre: Drama Released on: June 17, 2024 (Netflix) Language: English, Pidgin English, Yoruba ##### Story The story highlights the perilous intersection of personal desperation and satirizes Nigeria’s chaotic political landscape. The film explores themes of loyalty and sacrifice, as Shina is torn between saving his grandmother and rescuing his friend Ugo. His choices ultimately reveal the profound consequences of such difficult decisions. Through its narrative, “Shina” paints a vivid picture of personal and political turmoil. ##### Plot *Shina* takes us on a ride with Oluwashina Akanji, a taxi driver in Lagos who finds himself in a dire situation during a highly charged gubernatorial election. Faced with his grandmother’s critical illness, Shina is driven to desperate measures to secure money for her surgery. His journey pulls him into a dangerous realm of political intrigue and criminal entanglements. Shina’s predicament intensifies as he becomes entangled with his friend Ugo and the notorious gang leader BB. Amidst the election frenzy, Shina’s struggle underscores the profound challenges of accessing healthcare and the moral dilemmas faced by those in desperate circumstances. Compassionate Dr. Morenike, risking her career to help Shina’s grandmother, embodies the selflessness often required in the face of systemic failures. ##### Performances The film boasts a cast of popular actors, but without a well-written story, what does that leave you? What’s the point of a film with unconvincing characters? And it’s not an actor problem, but a story problem. The performances in *Shina* are significantly lacking. The film suffers greatly from poorly written dialogue and underdeveloped characters, which are primarily script issues. The narrative relies excessively on dialogue rather than visual storytelling, resulting in actions that fail to convince. Additionally, certain shots exacerbate the problem by failing to support the actors’ performances, further diminishing the film’s overall impact. Now, let’s get into the actors themselves and their performances. First, the eponymous protagonist, Shina (portrayed by [Timini Egbuson](https://nollycritic.com/is-timini-egbuson-the-ultimate-nollywood-golden-boy/ "Timini Egbuson")), brings his usual acting persona to the role. While he often excels as a supporting actor, his performance as the lead falls short. The character doesn’t seem to suit him, and his portrayal lacks the heartfelt depth needed for the role. This may be partly due to the story itself, which doesn’t provide a strong foundation for a more compelling performance. Akin Lewis is well-suited for the role of BB, but his performance and believability were hindered by the poor writing of the character. He’s a talented actor who could have embodied the menacing character envisioned, but the poor writing reduced BB to a mere figurehead. The camera angles did him no favours either, failing to enhance his presence. Despite being forcibly taken and surrounded by threats, Shina showed no fear, boldly shouting and throwing swear words right in front of the supposedly intimidating BB. This lack of convincing tension, coupled with the awkward camera placement, made their confrontations unconvincing and embarrassing to watch. Linda Ejiofor-Suleiman portrays Dr. Morenike, a character whose potential is undermined by poor writing. The script fails to delve into the motivations behind her unwavering passion for helping Shina’s grandmother, leaving her character one-dimensional. Dr. Morenike is depicted as an almost implausibly virtuous figure, whose sole purpose seems to be embodying goodness. This lack of depth and exploration into her character’s background and motivations renders her altruism unconvincing and detracts from the complexity one would expect in a well-rounded character. The film also features a distinguished cast, including veteran actress Alieru “Mama Rainbow” Idowu Keji as Mama (Shina’s grandmother), Segun Arinze as Dr. Bakare, Tope Tedela as Ugo, Shawn Faqua as AY, Immaculata Oko-Kasum as Ronke, and Kelechi Udegbe. ##### Technical Aspects The sound quality was poor, with numerous surrounding noises that were not intended as ambient sound, which ended up being distracting. Why is a siren blaring in the background? Does it serve any narrative purpose? No. It created an expectation that probably something significant was about to happen, but it never did. There were also a few instances of poor sound editingThe sound editing made a valiant effort to enhance tension and emotion, but due to the lackluster and unconvincing story, these attempts fell flat. Can we attribute this to production design, set design, the gaffers, or even the cinematographer? This trend is noticeable throughout the film, with questionable decisions being patched over through dialogue. For example, the excessive lighting inside Shina’s car is intended to illuminate the interior for the camera, but it lacks realism. Most scenes take place inside the car, and to justify the glaring lights, the filmmakers resort to a dialogue where Donald questions the brightness and Shina explains that, due to a broken AC, he keeps the lights on. While this explanation is not entirely implausible, it feels contrived. We can certainly aim for more seamless and believable solutions. The cinematography, encompassing lighting, color grading, and shot composition, had its moments of brilliance with a few standout shots. However, some compositions were unflattering for certain characters, likely exacerbated by poor editing decisions. There are two instances where the cinematographer employed an aerial shot, likely from a crane, to capture Dr. Morenike. Despite the lack of visual cues to establish a cinematic relationship between the two shots or scenes, one of them stands out. The decision to film Dr. Morenike from above during her most vulnerable moment created a sense of detachment as if the audience is meant to observe her ordeal from a distance rather than be intimately involved. Though the intention was to elicit pity, the lack of connection to her character and the cinematography’s unintended mirroring of this detachment resulted in an ironic disconnection from the intended emotional impact. ##### Final Thoughts *Shina* lacked the depth and authenticity necessary to make it a convincing or engaging story. The narrative felt disjointed, and the characters were not developed enough to elicit any real emotional investment. The film’s attempt to weave a dramatic tale was undermined by a lack of coherence and believability, leaving it as a story that struggled to be taken seriously. Given that the film had two directors, could this have caused a clash in the direction and vision it was trying to convey? At times, it’s unclear whether the film aimed to be a comedy, especially with the over-the-top, exaggerated, and satirical portrayals of the police. While the story itself has potential, it attempts to weave together too many narratives, resulting in an incoherent final product. Moreover, we’re tired of seeing many Nollywood films being named after the nominal character. ``` ``` ##### Verdict In the end, the film seemed to adopt a passive acceptance of mediocrity and lack of seriousness in filmmaking. “Let’s just do it like that. Make we run am.” No sense of control and exact direction. Simply trying to just tell a story. Most elements of storytelling were handled without the necessary rigor, and so, we the audience perceive and treat the film with the same lack of seriousness. **Rating**: 1.55/5 ⭐⭐ Rating: 1.5 out of 5. > > > ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/shina-an-unthrilling-ride-plagued-with-plot-holes/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/shina-an-unthrilling-ride-plagued-with-plot-holes/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/shina-an-unthrilling-ride-plagued-with-plot-holes/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/shina-an-unthrilling-ride-plagued-with-plot-holes/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/shina-an-unthrilling-ride-plagued-with-plot-holes/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews **Tags:** Netflix, nollycritic, nollywood, Shina, Timini Egbuson --- ### ["House of Ga'a": New Yoruba Epic Gets Netflix Release Date](https://nollycritic.com/house-of-gaa-new-yoruba-epic-gets-netflix-release-date/) **Published:** June 20, 2024 **Author:** Michael Arowoselu **Content:** Netflix has announced the official release date for *House of Ga’a*. The film is Directed by Bolanale-Austen, the brilliant mind behind critically acclaimed movies like *[Funmilayo-Ransome Kuti](https://nollycritic.com/funmilayo-ransome-kuti-o-god-of-israel-this-is-cinema/ "Funmilayo-Ransome Kuti")*, *Man of God*, *93 Days, Bling Lagosians*, and *Collision Course.* *House of Ga’a* is a biopic on the rise and fall of a ruthless kingmaker- Bashorun Gaa of the 18th century Oyo empire, who wielded deceit and voodoo to reign, only to be undone by his blood. Starring Femi Branch, Mike Afolarin, Funke Akindele, Toyin Abraham, Ibrahim Chatta, Dele Odule, Bimbo Manuel, [Lateef Adedimej](https://nollycritic.com/anikulapo-rise-of-the-spectre-what-to-expect/)i, Femi Adebayo, Gabriel Afolayan, Jide ‘JBlaze’ Oyegbile, Seun Akindele, ⁠Yemi Blaq, Adeniyi Johnson, Muyiwa Ademola, Willam Benson, Gbenga Titiloye, and Kunle Coker. with John Njaga Demps attached as the director of photography. [*House of Ga*‘*a*](https://nollycritic.com/house-of-gaa-funke-akindele-and-toyin-abraham-to-star-in-yoruba-epic/ "House of Ga'a"), is set to premiere on July 26, 2024 as a [Netflix](http://www.netflix.com "Netflix") original. - ![House of Ga'a](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/06/GQgTiuRXsAAFJXF.jpeg?resize=640%2C284&ssl=1) - ![House of Ga'a](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/06/GQgTiuRWkAACjXq.jpeg?resize=640%2C284&ssl=1) - ![House of Ga'a](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/06/GQgTiuIWsAEIrNd.jpeg?resize=640%2C284&ssl=1) - ![House of Ga'a](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/06/GQgTiuSXQAAmNAh.jpeg?resize=640%2C284&ssl=1) ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/house-of-gaa-new-yoruba-epic-gets-netflix-release-date/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/house-of-gaa-new-yoruba-epic-gets-netflix-release-date/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/house-of-gaa-new-yoruba-epic-gets-netflix-release-date/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/house-of-gaa-new-yoruba-epic-gets-netflix-release-date/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/house-of-gaa-new-yoruba-epic-gets-netflix-release-date/?share=linkedin) - **Categories:** Nollywood, Nollywood News **Tags:** Adeniyi Johnson, Bimbo Manuel, Bolanle-Austen Peters, Dele Odule, Femi Adebayo, Femi Branch, Funke Akindele, Gabriel Afolayan, Gbenga Titiloye, House of Gaa, Ibrahim Chatta, Jide ‘JBlaze’ Oyegbile, Lateef Adedimeji, Mike Afolarin, Muyiwa Ademola, Netflix, nollycritic, nollywood, Seun Akindele, Toyin Abraham, Willam Benson, ⁠Yemi Blaq --- ### [Muri and Ko: A Satirical Comedy Full of Good Laughs](https://nollycritic.com/muri-and-ko-biodun-stephens-satirical-comedy-offers-a-much-needed-comic-relief/) **Published:** June 17, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Released on Democracy Day, a national holiday in Nigeria, "Muri and Ko" provided a delightful escape from reality. The film engaged audiences with its humor **Content:** Released on Democracy Day, “Muri and Ko” provided a delightful escape from reality while hinting at satire to keep us grounded. The film engaged audiences with its humor, offering plenty of laughs and lighthearted entertainment. A slight **spoiler alert**: Just a sprinkle of spoilers that won’t spoil the fun. Consider them the garnish on your cinematic dish. ## *Muri and Ko* Directed by: Biodun Stephen Produced by: Inkblot and Filmone Studios Genre: Comedy Release Date: June 12, 2024 (Cinema) Language: English, Pidgin English, Yoruba ##### Plot *Muri and Ko follow* Muritala, aka “Muri”, a petty thief who discovers a new lucrative venture in stealing and selling car parts. As he delves deeper into this new business, he comes across a “whole” car left unlocked by its owner. Seeing an opportunity too good to pass up, Muri decides to “pick” the opportunity. However, unbeknownst to him, Cole, “Ko”, is still inside. His quest to sell the car but keep Cole safe leads to a series of comical misadventures, forging an unlikely friendship between the two. ##### Story The story begins with a humorous tone, setting the stage for the comedic antics that follow. With a wink to the audience, the film’s opening scenes signal that despite the serious situations and allegations that will arise, the journey ahead will be playful and entertaining. By establishing this comedic foundation, the story invites viewers to suspend their disbelief and enjoy the ridiculous adventures that are about to unfold. ##### The Cinema Experience *Muri and Ko* delivered a reel of laughs from the opening credits to the final cut. Right from the opening scene, it was clear that this film was more about slapstick than serious drama. As the plot unspooled, the audience found themselves chuckling more and more at the over-the-top situations that diverged wildly from reality. The ending had viewers laughing not out of heartfelt emotion but at the sheer absurdity of it all. And it’s acceptable because we’ve known not to take the drama too seriously. In the end, “Muri and Ko” might not have tugged at heartstrings, but it certainly tickled the funny bone with its offbeat humor and playful editing. ##### Performance Child actor [Fiyinfoluwa Asenuga](https://nollycritic.com/nollywood-child-actors-a-new-generation-with-great-potentials/ "Fiyinfoluwa Asenuga"), who portrays Cole, delivers a performance marked by an endearing charm and natural flair. Asenuga brings to life the character of Cole, a child celebrity typified as an “aje butter,” a term used by Muri ([Kunle Remi](https://en.wikipedia.org/wiki/Kunle_Remi "Kunle Remi")) to describe a child sheltered from the harsh realities of life. His innocence and naivety are palpable, particularly in his interactions with his kidnapper, whom he embraces with trust, highlighting the kidnapper’s underlying good intentions. Kunle Remi’s portrayal of Muri is equally notable. He skillfully embodies the rough yet amiable demeanor of a nonchalant street thug. Muri’s character, while rough-edged, exudes a friendliness and humor that makes him endearing. The recurring motif of his serenade to his girlfriend, Shalewa ‘Shay Baby’ (played by Bukunmi ‘Kie Kie’ Adeaga-Ilori), serves as a narrative device to underscore the humor and affection in their relationship albeit, not the focus of the story. Their dynamic, characterized by playful banter and mutual affection, is brought to life through their convincing performances. The scene where Muri sings to Shay Baby is particularly humorous, showcasing the actors’ comedic prowess. We also have Charles Okocha, who portrays the stoic character Chukwudi with remarkable simplicity and physical embodiment. His understated performance is elevated by the humorous use of sound effects, making his character memorable. The film also features strong performances from the supporting cast. Femi Jacobs plays a detective with a soft spot for Cole’s celebrity mother, DD, portrayed by Bisola Aiyeola. Bucci Franklin shines as Cole’s absentee father and aspiring artist, Banji Adams. The cast is further enriched by Adediwura BlarkGold, Gloria Anozie-Young, and Emem Ufot, each delivering notable performances that contribute to the film’s overall appeal. ##### Technical Aspects One standout moment of comedic editing involved sound effects: the menacing Chukwudi, a character set up to be a fearsome antagonist, emitted a train-like scream upon realizing he had been outsmarted. This unexpected audio gag was a directorial masterstroke, subverting his menacing persona and leaving the audience in stitches. In addition to the standout sound editing that amplified the comedy, “Muri and Ko” also sprinkled in some well-timed physical comedy that added an extra layer of charm to the genre. The catchy “Ele muri, agba picker…” song was both funny and unforgettable. The was particularly memorable, echoing in viewers’ minds after the credits rolled. Its popularity even spilled over onto social media, where users created content featuring the song, inadvertently boosting the film’s publicity. The film is well-curated with naturalistic colors, setting the tone for a realistic backdrop, though it doesn’t rely entirely on realism. This visual approach grounds the story in a familiar setting while allowing the satirical and comedic elements to shine through. These technical elements worked interdependently, demonstrating the filmmaker’s keen attention to the genre. And they inadvertently collectively elevated the cinematic experience. ##### Final Thoughts The film cleverly parodied internet personalities (who shall remain unnamed), adding satirical humour that resonated with the audience. The references were subtle enough that some viewers might miss them. But, watch closely and you might spot them! There’s also an easter egg that you should look for. Take a hint: it involves medical intervention which perfectly mirrored Cole’s on-screen predicament. However, not everything went off without a hitch. In this same scene where the easter egg was featured, the text “VFX Screen” appeared, suggesting a potential technical oversight or error. Despite this glitch, the probably unintended easter egg still contributed a humorous and meaningful layer to the narrative. It’s perfect fodder for “over-analysis” by film buffs looking to find depth in every pixel, pretending it was totally on purpose. The film used a technique where some characters spoke Igbo and the subtitle merely read “speaking Igbo.” We’re curious to know what they’re talking about (non-Igbo speakers) While this initially appeared to be a subtitle error, it was a deliberate creative choice to build suspense. Moreover, the film’s treatment of serious situations, such as kidnapping and theft, was quite questionable. These moments were used more as anecdotes for laughs rather than conveying their gravity. While the film’s tone made it clear not to take things too seriously, the lack of severity, even after minimal consequences, is not unnoticeable. This approach still underscores the film’s commitment to comedy, even at the expense of addressing serious issues with the expected gravity. That’s satirical. One notable aspect of the film was the performance during the end credits, which successfully kept audiences in their seats. Typically, viewers leave once the credits roll, but this engaging and funny performance encouraged them to stay and learn about the people behind the scenes. ##### Verdict *Muri and Ko* is a lighthearted comedy that excels in delivering laughs. The film’s creative choices, from editing and satirical hints, highlight how the filmmakers also had fun while creating it. However, its treatment of serious themes is ironically funny, using these situations more for comedic effect than conveying their gravity. Additionally, technical oversights, such as on-screen text errors, slightly mar the viewing experience. Despite its few flaws, *Muri and Ko* provide a refreshing break from reality with its offbeat humor and memorable performances **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/muri-and-ko-biodun-stephens-satirical-comedy-offers-a-much-needed-comic-relief/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/muri-and-ko-biodun-stephens-satirical-comedy-offers-a-much-needed-comic-relief/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/muri-and-ko-biodun-stephens-satirical-comedy-offers-a-much-needed-comic-relief/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/muri-and-ko-biodun-stephens-satirical-comedy-offers-a-much-needed-comic-relief/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/muri-and-ko-biodun-stephens-satirical-comedy-offers-a-much-needed-comic-relief/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Biodun Stephen, Charles Okocha, Film One, Fiyinfoluwa Asennuga, Kie Kie, kunle remi, Muri and ko, nollycritic, nollywood --- ### [Democracy Day: Nollywood On Nigeria's Democratic State](https://nollycritic.com/june-12-how-nollywood-reflects-nigerias-democratic-state/) **Published:** June 12, 2024 **Author:** Shalom O. Obisesan **Excerpt:** As a nation rich in culture and history, Nigeria's political landscape has been captured and can be critiqued through Nollywood films. **Content:** When you ask a pre-schooler, or pupil the definition of democracy, we’re all familiar with the sing-song answer the child would gladly chorus: “Democracy is a government of the people, by the people and for the people” as articulated by Abraham Lincoln. [June 12th](https://en.wikipedia.org/wiki/Democracy_Day_(Nigeria) "June 12th") stands as a stark reminder etched in the collective memory of Nigerians, representing one of the saddest realities of Nigeria’s democracy. As we commemorate Democracy Day, we reflect on the ongoing journey towards a more democratic society through films. As a Nation rich in culture and history, Nigeria’s political landscape has been captured and can be critiqued through Nollywood films. This article explores films that boldly portray the complexities of Nigeria’s democratic journey. They serve as historical anchors, helping us appreciate the Nation’s struggles, victories, and ongoing challenges through a cinematic lens. ##### *Saworoide* and *Agogo Eewo*: A Reflection of Leadership Marred by Corruption > “The king serves the people and not the other way around” > > – Baba Opalaba (Saworoide) Released in 1999 and 2002, respectively, *Saworoide (Brass Bells)* and *Agogo Eewo*, both directed by Tunde Kelani, serve as cultural and historical allegories, offering a poignant commentary on how democracy is often stolen from the Nigerian people. These political feature films remain perpetually relevant due to their exploration of themes such as corrupt practices, the killing of vocal citizens, and the exploitation of the populace. *Agogo Eewo*, meaning ‘taboo gong,’ acts as a check on the chiefs, just as the *Saworoide* serves as a check on the ruling king in the narratives. However, in both stories, the parties involved shirk the ritual rites required for them to sit on the throne, attempting to escape accountability. Over time, these neglected traditions gradually lead to the erosion of their power and authority. Posed as an allegorical examination of the dictatorial rule of both civilian and military leaders in Nigeria, the films provide a central theme on Nigeria’s political realities from years past. The politically-sponsored killings of citizens, bloody coups d’état disrupting peace and order, and the passiveness in addressing the political and economic needs of the citizens are daily realities across various African nations. These films draw viewers’ attention to the illicit actions of rulers during that era in Nigeria’s history which are still reminiscent today. ##### *October 1* : Nigeria’s Rotten Foundation and Eventual Democratic Corrosion There is quite a lot to unpack from this nollywood film. Set during the final days of British colonial rule in 1960, in Ilara Mokin town of Ondo State, a Police Inspector named Waziri is commissioned to unravel the mysterious deaths plaguing the town of Akote. Directed by Kunle Afolayan, the film starts with the crime, delving into Nigeria’s turbulent birth: a stark portrayal of violence. A predator relentlessly pursues a fleeing woman. In a chilling sequence, he overtakes her, committing the heinous acts of rape and murder by strangulation. Without delving too much into the plot, the film highlights the struggles and aspirations of Nigerians as they transition from colonial subjugation to self-governance. This period was marked by hopes for a democratic society free from foreign control. The film explores themes of ethnic tension, corruption, and the quest for justice, which resonate with contemporary political realities in Nigeria. With the Nigerian national anthem hitting rewind back to the 1960s version, “Nigeria we hail thee,” this film feels like a hilarious throwback, with Kehinde Bankole taking us on a ride down memory lane. It’s like Nollywood decided to give us a comedic mirror to reflect on our political reality today, proving that sometimes, history has a seriously funny way of repeating itself. ##### *[King of Boys](https://nollycritic.com/kemi-adetiba-begins-production-for-king-of-boys-3/ "King of Boys")*: A Metaphor for Power Struggles in Nigerian Politics > Stop the handshake before it gets to the elbow. That is how we remain in power.” > > – Aare Akinwande Well, Eniola Salami grabs the whole arm eventually. Since its release in 2018, there has been extensive critical discourse surrounding the intricate dynamics of Nigerian politics portrayed in Kemi Adetiba’s film, *[King of Boys](https://nollycritic.com/kemi-adetiba-begins-production-for-king-of-boys-3/ "King of Boys")*. Additionally, King of Boys is a film that delves deep into the power dynamics and political intrigue within Nigeria. The film follows the story of Alhaja Eniola Salami, a powerful businesswoman and political figure, as she navigates the treacherous waters of politics, crime, and ambition. It highlights the deep-seated corruption and criminal activities intertwined with Nigerian politics. Furthermore, the film portrays how political figures often engage in unethical practices to secure their positions and eliminate rivals. Through its compelling narrative, *King of Boys* offers a rich commentary on Nigerian politics and the state of democracy in the country. Additionally, serving as a cinematic mirror, the movie vividly reflects the myriad events and machinations within Nigerian politics, both directly and indirectly impacting democracy. ##### 4th Republic: Not Every Saintly Figure Adheres To The Path of Righteousness *4th Republic* is a political thriller directed by Ishaya Bako and released in 2019. The film explores themes of political intrigue and corruption. It follows the story of a female gubernatorial candidate, Mabel King, played by Kate Henshaw, who becomes embroiled in a controversial election process marked by violence, manipulation, and fraud. *4th Republi*c offers a critical examination of Nigeria’s political landscape, highlighting issues such as electoral malpractice, gender inequality in politics, and the struggle for justice. The film depicts the pervasive issue of electoral malpractice, including voter intimidation, ballot box stuffing, and manipulation of results by political actors. These challenges undermine the democratic process, erode public trust in institutions, and hinder the ability of citizens to freely choose their leaders. Similarly, *4th Republic* also explores the gender dynamics in Nigerian politics, highlighting the barriers faced by women in accessing positions of power and the resistance they encounter in navigating the political landscape. Overall, the film sheds light on the complexities and shortcomings of Nigeria’s democratic system, emphasizing the need for reforms to ensure free, fair, and credible elections. ##### Conclusion As we celebrate Democracy Day, these nollywood films remind us of the importance of vigilance, active citizenship, and the continuous effort required to uphold democratic values. These are stories woven from observations told from a cinematic and creative perspective that has made these realities ever so relatable. Through their narratives, they underscore the necessity for transparency, accountability, and reform in the quest for a more just and democratic society. I would like to conclude with the film, ***Koseegbe*** also by Tunde Kelani, asking this rhetorical question, an afterthought that ponders from the film’s narrative: the change we desire, are we ready for it? For more nollywood political dramas. you can explore: *Your Excellency*, *If I am President*, *Green Fever*, and *’76*. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/june-12-how-nollywood-reflects-nigerias-democratic-state/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/june-12-how-nollywood-reflects-nigerias-democratic-state/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/june-12-how-nollywood-reflects-nigerias-democratic-state/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/june-12-how-nollywood-reflects-nigerias-democratic-state/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/june-12-how-nollywood-reflects-nigerias-democratic-state/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Agogo Eewo, democracy day, king of boys, nollycritic, nollywood, October 1, Saworoide --- ### [Deafening Silence: An Exploration of Gender-Based Violence](https://nollycritic.com/deafening-silence-an-exploration-of-gender-based-violence/) **Published:** June 10, 2024 **Author:** Shalom O. Obisesan **Excerpt:** "Deafening Silence" shines a spotlight on the pervasive issue of gender-based violence, bringing to light the struggles and silent suffering of many women. **Content:** From the conceptual meaning, “deafening silence” refers to an unexpected silence when a response is anticipated. The film, “Deafening Silence” poignantly addresses this very issue, delving into the multifaceted nature of gender-based violence, particularly highlighting how married women are often silenced after entering marriage. “Deafening Silence” shines a spotlight on the pervasive issue of gender-based violence, bringing to light the struggles and silent suffering of many women. Produced by Emem Isong and directed by [Biodun Stephen,](https://nollycritic.com/muri-and-ko-see-the-official-trailer-for-biodun-stephens-new-film/ "Biodun Stephen,") the film was spearheaded by the Spotlight Initiative in partnership with the [United Nations Development Program (UNDP)](https://www.undp.org "United Nations Development Program (UNDP)") and the European Union (EU). With a cast featuring Toni Tones, Chidi Mokeme, Bimbo Akintola, Kate Henshaw, Daniel Etim-Effiong, and Femi Jacobs, “[Deafening Silence](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-june/ "Deafening Silence")” is a movie is not just a cinematic endeavor but a vital part of the UNDP’s efforts towards attaining gender equality in Nigeria. Avoid the plot for spoilers. ## *Deafening Silence* Directed by: Biodun Stephen Produced by: Emem Isong Genre: Drama Released on: June 7, 2024 (Cinemas) Language: English ##### Story The storyline follows Jane Douglas, who finds herself in trouble after intervening to save a little girl from her abusive mother. Accused of overstepping, Jane is sued and sentenced to six months of compulsory community service at COAGBA (Coalition Against Gender-Based Abuse). During her time at COAGBA, Jane discovers a new passion for helping women in similar situations, igniting a powerful journey of advocacy and support for victims of gender-based violence. ##### Plot The plot starts with a flashback, whose significance only becomes clear at the story’s climax. We are then introduced to Jane Douglas, the protagonist, and her sister, showcasing their strong bond. The story takes a dramatic turn when Jane interferes with her neighbor, Mrs. Agnes, who continually abuses her daughter. Mrs Agnes reports the abuse to the authorities, but lies, claiming Jane injured her. As a result, Jane is sentenced to six months of compulsory community service at COAGBA (Coalition Against Gender-Based Abuse) without bail. This incident catalyzes the unfolding narrative. At COAGBA, Jane discovers her passion for helping women and children affected by gender-based violence. She channels her determination to fight against injustice into this new endeavor, encountering various situations that strengthen her resolve to advocate for the victims. Towards the end of the film, it is revealed that Jane’s fighting spirit stems from the trauma she faced as a child, with her mother being unresponsive to the abuse happening within their home. This revelation adds depth to Jane’s character, illustrating how her past experiences fuel her drive to protect and empower others who are silenced. Jane’s journey at COAGBA transforms her and motivates her to speak up even for those who have been silenced for too long. ##### Performance All actors delivered performances that met expectations, effectively bringing their characters to life. However, Toni Tones’ portrayal of Jane felt one-dimensional, reminiscent of her snobbish character in “Aburo.” In contrast, Kate Henshaw, playing Mrs. Comfort Ajibade, imbued her role excellently, showcasing a passionate and strict demeanor that aligns with her character’s commitment to the cause. Ironically, Mrs. Ajibade and Jane are quite similar in their approach, and at the start, Mrs. Ajibade expresses disdain for Jane. The cast also included talented actors such as Chidi Mokeme, Bimbo Akintola, Daniel Etim-Effiong, and Femi Jacobs, who contributed to the film’s overall strong performance. ##### Technical Aspects All technical elements were executed with simplicity to convey the story effectively. While nothing stood out as spectacular, each aspect was handled competently, ensuring the narrative remained the focal point. However, there were a few moments where the sound or music abruptly stopped, which could be jarring. Aside from these instances, the technical execution was smooth and unobtrusive. ##### Final Thoughts *Deafening Silence* is a film that stands out for its unflinching exploration of gender-based violence in its many forms, from emotional to physical abuse. The movie delves deeply into the silent suffering of women, particularly highlighting how they are often silenced within the confines of marriage. Through the compelling story of Jane Douglas, who is thrust into the world of advocacy after being unjustly sentenced to community service, the film illuminates the pervasive issue of gender-based violence and the profound impact it has on individuals and communities. ##### Verdict The film is primarily topical, making it an essential watch for those interested in gender violence and advocacy. If you want to ignite your passion for these critical issues, “Deafening Silence” is the film for you. However, from a purely cinematic perspective, it doesn’t meet the mark, earning a rating of 2 out of 5. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/deafening-silence-an-exploration-of-gender-based-violence/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/deafening-silence-an-exploration-of-gender-based-violence/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/deafening-silence-an-exploration-of-gender-based-violence/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/deafening-silence-an-exploration-of-gender-based-violence/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/deafening-silence-an-exploration-of-gender-based-violence/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** Bimbo Akintola, Biodu Stephen, Chidi Mokeme, Daniel Etim-Effiong, Deafening Silence, Emem Isong, Femi Jacobs, Kate Henshaw, nollycritic, nollywood, Toni Tones --- ### [Beyond The Veil Season 2: Missed Opportunities in Writing](https://nollycritic.com/beyond-the-veil-season-2-missed-opportunities-in-writing/) **Published:** June 10, 2024 **Author:** Uju Okosieme **Excerpt:** Nadine Ibrahim’s Beyond The Veil returns for a second season, and we’re eager to continue following Na’ima, Baddie, Hanifa, and Zizi on their journeys. **Content:** Nadine Ibrahim’s *[Beyond The Veil](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-june/ "Beyond The Veil")* returns for a second season, and we’re eager to continue following Na’ima, Baddie, Hanifa, and Zizi on their journeys. With about a year since the first season aired, here’s a brief recap to get you up to speed before we dissect the new season. ## *Beyond The Veil (Season 2)* Directed by: Nadine Ibrahim Written by: Sifa Asani Gowon Genre: Drama Released on: June 7, 2024 (Prime Video) Language: English and Hausa #### Season 1 Recap When we first meet Baddie, she’s just ended a relationship and is being pursued by a married admirer. Hanifa juggles motherhood and university aspirations, despite her husband’s opposition. Na’ima battles depression and anxiety while trying to build a relationship with Amir. Kassim and a marriage suitor court Zizi but she has no interest in marriage or kids. Baddie agrees to become her suitor’s second wife. Zizi and Kassim develop a relationship. Hanifa and Ahmadu’s marriage deteriorates as she secretly pays her school fees. Na’ima struggles to commit to Amir, reconnects with an old love, Matthew, in Lagos, and ends things with Amir. A confrontation between Surrayah and Na’ima before Baddie’s wedding leads to a fight among the rest of the girls. The season ends with Baddie’s wedding, where Zizi loses her grandfather, Hanifa discovers she’s pregnant, Na’ima gets into a car accident on her way to Matthew, and Baddie starts to see her husband’s true colours. Now that we’re all caught up, let’s get into season two. Skip ahead to the paragraph on the plot to avoid spoilers. #### Episode 1 The season begins six months after Baddie’s wedding and Na’ima’s accident. Hanifa is six months pregnant and finds out she’s having a boy. Na’ima has recovered and her relationship with Matthew has grown, though they’re keeping it a secret. Zizi gets reassigned to the crimes and investigation unit, and Baddie tries to maintain appearances on social media, which doesn’t sit well with Sadiq. Na’ima still struggles with drug addiction and makes a new friend at therapy. Kassim continues to delay his wedding to Maryam. #### Episode 2 Na’ima’s new friend, Fatima, reintroduces her to drugs while Kassim and Matthew try to locate her. Hanifa’s sister comes to help her at home. Kassim tries to fix things with Zizi but he’s still working towards marriage with Maryam. Zizi spends some time getting to know Tariq, and Surrayah gets a new love charm to use on Kassim. #### Episode 3 Tariq asks Zizi out on a date. Surrayah discovers that Baddie is being abused by Sadiq after listening to some household staff. Zizi struggles to sell her grandfather’s home and finally finds the file on Sadiq that was delivered to her the day he died. Na’ima catches up with Hanifa and Baddie, and Matthew asks her to meet his family. After seeing Tariq and Zizi together, Kassim begins to build his relationship with Maryam. Baddie tells Sadiq she doesn’t want children with him. #### Episode 4 Baddie rejects Zizi’s offer of help after being dropped off with Zizi by Bilquis following a beating from Sadiq. Sadiq’s mum scolds him for his behaviour towards Baddie. Surrayah starts selling her products through Na’ima’s hammam. Na’ima struggles when she meets Matthew’s family. Ahmadu secures an internship for Hanifa. Baddie asks Hanifa and Na’ima to see her at Zizi’s house and reveals the abuse she’s facing from Sadiq. Surrayah makes her move on Kassim. Na’ima’s aunt shares her reservations about Na’ima and Matthew’s relationship with Na’ima’s mum. #### Episode 5 Sadiq finds Baddie while she’s alone at Zizi’s house, and Zizi rushes home to protect her. Hanifa faints at work, and Na’ima’s aunt arranges for a friend to talk to her about her relationship with Matthew. Sadiq confronts Bilquis after learning she took Baddie to Zizi’s place. Surrayah sets up Sarah, causing her to quit the hammam. Zizi finally sells her grandfather’s home. Na’ima and Baddie visit Hanifa at home when they learn about her fainting spell. Baddie decides to leave Sadiq, and news about their troubled marriage ends up on social media. #### Episode 6 Baddie opens up about her abuse on social media, and her family deals with the fallout. Na’ima prepares for her mother’s birthday dinner, and Matthew asks her to relocate with him. Kassim finally asks Maryam to marry him. Tariq gets news about a transfer to Port Harcourt. Na’ima discovers what Surrayah has been doing at the hammam. Baddie confronts Surrayah and learns she was the one who shared the news about her marital issues online. Ahmadu tells Hanifa she and the kids will move to Dubai so she can continue her studies there. Na’ima ends things with Matthew. Hanifa goes into labour, but something goes wrong. Zizi ends things with Tariq and reaches out to Kassim while he announces his plans to marry Maryam to his family. #### Plot One notable aspect of the show is that despite the various plotlines, it remains easy to follow. However, this simplicity doesn’t necessarily contribute to a strong plot. Many loose ends from season one remain unresolved, indicating a lack of effort in tying up those storylines in the new season. With more time and attention to plot development, the show could have delivered a much stronger narrative. #### Story Na’ima’s story feels disjointed due to an overwhelming focus on multiple aspects: her relationship, drug abuse struggles, and her business. These elements lack a cohesive thread, making it difficult to stay engaged. Additionally, there’s much about Na’ima’s past that remains unexplored; more insight could have strengthened her narrative. Conversely, Hanifa’s storyline appears uneventful for most of the season, only to be abruptly packed with significant events in the final two episodes. The season seemingly concludes with Hanifa’s death, a surprising twist that feels like a forced attempt to shock viewers. Although her death isn’t explicitly confirmed, it seems the only plausible explanation for the events in the final episode. Baddie’s storyline is the strongest this season, tackling the topical issue of domestic violence in Nigeria, though certain aspects could have been handled better. Surrayah’s narrative still lacks coherence within the broader context. Her sudden anger towards Na’ima in season one and her obsessive pursuit of Kassim don’t make sense. Given her previous marriage and divorce, it’s baffling why she would want to marry a man who doesn’t reciprocate her feelings. Her motivations remain unclear. #### Performances None of the performances in *Beyond The Veil* stand out. While some actors are better than others, overall, the acting is simply passable. Many scenes that could have been more impactful fall flat due to mediocre performances, and stronger direction could have significantly improved these moments. #### Final Thoughts We appreciate the show’s attempt to highlight the struggles of being a northern Muslim woman in modern times. However, this season was a letdown, with nothing standing out and leaving us questioning the quality of the first season after watching the second. The show does a good job showcasing Abuja and northern fashion, which we enjoy. However, the pacing could have been better, as the final episode felt much more eventful than the preceding ones. #### Verdict Overall, *Beyond The Veil* is an interesting watch, and with only six episodes, you can get through it in a day. The show has potential, and we hope for a stronger third season. However, the poor writing and subpar acting in season two earns it a 2.5 out of 5 rating*. Beyond The Veil* is now streaming on Prime Video. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/beyond-the-veil-season-2-missed-opportunities-in-writing/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/beyond-the-veil-season-2-missed-opportunities-in-writing/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/beyond-the-veil-season-2-missed-opportunities-in-writing/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/beyond-the-veil-season-2-missed-opportunities-in-writing/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/beyond-the-veil-season-2-missed-opportunities-in-writing/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Popular reviews, Reviews, TV **Tags:** Ame Aiyejina, beyond the veil, Habiba Zock-Sock, Jemima Osunde, Maryam Booth, Nadine Ibrahim, nollycritic, Norah Ego, Norbert Young, Prime Video, Rikadawa Rabiu, Sifa Asanni Gowon, Ummi Baba Ahmed, Yakubu Mohammed --- ### [Nollywood Movies And Series You Should See This June](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-june/) **Published:** June 3, 2024 **Author:** Michael Arowoselu **Excerpt:** We are here to make sure we never run out of content by presenting you with the Nollywood movies and series to see in June, 2024. **Content:** While we are still basking in the nollywood releases from may, trust us to make sure you never run out of content by presenting you with the[ Nollywood movies ](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-may/ " Nollywood movies ")and series to see in June, 2024. All Nollywood movies and TV series on this list will be available via streaming platforms and cinemas in Nigeria. Oya, let’s go! ***Beyond The Veil* – June 7** Nadine Ibrahim and Sifa Asani Gowon *Beyond The Veil*, follows. a group of five northern Nigerian women as they navigate the ups and downs of modern life, which includes careers, friendships, romances and often cultures clashes. The cast features Jemima Osunde, Maryam Booth, Norah Ego, Ummi Baba Ahmed, Ame Aiyejina, Norbert Young, Habiba Zock-Sock, Yakubu Mohammed, Rikadawa Rabiu, and Caleb Richard. Season 2 heads to[ Prime Video](http://primevideo.com " Prime Video") on June 7. ***Deafening Silence* – June 7** An unemployed graduate, finds herself in trouble after intervening in a scuffle between her neighbor, Madam Agnes and her ward, an adolescent girl. Directed by Biodun Stephen, produced by Emem Isong and written by Tani Taylaur. The film stars Toni Tones, Kate Henshaw, Bimbo Akintola, Daniel Etim Effiong and Debby Felix. Deafening Silence, coming to cinemas from June 7th. ***Muri and Ko* – June 12** A small-time thief, inadvertently steals a car with an 8-year-old boy, Cole, in the backseat, a celebrity’s son. His quest to sell the car but keep Cole safe leads to a series of comical misadventures, forging an unlikely friendship between the two. Starring Kunle Remi, Bisola Aiyeola and Bukunmi Adeaga-Ilori (Kiekie),Femi Jacobs, Buchi Franklin, Charles Okocha, Gloria Anozie-Young, and Fiyinfoluwa Asenuga Muri and Ko will premiere in cinemas on June 12, 2024 ***Offshoot* – June 14** Offshoot tells the story of Modesire Mbakwe, a 40-year-old newly appointed Director, Operations and General Investigation of the Nigerian Drugs Agency (NDA), as she goes on a full-fledged war against a drug cartel that reveals a family secret which changes her life forever. The film stars; Kehinde Bankole, Kelechi Udegbe, Ibrahim Suleiman, Gregory Ojefua, Bimbo Manuel and David Jones David. Coming to cinemas, June 14, 2024. ***Higher Crime* – June 14** A prominent blogger who brings to light the chilling truth of a woman’s sexual assault, igniting a fierce legal battle with a prominent philanthropist The film features a vibrant ensemble cast, blending industry heavyweights like Femi Branch, Bimbo Akintola, and Keppy Ekpenyong, Enwongoabasi Ibom and Folashade Abimbola Coming to Cinemas on June 14. ***Lakatabu* – June 21** Odunlade Adelola’s *Lakatabu* will be released this month. The film stars Adedimeji Lateef, Adunni Ade, Yomi Fash Lanso, Femi Adebayo amongst others. Coming to Cinemas on June 21. ***Oloture* – June 28** The story continues from the first installment as a limited series. Oloture (Sharoon Ooja) crosses the Benin border, and goes on what has been described as a perilous journey into Niger, Libya, and then to the Mediterranean. Directed by Kenneth Gyang, other cast members include Omoni Oboli, Stan Nze, Amara Onoh, Bukola Abiola Oladipupo, Ikechukwu Onunaku, Daniel Etim Effiong Patrick Doyle, Segun Arinze, Bucci Franklin, Efe Iwara, and Adebukola Oladipupo. Streaming on [Netflix](https://www.netflix.com "Netflix") from June 28. Which of these Nollywood movies do you anticipate the most? Be sure to stay updated as we’ll add more Nollywood movies to this list. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-june/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-june/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-june/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-june/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-june/?share=linkedin) - **Categories:** Blog **Tags:** beyond the veil, Deafening Silence, Higher crime, Lakatabu, Muri and ko, Netflix, nollycritic, nollywood, nollywood movies, Offshoot, Oloture, Prime Video --- ### [How YouTube is Transforming Nollywood: Opportunities and Growth](https://nollycritic.com/how-youtube-is-transforming-nollywood-opportunities-and-growth/) **Published:** June 8, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood is one of the largest film industries in the world, producing thousands of movies annually. Despite its prolific output, access to Nigerian films **Content:** Nollywood is one of the largest film industries in the world, producing thousands of movies annually. Despite its prolific output, access to Nigerian films has been a persistent challenge for many even with the advent of diverse streaming platforms. This is where [YouTube](http://www.youtube.com "YouTube"), the global video-sharing platform, comes into play. ##### Why YouTube? YouTube has democratized content distribution, providing filmmakers with a direct channel to audiences worldwide. In Nollywood, this has proven to be a game-changer. Gone are the days when filmmakers relied solely on DVD sales or theatrical releases to reach their audience. Now, with a simple upload, Nollywood productions can instantly reach millions of viewers. Nigerian filmmakers are increasingly choosing to release their films on YouTube rather than on international streaming platforms like Netflix, Prime Video, and Showmax. Several factors drive this shift. For many Nollywood filmmakers, producing films is costly, and selling to some streaming platforms can be challenging due to their high standards and selectivity. Low-budget productions often struggle to meet these requirements. However, [YouTube](https://nollycritic.com/the-menace-of-nollywood-youtube-piracy-and-misleading-promotions/ "YouTube") offers a more inclusive platform where filmmakers can upload their content without these stringent barriers. Moreover, YouTube’s revenue model allows filmmakers to earn through advertisements and sponsorships. While ad revenue from Nigerian viewers may be limited, filmmakers can target audiences in the U.S. and U.K., where ad rates are higher. Nigerian YouTuber Tayo Aina noted that a video with a million views from the U.S. can earn significantly more than one with the same number of views from Nigeria. This potential for higher earnings makes YouTube an attractive option. YouTube also allows filmmakers to engage directly with their audience. This interaction can help build a loyal fan base and provide immediate feedback on their work. Platforms like Netflix and Prime Video do not offer the same level of interaction, making it harder for filmmakers to gauge audience reactions and preferences. These are just a few of the perks of using YouTube as a streaming platform. ##### The YouTube Nollywood Market In 2021, YouTube’s user base in Nigeria amounted to approximately 5.29 million users. According to Statista, this number will reach 11.99 million users by 2025. The YouTube market offers a dynamic and accessible platform for filmmakers to distribute their content globally, bypassing traditional channels. It also provides cost-effective opportunities for revenue generation through ads, paid subscriptions, and direct rentals or purchases, while fostering audience engagement through interactive features such as comments and likes. However, challenges like piracy and the need for high production standards require strategic management to fully leverage YouTube’s potential in the movie market. ##### How does this help the Nigerian Film Industry? The YouTube movie market provides a fantastic opportunity to grow and reach a global audience. This means greater exposure and the potential to attract international recognition and investment. The platform also makes it easier to discover new talent and collaborate with filmmakers from around the world. With YouTube’s detailed analytics, Nollywood creators can understand their audience better and tailor their content to meet viewer preferences. ##### Conclusion While the YouTube platform offers immense potential for Nollywood’s expansion and global recognition, the industry needs to prioritize the creation of high-quality content. As Nollywood continues to harness the opportunities presented by YouTube and other digital platforms, it must also strive for excellence in storytelling, production values, and overall content quality. By maintaining a commitment to producing compelling and innovative films, Nollywood can not only sustain its current momentum but also elevate its reputation on the global stage. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/how-youtube-is-transforming-nollywood-opportunities-and-growth/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/how-youtube-is-transforming-nollywood-opportunities-and-growth/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/how-youtube-is-transforming-nollywood-opportunities-and-growth/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/how-youtube-is-transforming-nollywood-opportunities-and-growth/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/how-youtube-is-transforming-nollywood-opportunities-and-growth/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** nollycritic, nollywood, Youtube --- ### [Nollywood Filmmaker, Priye Diri Selected for US Film Residency](https://nollycritic.com/kill-boro-writer-priye-diri-selected-for-us-film-residency/) **Published:** June 7, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Priye Diri, a Nigerian filmmaker and advocate, has been chosen to participate in the esteemed 2024 Global Media Makers Residency in Los Angeles. **Content:** [Priye Diri](https://www.imdb.com/name/nm9596831/bio/ "Priye Diri"), a Nigerian filmmaker and advocate, has been chosen to participate in the esteemed 2024 [Global Media Makers Residency ](https://www.filmindependent.org/programs/global-media-makers/ "Global Media Makers Residency ")in Los Angeles. This prestigious program, organized by Film Independent is supported by the U.S. Department of State, and it aims to foster international collaboration and cultural exchange among filmmakers. The residency is now in its 10th edition and is designed to support international filmmakers by providing them with resources, mentorship, and networking opportunities to develop their ongoing projects. Diri’s project for the residency, titled *Baby Girl*, delves into the complexities of a mother-daughter relationship and a woman’s journey of self-discovery. Over the five-week program, she will engage in intensive filmmaking tracks covering screenwriting, directing, creative development, and documentary production. The residency also includes cultural engagement sessions, masterclasses, and industry meetings, providing participants with invaluable opportunities to refine their projects and build lasting connections within the American film industry. Diri’s journey in filmmaking began with her debut short film, *Lost Love* (2015), which explores the emotional aftermath of losing a loved one. She continued to develop her craft through volunteer work on various film sets and by creating impactful works such as *Behind The Mirror* (2017), which addresses domestic violence. Her talent was further recognized when she won the Accelerate TV Filmmaker Contest with her silent short film *XOXO* (2017), earning her a scholarship to film school and recognition at the African International Film Festival. In addition to her filmmaking achievements, Diri is a dedicated advocate for gender justice and democracy in Nigeria. Her impressive body of work includes writing credits for the Amazon Prime film, “[Kill Boro](https://nollycritic.com/kill-boro-a-powerful-tale-of-family-and-redemption/ "Kill Boro")” and directorial credits for “Rule No1” on Showmax, “Chimera” on Iroko TV, and the upcoming short film “Dying Is Hard To Do.” Priye Diri’s participation in the Global Media Makers Residency marks a significant milestone for Nigerian cinema, and her compelling stories are poised to make a lasting impact. Priye Diri’s selection is a significant achievement, as she is the first Nigerian filmmaker to be accepted into the program, which saw over 650 applicants from around the globe. She joins 19 other filmmakers from 12 countries, including Bangladesh, India, Mexico, Nepal, Pakistan, South Africa, Sri Lanka, Tunisia, Uganda, Ukraine, and Zimbabwe. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kill-boro-writer-priye-diri-selected-for-us-film-residency/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kill-boro-writer-priye-diri-selected-for-us-film-residency/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kill-boro-writer-priye-diri-selected-for-us-film-residency/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kill-boro-writer-priye-diri-selected-for-us-film-residency/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kill-boro-writer-priye-diri-selected-for-us-film-residency/?share=linkedin) - **Categories:** Blog, Nollywood News **Tags:** nollycritic, nollywood, Priye Diri, US Film residency --- ### [See Exclusive Images of 'Oloture: The Journey'](https://nollycritic.com/see-more-images-from-mo-abudus-netflix-series-oloture-the-journey/) **Published:** January 25, 2024 **Author:** Michael Arowoselu **Excerpt:** Mo Abudu teases 'Oloture: The Journey', sequel to 2019 film, showcasing a dangerous trek through Africa, set for release later this year. **Content:** Mo Abudu has shared more still images from the production of *Oloture: The Journey,* which was concluded in 2023. The very first *Oloture* production was released in 2019 on Netflix, and after a five-year wait, the series will debut later this year. The story continues from the first installment as a limited series. Oloture (Sharoon Ooja) crosses the Benin border, and goes on what has been described as a perilous journey into Niger, Libya, and then to the Mediterranean. The images shed a bit more light on the gory journey the undercover journalist and her friend (Beverly Osu) endure at the hands of their captors. According to Abudu, in an Instagram post: *“In* Òlòtūré 2*, the journey across the desert is a harrowing one. Much love to the Oloture 2 team. Bringing this production to life in the desert was a harrowing experience. Our cast and crew had to live through it all. They did such an incredible job. Really powerful performances.”* > [View this post on Instagram](https://www.instagram.com/p/C2hTfjJi8UH/?utm_source=ig_embed&utm_campaign=loading)[A post shared by Mo Abudu (@moabudu)](https://www.instagram.com/p/C2hTfjJi8UH/?utm_source=ig_embed&utm_campaign=loading) Directed by Kenneth Gyang, other cast members include Omoni Oboli, Stan Nze, Amara Onoh, Bukola Abiola Oladipupo, Ikechukwu Onunaku, Daniel Etim Effiong Patrick Doyle, Segun Arinze, Bucci Franklin, Efe Iwara, and Adebukola Oladipupo. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/01/Snapinsta.app_421722957_1610355196448099_617922730086631555_n_1080.jpg?resize=640%2C427&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/01/Snapinsta.app_421695386_750623593634399_1674717218326696293_n_1080.jpg?resize=640%2C427&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/01/Snapinsta.app_421671551_407019165116924_5647128531310795646_n_1080.jpg?resize=640%2C427&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/01/Snapinsta.app_421820548_928132228918747_6928678764752723725_n_1080.jpg?resize=640%2C427&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/01/Snapinsta.app_420855187_1608601979885094_8255157938513046174_n_1080.jpg?resize=640%2C427&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/01/Snapinsta.app_421681720_283888981052004_8764731576364952041_n_1080.jpg?resize=640%2C427&ssl=1) ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-more-images-from-mo-abudus-netflix-series-oloture-the-journey/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-more-images-from-mo-abudus-netflix-series-oloture-the-journey/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-more-images-from-mo-abudus-netflix-series-oloture-the-journey/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-more-images-from-mo-abudus-netflix-series-oloture-the-journey/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-more-images-from-mo-abudus-netflix-series-oloture-the-journey/?share=linkedin) - **Categories:** Nollywood, Nollywood News **Tags:** Amara Onoh, Bucci Franklin, Bukola Abiola Oladipupo, Daniel Etim Effiong Patrick Doyle, Efe Iwara, Ikechukwu Onunaku, Mo Abudu, nollycritic, nollywood, Oloture 2, oloture: The Journey, Omoni Oboli, Segun Arinze, Stan Nze --- ### ["Momiwa": A New Trope in Family Dynamics](https://nollycritic.com/momiwa-a-new-trope-in-family-dynamics/) **Published:** May 28, 2024 **Author:** Shalom O. Obisesan **Excerpt:** "Momiwa" introduces a new trope into the Nollywood family genre by subverting traditional maternal archetypes. Through the character of Momiwa, the film explores the power of love **Content:** “Momiwa” introduces a new trope into the Nollywood family genre by subverting traditional maternal archetypes. Through the character of Momiwa, the film explores the transformative power of love and selflessness, challenging the notion of inherent maternal goodness. Unlike typical portrayals of nurturing and benevolent mothers, Kiki’s complex and contrasting nature brings a new perspective into the family stories we’re used to, adding depth and intrigue to the narrative. ## *Momiwa* Directed by: Biodun Stephen Written by: Gift Collins Genre: Drama Released on: May 12, 2024 (Prime Video) Language: English #### Story The film is particularly about a beloved woman affectionately called “Momiwa,” derived from the Yoruba words “Mummy” and “wa,” translating to “our mummy.” Momiwa earns this moniker due to her unparalleled warmth and nurturing nature, she’s super loving and acts like a mom to everyone. When she sees that Naeto’s family is missing a mom, she steps in to take care of his kids, Abel and Vida. Ten years later, the kids really love her, especially Vida. However, their familial dynamic faces upheaval when their real mom, Kiki, shows up out of nowhere after leaving them. #### Plot The film opens with a captivating flashback, offering insight into the characters’ backgrounds. As the narrative unfolds, it gracefully shifts focus between the eponymous character, Momiwa, and the family she’s intertwined with. From an objective standpoint, we observe the characters’ lives, whether Momiwa is present or not, as they navigate their joys and struggles. Initially, we delve into Momiwa’s world, gaining a glimpse of her compassionate nature and the impact she has on those around her. However, as the story progresses, the spotlight shifts to the intricacies of the family dynamics she’s a part of. We witness their trials and triumphs, their bonds strengthening over time, with Momiwa serving as a guiding force even in her absence. Yet, it’s in the film’s conclusion that we’re reminded of Momiwa’s enduring influence. The narrative circles back to her, highlighting how her presence has been a beacon of hope and support for the family. Ultimately, her life emerges as a testament to the transformative power of love and selflessness, shaping the family’s journey and leaving an indelible mark on their hearts. #### Performance The actors did a great job in their roles. Blessing Jessica Obasi really became Momiwa, capturing her caring persona perfectly like her personality. Uzor Arukwe’s portrayal of Naeto (Dadiwa) was equally impressive, capturing the essence of a hurt husband. Iyabo Ojo brought depth to her character, Kiki, with her seamless transition from pretense to portraying her real intention adding a captivating layer to the story. Special mention goes to MC Lively for his portrayal of Iskilu. Despite his comedic role, he skillfully balanced humor with depth, ensuring his character’s presence enhanced rather than overshadowed the narrative—a refreshing departure from typical Nollywood tropes. #### Technical Aspects The film combines solid storytelling and quality editing techniques with visuals that effectively enhance the narrative making it enjoyable to watch. The use of colour to differentiate between past and present timelines is such a nice touch, adding depth and clarity to the storytelling. While the visuals may not be mind-blowing, their cohesion with the storytelling elevates the overall viewing experience, ensuring that the audience remains engaged and immersed in the unfolding narrative. #### Final Thoughts The film beautifully explores themes of love and family, offering a fresh perspective by portraying a mother figure who, instead of being inherently good, takes on the role of the main antagonist. This departure from the typical portrayal of evil stepmothers in Nollywood films adds depth and complexity to the narrative, making it both engaging and relatable. The transition of time wasn’t explicitly made clear except through dialogue which kust posed a slight burden of understanding the timeline of the story a little bit. Other than that, this film was made well with no editing choices that brought any errors. #### Verdict Overall, it’s another well-made film by [Biodun Stephen](https://nollycritic.com/muri-and-ko-see-the-official-trailer-for-biodun-stephens-new-film/ "Biodun Stephen") that’s easy to follow and engaging. The cast’s performances elevate the storytelling, creating a memorable cinematic experience. With its relatable storyline and refreshing twist on family genre tropes, the film earns a solid 2.5 rating. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. https://www.youtube.com/watch?v=i2swqeBwwHk ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/momiwa-a-new-trope-in-family-dynamics/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/momiwa-a-new-trope-in-family-dynamics/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/momiwa-a-new-trope-in-family-dynamics/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/momiwa-a-new-trope-in-family-dynamics/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/momiwa-a-new-trope-in-family-dynamics/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews **Tags:** Biodun Stephen, Blessing Jessica Obasi, Gift Collins, Iyabo Ojo, Momiwa, nollywood, Prime Video, Uzor Arukwe --- ### ["Crossroads": An Intertwining Path that Leads to a Convenient End](https://nollycritic.com/crossroads-an-intertwining-path-that-leads-to-a-convenient-end/) **Published:** May 28, 2024 **Author:** Shalom O. Obisesan **Excerpt:** The film "Crossroads" follows a typical damsel in distress narrative, focusing not only on a rescue romance but also on character and plot inconsistencies **Content:** Let’s take a cue from the synopsis of the film: “Crossroads depicts university life in 1900s Nigeria, focusing on Eriola, Oyekan, and Fela. Eriola faces family pressure, Oyekan’s gang adds tension, and Eriola confronts false accusations with friends’ support. Threats from Don Smart loom as Fela attempts to shield Eriola, leading to emotional confrontations” In a twisted turn of events, it’s quite apparent that this film takes another turn. The film “*Crossroads*” follows a typical damsel in distress narrative, focusing not only on a rescue romance but also on character and plot inconsistencies. These narrative flaws metaphorically and conveniently render the damsel helpless in every single way, even in situations where she should be empowered to make life-changing decisions which oh-so-conveniently, serves the plot. ## ***Crossroads*** Directed by: Adebayo Tijani Produced by: Aisha Lawal Genre: Drama Released on: May 17, 2024 (Prime Video) Language: Yoruba and English #### Story Eriola helps Oyekan, a cultist, whom she initially showed total detest for, after he gets into trouble with the police. Their actions lead to dire consequences: Eriola is expelled from university and arrested, while her relationship with her strict father totally crumbles. She’s left to pick up the pieces of her already disreputable life. But, she can’t do it alone. Oyekan steps in, taking responsibility for both of them and they soon fall in love. Their newfound relationship is tested when Eriola’s fiancé, Adefela comes in creating a tangled love triangle. Just when their drama reaches its peak, Eriola mysteriously disappears. #### Plot Set in the 1990s, the plot is simply convenient and inconsistent, featuring long action sequences, questionable character arcs, and countable plot holes. Because of this, the film struggles to communicate its message. Only one message is clear; a lesson that Eriola’s father learns. #### Technical Aspects Except for the occasional attempt to communicate the 1990s setting, the time period doesn’t seem serve the narrative any real purpose. With the costume and makeup effort quite commendable, the distinction between actors and extras are made clear through different costume choices. This only highlights a slight technical inaccuracy, as it raises questions about the necessity of the chosen era. It’s only when a character explicitly mentions the year that we even know the time period. The film relied heavily on dialogue with mostly no corresponding action to complement its storytelling. Paired with less believable actions, and questionable character portrayals, with constant continuity errors, all this further detracts from the film’s coherence and impact. #### Performance While a handful of actors like Sam Dede, Yvonne Jegede, Mo Bimpe Adedimeji, Wunmi Toriola and Adebayo Salami deliver good performances, others falter, likely due to poor writing and probably, wrong directional choices. We see this particularly in Aisha Lawal’s Eriola character. With Eriola’s character, various plot holes and questions come in: why did Eriola suddenly decide to support Oyekan? What made her to change her mind? Why did she switch from apprehensiveness to confusion after helping Oyekan? Is there something that we, the audience missed? These unevenness, along with others, contribute to a mix of inconsistencies, further undermining the film’s coherence and believability. Some performances come across as questionable, like Femi Adebayo and Bukunmi ‘Kie Kie’ Adeaga-Ilori’s comedic characters. Not bad to grant the audience a slight sigh of comedic relief; which audiences usually crave for. But for rigidly sticking to their comedic characters throughout the film, there is simply no sense of genuine connection and importance the audience attaches to them. And ironically, they simply, and eventually fade out of the story leaving no trace. #### Final Thoughts The film becomes a muddled narrative, trying to incorporate too many elements at once from action to romance, and then violence. The storyline then shifts unpredictably, leaving viewers unsure of what the story is trying to achieve. This confusion extends beyond the plot, reflecting a deeper indecision within the production itself. It wasn’t just a crossroads for the protagonist and characters. #### Verdict There are so many things that make this film not come out as expected. *Crossroads* fails due to its inconsistent plot and storyline, and poorly developed character arcs. The 1990s setting feels irrelevant and forced, adding no real value to the story. Uneven performances, hindered by poor writing and direction, further detract from the film’s coherence and believability. Overall, the film tries to incorporate both action, comedy, romance, and crime, albeit without a clear focus, resulting in a disjointed and confusing experience. The film is currently available on[ Prime Video](https://www.primevideo.com/detail/CROSSROADS/0K5EVEAWOZABM3UJ5MIB8EFL4W " Prime Video"), We’d like to know your thoughts. **Rating**: 1.5/5 ⭐⭐ Rating: 1.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/crossroads-an-intertwining-path-that-leads-to-a-convenient-end/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/crossroads-an-intertwining-path-that-leads-to-a-convenient-end/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/crossroads-an-intertwining-path-that-leads-to-a-convenient-end/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/crossroads-an-intertwining-path-that-leads-to-a-convenient-end/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/crossroads-an-intertwining-path-that-leads-to-a-convenient-end/?share=linkedin) - **Categories:** Articles, Blog, Nollywood, Reviews **Tags:** Adebayo Tijani, Aisha Lawal, Crossroads, Deyemi Okanlawon, Lateef Adedimeji, nollycritic, nollywood, Prime Video --- ### [Liz Benson Makes Nollywood Return in "Something About The Briggs"](https://nollycritic.com/liz-benson-makes-nollywood-return-in-something-about-the-briggs/) **Published:** May 28, 2024 **Author:** Michael Arowoselu **Excerpt:** Veteran Nollywood Actress, Liz Benson is set to return to the big screen in the new Busola Ogunsola family drama, "Something About the Briggs". **Content:** Veteran Nollywood Actress, Liz Benson is set to return to Nollywood in the new family drama, *Something About the Briggs*. *Something About the Briggs* written, produced, and directed by Busola Ogunsola under Revelation Pictures with KC Obiajulu as the Director of Photography, is currently in production in Abuja. The veteran actresshas reportedly taken on the role of a marriage counselor in the film, which explores themes of wealth, family, and marriage. It is currently under production in Abuja. The movie features veteran actresses Liz Benson and [Bukky Wrigh](https://nollycritic.com/red-circle-bukky-wright-returns-to-nollywood-in-new-thriller/ "Bukky Wrigh")t, alongside Rita Dominic, Kalu Ikeagwu, Elma Mbadiwe, Gloria Anozie Young, Iyabo Ojo, Stan Nze, Kanaga Jnr, Daniel Etim Effiong, Kenneth Okoli, Linda Ejiofor, and Ariyiike Owolagba. The production company, Revolution Pictures also took to their Instagram page to express their gratitude for featuring veteran Liz Benson in their production with behind-the-scenes imagery of the making of the title. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/05/Liz-Benson-and-Rita-Dominic-897x598-2.jpg?resize=640%2C427&ssl=1) ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/liz-benson-makes-nollywood-return-in-something-about-the-briggs/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/liz-benson-makes-nollywood-return-in-something-about-the-briggs/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/liz-benson-makes-nollywood-return-in-something-about-the-briggs/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/liz-benson-makes-nollywood-return-in-something-about-the-briggs/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/liz-benson-makes-nollywood-return-in-something-about-the-briggs/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** bukky wright, Busola Ogunsola, Daniel Etim Effiong, Elma Mbadiwe, Gloria Anozie Young, Iyabo Ojo, Kalu Ikeagwu, Kanaga Jnr, Kenneth Okoli, Linda Ejiofor, Liz Benson, rita dominic, Stan Nze --- ### [Our 2023 Nollywood Closer: A Year for the Audacious](https://nollycritic.com/nollywoods-2023-closer-a-year-for-the-audacious/) **Published:** December 30, 2023 **Author:** Victor Alabi **Excerpt:** In 2023, Nollywood saw success with compelling storytelling and strong performances, but also faced challenges at home. **Content:** 2023 comes to an end for Nollywood, and what a beautiful ending it is. Stylized from the very beginning with relentless action and wraps up with heartfelt, gut-wrenching storytelling that makes you dab your teary eyes with your already soggy kerchief and tissues. Overall, it’s been a good year for the trades with Hollywood producing titles with the potential of becoming all-time favorites and cult classics, and for the first time, this year was the year our own Nollywood seemed to match the great and aged Hollywood when it came to storytelling, directing and acting. Yes, yes of course there were some… meh stories, some subpar acting and horrific cinematography, but those were the outliers, the odd ones out. In 2023, Nollywood shone like she was always meant to. She shone both on the big screen, small screen, and streaming, and she won big time. She won not only at home but abroad. But wait, let’s take a pause here- Nollywood did shine at home, but there is still work that needs to be done. A religious adage says “A prophet isn’t appreciated in his own home.” this was the case with *Mami Wata*, a spectacular folklore movie that for some reason saw its growth stunted back home, its wings clipped, but this wasn’t the case overseas. Abroad, Mami Wata found its footing. Its place. Dare I even say it’s home? *Mami Wata* flew so close to the sun, almost making the Oscar nominations for Best International Film, but instead of burning its wings, they grew wider, and bigger and became the most impressive thing to have ever graced the cinemas of Nigeria (albeit short-lived) and abroad. Its impact on the film stratosphere is not to be underestimated. 2023 for Nollywood signified an era taking Nigerian stories to places they’ve never been before, writers did the deed, directors murdered parts like that scene we will not talk about in *[Breath of Life](https://www.youtube.com/watch?v=YFEvKSc3wiU)*, and the Nigerian audience appreciated every shot, dissected every dialogue and praised the impeccable and distinct performance of Nollywood actors. Though we had these great films that brought glory to Nollywood and its creatives, we also had the outliers, and they reminded us where we lacked, and where we needed to do better as an industry. All in all, it was a good year for Nollywood. A year that witnessed writers soaring, breaking boundaries in storytelling, and telling stories merged in the Nigerian culture as seen in [*The Black Book*,](https://www.youtube.com/watch?v=rzFt49VSURo&t=29s) a breakout action thriller that should be rightly dubbed “The Traditional and Cultural John Wick.” Storytelling in 2023 held up a mirror before the Nigerian people and her culture, her sickening extravagances, her toxicity, and her corruption. It showed her who she truly is, the crimes she had perpetrated on her people, and as always most of her people pushed back. But *Gangs of Lagos* held firm, stood on business, and made sure Nigeria did not hide from some of her shameful culture. *Gangs of Lagos* TrailerFunke Akindele also continues her box office domination with [*A Tribe Called Judah*.](https://www.youtube.com/watch?v=-UU1qPtU4Lc&t=4s) Still, in 2024, I hope Nollywood pushes harder. I hope she tells the Nigerian story as raw as we are seeing it play out, I hope she fights and strives and tramples upon those who would dare stunt her growth. Our standout directors: CJ Obasi, Jade Osiberu, and Editi Effiong Our Standout Actors: Genoveva Umeh, Richard Mofe-Damijo, Evelyn Ily Juhen, and Tobi Bakre Happy New Storytelling Year to Nollywood, and to breaking more barriers in the coming year on both the big and small screen. ## Author - ![Victor Alabi](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/795daba501a20b99877aa57dd2b54488.jpg?resize=80%2C80&ssl=1) [Victor Alabi](https://nollycritic.com/author/sarcasticthor/ "Victor Alabi") [ ](mailto:dalabivictor@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywoods-2023-closer-a-year-for-the-audacious/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywoods-2023-closer-a-year-for-the-audacious/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywoods-2023-closer-a-year-for-the-audacious/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywoods-2023-closer-a-year-for-the-audacious/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywoods-2023-closer-a-year-for-the-audacious/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** CJ Obasi, film, Funke Akindele, gangs of Lagos, Genoveva Umeh, Jade Osiberu, mami wata, Nigeria, nollywood, oscars, Richard Mofe-Damijo, the black book, Tobi Bakre --- ### [Ali Nuhu to Head the Nigerian Film Corporation After Tinubu Appointment](https://nollycritic.com/ali-nuhu-to-head-the-nigerian-film-corporation-after-tinubu-appointment/) **Published:** January 12, 2024 **Author:** Michael Arowoselu **Excerpt:** President Bola Tinubu has appointed acclaimed Kannywood actor Ali Nuhu as the Managing Director of the Nigerian Film Corporation. **Content:** President Bola Tinubu has appointed acclaimed Kannywood actor Ali Nuhu as the Managing Director of the Nigerian Film Corporation. This development is contained in a statement by Chief Ajuri Ngelale, Special Adviser to the President on Media and Publicity in Abuja, on Friday, January 12, 2024. Nuhu is a renowned actor, businessman, and philanthropist who has won several national and international awards. He studied film production and cinematic arts at the University of California and attended training programs at the Asian School of Media Studies in New Delhi. He also participated in numerous film festivals, including the Zuma Film Festival and the Pyongyang International Film Festival. He joined the Nollywood mainstream and has remained relevant for about a decade. He featured prominently in Nollywood blockbusters, such as *The Trade, Banana Island Ghost, Diamonds in the Sky,* and *Shanty Town*. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/01/Ali-Nuhu.jpeg?resize=640%2C640&ssl=1)Ali Nuhu in *Shanty Town*. The presidential spokesman said Tinubu charged the new appointees to discharge their duties by the highest standards of professionalism, diligence, and patriotism. The appointees are Nuhu, Managing Director, Nigerian Film Corporation; Tola Akerele, Director-General, National Theatre and Dr Shaibu Husseini, Director-General, National Films and Censors Board. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/ali-nuhu-to-head-the-nigerian-film-corporation-after-tinubu-appointment/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/ali-nuhu-to-head-the-nigerian-film-corporation-after-tinubu-appointment/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/ali-nuhu-to-head-the-nigerian-film-corporation-after-tinubu-appointment/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/ali-nuhu-to-head-the-nigerian-film-corporation-after-tinubu-appointment/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/ali-nuhu-to-head-the-nigerian-film-corporation-after-tinubu-appointment/?share=linkedin) - **Categories:** Nollywood, Nollywood News **Tags:** Ali Nuhu, Nigerian Film Corporation, Tinubu --- ### [Kemi Adetiba Begins Production for "King of Boys 3"](https://nollycritic.com/kemi-adetiba-begins-production-for-king-of-boys-3/) **Published:** January 16, 2024 **Author:** Michael Arowoselu **Excerpt:** Award-wining Filmmaker, Kemi Adetiba that the third installation of the King of Boys Franchise is in the works. The Director confirmed via Instagram that the title is currently in it's pre-production stage. **Content:** Award-winning Filmmaker, Kemi Adetiba that the third installation of the *King of Boys* Franchise is in the works. The Director confirmed via Instagram that the title is currently in its pre-production stage. she explains that; “The new KOB submission is ELEVATED in every way you could imagine… And I’m honored to be able to come back to tell this story”. She also tagged the third instalment of the franchise as; *King of Boys 3: The Beginning* of the End. *The film* follows the story of Eniola Salami, a businesswoman and philanthropist, into politics. As she is drawn into a struggle for power her criminal baggage will prove a heavy burden. The first installment was released in cinemas as a feature in 2018, while the second installment, *King of Boys: The Return Of The King* was released in 2021 as a 7-part limited series on Netflix. We are unsure at this time which direction the filmmaker will be going with the third instalment but we’ll have our fingers crossed. The crime drama is expected to head to Netflix, as well as her recent production *To Kill a Monkey.* *King of Boys: The return of the King* Trailer ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kemi-adetiba-begins-production-for-king-of-boys-3/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kemi-adetiba-begins-production-for-king-of-boys-3/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kemi-adetiba-begins-production-for-king-of-boys-3/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kemi-adetiba-begins-production-for-king-of-boys-3/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kemi-adetiba-begins-production-for-king-of-boys-3/?share=linkedin) - **Categories:** Nollywood, Nollywood News **Tags:** film, Kemi Adetiba, king of boys, King of Boys 3, KOB 3, nollycritic, nollywood --- ### [Pere Egbi's "The Silent Intruder" set of February Release](https://nollycritic.com/pere-egbis-the-silent-intruder-set-of-february-release/) **Published:** January 17, 2024 **Author:** Michael Arowoselu **Excerpt:** Big Brother Naija Alumnus, Pere Egbi is set to drop his feature film; The Silent Intruder in cinemas from February 9th, 2024. **Content:** Big Brother Naija Alumnus, Pere Egbi is set to drop his feature film; *The Silent Intruder* in cinemas from February 9th, 2024. The feature film revolves around a couple played by Uche Montana and Onyekachi Nnochiri on the verge of separation due to sexual problems. The wife doesn’t give up on the problem and is willing to go to extreme lengths to get things on the right track. However, the situation get messier when the therapist they approach for help desires the wife at all costs. Pere Egbi plays the role of the therapist in the film and also doubles as the executive producer. Principal photography was wrapped up just before he left for the BBNaija: All Stars show in July 2023. The film is Directed by Uyoyou Adia, other cast members include fellow BBNaija alumnus Venita Akpofure, Lucy Francesca Ameh, Dotun Oloniyo and Lydia Achebe. *The Silent Intruder* Trailer ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/pere-egbis-the-silent-intruder-set-of-february-release/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/pere-egbis-the-silent-intruder-set-of-february-release/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/pere-egbis-the-silent-intruder-set-of-february-release/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/pere-egbis-the-silent-intruder-set-of-february-release/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/pere-egbis-the-silent-intruder-set-of-february-release/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Dotun Oloniyo, Lucy Francesca Ameh, Lydia Achebe, nollycritic, nollywood, Onyekachi Nnochiri, Pere Egbi, The Silent Intruder, Uche Monntana, Uyoyou Adia, Venita Akpofure --- ### [Nollywood and Its Critics: A Critical Overview](https://nollycritic.com/nollywood-and-its-critics-a-critical-overview/) **Published:** January 23, 2024 **Author:** Victor Alabi **Excerpt:** Critics are a necessary part of the ever-running multi-billion media medium engine that is Nollywood, which makes the continual criticisms of critics **Content:** Evolution mandates that things change and that things do not remain the same for too long, and it does this to prevent extinction and redundancy. Film evolution is often dictated by the era, the technology, the taste of the audience, and the creative madness of creatives living in that era. Part of the listed reasons above for the film evolution seemed foreign to Nollywood. Nollywood found itself in an era where creatives needed to simplify their madness for the general public. In another era, it found itself lagging technologically in the film space and became the butt of jokes among other films. In another era, Nollywood struggled to match the refined taste and sense of a new generation of audience. As all these things happened, Nollywood’s critics failed her. However, as I began to write this article, it somewhat dawned on me that as one who had always loved the big and small screens, the critic’s problem was that they were not accessible. It also dawned on me that such an excuse should be nonexistent in this new age when Nollywood finds itself. Nollywood is an era where not only has its technological taste been refined, but it has listened to the complaints of its audience, and let the madness of its creatives shine through on both the big and small screens, but yet something still lacks! And for some reason, it terribly pisses me off. From a distance, everything seems well with Nollywood, but her critics are often found lacking. The second half of a common local phrase says, “…Dem no dey see am for face.” And this aptly describes what ails Nollywood. **Its Critics.** Specifically, Nollywood’s homegrown film critics who understand the tradition, and culture of the climate where the films are being produced. When Nollywood lets its movies be criticized by foreign critics who have no basic understanding of the film culture of the industry, it invites half-baked, culturally baseless, and lack, unnecessarily oily egusi-like criticism. For there to be a change, there has to be an abundance of critics familiar with the Nigerian culture. An abundance of these critics in Nollywood ensures a change of path where Nollywood no longer has to repeat its past mistakes. This is what critics are for. To endure that art media grows in abundance, that every medium of art is protected from those who would do it harm. Art is perfection in imperfection, and critics let us know this. They critique the imperfections, and further polish the perfections. This is what Nollywood has missed. This is the reason why for a long time there was little to no growth in the industry barring of course the other issues plaguing it. Critics are a necessary part of the ever-running multi-billion media medium engine that is Nollywood, which makes the continual criticisms of critics the oil that keeps this vast engine running smoothly. Without it, the engine clogs, and functions improperly before falling apart. More so, another reason why there seemed to be a shortage of critics was the inaccessibility of them in mainstream media. Still, when critics went mainstream, their criticisms were always one-sided, incoherent, pointless, and baseless. Even recently, an online publication criticized a couple or more Nollywood movies, and the five to ten-line criticisms were tasteless. If truly those were supposed to be criticisms of Nollywood movies and shows written by a supposed avid of Nollywood, then it was no better than the incoherent and formless ABCs of a toddler. Criticism is not a job for the unlearned or the unfamiliar. It is a job that can shape the opinions and strategy of audiences all across the world, as we’ve seen with a particular critic organization whose reviews have had an impact on the audience’s opinions and the performances of movies at the box office. Although one can’t blame the shortcomings of such movies on them, as some of the movies were particularly horrible to watch, on the other hand, they have also had a hand in the destruction of spectacular movies that didn’t fit the taste of their homegrown critic. A little while back, it was exposed that the aforementioned described critic organization was owned by a large media conglomerate, which makes one wonder if that did not cloud their little critic brains. The Nigerian film industry has been on the roll when it comes to the establishment of various bases for critics, vastly different from the watered-down version of critics, criticisms, and reviews Nollywood is used to having, and they have had a large impact on the trajectory Nollywood finds itself moving towards today. Dare I say that Nollywood’s audience is its greatest critic? Yes, I dare say it. Not after witnessing how the audience tore apart *Chief Daddy 2*. That in my opinion began the renaissance of modern criticism in Nollywood. Not just any audience, but a well-informed audience, an Afro-modernistic audience that sees the growth of Nollywood’s counterpart and wants to infuse that growth into Nollywood traditionalism. Like the Nigerian Music Industry, I believe Nollywood is already finding her feet, and previous years have been proof of that. Nollywood traversed beyond borders and imagination with a handful of films and shows like; the folkloric and fantastic *The Lost Okoroshi, Mami Wata* and Epic Fantasy, *Jagun Jagun*. Not just those, but the ironic and sarcastic take of *gangsterism* in Nigerian politics, *Gang of Lagos*, the brutally politically charged *Shanty Town*, and the latest record-breaking *Tribe of Judah*. All of the aforementioned films have one thing in common. They are all critically acclaimed. And critical acclamation can only stem from a refined, educated river of critics and audiences. To better build on this, though we live in a lawless state, where critics are met by the end of a gun if certain of their reviews aren’t loved by certain individuals, critics need to do the undoable and stand firm by their reviews. It is gold albeit not standard. The audience determines what film is the gold standard to them. Written by a budding critic. ## Author - ![Victor Alabi](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/795daba501a20b99877aa57dd2b54488.jpg?resize=80%2C80&ssl=1) [Victor Alabi](https://nollycritic.com/author/sarcasticthor/ "Victor Alabi") [ ](mailto:dalabivictor@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-and-its-critics-a-critical-overview/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-and-its-critics-a-critical-overview/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-and-its-critics-a-critical-overview/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-and-its-critics-a-critical-overview/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-and-its-critics-a-critical-overview/?share=linkedin) - **Categories:** Articles, Blog **Tags:** critics, nollycritic, nollywood --- ### ["Water and Garri" Is Exactly What It Is - Without Sugar](https://nollycritic.com/water-and-garri-is-exactly-what-it-is-without-sugar/) **Published:** May 20, 2024 **Author:** Shalom O. Obisesan **Excerpt:** What if I said "Water and Garri" wasn't as bad after all? Sure, the film received a negative reception, but can't we give it some credit? **Content:** What if I said “[Water and Garri](https://nollycritic.com/water-and-garri-so-beautiful-yet-so-dull/ "Water and Garri")” wasn’t as bad after all? Sure, the film received a negative reception, but can’t we give it some credit? Initially, I felt annoyed and unsatisfied after watching it. However, I later asked myself: what was in the minds of the director and producers of this movie? What exactly were they thinking? Then I came across this quote by Jim Emerson: “Any good movie — heck, even the occasional bad one — teaches you how to watch it. And that lesson usually starts with the very first image.” This made me rethink and rewatch the film from a new perspective. The film was directed by Meji Alabi, a music video director who also served as the producer and co-writer. He has directed various notable projects, including music videos like Rema’s “DND,” Leigh-Anne feat. Ayra Starr’s “My Love,” and the TV mini-series “Voices Rising: The Music of Wakanda Forever.” He holds many titles to his name. However, what else would you expect from a music video director debuting into a feature film for the first time? The same goes for Tiwa Savage. The popular music artist debuting as a lead actress in this film brings a new nuance. In an interview with [Okay Africa](https://www.okayafrica.com/tiwa-savage-water-and-garri/ "Okay Africa"), speaking about Meji Alabi, she discloses, “I love his eye.” This could be integral to understanding a key element of this film: beauty and aesthetics prioritized above an authentic and even cohesive story. And that’s the bitter truth underlying the film’s psychological framework: beauty and aesthetics take precedence, leaving the immersive story that the producers initially promised to wither in neglect. It’s a recurring motif throughout the narrative: Aisha’s disillusionment with Eastside contrasts starkly with her memories of the past. The past seems more believable (through the acting, for example) than her present. The blunt declaration, “East side is not the same as before,” underscores this sentiment, as the violence portrayed pales in comparison to her earlier experiences. The portrayal of characters like Kay (Andrew Yaw Bunting), the supposed racketeer, lacks believability; instead of being menacing, he comes across as merely good-looking. And this brings us to a crucial juncture: the preference for performance over authenticity. The film’s vision doesn’t prioritize perfection but rather performance. And marketing it from this perspective would have served the film better. What else could we anticipate from a music artist transitioning to acting? Tiwa Savage brings her expertise from the music industry into film, setting the tone for its performative nature. From the captivating visuals, meticulous location choices, and varied perspectives (albeit too many, resulting in rushed editing that detracts from storytelling) to the questionable narrative itself. The standout feature of “Water and Garri” undeniably lies in ‘performing’, but its major pitfall lies in marketing it solely for its narrative-driven experience. Instead of emphasizing on its strengths, such as its brilliant soundtrack, would have been more effective. While the film boasts a captivating soundtrack, its beauty isn’t fully realized within the narrative it presents. Each song within the soundtrack tells its own story, but the oversaturation of distractions caused by the poor storytelling prevents them from shining effectively. The film’s failure to fully integrate these musical elements into the narrative proves to be a missed opportunity. Instead of allowing the soundtrack to complement and enhance the storytelling, the film becomes cluttered with distractions, diluting the impact of both the music and the plot. If marketed with a stronger emphasis on its musical strengths, “Water and Garri” could have offered audiences a unique and immersive audiovisual experience if expectations were made clear. As ambiguous as the title “Water and Garri” may be, so is the narrative. And that’s exactly what they unintentionally attempted to achieve. What ultimately undermines the film is the expectation of a compelling story. It might have been more fittingly promoted as an 80-minute music video, visualizer, or what have you, rather than being labeled under the drama genre. And what does it leave us with, after promising an immersive narrative? Simply water and garri without sugar. Jimi Adesanya and Meji Alabi, cofounders of Unbound Studios, shared their vision in an interview with Nollywire: authentic storytelling, striking visuals, and unique angles and perspectives, adding their distinctive “furniture” to the table. While the film showcases these elements, it falls short of delivering authentic storytelling, ultimately failing to meet audience expectations. The beautiful “furniture”—the music video perspective infused into Nigerian cinema—remains a notable attempt that if implemented differently could have been a big win. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/water-and-garri-is-exactly-what-it-is-without-sugar/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/water-and-garri-is-exactly-what-it-is-without-sugar/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/water-and-garri-is-exactly-what-it-is-without-sugar/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/water-and-garri-is-exactly-what-it-is-without-sugar/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/water-and-garri-is-exactly-what-it-is-without-sugar/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** Meji Alabi, nollycritic, nollywood, Prime Video, Tiwa Savage, water and garri --- ### [Kenneth Gyang's "This is Lagos" and "Mojisola" Heads to PAFF](https://nollycritic.com/kenneth-gyangs-this-is-lagos-and-mojisola-heads-to-paff/) **Published:** January 25, 2024 **Author:** admin **Excerpt:** Kenneth Gyang and Cinema Kpatakapata have confirmed the selection of its feature films slated to be programmed at the 2024 Pan Africa Film Festival. **Content:** The 32nd Pan African Film & Arts Festival Festival, a two-week-long celebration of film, art, and culture, will take place February 6-19 in Los Angeles at the Cinemark Baldwin Hills & XD and Baldwin Hills Crenshaw Plaza with film screenings, industry panels, and social events all centered around the Black experience. Cinema Kpatakapata and Kenneth Gyang have confirmed the selection of two feature films slated to be programmed at the 2024 Pan Africa Film Festival. PAFF will present more than 140 film screenings, including Q&As and in-depth discussions with attending filmmakers from all over the globe, and these two Kenneth Gyang films will be representing Nigeria. **“This is Lagos”** The story centers around an aspiring rapper Stevo, needing quick cash for studio time, and works for the psychotic Kojack and his ‘shoot-rob-run’ gang. When the escape from a heist goes bad, Stevo is separated from the gang. Luckily, he’s the one carrying the loot. **“Mojisola”** Classmates have always been baffled by Mojisola’s unquenchable thirst and oddness, Opeyemi professes his love for her and her love for him. After their first kiss, Opeyemi comes down with an unexplainable life-threatening illness. With information from a bestselling paranormal scientist, Mojisola must go on a quest to save him. It is a modern Nigerian paranormal love story rooted in urban myth and folklore. This year’s film festival features over 200 films from 54 countries, in 28 languages, including 68 World and 25 North American premieres. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/01/411131723_736663625159338_5017460803628738386_n.jpg?resize=640%2C243&ssl=1) ## Author - ![admin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/535a20b173d6fdd1f61720c335dd2bb9.jpg?resize=80%2C80&ssl=1) [admin](https://nollycritic.com/author/nollycritic-com/ "admin") [ ](mailto:gbengamichael2014@gmail.com)[ ](http://nollycritic.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kenneth-gyangs-this-is-lagos-and-mojisola-heads-to-paff/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kenneth-gyangs-this-is-lagos-and-mojisola-heads-to-paff/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kenneth-gyangs-this-is-lagos-and-mojisola-heads-to-paff/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kenneth-gyangs-this-is-lagos-and-mojisola-heads-to-paff/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kenneth-gyangs-this-is-lagos-and-mojisola-heads-to-paff/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** Kenneth Gyang, Mojisola, nollycritic, PAFF, Pan African Film & Arts Festival Festival, This is Lagos --- ### ["Issakaba": Principal Photography Begins for New Franchise](https://nollycritic.com/principal-photography-begins-for-new-issakaba-franchise/) **Published:** January 27, 2024 **Author:** Michael Arowoselu **Excerpt:** After nearly 24 years, another instalment to the Acclaimed Nigerian action franchise movie “Issakaba” is in production. Lead Actor Sam Dede is confirmed to reprise his role. **Content:** After nearly 24 years, another instalment to the Acclaimed Nigerian action franchise movie “Issakaba” is in production. Lead Actor Sam Dede is confirmed to reprise his role. The original story revolved around the Issakaba boys led by Ebube had to fight against armed robbers who terrorize their society. The armed robbers possess certain mystical powers that they use in their robbery activities. Because of this, Ebube and his team of Issakaba boys also acquired powers that enable them to fight against robbery. Issakaba is an anagram for Bakassi, and it is based on true life events. It involves community vigilante boys called Bakassi Boysfighting against crimes like armed robbery and murder cases that put fear and panic in the community. It depicts also the battle against Eddy Nawgu a sorcerer that terrorized the people of Nawgu community in Anambra State. Nigerian actors Chidi Mokeme, and Big Brother Naija winner, Phyna joins the action cast with the original creator of the movie Lancelot Imasuen also back at the directing helm. More details to this exciting development to follow soon. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/01/Chidi-Mokeme.jpg?resize=640%2C804&ssl=1) ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/principal-photography-begins-for-new-issakaba-franchise/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/principal-photography-begins-for-new-issakaba-franchise/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/principal-photography-begins-for-new-issakaba-franchise/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/principal-photography-begins-for-new-issakaba-franchise/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/principal-photography-begins-for-new-issakaba-franchise/?share=linkedin) - **Categories:** Nollywood, Nollywood News **Tags:** Chidi Mokeme, Issakaba, nollycritic, nollywood, Sam Dede, Unusual Phyna --- ### [New Showmax Series "Sadau Sisters" to Premiere February 12](https://nollycritic.com/new-showmax-series-sadau-sisters-to-premiere-february-12/) **Published:** January 29, 2024 **Author:** Michael Arowoselu **Excerpt:** Showmax is back with another Nigerian reality television series, Sadau Sisters, starring popular Nigerian actress Rahama Sadau alongside her three sisters. **Content:** Showmax is back with another Nigerian reality television series, *Sadau Sisters,* starring popular Nigerian actress Rahama Sadau alongside her three sisters, Aisha, Fatima and Zainab. The 13-part series is set to premiere on February 12. Sadau Sisters follows the lives of actress Rahama Sadau and her three sisters – Aisha, Fatima, and Zaina. As they navigate the intricacies of sisterhood, not only do they discover gripping facts about each other, but they also get to deal with past family traumas and controversies in hopes of finding healing. Set against the background of strong religious and cultural beliefs, the debut season will see the sisters reunite in a new home and city – a move that uncovers many secrets about their family. Rahama Ibrahim Sadau is a Nigerian actress, filmmaker, and singer. Born and raised in Kaduna, she performed in dancing competitions as a child and during her school years. She rose to fame in late 2013 after joining the Kannywood movie industry with her first movie *Gani ga Wane*. Stream *Sadau Sisters* on [Showmax](https://www.showmax.com) from 12 February 2024 with new episodes dropping every week. See the trailer below. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/new-showmax-series-sadau-sisters-to-premiere-february-12/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/new-showmax-series-sadau-sisters-to-premiere-february-12/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/new-showmax-series-sadau-sisters-to-premiere-february-12/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/new-showmax-series-sadau-sisters-to-premiere-february-12/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/new-showmax-series-sadau-sisters-to-premiere-february-12/?share=linkedin) - **Categories:** Nollywood, Nollywood News, TV **Tags:** Aisha Sadau, Fatima Sadau, nollycritic, nollywood, Rahama Sadau, Sadau Sisters, Showmax, Zainab Sadau --- ### [The Menace of Nollywood YouTube Piracy and Misleading Promotions](https://nollycritic.com/the-menace-of-nollywood-youtube-piracy-and-misleading-promotions/) **Published:** May 23, 2024 **Author:** Shalom O. Obisesan **Excerpt:** YouTube, the world's largest video-sharing platform has become a hotspot for piracy, where numerous films are illegally uploaded and shared **Content:** YouTube, the world’s largest video-sharing platform has become a hotspot for Nollywood piracy, where numerous films are illegally uploaded and shared, depriving creators and studios of their deserved revenues. It’s no new thing that this is a prevailing problem in Nigeria and so far the government is looking into this issue—the measures the Nigerian government is taking to combat this growing problem. Despite YouTube’s stringent policies against copyright infringement, many films continue to be illegally uploaded. For instance, “Adire” was found on the platform in a full-length version shortly after its theatrical release. These uploads attract millions of views before they are detected and removed, causing significant financial losses to the creators and studios reducing their potential revenue from legitimate sales and streaming services. This piracy not only affects the filmmakers but also undermines the industry’s growth and sustainability. #### Misleading Promotions Using Big Film Titles Another prevalent issue on YouTube is the use of big film titles to promote entirely different content misleadingly. This tactic exploits the popularity of well-known movies to attract viewers. For example, users might upload a low-budget film or unrelated content under the title of a major release, “Breath of Life.” Once viewers click on these videos, they find themselves watching something completely different, often of much lower quality. ![youtube piracy](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/05/youtube-piracy.jpg?resize=640%2C360&ssl=1)This very same tactic was what Femi Adebayo faced with his film, “Survival of Jelili” where a channel utilized his movie poster to promote another film titled “Kodi Ologbon Aye” After a three-year-long battle, justice was finally served [(read more here](https://nollycritic.com/femi-adebayos-new-win-a-legal-triumph-for-nollywood/ "(read more here")) These are two of the many other cases of piracy on the platform. This practice not only frustrates viewers but also damages the reputation of the platform. It creates a breeding ground for mistrust, where users become wary of clicking on legitimate content, fearing they might be misled again. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/05/Screenshot-2024-05-23-at-18.51.46.png?resize=640%2C969&ssl=1)#### Efforts by the Nigerian Government to Curb YouTube Piracy Recognizing the severe impact of piracy on the entertainment industry, the Nigerian government has been taking steps to address this issue. Barrister Hannatu Musa Musawa, the Minister of Art, Culture, and the Creative Economy of the Federal Republic of Nigeria stated that collaborating with the Nigerian Copyright Commission would help streamline licensing processes through the use of technology for authentication, monitoring, and combating online violations. Simply put, by collaborating with the NCC, technology will be used to verify content and check for violations, making it more difficult for pirated content to spread online. This initiative represents a significant advancement in the efforts to combat piracy in Nigeria. The government has also advocated for stricter copyright laws and more robust enforcement mechanisms. Efforts are being made to enhance digital tracking and monitoring systems to catch and deter pirates more effectively. Collaborations with international bodies and other countries are also being explored to ensure a more comprehensive approach to combating digital piracy. #### Conclusion Hannatu Musa Musawa stresses the importance of collaborative efforts to curb [YouTube](http://www.youtube.com "YouTube") piracy. She mentions, “Piracy does not only directly affect the person whose work has been stolen, it has an impact on the wider economy and the nation. When we choose legal avenues for assessing and consuming content, we are also helping to sustain the growth and vibrancy of our creative industries. Everyone has a role to play.” YouTube piracy remains a significant challenge that requires concerted efforts from all stakeholders, including governments, content creators, and platform providers. While steps are being taken to curb this menace, much more must be done to protect intellectual property and ensure a fair revenue distribution in the entertainment industry. By raising awareness on how to report cases of piracy on the platform, and enhancing enforcement, we can hope to see a reduction in illegal uploads and misleading promotions on YouTube. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-menace-of-nollywood-youtube-piracy-and-misleading-promotions/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-menace-of-nollywood-youtube-piracy-and-misleading-promotions/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-menace-of-nollywood-youtube-piracy-and-misleading-promotions/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-menace-of-nollywood-youtube-piracy-and-misleading-promotions/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-menace-of-nollywood-youtube-piracy-and-misleading-promotions/?share=linkedin) - **Categories:** Articles, Nollywood, Nollywood News **Tags:** copyright laws, hannatu musa musawa, ministry of art culture and the creative economy, nollywood, piracy, Youtube --- ### ["UNO The F In Family": Forgiveness or Failure? The F Stands for Both](https://nollycritic.com/uno-the-f-in-family-forgiveness-or-failure-the-f-stands-for-both/) **Published:** May 20, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Watching "Uno The F in Family" was such a chore. Beginning with the overused stereotypical portrayal of a funny driver who doesn't know when to keep quiet **Content:** Sigh, watching “Uno The F in Family” was such a chore. Beginning with the overused stereotypical portrayal of a funny driver who doesn’t know when to keep quiet; the inauthentic relationship and cringe-worthy dynamics between Ada and Kenny, coupled with poor dialogue delivery, make many aspects of this film eye-rollingly frustrating. The film’s handling of the theme of forgiveness is particularly bothersome, often coming across as shallow and can make one question their intelligence. With a title like “Uno: The F in Family,” you’d think the ‘F’ stands for forgiveness. Ironically, by the time the credits roll, it’s evident that the film stayed true to its name, earning an ‘F’. ## *UNO The F In Family* Directed by: Ebuka Njoku Written by: Ebuka Njoku Genre: Drama Released on: May 17, 2024 (Cinemas) Language: English and Igbo #### Story “Uno The F in Family”‘s narrative, unfolding over a single day, centers on Emeka Junior Uzuakpundu, an eccentric young man portrayed by Izuchukwu ‘Keezyto’. After a decade-long estrangement, Junior returns to his Christian Igbo family to introduce his fiancée, Rukayat (Tomi Ojo), a Yoruba Muslim girl. What began as nothing more than his welcome home fast becomes a bitter examination of Junior’s partnership and a mirror reflection of how a family is held together with such a thin string. Junior encounters a barrage of fury and shame for squandering ten years away from them and is taken aback by his choice of partner and religious beliefs. The cultural and religious differences between Junior, Rukayat, and his family further complicate the reunion. Soon, secrets begin to unfold and the family has learned the ‘f’ of forgiveness. #### Plot With a predictable, exposition-heavy plot and no surprising twists, this film dragged on with poorly delivered dialogue for its two-hour runtime. The pacing was barely adequate, but the sheer lack of intelligence in the script made it feel interminable. Despite its desperate attempts to evoke empathy, the story utterly failed, leaving the audience disconnected. #### Cinema Experience Much can’t be said about this. Rather than eliciting genuine emotional responses, the audience’s reactions ranged from sporadic, satirical laughs at the characters’ obnoxious behaviors to complete indifference. The acting was perceived as unbelievable, failing to draw viewers into the story. Although a few laughs resonated from some comedic opportunities. Throughout the screening, the glow of phone screens illuminated the theater rather than the big screen, as audience members scrolled through their devices, disengaged and passive in their viewing. #### Technical Aspects The film’s technical aspects reveal a mix of creativity and inconsistency. There are moments when the camera lens offers innovative perspectives, deserving a slight nod of appreciation. Particularly, the choice of lens in certain scenes aligns well with the film’s genre, though the use of a long lens occasionally distorts character faces into caricatures, possibly unintentionally. While attempting to infuse romance into the narrative, the film resorts to, for example, a clichéd imagery such as a damsel descending the stairs, accompanied by her lover’s awe-struck gaze. Despite the cringe factor inherent in such scenes due to their overuse in media, the deliberate lighting choices add a touch of magic, serving to underscore and perhaps satirize these tropes. However, the inconsistency in camera angles and shots leads to confusion. The film shifts abruptly from directing our attention to characters at the periphery of the screen to employing a shallow depth of field for intimate moments, which, while commendable, fails to maintain a consistent visual language. It feels like a transition from a romance genre with an objective perspective to disjointed shots solely serving the narrative. Oh, and we can’t forget the jarring disruption of poorly edited phone chat sequences and search results clumsily integrated into the film. #### Performance The performance is marred by lazy dialogue, particularly in the scenes where Junior and Kenny declare their love to their respective partners. It’s disheartening to witness such shallow portrayals of men, as they struggle to articulate meaningful reasons for their affection, resorting to clichéd phrases like “you’re different” or “you’re beautiful” detracting from their believability. Even more disheartening is the perpetuation of these stereotypes, as women continue to accept such mediocrity as true expressions of love. The replication of this reality within the film only reinforces these harmful notions. Additionally, the film tried to integrate three romantic narratives into its story, and for one particular relationship dynamic the chemistry was not (let me say) ‘giving.’ Additionally, the poor delivery of lines, notably evident in DJ Capello’s portrayal of Gozie, further detracts from the authenticity and impact of his performances. He probably needed better direction on his role. Nkem Owoh (Father) adds dashes of comedy, as he’s known for, with his signature humor. His character elicited laughter with his relatable portrayal of Nigerian parents. Jennifer Eliogu (Deaconess) also gave a brilliant performance which came off as natural and relatable. The film includes actors, Sophia Chisom (Ada), Abayomi Alvin (Kenny), and Chimamanda Ukwueze. #### Final Thoughts “Uno The F in Family” fell short of expectations for a film heavily reliant on its storyline. With some adjustments to the script, the story could have been more effectively conveyed. While the narrative itself is relatable, its message failed to resonate as intended. This disconnect permeated all aspects of storytelling, from visuals to dialogue, and even to the questionable actions of the characters. #### Verdict The film’s only saving grace lies in a handful of commendable performances and visually captivating moments, although these are undermined by inconsistency, leading to miscommunication of the intended message. “Uno The F In Family” falls short of effectively conveying its theme of forgiveness and the significance of family unity, largely due to the convoluted and lazy writing and behaviors exhibited by its characters. With its lackluster execution, the film barely earns a rating of 2 out of 5, with its few redeeming qualities including moments of quality visuals, creativity, performance, and relatability. **Rating**: 2/5 ⭐⭐ Rating: 2 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/uno-the-f-in-family-forgiveness-or-failure-the-f-stands-for-both/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/uno-the-f-in-family-forgiveness-or-failure-the-f-stands-for-both/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/uno-the-f-in-family-forgiveness-or-failure-the-f-stands-for-both/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/uno-the-f-in-family-forgiveness-or-failure-the-f-stands-for-both/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/uno-the-f-in-family-forgiveness-or-failure-the-f-stands-for-both/?share=linkedin) - **Categories:** Articles, Movies, Nollywood, Reviews **Tags:** Abayomi Alvin, and Keezyto, Chimamanda Ukwueze, Cinema, DJ Capello, Ebuka Njoku, film, Jennifer Eliogu, Nkem Owoh, nollycritic, Review, Reviews, Sophia Chisom, Tomi Ojo, uno the f in family --- ### ['Blacksmith (Alágbède)': A Familiar Trope in a New Timeline](https://nollycritic.com/blacksmith-alagbede-a-familiar-trope-in-a-new-timeline/) **Published:** April 26, 2024 **Author:** Shalom O. Obisesan **Excerpt:** After watching the trailer, we were struck by the simplicity and intelligence of the story in Blacksmith (Alágbède), which left us with lingering questions, building anticipation to experience the full narrative on screen. **Content:** After watching the trailer, we were struck by the simplicity and intelligence of the story in *[Blacksmith](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-april/ "Blacksmith") (Alágbède)*, which left us with lingering questions, building anticipation to experience the full narrative on screen. And like we say in Yoruba, “a lọ, a bọ; a o ba ọmọ jẹ,” we went (to the cinemas) and we’re back (with our thoughts). Was *Blacksmith (Alágbède)* a good watch? Fun fact: no disastrous spoilers. ## *Blacksmith (Alagbede)* Directed by: Usman Ogunlade Written by: Fimisola Adejonwo Produced by: Jaiye Kuti Genre: Drama Released on: April 19, 2024 (Cinema) Language: Yoruba ##### Story Set in the early 1960/70s, after Nigeria’s independence, we follow the story of Adio ([Femi Adebayo](https://en.wikipedia.org/wiki/Femi_Adebayo "Femi Adebayo")). Supported by his steadfast companion, Wole (Gabriel Afolayan), they embark on a mission to change the course of their impoverished lives. Adio’s profound love for Omolewa (Kehinde Bankole), a talented young woman, serves as his driving force. Thus, Adio finds his fingers deliberately dipped into embers of money rituals, which scourge both his romantic and platonic relationships. ##### Plot Blacksmith (Alagbẹdẹ) is a film where the plot moves in waves, like the ebb and flow of the ocean tide, never reaching extreme highs or lows, but maintaining a steady rhythm throughout. Intermingled with this rhythm are moments of comedy, and bursts of playful energy, keeping you engaged with a smile at sometimes, the right places. Although some parts may feel hurried, the overall experience is enjoyable, leaving you feeling entertained and slightly unsatisfied. ##### The Cinema Experience I feel compelled to highlight the importance of rigorous screening processes for cinemas before showcasing films. While viewing the film, it became evident that it boasted promising and well-produced audio. However, the quality of the cinema itself fell short, detracting from the overall enjoyment of the movie. I believe cinemas must ensure their facilities do justice to the hard work and effort put into producing films. ##### Technical Aspects The visuals were decent, though not perfect. I find myself drawn to the lighting in night-shot scenes, particularly asking this question: what decisions were made to achieve a believable night scene? And, they didn’t fall short. Natural lighting from candles, lanterns, and yellow fluorescent lights reminiscent of early light systems was used. Ah, what a relief that no questionable lighting was coming from who-knows-where. And thus, creating an immersive cinematic experience for the audience. However, there were instances of excessive jump cuts that seemed unnecessary and didn’t contribute to the story. Despite this flaw, it didn’t significantly detract from the overall narrative, possibly serving the purpose of curbing potential continuity errors. This story was set in the backdrop of the early 1970s, and I must commend the film crew for their meticulous attention to detail in costume and set design, effectively transporting the audience into the past. While the cinematography fell short of fully capturing the grandeur of each scene, opting instead to simply narrate the story, it still managed to maintain engagement with believability. On a different note, the makeup used for the female cast raised some eyebrows, as it appeared to employ modern-day styles that slightly detracted from the authenticity of the period. Although it was a subtle flaw, it did not significantly impact the overall experience. For a film solely in Yoruba, the subtitles proved lacking, failing to convey the dialogue for non-Yoruba speakers accurately. Numerous instances were left untranslated, leaving gaps in comprehension. Furthermore, the Yoruba spoken lacked the authenticity of the era and sounded more akin to modern-day vernacular. Despite these shortcomings, the film remains moderately acceptable for comprehension. ##### Performance Creating believable and relatable characters hinges on establishing a driving force within each character. In this regard, the film does a commendable job, thanks to the scriptwriter’s efforts in fleshing out the motivations of both the lead and supporting characters. The script was not just plot-driven, but from an eponymous title, we’re able to understand that the story is also character-driven. Wole’s conviction that poverty equates to a fate worse than death, is one that Adio equally believes. Adio’s relentless pursuit of a better life, fueled by his deep love for Omolewa, adds depth to his character. This shared sense of purpose forms the bedrock of their friendship. As Wole grapples with feelings of resentment towards Adio later in the story, his transformation from a supportive ally to a conflicted antagonist; having been plagued by the ‘supporting character syndrome’ breaks out of his predicament quite intelligently, becoming the ‘annoying-villian-that-you-still-bias-over’. Which feels justified, given Adio’s slight deviation from their shared worldview. Gabriel Afolayan deserves praise for his brilliant portrayal of Wole, capturing the nuances of his character with finesse. Making us slightly root for him even when he’s clearly in the wrong. Additionally, the film features a talented ensemble cast, including Jide Kosoko (Omolewa’s father), Mr. Macaroni (Akala, Adio’s blacksmith colleague), Elesho, Jaiye Kuti, and Fathia Balogun (Omolewa’s mother) who deliver strong performances, albeit with a few instances of slight exaggeration. Kehinde Bankole deserves applause for her remarkable talent in leading audiences through an emotional journey in this film. Her portrayal showing the dichotomy of love and moral sacrifice, captivates viewers and fosters a deep resonance with her character. However, compared to her previous performances, it appears that editing and directorial decisions may have hindered her performance from surpassing the excellence seen in this film. Nonetheless, her performance remains commendable and impactful. ##### Final Thoughts While the film exhibits moments of rushed pacing, particularly towards the conclusion where viewers are meant to immerse themselves in the emotional depth of the scenes, it regrettably falls short in allowing ample time for these sentiments to resonate. As a result, the highs and lows of the narrative are moderated, leading to a sense of just being “okay.” ##### Verdict *Blacksmith* *(Alagbede)* has Good writing but unsatisfactory implementation, brilliant acting with an interesting story but a rushed ending. Also, a good cinema experience filled with moderate comedy to keep you glued to the screen. A 3 out of 5 is befitting. **Rating:** 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/blacksmith-alagbede-a-familiar-trope-in-a-new-timeline/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/blacksmith-alagbede-a-familiar-trope-in-a-new-timeline/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/blacksmith-alagbede-a-familiar-trope-in-a-new-timeline/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/blacksmith-alagbede-a-familiar-trope-in-a-new-timeline/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/blacksmith-alagbede-a-familiar-trope-in-a-new-timeline/?share=linkedin) - **Categories:** Articles, Movies, Nollywood, Popular reviews, Reviews **Tags:** Blacksmith, Blacksmith Alagbede, Femi Adebayo, Gabriel Afolayan, Kehinde Bankole, nollycritic, nollywood --- ### ["Muri and Ko": See The Trailer For Biodun Stephen's New Film](https://nollycritic.com/muri-and-ko-see-the-official-trailer-for-biodun-stephens-new-film/) **Published:** May 21, 2024 **Author:** Michael Arowoselu **Excerpt:** Biodun Stephen will return to cinemas next month with her new film, Muri and Ko. The film is a joint production between inkblot and filmone studios. **Content:** [Biodun Stephen](https://en.wikipedia.org/wiki/Biodun_Stephen "Biodun Stephen") will return to cinemas next month with her new film,[ *Muri and Ko*](https://nollycritic.com/muri-and-ko-biodun-stephens-new-drama-gets-release-date/ " Muri and Ko"). The film is a joint production between Inkblot and Filmone Studios. The film follows Muri, a small-time thief, who inadvertently steals a car with an 8-year-old boy, Cole, in the backseat, a celebrity’s son. His quest to sell the car but keep Cole safe leads to a series of comical misadventures, forging an unlikely friendship between the two. Directed by Biodun Stephen, The film stars; Kunle Remi, Bisola Aiyeola, Kiekie, Bucci Franklin, Charles Okocha, Femi Jacobs, Emem Ufot, Bro Bouche, Adediwura Blarkgold, and Gloria Anozie Young. *Muri and Ko* will head to cinemas on June 12, 2024. See the trailer below. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/muri-and-ko-see-the-official-trailer-for-biodun-stephens-new-film/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/muri-and-ko-see-the-official-trailer-for-biodun-stephens-new-film/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/muri-and-ko-see-the-official-trailer-for-biodun-stephens-new-film/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/muri-and-ko-see-the-official-trailer-for-biodun-stephens-new-film/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/muri-and-ko-see-the-official-trailer-for-biodun-stephens-new-film/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Adediwura Blarkgold, Biodun Stephen, Bisola Aiyeola, Bro Bouche, Bucci Franklin, Charles Okocha, Emem Ufot, Femi Jacobs, Film One, Gloria Anozie Young, inkblot, Kiekie, kunle remi, Muri and ko, nollycritic --- ### [Muri and Ko: Biodun Stephen's New Film Gets Release Date](https://nollycritic.com/muri-and-ko-biodun-stephens-new-drama-gets-release-date/) **Published:** May 15, 2024 **Author:** Michael Arowoselu **Excerpt:** Muri and Ko is the latest film project from Biodun Stephen. The film is another collaboration between Inkblot Productions and FilmOne Entertainment. **Content:** Muri and Ko is the latest film project from Biodun Stephen. The film is another collaboration between Inkblot Productions and FilmOne Entertainment. Kunle Remi plays the lead, “Muri” and if the teaser is anything to go by, we are in for a treat. The ensemble cast includes Bisola Aiyeola, Bukunmi Adeaga-Ilori (Kiekie), Bucci Franklin, Femi Jacobs, Emem Ufot, Fiyin Asenuga, Charles Okocha, and Gloria Anozie. More details on the plot and the official trailer should be announced soon. Muri and Ko is set to premiere in cinemas on June 12, 2024; ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/muri-and-ko-biodun-stephens-new-drama-gets-release-date/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/muri-and-ko-biodun-stephens-new-drama-gets-release-date/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/muri-and-ko-biodun-stephens-new-drama-gets-release-date/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/muri-and-ko-biodun-stephens-new-drama-gets-release-date/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/muri-and-ko-biodun-stephens-new-drama-gets-release-date/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** Biodun Stephen, Bisola Aiyeola, Bucci Franklin, Bukunmi Adeaga-Ilori, Charles Okocha, Emem Ufot, Femi Jacobs, Film One, Fiyin Asenuga, inkblot, Kie Kie, kunle remi, muri & ko, Muri and ko --- ### [AMVCA: Power of the Viewers vs Power of the Critics](https://nollycritic.com/amvca-power-of-the-viewers-vs-power-of-the-critics/) **Published:** May 15, 2024 **Author:** Shalom O. Obisesan **Excerpt:** The conclusion of the 10th Africa Magic Viewers' Choice Awards (AMVCA) left Nollywood enthusiasts with mixed feelings.While some may regard **Content:** The conclusion of the 10th Africa Magic Viewers’ Choice Awards ([AMVCA](https://www.dstv.com/africamagic/en-ng/show/amvca "AMVCA")) left Nollywood enthusiasts with mixed feelings. While some may regard it as satisfactory, many viewers found it unfair and unjust, especially since some of their faves didn’t win their categories On one side, some celebrated it as a significant triumph for Nollywood: the [AMVCA](https://www.dstv.com/africamagic/en-ng/show/amvca "AMVCA") has evolved into a more reputable awards platform, honoring expertise, excellence, and skill. According to them, it stayed true to its newfound pledge this year. This groundbreaking development came as a response to criticisms of the former awarding system. They cried that it was about time the Africa Magic Viewers’ Choice Awards (AMVCAs) listened and changed from awarding on a voting basis. For too long, the previous voting system has been biased to favour actors and films with social media popularity rather than genuine acting talent and overall performance. Finally, they listened to our cries and introduced a jury system. It was refreshing to see the AMVCAs take a bold step towards rectifying this issue. This jury system took charge of 17 categories, including Best Movie, Best Supporting Actor, Best Supporting Actress, Best Lead Actress, and Best Lead Actor (the most popular categories) Leaving just 9 voting categories like the Best Digital Content Creator, Best Indigenous Language (West Africa), Best Scripted MNET Original, Best Unscripted MNET Original, among others. This development now poses these questions, has the integrity of the Africa Magic Viewer’s Choice Award been compromised? Has the authority of the viewers not been usurped? For an award system initially designed to honour recipients based on the choice of the people, it now seems to have shifted its power dynamics entirely. In a surprising turn of events, “Breath of Life” emerged as the top winner, securing 5 AMVCAs. This was widely accepted by many, as it was publicly and popularly acclaimed. Meanwhile, “Over the Bridge” and “Jagun Jagun” followed with 2 wins each, leaving the national box office hit, “A Tribe Called Judah,” with no wins! That broke the camel’s back. How? Just how? It’s quite perplexing that films like “Over the Bridge” and “Funmilayo Ransome Kuti” won a ‘viewers’ choice award’ knowing fully well that the films were not released for public consumption! Let’s not get into the fact that most of the nominated films are not available on the African Magic channels but rather on rival streaming platforms. How did the viewers get to choose? Amongst all this, let’s look put all sentiments aside and look at the good side. This development signifies a positive shift—a move from mediocrity to credibility. And that’s exactly what the industry needs right now. The industry is growing fast, and we should too. However, it’s crucial to maintain this newfound credibility but with this comes the risk of losing integrity, the only pitfall the 2024 AMVCAs are now guilty of. It was an exhilarating breath of fresh air as Chiemeze Imo received the Trailblazer award, following what seemed to be a significant disappointment for being nominated in the Best Lead Actor category. Moreover, the recognition of “The Black Book,” an action film not widely embraced by Nigerian audiences, with 8 nominations and an AMVCA win, underscores a commendable appreciation for quality work beyond mere popularity. Nonetheless, it marks a promising beginning for the evolution of Nollywood and African cinema, hinting at even greater advancements on the horizon. We’re so proud of where Nigerian cinema is going, and we eagerly anticipate witnessing the transformative impact this could have on the industry as a whole.. More wins for Nigerian cinema! Here’s the complete list of the AMVCA [winners](https://nollycritic.com/amvca-2024-full-winners-list-live-annoucements/ "winners"). ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/amvca-power-of-the-viewers-vs-power-of-the-critics/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/amvca-power-of-the-viewers-vs-power-of-the-critics/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/amvca-power-of-the-viewers-vs-power-of-the-critics/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/amvca-power-of-the-viewers-vs-power-of-the-critics/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/amvca-power-of-the-viewers-vs-power-of-the-critics/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** AMVCA, nollycritic, nollywood --- ### ['Aburo': Beyond The Finish Line, But Not Quite](https://nollycritic.com/aburo-beyond-the-finished-line-but-not-quite/) **Published:** May 6, 2024 **Author:** Shalom O. Obisesan **Excerpt:** "Aburo" appears to offer a narrative that extends beyond mere physical prowess, touching upon deeper emotional and interpersonal dynamics. **Content:** Upon initial expectations for “Aburo,” one may anticipate a narrative centered around themes of running, motivation, and hope. The film suggests a story that delves into the world of athletics, promising a journey of perseverance and inspiration. However, upon closer inspection, “Aburo” offers a narrative that extends beyond mere physical prowess, touching upon deeper emotional and interpersonal dynamics. It, ironically fails to completely do so. ## *Aburo* Directed by: Yemi Morafa Produced by: Stephen Oluboyo Genre: Drama Released on: May 15, 2024 (Cinemas) Language: English #### Story The film follows Mide (played by [Efa Iwara](https://www.imdb.com/name/nm6170425/ "Efa Iwara")), a former professional athlete facing setbacks, and Aburo (portrayed by [Maleek Sani](https://nollycritic.com/nollywood-child-actors-a-new-generation-with-great-potentials/ "Maleek Sani")), a street urchin under the employ of Pompei (Yomi Cregx), a local crime boss. Their paths intertwine when Aburo steals from Mide, leading to a surprising encounter where Mide discovers Aburo’s exceptional speed. As Aburo’s sister, Rofiat (Darasimi Nadi) falls ill, he seeks to improve her situation, teaming up with Mide to capitalize on his sprinting abilities. However, their alliance becomes strained as Aburo becomes a pawn in the power struggle between Mide and Pompei, both vying for control over his potential. #### Plot ‘[Aburo](https://nollycritic.com/aburo-see-the-official-trailer-for-yemi-morafas-new-film/ "Aburo")‘ is a tale of unlikely alliances and moral dilemmas set against the backdrop of a gritty urban environment. It follows the journey of Mide and Aburo as they navigate personal struggles and conflicting loyalties. The narrative explores themes of ambition, sacrifice, selfishness, and the complexities of human relationships, culminating in a narrative that challenges notions of right and wrong. #### The Cinema Experience During the film, there was a range of different reactions. But, there were noticeable instances, particularly where emotional intensity should have been at its peak. Those pivotal scenes didn’t quite hit the mark, as moments meant to evoke heightened tension and drama seemed to fall short of expectations, leaving viewers feeling somewhat disconnected from the characters’ experiences. However, amidst these fluctuations in engagement, there were undeniable highlights, particularly in the comedic relief provided by the young actors’ performances (we’ll go into details in the performance segment). Their natural charm, wit, and smart comebacks elicited genuine laughter from the audience, injecting moments of levity into the narrative. As the credits rolled and attendees exited the theater, the prevailing sentiment among them was that the film was solidly “good,” but not exceptional, as it may have lacked the profound impact or resonance that distinguishes a truly exceptional “cinema”. #### Technical Aspects The rain scene made quite an impression and was surprisingly believable and well-executed. Yet, despite the realistic raindrops, something felt slightly off. Aburo and Mide, appeared overly saturated, with water dripping excessively from their faces to the ground, which looked more like when you’re having a heavy shower in the bathroom. Despite this minor observation, it’s evident that Nollywood is making significant strides in mastering its craft and refining its filming techniques, even compared to the esteemed standards set by Hollywood. The production team put in a commendable effort, resulting in an undeniably impactful scene. We owe the production team some flowers. Advertising in the film was subtle yet noticeable. Rather than feeling intrusive, it was cleverly integrated into the story without disrupting the plot or narrative flow. By strategically placing advertisements in an unobtrusive location and context, the production team managed to strike a delicate balance between commercial interests and artistic integrity. The brilliance of this approach lies in its ability to acknowledge the necessity of advertising without allowing it to overshadow the plot or character development. This approach allowed the advertisements to blend seamlessly into the background, without obstructing the viewer’s experience and overshadowing the film’s core themes. Better still, the scene moved the plot forward. And for the cinematography, deliberate art of creativity! One standout scene featured Aunty Kaffy, portrayed by Wumi Toriola, expressing deep emotional pain. As she poured her heart out, the Director of Photography skillfully pulled the camera away from her, creating a sense of distance that paradoxically drew viewers even closer to her emotional turmoil. It created this dissonance: as our eyes were pulled out of her turmoil, our hearts were with her, pulling us back in. This technique heightened the tension of the scene, compelling audiences to empathize with Aunty Kaffy’s raw emotions. Additionally, the crew unveiled a masterstroke of direction through its use of lighting. In a scene where Mide grapples with profound distress and discouragement, the director wields light as both a shield and a shroud, making a bold choice to shroud him in darkness, leaving his face and body unlit. Mide, consumed by the darkness of his inner turmoil, sat cloaked in shadows; his shadows. It was a visual poetry of despair, with Mide’s shadow whispering the echoes of his fractured and troubled spirit. The direction visually expresses this: Mide was as dark as his emotions were. (Note: we can only add meaning to appreciate this, LOL) With good direction and creative expression, another thing stood out: knowing when to lock us into the characters. One standout moment was a scene where Aburo participated in a crucial race. To emphasize the high stakes and Aburo’s emotional state, the director used a crash zoom for a dramatic effect, signaling the scene’s importance to the audience. However, when this technique resurfaced in another scene, its impact felt diminished, resembling more of a practical necessity than a deliberate artistic choice. It seemed reminiscent of one-take shot footage, where there was simply ample opportunity for additional takes. #### Performance First and foremost, Wumi Toriola’s portrayal of Aunty Kaffy was nothing short of phenomenal. She seamlessly blended seriousness and comedy in a way that felt authentic and never overdone. Through her performance, she took us on a captivating journey of emotions, while also delivering moments of genuine laughter with her animated facial expressions. Similarly, Charles Inojie’s portrayal of Oduwa’s father was a delightful blend of comedy and nostalgia. With his signature comedic style, he effortlessly transported viewers back to cherished moments from our childhoods, evoking laughter and fond memories. And to the child stars, kudos! Their performances were nothing short of brilliant, authentic, realistic, and natural. From Maleek Sani’s portrayal of Aburo to Darasimi Nadi’s role as Rofiat and Buchi Unigwe’s depiction of Oduwa, each actor delivered their lines with a natural ease that showcased their undeniable talent. Hats off to the casting director and team for their excellent selection of child actors who were perfectly suited for their respective roles. Let’s not forget the stellar performance by veteran actress Peju Ogunmola, who brought the character of Iya Ijanla to life by portraying a powerful yet humble character on screen. Additionally, we can’t overlook Toni Tones’ portrayal of Dr. Edak, Mide’s love interest. #### Final Thoughts Edak and Mide’s romantic storyline left much to be desired. Throughout the film, Edak’s apathetic and devoid-of-empathy demeanor remained unchanged, offering little indication of personal growth, even within their relationship. Her consistently standoffish behavior created an air of disconnection, while their frequent “lovers’ quarrels” felt contrived and filled with unnecessary banter aimed at appearing clever and witty. As a result, their dynamic felt more forced than genuine, failing to resonate with viewers on an emotional level. Edak’s character appeared to serve only two purposes: as an unlikely ally and as a catalyst for exposing Mide’s true nature. Despite this, her dialogue, “You’re only thinking of recreating yourself,” felt like a hollow attempt to inject depth into their interactions. It just wasn’t enough. While both actors delivered commendable performances, the lack of character development hindered the believability of their relationship. Ultimately, Edak and Mide’s romance fell flat, leaving audiences craving a deeper connection and meaningful growth from both characters. Pompei, portrayed by Yemi Cregx lacks depth. He is just brought in as a one-directional character to simply serve the role of a villain. He disappears as simply as he appears in the story. “Aburo” presents itself as a film that requires interpretation to truly appreciate its nuances, yet this demand for audience engagement can be off-putting for many viewers. While the film exhibits considerable potential, it is hampered by a multitude of disjointed narratives that leave numerous questions unanswered. Did Mide genuinely learn from his experiences? Will Aburo continue to be ensnared by Mide’s ostensibly altruistic but ultimately self-serving motives? Will Aburo ever realize this? These unresolved plot threads contribute to a sense of frustration and dissatisfaction, detracting from the overall impact of the film. #### Our Verdict For a film all about running, “Aburo” struggles to maintain focus due to its excessive focus on the abundance of multiple storylines that lack depth and cohesion, particularly in its resolution. The film’s narrative feels cluttered and disjointed, detracting from the overall viewing experience. While there are glimpses of potential throughout, such as strong performances and compelling moments, the lack of a cohesive narrative arc ultimately undermines its ability to fully engage the audience. As a result, “Aburo” falls short of delivering the cohesive and immersive experience that it initially promised. While the film hinted at a multifaceted storyline with layers of complexity, it ultimately falls short of fully delivering on these promises. It hints at themes of familial relationships, personal growth, and overcoming adversity, yet fails to fully explore or develop these aspects within the confines of the story. As a result, the audience may be left feeling somewhat unsatisfied, expecting a more nuanced and fully realized narrative that transcends the boundaries of the sports genre. A moderate 3/5 suffices. **Rating**: 3/5 ⭐⭐⭐ Rating: 3 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/aburo-beyond-the-finished-line-but-not-quite/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/aburo-beyond-the-finished-line-but-not-quite/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/aburo-beyond-the-finished-line-but-not-quite/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/aburo-beyond-the-finished-line-but-not-quite/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/aburo-beyond-the-finished-line-but-not-quite/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Popular reviews, Reviews **Tags:** Aburo, Buchi Kings, Charles Inojie, Darasimi Nadi, Dimeji Ajibola, efa Iwara, Gbemi Akinlade, Maleek of ikorodu bois, Maleek Sani, Peju Ogunmola, Toni Tones, Wunmi Toriola, Yemi Cregx --- ### [2024 AMVCA: Critics and Audience Predictions For the 10th Edition](https://nollycritic.com/2024-amvca-critics-and-audience-predictions-for-the-10th-edition/) **Published:** May 10, 2024 **Author:** Shalom O. Obisesan **Excerpt:** The 10th edition nominees for the Africa Magic Viewers’ Choice Award (2024 AMVCA) have been unveiled by Multichoice Nigeria and Africa Magic **Content:** The 10th edition nominees for the Africa Magic Viewers’ Choice Award (2024 AMVCA) have been unveiled by Multichoice Nigeria and Africa Magic, accompanied by significant alterations to the award show’s format. These changes are aimed at elevating the standards of the African movie industry and have garnered a new-found excitement and still, some speculations. However, amidst this anticipation, here are noteworthy discussions surrounding surprising nominations, snubs, and unexpected omissions in this year’s edition. #### Modification in Evaluation Processes One notable change in the 2024 AMVCA is the cessation of public voting for the Best Actor or Best Actress in Leading or Supporting Role categories. Instead, winners in these categories will be determined by a select jury, chaired by veteran filmmaker and media scholar Femi Odugbemi, who is also a voting member of the Academy of Motion Picture Arts and Sciences Awards (The Oscars). In the words of Busola Tejumola, Head of Content and Channels in West Africa for MultiChoice, “The AMVCAs are embarking on a bold journey to reevaluate our award categories and further align with global trends and benchmarks. This involves retiring certain categories, streamlining others, and revisiting both voting and non-voting classifications.” These modifications come in response to consistent criticism from fans of the awards, highlighting the previous format’s tendency to favor star actors with significant social media followings over performers with outstanding acting skills. Additionally, the award show now features 27 categories, down from the previous 33, with certain categories like Best Original Comedy Series being retired. #### The Wins and Snubs Tolu Ajayi’s debut feature film “Over the Bridge” leads the nominations with 12 nods, despite not yet being released in Nigerian cinemas. Other notable contenders include “Breath of Life” and “Mami Wata,” each receiving 11 nominations, signaling a shift towards critically acclaimed dramas over mainstream box office hits. Given the updated format, it also implies that films such as “Mami Wata” and “Over the Bridge” stand a significant chance in the Best Movie category. While the nominations bring excitement, there are also disappointments, with notable films like “Áfàméfùnà:An Nwa Boi Story” missing out on key categories despite their commercial success and critical acclaim. Similarly, some outstanding performances, such as those by Chimezie Imo and Ozzy Agu, were overlooked in the Best Actor category. Chimezie Imo’s exclusion from the Best Actor category for “Breath of Life” was a notable snub. While other main cast members such as Genoveva Umeh, Wale Ojo, and Demola Adedoyin received nominations, Imo was left out. Despite Ojo securing a nomination for Best Lead Actor, Imo, who also portrayed a prominent role in the Prime Video original movie, did not cut. Adedoyin earned a nomination for Best Supporting Actor, further emphasizing Imo’s absence. It’s baffling to see “Over the Bridge” snagging a solid 12 nominations in diverse categories, but what’s truly perplexing is the glaring absence of Ozzy Agu, a pivotal force in the film, from the Best Lead Actor category. Despite earning nods in nearly every other acting segment, Agu’s outstanding performance somehow missed the mark for this recognition. As the 2024 AMVCA event approaches, we eagerly await the unfolding of new surprises. We only hope that the most deserving contenders emerge victorious in each category! #### Critic Predictions vs Audience Predictions Here are the 2024 AMVCA picks for some major categories by our critics and our audience (based on social media polls). **Best Movie** 1\. *A Tribe Called Judah* 2\. ***Mami Wata*** **– Critics Pick** 3*. Jagun Jagun* **4. *Breath of Life*** **– Audience Pick** 5\. *Over The Bridge* 6\. *Funmilayo Ransome-Kuti* 7\. *The Black Book* **Best Indigenous Language (West Africa):** **1. *Mami Wata* – Critics Pick** **2. *Jagun Jagun*** **– Audience Pick** *3. Ijogbon* 4\. *Orisa* 5\. *Nana Akoto* **Best Lead Actor:** 1\. Richard Mofe-Damijo (*The Black Book*) **2. Wale Ojo (*Breath of Life*)** **– Critics Pick** 3\. Stan Nze (*Afamefuna*) 4\. Marc Zinga (*Omen*) **5. Lateef Adedimeji (*Jagun Jagun*)** **– Audience Pick** 6\. Gabriel Afolayan (*This is Life*) 7\. David Ezekiel (*Blood Vessel*) 8\. Gideon Okeke (*Egun*) **Best Lead Actress:** **1. Funke Akindele (*A Tribe Called Judah*)** **– Audience Pick** 2\. Adaobi Dibor (*Blood Vessel*) 3\. Ireti Doyle (*The Origin: Madam Koi Koi*) 4\. [Kehinde Bankole](https://nollycritic.com/owambe-new-film-starring-kehinde-bankole-begins-principal-photography/) (*Adire*) **5. Evelyne IIy (*Mami Wata*)** **– Critics Pick** 6\. Omowumi Dada (*Asiri Ade*) 7\. Segilola Ogidan (*Over The Bridge*) 8\. Lucie Debay (*Omen*) **Best Supporting Actor:** 1\. [Timini Egbuson](https://nollycritic.com/is-timini-egbuson-the-ultimate-nollywood-golden-boy/) (*A Tribe Called Judah*) 2\. Alexx Ekubo (*Afamefuna*) 3\. Demola Adedoyin (*Breath of Life*) **4. Itele D Icon (*Jagun Jagun*)** **– Audience Pick/Critics Pick** 5\. Gregory Ojefua (*This is Life*) 6\. Levi Chikere (*Blood Vessel*) 7\. Ropo Ewenla (*Over The Bridge*) **Best Supporting Actress:** 1\. Joke Silva (*Over The Bridge*) 2\. Bimbo Akintola (*The Black Book*) **3. Fathia Williams (*Jagun Jagun*)** **– Audience Pick** **4. Genovevah Umeh (*Breath of Life*)** **– Critics Pick** 5\. Tana Egbo-Adelana (*Ijogbon*) 6\. Ejiro Onajaife (*Madam Koikoi*) 7\. Eliane Umuhire (*Omen*) **Best Director** 1\. Adebayo Tijani & Tope Adebayo (*Jagun Jagun*) **2. BB Sasore (*Breath of Life*)** **– Audience Pick** 3\. Johnscott Enah (*Half Heaven*) **4. C. J. Fiery Obasi (*Mami Wata*) – Critics Pick** 5\. Kayode Kasum (*Afamefuna*) 6\. Tolu Ajayi (*Over The Bridge*) 7\. Moses Inwang (*Blood Vessel*) Voting officially closed on April 28, 2024, at 10:00 pm WAT. The 2024 AMVCA will be held from May 10 – 11th in Lagos. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/2024-amvca-critics-and-audience-predictions-for-the-10th-edition/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/2024-amvca-critics-and-audience-predictions-for-the-10th-edition/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/2024-amvca-critics-and-audience-predictions-for-the-10th-edition/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/2024-amvca-critics-and-audience-predictions-for-the-10th-edition/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/2024-amvca-critics-and-audience-predictions-for-the-10th-edition/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** A Tribe Called Judah, AMVCA, Breath of Life, mami wata, nollycritic, nollywood, the black book, The Origin: Madam Koi Koi), Timini Egbuson, Wale Ojo --- ### [Femi Adebayo's New Win: A Legal Triumph For Nollywood](https://nollycritic.com/femi-adebayos-new-win-a-legal-triumph-for-nollywood/) **Published:** May 8, 2024 **Author:** Shalom O. Obisesan **Excerpt:** After lasting three years, Nollywood celebrates a hard-won victory as actor and filmmaker Femi Adebayo secures justice against piracy. **Content:** What a breath of fresh air for Femi Adebayo and Nigerian filmmakers! After lasting three years, [Nollywood](https://nollycritic.com/the-best-10-nollywood-films-of-2023/ "Nollywood") celebrates a hard-won victory as actor and filmmaker Femi Adebayo secures justice against piracy. Here’s the backstory: In March 2021, [Femi Adebayo](https://nollycritic.com/blacksmith-alagbede-a-familiar-trope-in-a-new-timeline/ "Femi Adebayo") initiated legal proceedings at the Federal High Court in Ibadan against ‘Murphy Ben International via their YouTube channel, ‘Aforevo TV,’ for alleged copyright infringement of his film “[Survival of Jelili](https://www.imdb.com/title/tt15149094/ "Survival of Jelili").” The channel utilized the movie poster from Adebayo’s 2019 theatrical release to promote another film titled “Kodi Ologbon Aye.” This deceptive tactic misled viewers into believing they were accessing Adebayo’s original work, diverting revenue meant for him while boosting their own YouTube channel’s views and earnings. Despite “Survival of Jelili” grossing a remarkable ₦29 million at the box office, after a protracted legal battle, the Federal High Court issued its verdict in May 2024, awarding Adebayo a sum of twenty-five million naira in damages. This ruling signifies another victorious moment for Adebayo and the entire Nollywood community. Recall Toyin Abraham’s win, in December 2024 battling this same issue of piracy. This case underscores the urgent need for stronger measures to combat piracy and protect the intellectual property rights of filmmakers. It also serves as a reminder of the importance of vigilance and proactive measures in safeguarding creative works. As Nollywood celebrates this victory, it sends a clear message: piracy will not go unpunished, and justice will prevail for those who fight to protect their art and livelihood. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/femi-adebayos-new-win-a-legal-triumph-for-nollywood/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/femi-adebayos-new-win-a-legal-triumph-for-nollywood/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/femi-adebayos-new-win-a-legal-triumph-for-nollywood/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/femi-adebayos-new-win-a-legal-triumph-for-nollywood/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/femi-adebayos-new-win-a-legal-triumph-for-nollywood/?share=linkedin) - **Categories:** Blog, Nollywood, Nollywood News **Tags:** Femi Adebayo, Jelili, nollywood --- ### ['Saving Onome': A Tale of Love and Sacrifice Marred By Fall-Flat Narrative](https://nollycritic.com/saving-onome-a-tale-of-love-and-sacrifice-marred-by-fall-flat-narrative/) **Published:** April 30, 2024 **Author:** Shalom O. Obisesan **Excerpt:** 'Saving Onome'. The title is pretty straightforward, isn't it? Well, just for clarity: we're diving headfirst into a tale all about rescuing a certain Onome. **Content:** ‘[Saving Onome’](https://nollycritic.com/nancy-isime-stars-in-new-drama-saving-onome/ "Saving Onome'"). The title is pretty straightforward, isn’t it? Well, just for clarity: we’re diving headfirst into a tale all about rescuing a certain Onome. But wait. Hold onto your seats. Because it’s not just about Onome herself. Nope. It’s a rollercoaster ride through the process, with the characters who join the mission to save her. This journey takes unexpected turns, introducing a diverse cast of characters and delving into the intricate process involving parental love and sacrifice. However, amidst the occasional peaks, more frequent valleys, and all the drama, a question arises: does this narrative approach truly align with the film’s intended vision and purpose? So, we’ve taken the initiative to watch it first for you. Here are our thoughts. And, fun fact: no destructive spoilers that spoil the fun! ## *Saving Onome* Directed by: Dimeji Ajibola Produced by: Stephen Oluboyo Genre: Crime Drama Released on: April 5, 2024 (Cinemas) Language: English ##### Story Onome, the daughter of Tola (acted by Nancy Isime) and Jite (acted by [Olumide Oworu](https://en.wikipedia.org/wiki/Olumide_Oworu "Olumide Oworu")), suffers from chronic illness. But, her parents face a daunting challenge: they lack the funds needed for her expensive medical expenses. As they desperately fight to save their daughter’s life, they find themselves entangled in a web of difficult decisions, where each choice they make carries weighty consequences. ##### Plot The story unfolds in a linear narrative flowing from the perspectives of the parents. As mentioned earlier, while Onome remains the central focus, the narrative primarily delves into the decisions the parents face as they strive to help her. ##### The Cinema Experience Upon viewing the trailer on a mobile device and encountering shoddy sound quality, I initially presumed it to be an issue with my device’s speakers, which seemed unusual. But, when I hit the cinema and the same fuzzy audio hit my ears, I knew it wasn’t just me. Despite the booming bass in the cinema trying to drown out the tinny pitches, the inferior audio still cut through, leaving me thinking, “Yep, definitely a recording oopsie.” Subsequently, we all had to sit through it, from the beginning to the end. ##### Technical Aspects The writer’s deliberate focus on Jite delivering a voice-over about the complexities of tough decision-making in high-stakes situations was quite brilliant. Jite finds himself in a tough situation in the opening scene, foreshadowing future occurrences. While the voice-over effectively highlighted the theme of making questionable sacrifices in tight situations, the car chase sequence was quite tolerable. It wasn’t enough to captivate the audience. Although the editing techniques effectively convey urgency, hand-held shots add tension. The chase scene just lacked the expected adrenaline rush, missing an opportunity to engage the audience from the start emotionally. It was fair, but not enough. So, right from the opening scene, even with a smart opening voice-over, they missed a prime opportunity to truly engage the audience emotionally and draw them into the story. Still, we’re able to get the crux of the story and subsequently, are somewhat moved. ##### Acting Kelechi Udegbe’s portrayal of “Skyscraper” was truly noteworthy, showcasing his exceptional acting prowess. He skillfully embodied the essence of a typical Disney villain, albeit with a subtler touch, which added depth and intrigue to his character. His villainous mannerisms, including menacing huffs and sly laughs, were executed with such precision, that left a lasting impression. While Udegbe impressively embodied a nuanced villain, Isime and Oworu also delivered commendable performances, showcasing their acting prowess. Oworu’s transition from portraying a pampered last-born in “A Tribe Called Judah” to embodying a father figure in “Saving Onome” demonstrates his impressive range and skillful acting abilities. However, Isime’s portrayal may have been hindered by her established branding and image, as a chic modern-day influencer. So, seeing her as a chic mother (well, in some scenes makes sense) with her pink short hair in the opening scene, while possibly unrelated to the plot, could affect the audience’s believability of her character. While it does serve a purpose in depicting a mother under immense stress, it somewhat detracts from the raw emotion the character should evoke. Isime appears well-kept and put together, which slightly diminishes the urgency and gravity of the situation. Similarly, Oworu’s appearance seems overly groomed, further distancing the audience from the intensity of the scenario. “Saving Onome” stars a talented cast including Mercy Lazarus, Femi Jacobs, Keppy Ekpenyoung, Nosa Rex, Michelle Raccah, and Lawal ‘Nasboi’ Bolaji for comic relief. While each actor delivered their roles effectively, Nasboi’s humor gave some audiences a few laughs. ##### Final Thoughts While the film manages to explore themes of family, love, sacrifice, and tough decisions, there are moments where the narrative feels too convenient. However, the underlying focus on the enduring love between Jite and Tola, and their willingness to prioritize their relationship amidst adversity, is a poignant aspect. Yet, the execution and potential oversaturation of themes may inadvertently convey a sense of “silly love,” detracting from the deeper emotional resonance the film aims to achieve. Instead, the framework of the film did just this: incorporated philanthropy into the storyline (though convenient to merely serve the narrative) they cleverly manipulated the audience’s (exactly like the characters in the film) sympathies, compelling them to root for flawed Jite and Tola while guiding them through a morally complex journey. Ironically, not everyone can eat up such a conveniently contrived narrative. ##### Verdict “Saving Onome” relied heavily on a conveniently constructed plot to deliver a predictable, feel-good ending, seemingly serving as a vehicle for the filmmakers’ philanthropic agenda. While their commendable acts of philanthropy are notable, it’s challenging to fully invest in the narrative presented in the film, as it feels contrived and lacking in authenticity. A moderate 2.5 out of 5 would suffice. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/saving-onome-a-tale-of-love-and-sacrifice-marred-by-fall-flat-narrative/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/saving-onome-a-tale-of-love-and-sacrifice-marred-by-fall-flat-narrative/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/saving-onome-a-tale-of-love-and-sacrifice-marred-by-fall-flat-narrative/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/saving-onome-a-tale-of-love-and-sacrifice-marred-by-fall-flat-narrative/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/saving-onome-a-tale-of-love-and-sacrifice-marred-by-fall-flat-narrative/?share=linkedin) - **Categories:** Movies, Nollywood, Reviews **Tags:** Cinema, Femi Jacobs, film, Kelechi Udegbe, Keppy Ekpenyoung, Mercy Lazarus, Nancy Isime, Nasboi, nollycritic, nollywood, Nosa Rex, Olumide Oworu, Reviews, Saving Onome --- ### [Nollywood Child Actors: A New Generation With Great Potentials](https://nollycritic.com/nollywood-child-actors-a-new-generation-with-great-potentials/) **Published:** May 3, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Nollywood Child actors have been an integral part of Nollywood since its inception. Icons such as Funke Akindele, Genevive Nnaji **Content:** Nollywood Child actors have been an integral part of Nollywood since its inception. Icons such as Funke Akindele, Genevive Nnaji, Destiny Etiko, and Denrele Edun, followed by Somadina Adinma, Williams Uchemba, Olumide Owuru, and then the 2000s kids: Regina Daniels and Mercy Kenneth, to mention a few, all rose to prominence at a young age. Today, the legacy of child actors in Nollywood lives on, with a new generation of talented performers carrying the torch forward. We’ll explore the emergence of new young talent making waves in Nollywood, highlighting their remarkable contributions and giving them the recognition they deserve. #### Maleek Sani and Fawaz Aina (Ikorodu Bois) Maleek and Fawaz, members of the popular Nigerian comedy group Ikorodu Bois, rose to fame through their ingenious DIY skits and meticulous recreations of popular music videos and movie trailers. Since their formation in 2017, they’ve captivated the world with their smile-inducing content. In 2020, their viral recreation of the movie trailer for “Extraction 2” caught the attention of Hollywood producers, leading to an invitation to the set and endorsements from platforms like Netflix. Maleek and Fawaz made their acting debut in Kunle Afolayan’s Netflix-distributed film “Aníkúlápó,” and later, Maleek landed a role in Jade Osiberu’s acclaimed film “Gangs of Lagos.” Maleek’s portrayal of Obalola, a street kid aspiring for a brighter future, in “Gangs of Lagos” garnered acclaim, culminating in his win as the Best Young Promising Actor at the 2023 Africa Movie Academy Awards (AMAA). This recognition underscores his talent and marks him as a promising rising star in the realm of Nollywood. Fawaz portrayed Ọmọba in the 2023 coming-of-age film “Ijogbon,” directed by Kunle Afolayan, and got recognition from Ebony Life as one of the 100 most influential people to the growth and greatness of Nollywood. Maleek starred in the upcoming film “[Aburo](https://nollycritic.com/aburo-see-the-official-trailer-for-yemi-morafas-new-film/ "Aburo"),” scheduled for release on May 1, 2024. They’re both making big waves in the industry and we’re happy to see them grow! #### Simisola Gbadamosi Simisola Gbadamosi, aged 12, has demonstrated a remarkable flair for and passion for the arts and storytelling. At just the mere age of 6, she clinched the Best Creative Kid Entrepreneur Award at the Bella Africana Ace Awards, a reflection of her budding talent. However, her journey took an extraordinary turn in 2021 when she secured the lead voice role as Tola in the Disney+ and Kugali Media collaboration, “Iwájú” released in 2024. This groundbreaking animated series, produced by Walt Disney Animation Studios, catapulted Simisola into the spotlight, showcasing her exceptional talent to a global audience. With her portrayal in “Iwájú,” Simisola’s star continues to rise, solidifying her as a promising talent in the entertainment industry. #### Toluwanimi Olaoye Toluwanimi Olaoye is a budding talent in Nollywood. He’s known for his performances in various projects in films like “A Chain Reaction” (2020), “Your Excellency” (2019), “5 is a Company” (2021) to voicing the character Luo in the Disney+ Kizazi Motto anthology series, “Moremi” (2023). His upcoming role as the young Awujale in the biopic “Awujale” alongside renowned actors like Sola Sobowale, Mr. Macaroni, Yemi Sodimu, and others further cements his place as a rising star in the industry. With his talent reflecting both on-screen and on platforms like YouTube, the “Oliver and Aunty Jo Series,” Toluwanimi Olaoye is undoubtedly one to watch out for in Nollywood’s bright future. #### Fiyinfoluwa Asenuga At just 10 years old, Mofiinfoluwa Asenuga has already made big strides in the world of entertainment. Known for his roles in notable films such as “The House of Secrets” (2023), “Mikolo” (2023), and “Muri & Ko,” Fiyinfoluwa showcases his talent and versatility on the big screen. Working alongside comedienne Kie Kie, and seasoned actors like Femi Jacobs, Kunle Remi, Bucci Franklin, Bisola Aiyeola, Kate Henshaw, among many others, Asenuga demonstrates his ability to hold his own among industry veterans. His dedication to his craft collaborations with established stars position him as a promising talent to watch in the Nigerian entertainment scene. #### Diana Egwuatu 11-year-old Diana Egwuatu emerges as a standout rising star in Nollywood, showcasing her exceptional talent across a range of acclaimed films. At the age of 3, she expressed her interest in acting and modeling. Her breakthrough came with the 2018 hit “God Calling,” where she portrayed Lola, capturing audiences with her compelling performance. She continued to impress in “Her Dark Past,” the film currently nominated for the 2024 AMVCA Best Multichoice Talent Factory Movie Category, where she acted as Lotanna Nwosu. Adding to her impressive resume, Egwuatu delivered captivating performances in films like “Friends Only” (2021), “Dead of Night” (2024), and “She” (2022). Beyond the silver screen, Diana’s talent extends beyond acting, as she showcased her versatility by featuring in Burna Boy’s music video “Common Person” in 2022. She excels not only as a child actor but also as a model, kid host, and voice-over artist. With a career spanning over five years, she has amassed numerous accolades and achievements, surpassing many of her peers. #### Kosisochukwu Samuel Ogboruche Kosisochukwu Samuel Ogboruche, known affectionately as Kosi, emerges as a promising newcomer in Nollywood. With his breakout role as Elijah in the anticipated film “Kill Boro,” set for release on Prime Video on May 30th, 2024, alongside fellow child actor, Beloved Osagie Kosi as Orabere, they’re both set to carve out their place in the spotlight. Before his role in “Kill Boro,” Kosi showcased his acting chops in “Strain” (2020), where he portrayed the character of Young Ekene. #### Darasimi Nadi [Darasimi Nadi](https://www.imdb.com/name/nm13933537/# "Darasimi Nadi") is one of the most-sought after nollywood child actors. Her talent garnered recognition with a nomination at the 2023 African Movie Academy Awards (AMAA) for her portrayal of Ihunaya in the 2022 film “Obara’M,” competing in the Best Young/Promising Actor category. Directed by Kayode Kasum and featuring notable actors like Nancy Isime, “Obara’M” adds a prestigious accolade to Nadi’s growing portfolio, solidifying her reputation as a promising talent in the industry. Nadi’s versatility shines through in her roles in films like “A Green Fever”, “Aburo”, “Ègún” (2023), “Smokescreen” (2023), and her portrayal of Bihi in the 2021 film “The Pretty Ones Are the Loneliest.” Beyond her accomplishments as a child actor, Darasimi also excels as a television personality, further expanding her influence on both children and the film industry. #### Pamilerin Ayodeji Pamilerin Ayodeji, a 13-year-old powerhouse of talent, stands out in Nollywood with her exceptional acting skills and academic achievements. Since her professional debut in August 2019, Pamilerin has graced several remarkable projects, including “Mikolo,” “Gangs of Lagos,” and “Lizard.” Notably, her role in “Mikolo,” directed by Niyi Akinmolayan in 2023, marked a significant milestone as the first CGI film released from Nollywood, showcasing her versatility alongside co-star Mofiinfoluwa Asenuga. Beyond the borders of Nigeria, Pamilerin’s talent has garnered international recognition, notably starring in the first Nigerian short film to win at Sundance. Her stellar performances have earned her prestigious awards such as Best Actor at the Kids’ Can Act 2019 and Best Young Actor at the Kaduna Film Festival 2022. With her recent accolade as Best Young Talent at the African Film Festival in Texas, USA, Pamilerin Ayodeji continues to inspire as a shining example of young talent in the world of Nigerian cinema. These young talents, among many others, are making a positive and groundbreaking impact in the Nollywood space, showcasing their remarkable skills and promising potential. As they continue to grow and evolve, we eagerly anticipate their future contributions to the industry. We can’t wait to see them blossom into even greater actors in the future. ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nollywood-child-actors-a-new-generation-with-great-potentials/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nollywood-child-actors-a-new-generation-with-great-potentials/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nollywood-child-actors-a-new-generation-with-great-potentials/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nollywood-child-actors-a-new-generation-with-great-potentials/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nollywood-child-actors-a-new-generation-with-great-potentials/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Darasinmi Nadi, Fawaz Aina, Fiyinfoluwa Asennuga, God Calling, Kosisochukwu Samuel Ogboruche, Lola, Maleek Sani, Pamilerin Ayodeji, Simisola Gbadamosi --- ### [Strawberry Chinny: See the Trailer For Cheta Chukwu's New Film](https://nollycritic.com/strawberry-chinny-see-the-trailer-for-cheta-chukwus-new-film/) **Published:** May 6, 2024 **Author:** Michael Arowoselu **Excerpt:** Genoveva Umeh and Chimezie Imoh return to our screens as best friends in Cheta Chukwu’s Strawberry Chinny. **Content:** Genoveva Umeh and [Chimezie Imoh](https://nollycritic.com/see-our-5-most-adorable-nollywood-couples/ "Chimezie Imoh") return to our screens as best friends in Cheta Chukwu’s *Strawberry Chinny*. The story follows an irrational heartbroken makeup artist who, after being dumped by her boyfriend, navigates a complicated living arrangement with her best friend. The film, directed by Cheta Chukwu and produced by Kele, Ngozi Okafor, and Chimezie Imo. Starring Genoveva Umeh, Chimezie Imo, Modola Osifuwa, and Obehi Aburime, *Strawberry Chinny* follows the story of an irrational heartbroken makeup artist who, after being dumped by her boyfriend, navigates a complicated living arrangement with her best friend. Actor and producer Chimezie Imo, making his producing debut with “Strawberry Chinny,” added, “To have our debut film selected at the Essence Film Festival feels like a step in the right direction for my company, Vox Cinematic Films.” *Strawberry Chinn*y has been selected to screen at the 2024[ Essence Film Festival,](https://www.essence.com/essencefilmfestival2024/ " Essence Film Festival,") held in New Orleans from July 4th to July 7th. The Essence Film Festival is renowned for showcasing exceptional projects by Black storytellers across the African diaspora. See the trailer below ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/strawberry-chinny-see-the-trailer-for-cheta-chukwus-new-film/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/strawberry-chinny-see-the-trailer-for-cheta-chukwus-new-film/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/strawberry-chinny-see-the-trailer-for-cheta-chukwus-new-film/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/strawberry-chinny-see-the-trailer-for-cheta-chukwus-new-film/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/strawberry-chinny-see-the-trailer-for-cheta-chukwus-new-film/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Cheta Chukwu, Chimezie Imo, Genoveva Umeh, Modola Osifuwa, Strawberry chinny --- ### [Celebrating World Book and Copyright Day with Captivating Film Adaptations](https://nollycritic.com/celebrating-world-book-and-copyright-day-with-captivating-film-adaptations/) **Published:** April 23, 2024 **Author:** Shalom O. Obisesan **Excerpt:** Every 23rd April, bookworms and wordsmiths unite in celebration of the "World Book and Copyright Day." And we, cinephiles, can get in on the fun! **Content:** Every 23rd April, bookworms and wordsmiths unite in celebration of the “World Book and Copyright Day.” And we, cinephiles, can get in on the fun! This internationally recognized occasion, the International Day of the Book, bears the UNESCO seal of approval, serving as a rallying cry for the literary communities worldwide. It’s a day not just for flipping pages or hitting the play button, but for honoring the written word’s power to inspire, educate, and entertain. From the dusty shelves of libraries to the silver screens of cinemas, we can ravish the timeless importance of intellectual property rights, while cherishing and protecting the creative works that shape our cultural landscape. For filmmakers, it’s a nod to the legal and artistic scaffolding that supports their cinematic visions, reminding us that every epic tale begins with a humble page and a spark of imagination. From novels exploring rich cultural tapestries to captivating stories delving into societal complexities, Nigerian filmmakers have embraced the treasure trove of literary sources to craft compelling cinematic experiences over the years. And they’re not done yet! These adaptations not only pay homage to the literary heritage of the nation but also showcase the dynamic synergy between literature and film, demonstrating how stories penned on paper can seamlessly transcend onto the silver screen, enriching the cinematic landscape and fostering a deeper appreciation for both mediums. As we celebrate World Book and Copyright Day, we have to acknowledge the invaluable of literature in shaping cinematic narratives. We’ll be taking a look at different literary works as they metamorphose into Nollywood films. Let’s take a quick dive, shall we? ***The Man Died:*** Based on Wole Soyinka’s autobiographical prison notes, offers a poignant glimpse into the Nobel laureate’s harrowing experiences during Nigeria’s Civil War. Soyinka’s outspoken criticisms led to his imprisonment for twenty-two months, where he confronted themes of survival, perseverance, and resilience. Now, this memoir is reborn as a feature film directed by Awam Amkpa, set to debut in July, coinciding with Soyinka’s 90th birthday. Starring Wale Ojo, Sam Dede, Nobert Young, Chidi Mokeme, Segilola Ogida, and Simileoluwa Hassan, the film promises to vividly portray Soyinka’s narrative, shedding light on his indomitable spirit amidst adversity. As we eagerly anticipate the release of the film adaptation of “[The Man Died,](https://nollycritic.com/wale-ojo-to-play-wole-soyinka-in-the-man-died/ "The Man Died,")” let us seize the opportunity to explore Soyinka’s memoir and appreciate the literary brilliance that serves as the foundation for this upcoming cinematic adaptation. ***The Wait:*** Yewande Zaccheus’s novel, “God’s Waiting Room,” serves as the inspiration for the cinematic adaptation, “The Wait.” The story revolves around two couples grappling with infertility and a compassionate doctor striving to assist them. Directed by Fiyin Gambo and Yemi Morafa, the film explores themes of hope, despair, and resilience in the face of adversity, offering a poignant portrayal of the human experience. ***Elesin Oba, The King’s Horseman:*** This Yoruba-language historical drama brings to life Wole Soyinka’s acclaimed stage play, “Death and the King’s Horseman.” Set against the backdrop of British colonial rule in 1946 Yorubaland, the film explores the clash between African traditions and Western influence. EbonyLife’s adaptation, distributed by Netflix, delves into the cultural complexities of the era, starring Odunlade Adekola, Deyemi Okanlawan, Omowunmi Dada, Shaffy Bello, and Jude Kosoko. Through vibrant storytelling, the film captures the essence of Soyinka’s work, igniting dialogue on the collision of tradition and modernity. ***Swallow:*** Sefi Atta’s novel, “Swallow,” delves into the life of Tolani, a young woman in 1980s Lagos, navigating the city’s corruption and economic challenges. Persuaded by her roommate, Tolani ventures into drug smuggling, sparking a moral reckoning that challenges her perception of right and wrong. Kunle Afolayan’s 2021 adaptation brings Tolani’s turbulent journey to life on screen, with a cast including Niyola, Deyemi Okanlawon, Chioma Chukwuka Akpotha, and Ijeoma Grace Agu. ***Saworoide***: Adapted from Akinwunmi Ishola’s book, the film captivates with its Shakespearean undertones and didactic narrative, becoming a quintessential Nigerian classic. Originally conceived as a movie script, Tunde Kelani’s 1999 film adaptation brings Isola’s narrative to the silver screen, immersing audiences in a world where tradition clashes with modernity, and power comes with profound obligations. This political satire transports viewers to Jogbo town, where a king’s manipulation of the Saworoide ceremony sparks tyranny. This story paints pictures that are reminiscent of the Nigerian society and political state. Things Fall Apart: Chinua Achebe’s iconic novel, “Things Fall Apart,” has inspired two notable adaptations that offer distinct interpretations of its timeless narrative. The first, a thirteen-part miniseries directed by David Orere in 1987, premiered on Nigerian television via the Nigerian Television Authority, showcasing the quintessential style of Nollywood filmmaking. Led by acclaimed actor Pete Edochie and featuring a stellar cast including Nkem Owoh and Sam Loco Efeh, this adaptation brought Achebe’s rich tapestry of characters and themes to life for audiences across Nigeria. In contrast, “Bullfrog in the Sun,” also known as “Things Fall Apart,” was helmed by director Hans Jürgen Pohland. Was inspired by Chinua Achebe’s seminal novels “Things Fall Apart” and “No Longer at Ease.” It intertwines narratives from both works to craft its unique story. Released in 1972, the film pays homage to Achebe’s literary legacy, offering a nuanced exploration of Nigerian society. This adaptation has faced criticism for its perceived excessive portrayal of violence, drawing disapproval from Achebe himself who felt the filmmakers took liberties with the material to evoke the brutality of the Biafran War (1967–70). ***Half of a Yellow Sun:*** Adapted from Chimamanda Adichie’s Orange Prize-winning novel, it brings to life the tumultuous era of Nigeria’s Biafran War. Released in 2013, the film showcases Adichie’s poignant narrative, featuring a stellar cast of Hollywood and Nollywood talents. Through Adichie’s evocative storytelling, the film resonates with audiences, shedding light on a pivotal period in Nigeria’s history. ***Beasts of No Nation:*** It draws its evocative title from Fela Kuti’s iconic 1989 album. The film is based on[ Uzodinma Iweala’](https://en.wikipedia.org/wiki/Beasts_of_No_Nation " Uzodinma Iweala'")s novel of the same title, which delves into the brutal realities of child soldiers in war-torn Africa. The adaptation stays faithful to the narrative core, delivering an intense and emotionally stirring portrayal of the book’s themes and captivates readers with its raw intensity and unflinching portrayal of the human condition. ***The Concubine: ‘*** Based on Elechi Amadi’s debut novel, follows the tragic fate of Ihuoma and her male love interest entangled in a supernatural web. Released in March 2007, the film captures the essence of Amadi’s mesmerizing storytelling, immersing viewers in a tale of love, betrayal, and destiny. These examples represent just a fraction of the numerous literary adaptations available. But, as we revel in the tapestry of literary and cinematic masterpieces on this day, let us remember the profound impact of storytelling in both written and visual forms. By embracing the synergy between literature and film, we embark on a journey of discovery, enlightenment, and inspiration. So, as you immerse yourself in the world of cinema, don’t forget to pick up a book and let your imagination soar. For in the pages of a book and on the silver screen, lies the power to ignite our minds, touch our hearts, and transform our lives. Selah. Happy World Book and Copyright Day! ## Author - ![Shalom Obisesan](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_5925-scaled.jpg?resize=80%2C80&ssl=1) [Shalom O. Obisesan](https://nollycritic.com/author/shalom-o/ "Shalom O. Obisesan") Shalom O. is a storyteller who lives deeply in the world of film. She moves easily between analysis, writing, and production, exploring every side of cinema with curiosity and intention. Whether for work or for fun, she’s always somewhere in the film conversation. [ ](mailto:writersomib@gmail.com)[ ](http://www.nollycritic.com/wp-admin) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/celebrating-world-book-and-copyright-day-with-captivating-film-adaptations/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/celebrating-world-book-and-copyright-day-with-captivating-film-adaptations/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/celebrating-world-book-and-copyright-day-with-captivating-film-adaptations/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/celebrating-world-book-and-copyright-day-with-captivating-film-adaptations/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/celebrating-world-book-and-copyright-day-with-captivating-film-adaptations/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Beasts of No Nation, Half of a Yellow sun, nollycritic, nollywood, Saworoide, The Concubine, the man died, The wait, World book and copy right day --- ### [Aburo: See the Official Trailer For Yemi Morafa's New Film](https://nollycritic.com/aburo-see-the-official-trailer-for-yemi-morafas-new-film/) **Published:** April 25, 2024 **Author:** Michael Arowoselu **Excerpt:** Aburo, directed by Yemi Filmboy Morafa is racing towards us and here is everything you need to know. **Content:** *Aburo*, directed by [Yemi Filmboy Morafa](https://www.imdb.com/name/nm5629736/#:~:text=Yemi%20film%20boy%20Morafa%20is,narrative%20style%20of%20film%20making. "Yemi Filmboy Morafa") is racing towards us and here is everything you need to know! The feature drama is team up joint by Sterling Bank, [FilmOne](https://nollycritic.com/moses-babatope-bows-out-of-filmhouse-group-after-12-years/ "FilmOne") production and Dollywhales-Awujo Studios with Stephen Oluboyo credited as producer. A street-smart boy with outstanding speed steals from a failed international athlete, his sprinting ability does not go unnoticed as the failed athlete is determined to make him a star. The film stars; Efa Iwara, Toni Tones, Maleek of ikorodu bois, Yemi Cregx, Charles Inojie, Wunmi Toriola, Peju Ogunmola, Gbemi Akinlade, Buchi Kings and Darasimi Nadi *Aburo* is set for a cinema debut on the 1st of May, 2024. See the official trailer below ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/aburo-see-the-official-trailer-for-yemi-morafas-new-film/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/aburo-see-the-official-trailer-for-yemi-morafas-new-film/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/aburo-see-the-official-trailer-for-yemi-morafas-new-film/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/aburo-see-the-official-trailer-for-yemi-morafas-new-film/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/aburo-see-the-official-trailer-for-yemi-morafas-new-film/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Aburo, Buchi Kings, Charles Inojie, efa Iwara, FilmOne, Gbemi Akinlade, Maleek of ikorodu bois, nollywood, Peju Ogunmola, Toni Tones, Wunmi Toriola, Yemi Cregx, Yemi Morafa --- ### [Moses Babatope Bows Out of Filmhouse Group After 12 Years](https://nollycritic.com/moses-babatope-bows-out-of-filmhouse-group-after-12-years/) **Published:** April 24, 2024 **Author:** Michael Arowoselu **Excerpt:** Moses Babatope, the co-founder of Filmhouse Group and former Managing Director of FilmOne, according to multiple sources has exited Filmhouse. **Content:** [Moses Babatope](https://www.imdb.com/name/nm6851011/bio/ "Moses Babatope"), the co-founder of Filmhouse Group and former Managing Director of FilmOne, according to multiple sources has exited Filmhouse. For his next move, the film executive is launching his own media and entertainment company. With a wealth of experience in film exhibition, production, distribution, marketing, and cinema operations management gained from several markets, including the United Kingdom and Nigeria, Moses Babatope’s new venture will focus solely on film production, distribution, and cinema. Moses Babatope reportedly left the company early this year. Before his exit, he contributed significantly to the growth and success of Filmhouse, which was founded in 2012 by Kenechukwu Mkparu, Moses Babatope, and Kene Okwuosa as co-founders. The company, which began with a three-screen cinema in the Surulere neighborhood of Lagos, has become West Africa’s largest cinema chain. With 13 cinemas located in six states across Nigeria and a roll-out plan factoring in all cities in Nigeria and beyond, the company has a 75% market share (2022) and is also the largest supplier of African content to the streaming platform Netflix. As Managing Director of FilmOne, he was the mastermind behind the global distribution of blockbuster films. Under his tenure, major international distribution deals were secured, including partnerships with Hollywood giants like Disney, Warner Brothers, Sony, Netflix, Prime Video, and Warner Brothers. Under his leadership as the co-founder of FilmHouse Group and the pioneering Managing Director of [FilmOne](https://nollycritic.com/mimi-bartels-joins-anakle-films-as-creative-head-and-co-founder/ "FilmOne") Entertainment, the company produced over 40 of Nollywood’s biggest titles, contributing significantly to the industry’s growth and international recognition. The company also launched its film production house, FilmOne Studios, and began producing original content independently with Adeoluwa Owu’s ‘Adire’ (2023). FilmOne Studio’s 2024 slate includes ‘[Farmer’s Bride](https://nollycritic.com/see-exclusive-bts-images-of-tobi-bakre-in-farmers-bride/ "Farmer’s Bride"),’ ‘Aburo’ and ‘Alagbede.’ He also spearheaded the first-ever corporate financing of films through the creation of the West African Film Fund, partnering with Huahua Media of China and Empire Entertainment of South Africa to fully finance or co-finance 15 titles. In 2020, he led FilmOne’s efforts in creating and developing premium episodic TV content originating from Nigeria. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/moses-babatope-bows-out-of-filmhouse-group-after-12-years/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/moses-babatope-bows-out-of-filmhouse-group-after-12-years/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/moses-babatope-bows-out-of-filmhouse-group-after-12-years/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/moses-babatope-bows-out-of-filmhouse-group-after-12-years/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/moses-babatope-bows-out-of-filmhouse-group-after-12-years/?share=linkedin) - **Categories:** Nollywood, Nollywood News **Tags:** filmhouse, filming studios, Moses babatope, nollycritic, nollywood --- ### [Water and Garri: See Tiwa Savage in The Official Trailer](https://nollycritic.com/water-and-garri-see-tiwa-savage-in-the-official-trailer/) **Published:** April 23, 2024 **Author:** Michael Arowoselu **Excerpt:** Prime Video has released the official trailer for Water and Garri. The film is set to arrive on Prime Video on may 20, 2024. **Content:** Prime Video has released the official trailer for[ *Water and Garri*.](https://nollycritic.com/tiwa-savages-water-and-garri-set-to-premiere-on-prime-video-this-year/ " Water and Garri.") The film follows Aisha (Tiwa Savage), an ambitious fashion designer who returns home after a decade of working in the elite fashion industry in the US. Aisha finds herself returning to a home drastically changed by time and chance. As she reconnects with family, old friends, and her past love, she must learn to live with her scars and confront the guilt she left behind. *Water and Garri* is directed by Meji Alabi, produced by Jimi Adesanya, co-produced by Everything Savage, Unbound Studios, and JM Films and written by Comfort Emmanuel, with music by Tiwa Savage. Alongside [Tiwa Savage](https://en.wikipedia.org/wiki/Tiwa_Savage "Tiwa Savage"), the drama also stars Mike Afolarin (“Far From Home”), Andrew Bunting (“Dynamite”), and Jemima Osunde (“New Money”). *Water and Garri* arrives on Prime Video May 10. See the trailer here! ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/water-and-garri-see-tiwa-savage-in-the-official-trailer/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/water-and-garri-see-tiwa-savage-in-the-official-trailer/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/water-and-garri-see-tiwa-savage-in-the-official-trailer/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/water-and-garri-see-tiwa-savage-in-the-official-trailer/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/water-and-garri-see-tiwa-savage-in-the-official-trailer/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Jemima Osunde, nollycritic, nollywood, Prime Video, Tina Savage --- ### [Postcards: New Nollywood/Bollywood Series Heads to Netflix](https://nollycritic.com/postcards-new-nollywood-bollywood-series-heads-to-netflix/) **Published:** April 14, 2024 **Author:** Michael Arowoselu **Content:** The Producers of 2021 Netflix original, *Namaste Wahala* have announced the release date for a new series, *Postcards*. The Nigerian/India crossover directed by Hamisha Daryani Ahuja. The feel-good drama is about the a Nigerian single mother who travels to India for a medical checkup, her journey will end up touching the lives of everyone she meets. The upcoming series will star Sola Sobowale, Richard Mofe-Damijo, Rajniesh Duggall, Rahama Sadau, Nancy Isime and Tobi Bakre. The show heads to Netflix on May 3, 2024. Watch the trailer below ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/postcards-new-nollywood-bollywood-series-heads-to-netflix/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/postcards-new-nollywood-bollywood-series-heads-to-netflix/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/postcards-new-nollywood-bollywood-series-heads-to-netflix/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/postcards-new-nollywood-bollywood-series-heads-to-netflix/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/postcards-new-nollywood-bollywood-series-heads-to-netflix/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Hamisha Daryani Ahuja, Nancy Isime, Netflix, nollycritic, Postcards, Rahama Sadau, Rajniesh Duggall, Richard Mofe-Damijo, Sola Sobowale, Tobi Bakre --- ### [See Why Gabriel Afolayan is Nollywood's Most Talented Actor](https://nollycritic.com/see-why-gabriel-afolayan-is-nollywoods-most-talented-actor/) **Published:** April 12, 2024 **Author:** Michael Arowoselu **Excerpt:** Gabriel Afolayan has always captivated audiences with his talent and emotive depth, firmly establishing himself as one ofnollywood's best actors. **Content:** Gabriel Afolayan has always captivated audiences with his remarkable versatility and emotive depth, firmly establishing himself as one of the country’s best actors. [Gabriel Afolayan](https://en.wikipedia.org/wiki/Gabriel_Afolayan "Gabriel Afolayan"), a man of many talents at the age of 39, is a true thespian. He pursued Theatre Arts at the University of Ibadan and is a member of a filmmaking dynasty that includes Ade Love, Moji Afolayan, Kunle Afolayan, and Aremu Afolayan. While being part of a successful family may open doors, Gabriel’s success is not merely due to nepotism; his talents are genuinely versatile and exceptional. His acting career began with his debut in Baba Sala’s “F Opawon,” but he rose to prominence with his role as “Akin” in the Super Story Series, “NNENNA.” Since then, he has portrayed a multitude of roles impeccably, spanning from “Madam Dearest” to “Hood Rush,” “Gone”, “Coming From Insanity,” “For Maria: Ebun Pataki” and “Citation.” Gabriel has been a part of numerous successful movies and series, boasting a filmography that any actor would envy. One of his most critically acclaimed roles is playing Kossi in “Coming from Insanity” Many people praised the movie as one of the best Nigerian movies. “Coming from Insanity” follows the journey of Kossi (portrayed by Gabriel Afolayan), a young man from Togo who is illegally trafficked and forced into servitude by a wealthy family in Lagos. Afolayan convincingly embodies the character of Kossi throughout the film, maintaining consistency in his portrayal of a Togolese man. Afolayan’s performance captivates from the opening scene. His charisma and charm are palpable. Afolayan breathes life into the film by portraying Kossi’s determination to escape poverty using his intellect and skills, delivering results that exceed his expectations. Gabriel’s acting appears effortless, and his range of roles is diverse. Recently, he has joined the ensemble cast of the hit show “Flawsome” and played a role in “[Anikulapo: Rise of the Spectre](https://nollycritic.com/anikulapo-rise-of-the-spectre-what-to-expect/ "Anikulapo: Rise of the Spectre").” His talent has not gone unnoticed in the industry, as he has garnered nominations and awards. Notably, he won the “Best Supporting Actor” award for his role in “Tavier Jambari” in Hoodrush (2012), and although he has been nominated for four AMVCAs, he has yet to secure a win. Known for soulful love ballads like “Awelewa” and “Kokoro Ife,” Gabriel Afolayan is also a recording and performing artist who has carved a space in the music industry. His musical journey started in 1997 when he was part of a group in Ibadan. This highlights his lifelong passion for music, alongside his acting career. In conclusion, Gabriel Afolayan stands as a shining example of the versatility and excellence within Nigerian acting. His ability to inhabit diverse characters across various genres highlights his immense talent and dedication to his craft. As Nollywood continues to evolve and expand its reach, Afolayan remains a beacon of inspiration for aspiring actors and a testament to the boundless potential of African cinema. What is your favourite Gabriel Afolayan film? ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-why-gabriel-afolayan-is-nollywoods-most-talented-actor/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-why-gabriel-afolayan-is-nollywoods-most-talented-actor/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-why-gabriel-afolayan-is-nollywoods-most-talented-actor/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-why-gabriel-afolayan-is-nollywoods-most-talented-actor/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-why-gabriel-afolayan-is-nollywoods-most-talented-actor/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Citation, Coming from insanity, For Maria: Ebun Pataki, Gabriel Afolayan, nollycritic, nollywood --- ### [Yoruba Epic Movies in Nollywood Cinema: A New Dawn](https://nollycritic.com/the-evolution-of-yoruba-epic-movies/) **Published:** April 4, 2024 **Author:** admin **Excerpt:** Yoruba epic movies, often underestimated in their historical significance, have undergone a remarkable revival in recent years, solidifying their status as a prominent cinematic genre. **Content:** Yoruba epic movies, often underestimated in their historical significance, have undergone a remarkable revival in recent years, solidifying their status as a prominent cinematic genre. While filmmakers like Tunde Kelani and Kunle Afolayan have long been champions of Yoruba storytelling, post-pandemic Nigerian cinema has witnessed a notable resurgence in the popularity of Yoruba epic, marked by a plethora of successful films across streaming platforms and cinemas. Films such as *Ayinla, King of Thieves*, *[Anikulapo](https://nollycritic.com/anikulapo-rise-of-the-spectre-what-to-expect/ "Anikulapo")*, *Jagun Jagun*, *Beasts of Two Worlds*, and *Orisa* stand as a testament to the genre’s newfound prominence. *Ayinla*, released in 2021, delves into the life of Ayinla Yusuf, known as Ayinla Omowura, through a captivating musical lens. Directed by Tunde Kelani, this film not only boasts an impressive ensemble cast but also achieved significant commercial success, earning a whopping sum of N91.30 million naira in the 14th week of its release. Similarly, *King of Thieves* (Agesinkole), *Orisa*, and *Jagun Jagun* captivate audiences with their riveting narratives of vengeance and power struggles, featuring renowned actors from the Yoruba film industry. These films not only entertained but also resonated with audiences, garnering millions of views on streaming platforms within days of release. Within 48 hours of its release, *Jagun Jagun* was trending in the United Kingdom and seventeen other countries. It got 2,100,000 views in its first three days and 3,700,000 views by August 20, 2023, making it one of the top ten most-watched non-English films internationally at the time. The release of *Anikulapo* in 2023 marked a watershed moment for Yoruba epic cinema, as it garnered critical acclaim and global recognition. Directed by Kunle Afolayan, this epic fantasy transported audiences to the village of Oyo, weaving a tale of adventure, romance, and political intrigue. It won five [AMVCAs](https://www.dstv.com/africamagic/en-ng/show/amvca "AMVCAs") in 2023, including Best Indigenous Film, and is currently streaming on Netflix. The movie got 8,730,000 global views, making it the most-watched non-English movie ever. Its sequel, “The Rise of the Spectre,” further expanded the narrative universe, captivating audiences with its mystical storyline and breathtaking visuals. The latest Yoruba epic movie, *Beasts of Two Worlds* released on March 29, 2024, directed by Niyi Akinmolayan and produced by Eniola Ajao is the fourth-highest weekend debut of a Nollywood film in the cinema. Despite their newfound success, Yoruba epic movies continue to evolve, embracing advancements in sound, cinematography, and storytelling techniques. While commendable progress has been made in these areas, there remains room for improvement, particularly in the realm of visual effects, where a balance between realism and artistic expression is yet to be fully achieved. Nevertheless, the enduring popularity of Yoruba epic movies can be attributed to their ability to resonate with audiences on a deeply emotional and cultural level. With compelling characters, gripping storylines, and a touch of the supernatural, these films offer viewers a captivating journey into the heart of Yoruba tradition and folklore. As the genre continues to flourish, propelled by a new wave of talent and innovation, Yoruba epic movies stand as a testament to the enduring power of storytelling, enriching Nigerian cinema and captivating audiences both locally and globally. With new films like [*House of Gaa* ](https://nollycritic.com/house-of-gaa-funke-akindele-and-toyin-abraham-to-star-in-yoruba-epic/ "House of Gaa ")and many others in the works, it is increasingly clear that this genre is here to stay. ## Author - ![admin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/535a20b173d6fdd1f61720c335dd2bb9.jpg?resize=80%2C80&ssl=1) [admin](https://nollycritic.com/author/nollycritic-com/ "admin") [ ](mailto:gbengamichael2014@gmail.com)[ ](http://nollycritic.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-evolution-of-yoruba-epic-movies/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-evolution-of-yoruba-epic-movies/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-evolution-of-yoruba-epic-movies/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-evolution-of-yoruba-epic-movies/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-evolution-of-yoruba-epic-movies/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** Anikulapo, Beasts of Two Worlds, king of thieves, Kunle Afolayan, kunle remi, Orisa, Tunde Kelani, Yoruba Epic --- ### ["Out of Breath": See The Teaser For Obi Melonye's New Igbo Epic](https://nollycritic.com/out-of-breath-see-the-teaser-for-obi-melonyes-new-igbo-epic/) **Published:** April 3, 2024 **Author:** Michael Arowoselu **Excerpt:** While we are basking in the cinematic masterpiece that is Afamefuna, Out of Breath, is the new Igbo Epic set to be released by Obi Emelonye **Content:** While we are still basking in the cinematic masterpiece that is *[Afamefuna](https://nollycritic.com/afamefuna-shines-a-spotlight-on-the-igbo-apprenticeship-culture/ "Afamefuna")*, *Out of Breath**,*** is a new Igbo Epic set to be released by Obi Emelonye.[ Obi Emelonye](https://en.wikipedia.org/wiki/Obi_Emelonye " Obi Emelonye"), is an award-winning Nigerian film director, he is known for critically acclaimed films such as *Last Flight to Abuja (2012),* *The Mirror Boy (2011),* and *Onye Ozi (2013).* *Out of Breath* delves into the depths of an ancient Igbo village where a sinister tradition threatens the very essence of its people. The story follows the plight of “Nna Obioha,” a village elder who dares to defy the cruel tradition that demands the sacrifice of a servant upon an elder’s death. Inspired by true events, the narrative challenges the entrenched beliefs of the community, exploring the resilience of the human spirit against centuries-old customs. The film features an array of stars, led by Kanayo O. Kanayo, Chidi Mokeme, Jide Kene Achufusi, Ebele Okaro, Queen Nwokoye, Obi Okoli, Chineye Ndebe, and Echelon Mbadiwe. Driven by a desire to bring forth a compelling narrative deeply rooted in Igbo tradition, scriptwriter Ngozi Ideh envisioned *Out of Breath* as a groundbreaking epic tale that transcends the boundaries of conventional Nollywood storytelling. Director Obi Emelonye elevates Ideh’s vision by crafting an all-Igbo language film, seamlessly intertwining culture and heritage to depict a riveting true story set in 1940s rural Nigeria. See the teaser below! More details to be updated shortly. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/out-of-breath-see-the-teaser-for-obi-melonyes-new-igbo-epic/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/out-of-breath-see-the-teaser-for-obi-melonyes-new-igbo-epic/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/out-of-breath-see-the-teaser-for-obi-melonyes-new-igbo-epic/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/out-of-breath-see-the-teaser-for-obi-melonyes-new-igbo-epic/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/out-of-breath-see-the-teaser-for-obi-melonyes-new-igbo-epic/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** by Kanayo O. Kanayo, Chidi Mokeme, Chineye Ndebe, Ebele Okaro, Jide Kene Achufusi, nollycritic, nollywood, Obi Melonye, Obi Okoli, Out of Breath, Queen Nwokoye --- ### [Wale Ojo to Play Wole Soyinka in The Man Died](https://nollycritic.com/wale-ojo-to-play-wole-soyinka-in-the-man-died/) **Published:** April 1, 2024 **Author:** admin **Excerpt:** The Man Died, produced by Zik Zulu Films, is set for release in July of this year, coinciding with Soyinka's 90th birthday. **Content:** Acclaimed Noble Laureate Wole Soyinka’s memoir, ‘The Man Died,’ is getting a big-screen adaptation. The film, produced by Zik Zulu Films, is set for release in July of this year, coinciding with Soyinka’s 90th birthday. It is based on Soyinka’s experiences during his 22-month imprisonment in the Nigerian Civil War, the film delves into the complexities of his confinement. A recently released trailer, produced by playwright Professor Awam Amkpa clocking in at two and a half minutes, offers a glimpse into the film’s captivating visuals and the director’s unique approach. > [View this post on Instagram](https://www.instagram.com/reel/C5IZ7qIuQG0/?utm_source=ig_embed&utm_campaign=loading)[A post shared by wale ojo (@realwaleojo)](https://www.instagram.com/reel/C5IZ7qIuQG0/?utm_source=ig_embed&utm_campaign=loading) The trailer showcases a talented cast, including British-Nigerian actor [Wale Ojo](https://nollycritic.com/see-the-nominees-for-the-10th-edition-of-the-amvca/ "Wale Ojo"), who takes on the lead role of Soyinka. Ojo himself considers portraying the Nobel Laureate a highlight of his career. The cast boasts prominent names like Sam Dede and Nobert Young. “The Man Died” is not your typical story. Soyinka’s memoir is a personal reflection on his experience in confinement. The film adaptation promises to translate this introspective journey onto the big screen. Filmed primarily in the historic city of Ibadan, Nigeria, the movie represents a collaborative effort with Soyinka himself, who reportedly approved Amkpa’s vision for the film. ## Author - ![admin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/535a20b173d6fdd1f61720c335dd2bb9.jpg?resize=80%2C80&ssl=1) [admin](https://nollycritic.com/author/nollycritic-com/ "admin") [ ](mailto:gbengamichael2014@gmail.com)[ ](http://nollycritic.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/wale-ojo-to-play-wole-soyinka-in-the-man-died/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/wale-ojo-to-play-wole-soyinka-in-the-man-died/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/wale-ojo-to-play-wole-soyinka-in-the-man-died/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/wale-ojo-to-play-wole-soyinka-in-the-man-died/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/wale-ojo-to-play-wole-soyinka-in-the-man-died/?share=linkedin) - **Categories:** Blog, Movies, Nollywood, Nollywood News **Tags:** the man died, Wale Ojo, Wole Soyinka, zuri24media --- ### [8 Reasons Why "Finding Messiah" Teaser is Impressive](https://nollycritic.com/see-the-8-reasons-why-finding-messiah-is-impressive/) **Published:** March 30, 2024 **Author:** Michael Arowoselu **Excerpt:** The teaser for Oscar Heman-Ackah's Finding Messiah dropped a few days ago and it got everyone talking. Here are 8 reasons why **Content:** The teaser for Oscar Heman-Ackah’s *Finding Messiah* dropped a few days ago and it got everyone talking. The “unprecedented 5-minute-long” teaser was able to present how massive the film is, detailing the characters, the production design, costumes, music, location, and many more. While the general public is in complete awe of its beauty and music, critics like myself marveled at the audacity of this first-time director. It’s safe to say that Nollywood has finally kicked off in 2024. Ghanaian-Nigerian music executive and creative entrepreneur,[ Oscar Heman-Ackah](https://www.instagram.com/oscarhemanackah/ " Oscar Heman-Ackah"), makes his feature film directorial debut with this political music drama. From what we have gathered, *Finding Messiah* revolves around the fictional nation of Zambay, an ancient civilization with its language and sensibilities fighting oppression. The film features veteran acts like Pete Edochie, Ngozi Ezeonu, Taiwo Ajayi-Lycett, Alex Usifo, and Ejike Asiegbu. Ther film also stars veteran Nigerian galala singer, Daddy Showkey, Kelechi Udegbe, Sunshine Rosman, Bucci Franklin and Uzi Kwednu. Here are 8 reasons why we think *Finding Messiah* would be a blockbuster: **Costume** A lot of effort was put into the costume design of the film, the costumes seen in the teaser are as unique as the story and its characters. **Talent** From Bucci Franklin and Kelechi Udegbe to veteran acts like Pete Edochie, Ngozi Ezeonu, Taiwo Ajayi-Lycett, the film is well-stacked in the talent department. **Location** The locations shown in the teaser are breathtaking, The entire world of the film looks well-planned and well-sought out. The locations also complement the costume and production design of the film, giving a beautiful and aesthetically pleasing look. **Production quality** Based on the teaser, the overall production quality of the film is well-praised due to its cinematic look and feel. **Music and sound** Finding Messiah boasts of beautiful music and sound. Perhaps, this is the stand-out feature of the teaser. Fans are already asking for the songs in the film to be posted on Spotify, Apple Music and other streaming platforms.. **Concept** The Genre and idea for the film is somewhat novel. In an Industry that thrives on comedy, romance, and more recently crime drama, a political musical is quite ambitious. **Story** Even though not much has been said about the story, its themes of oppression and freedom fighting resonate amongst the fans of the film. **The language** According to Kemi Adetiba, the language of the film is called Ngazala was created by the writer-director and it contains over 4,000 words. For a [Nollywood](https://nollycritic.com/the-most-anticipated-nollywood-movies-of-2024/ "nollywood") film, this is also novel and highly Impressive. Oscar Heman-Ackah can be assured that we are well teased and that *Finding Messiah* is well anticipated. Till then, “na inside fire dem put us”! If you are yet to see the teaser. It’s right here! ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-8-reasons-why-finding-messiah-is-impressive/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-8-reasons-why-finding-messiah-is-impressive/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-8-reasons-why-finding-messiah-is-impressive/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-8-reasons-why-finding-messiah-is-impressive/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-8-reasons-why-finding-messiah-is-impressive/?share=linkedin) - **Categories:** Articles, Movies, Nollywood **Tags:** Finding Messiah, Ngozi Ezeonu, Oscar Heman-Ackah, Pete Edochie, Taiwo Ajayi-Lycett --- ### [Casa De Novia: Packed Full Of Laughs and Mystery](https://nollycritic.com/casa-de-novia-packed-full-of-laughs-and-mystery/) **Published:** March 31, 2024 **Author:** Uju Okosieme **Excerpt:** From the moment we saw the 'Casa De Novia' poster, our interest was piqued. With the release of its trailer **Content:** From the moment we saw the ‘Casa De Novia’ poster, our interest was piqued. With the release of its trailer, we were even more interested to see the film. Now, that we’ve seen it, let’s delve into our thoughts on this. The movie is currently streaming on Prime Video. ## *Casa De Novia* Directed by: Uyoyou Adia Written by: Saninye Alasia and Niyi Akinmolayan Genre: Comedy and Mystery Released on: March 29, 2024 (Prime Video) Language: English ##### Plot ‘Casa De Novia’ follows the tale of Yo-yo, who stumbles upon a seemingly perfect mansion to alleviate her traffic woes, only to discover its haunting secret—the ghostly presence of Efosa, a figure tied to the Igbinovia empire. As their unconventional bond deepens, a labyrinth of mystery, love, rivalry, and deceit ensues, promising an enthralling journey through the unknown. ##### Acting Anee Icha’s portrayal of Yo-yo captivates with a refreshing departure from her previous roles, injecting depth and authenticity into her character. Tope Tedela’s versatility shines through his portrayal of Ancel, showcasing his remarkable acting prowess once again. Lilian Esoro’s portrayal of Ezinne was commendable, while Eso Okolocha’s portrayal of Femi falls short, failing to break out of his typical type cast. Taye Arimoro’s dual portrayal of Efosa and Esosa is slightly commendable, with distinct nuances distinguishing each character. ##### Story While the premise of renting a mansion without question at such a price may strain credulity, ‘Casa De Novia’s’ narrative ventures beyond conventional boundaries, offering a refreshing departure from the norm. The story is well-paced, filled with timely revelations and twists that defy predictability, keeping viewers guessing till the final frame. But there is no story, just an attempt to subvert the haunted-house horror genre trope. ##### Technical Aspects Visually, ‘[Casa De Novia](https://nollycritic.com/casa-de-novia-see-the-official-trailer-for-new-horror-comedy/ "Casa De Novia")‘ excels with its commendable camera quality and meticulously crafted mansion set, exuding an aura of grandeur and mystery. However, inconsistencies in lighting detract from the overall atmosphere, occasionally veering into dissonance with the haunting theme. While the CGI may lack polish, it marks a commendable effort for Nollywood, hinting at prospects for improvement. Yet, its terrible green screen for the diner date and art gallery scenes complicated by issues with sound mixing detract from the experience, muddling dialogue clarity in pivotal moments. ##### Final Thoughts ‘Casa De Novia’ strikes a delicate balance between suspense and humour, eliciting laughter amidst moments of tension, albeit with occasional exaggeration. The narrative’s attention to detail is commendable, with creative choices rooted in purposeful storytelling, offering a layered and immersive viewing experience. However, the story and character arcs fall short, the film feels more like a concept than a story. ##### Verdict With its engaging storyline and expected unexpected twists, ‘Casa De Novia’ is a captivating film that defies convention. While it may falter in certain technical aspects, Anee Icha’s compelling performance ensures an enjoyable ride from start to finish. ‘Casa De Novia’ earns a 2.5/5 rating from us. We’d love to see your thoughts in the comment section if you’ve seen it. **Rating**: 2.5/5 ⭐⭐⭐ Rating: 2.5 out of 5. ## Author - ![Uju Okosieme](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/vvvkk.jpg?resize=80%2C80&ssl=1) [Uju Okosieme](https://nollycritic.com/author/uju/ "Uju Okosieme") [ ](mailto:oliviaokosieme@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/casa-de-novia-packed-full-of-laughs-and-mystery/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/casa-de-novia-packed-full-of-laughs-and-mystery/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/casa-de-novia-packed-full-of-laughs-and-mystery/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/casa-de-novia-packed-full-of-laughs-and-mystery/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/casa-de-novia-packed-full-of-laughs-and-mystery/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood, Reviews **Tags:** Anee Icha, Anthill Studios, casa de novia, Prime Video, Taye Arimoro, Uyoyou Adia --- ### [Red Circle: Bukky Wright Returns to Nollywood in New Thriller](https://nollycritic.com/red-circle-bukky-wright-returns-to-nollywood-in-new-thriller/) **Published:** March 30, 2024 **Author:** Michael Arowoselu **Excerpt:** Nigerian film industry, legendary actress Bukky Wright has officially joined the cast of Rixel Studio’s upcoming blockbuster, ‘Red Circle.’ **Content:** Nollywood legendary actress Bukky Wright has officially joined the cast of Rixel Studio’s upcoming blockbuster, ‘Red Circle.’ ans are ecstatic and dazzled at her return after a long hiatus. Nora Awolowo’s Rizel Studios is at the helm of affairs of this production. ‘Red Circle’ is Directed by AMVCA nominee Akay Mason, the film ticks all the boxes of a nollywood blockbuster. It is an action thriller for audiences to look forward to. Alongside BukkyWright, audiences can expect top performances from the likes of Femi Branch, Folu Storms, Tobi Bakre, Rugged Man, and Lateef Adedimeji, among others. Mike Afolarin and Nollywood’s most sought-after actor, Timini Egbuson, [fresh off their ](https://www.nollywire.com/ajosepo-mike-afolarin-tomike-adeoye-kayode-kasum/)appearances in Kayode Kasum’s ‘[Ajosepo](https://nollycritic.com/ajosepo-highly-anticipated-comedy-set-to-premiere-this-april/ "Ajosepo"),’ are also set to star in the thriller. The film is penned by Abdul Tijani-Ahmed, (‘Brotherhood’) with Nora Awolowo at the helm of production. Bukky Wright’s return is well anticipated. Her illustrious career spanning decades has solidified her status as a true icon of Nigerian cinema, and her presence in ‘Red Circle’ is sure to reignite the flames of nostalgia for viewers. Watch the Teaser below. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/red-circle-bukky-wright-returns-to-nollywood-in-new-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/red-circle-bukky-wright-returns-to-nollywood-in-new-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/red-circle-bukky-wright-returns-to-nollywood-in-new-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/red-circle-bukky-wright-returns-to-nollywood-in-new-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/red-circle-bukky-wright-returns-to-nollywood-in-new-thriller/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** and Lateef Adedimeji, bukky wright, Femi Branch, Folu Storms, Mike Afolarin, nollycritic, nollywood, Nora awolowo, Red circle, Rugged Man, Tobi Bakre --- ### [All is Fair in Love is the Highest-Grossing Nigerian Movie of Q1 2024](https://nollycritic.com/all-is-fair-in-love-is-the-highest-grossing-nigerian-movie-of-q1-2024/) **Published:** March 5, 2024 **Author:** admin **Excerpt:** "All is Fair in Love" has emerged as the highest-grossing movie of the first quarter of 2024 and the year so far **Content:** “All is Fair in Love” was the top movie of February and the year so far. “[All is Fair in Love](https://nollycritic.com/all-is-fair-in-love-is-star-studded-but-unmemorable/ "All is Fair in Love")” has emerged as the highest-grossing movie of the first quarter of 2024 and the year so far. This movie also marks the directorial debut of actor Deyemi Okanlawon. The star-studded movie had a renowned cast, including Deyemi Okanlawon, Timini Egbuson, Buhle Samuels, Juliet Ibrahim, and veterans like Ireti Doyle. The film follows Deji (Deyemi) and Kola (Timini), two friends and business partners who find themselves entangled in a love triangle with the same woman, Mbali (Buhle Samuels). However, a shocking twist reveals her true intentions, as she is a con artist scheming to swindle them of their business. Since its release, “All Fair in Love” has garnered significant financial success, surpassing other competing titles like “[Meeting Funmi’s Parents](https://nollycritic.com/timini-egbuson-fights-for-love-in-meeting-funmis-parents/ "Meeting Funmi's Parents")” and “Silent Intruder.” Additionally, the film boasts an impressive ₦100million at the box office, solidifying its position as the top-grossing movie of the year so far. According to the Cinema Exhibitors Association, it secured the number two spot since its release. The second highest-grossing Nollywood movie for the first quarter is Pere Egbi’s “The Silent Intruder” grossing ₦50.5 million. The third is “Meeting Funmi‘s Parents” It raked in a good ₦31.5 million in 28 days since its release in February. This success cements “All is Fair in Love” as a crowd-pleaser and Deyemi as a major player in the Nigerian film industry. ## Author - ![admin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/535a20b173d6fdd1f61720c335dd2bb9.jpg?resize=80%2C80&ssl=1) [admin](https://nollycritic.com/author/nollycritic-com/ "admin") [ ](mailto:gbengamichael2014@gmail.com)[ ](http://nollycritic.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/all-is-fair-in-love-is-the-highest-grossing-nigerian-movie-of-q1-2024/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/all-is-fair-in-love-is-the-highest-grossing-nigerian-movie-of-q1-2024/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/all-is-fair-in-love-is-the-highest-grossing-nigerian-movie-of-q1-2024/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/all-is-fair-in-love-is-the-highest-grossing-nigerian-movie-of-q1-2024/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/all-is-fair-in-love-is-the-highest-grossing-nigerian-movie-of-q1-2024/?share=linkedin) - **Categories:** Articles, Movies, Nollywood, Nollywood News **Tags:** All is fair in love, Box Office, Deyemi Okanlawon, nollywood, Timini Egbuson --- ### [Casa De Novia: See The Official Trailer Of The New Horror-Comedy](https://nollycritic.com/casa-de-novia-see-the-official-trailer-for-new-horror-comedy/) **Published:** March 27, 2024 **Author:** Michael Arowoselu **Excerpt:** "Casa De Novia" centres around a journalist forced to change houses to secure her job. She finds a home that fits her standards too much. **Content:** Uyoyou Adia and leading Nollywood production company Anthill Studios are gearing up for the release of “Casa De Novia”. “Casa De Novia” follows who desperately rents a mansion for a cheap price only to find out that the house is haunted by its late owner. It stars Nosa Rex Okunruzwa, Anee Icha, Efe Irele, Tope Tedela, Taye Arimoro, and more. The [film](https://nollycritic.com/the-best-10-nollywood-films-of-2023/ "film") is written by Saninye Alasia and Niyi Akinmolayan. It is set to premiere via Prime Video on March 29, 2024. Here is the official trailer! ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/casa-de-novia-see-the-official-trailer-for-new-horror-comedy/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/casa-de-novia-see-the-official-trailer-for-new-horror-comedy/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/casa-de-novia-see-the-official-trailer-for-new-horror-comedy/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/casa-de-novia-see-the-official-trailer-for-new-horror-comedy/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/casa-de-novia-see-the-official-trailer-for-new-horror-comedy/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Anee Icha, anthill, casa de novia, Efe Irele, Niyi Akinmolayan, Nosa Rex Okunruzwa, Prime Video, Taye Arimoro, Tope Tedela, Uyoyou Adia --- ### [See The Best 10 Nollywood Movies of 2023](https://nollycritic.com/the-best-10-nollywood-films-of-2023/) **Published:** January 8, 2024 **Author:** Michael Arowoselu **Excerpt:** Nollywood filmmakers have excelled in 2023, releasing audacious films that showcase culture and innovation, with 'Mami Wata' leading as Nigeria's Oscar pick. **Content:** This year, Nollywood filmmakers have been audacious with their craft, we have been blessed with many daring and game-changing movies and it will be quite tough to rank. For this list, we are looking at the most outstanding films released in cinemas and on streaming platforms, in the year 2023, focusing on the story, role interpretation, production, and critical acclaim. Are you ready? Let’s go! **Number 10: ‘Ijogbon**‘ We begin with chaos. Kunle Afolayan’s coming-of-age rural/urban adventure is about four teenagers who stumble upon a pile of uncut diamonds, chaos comes knocking when the owners come looking. While most of Kunle Afolayan’s movies are largely rooted within the Yoruba culture, his admiration for multiculturalism is always evident in his films. Dialogue in the film is rendered in English, and Yoruba, with a bit of Igbo, Mandarin, Igbira, French, and local Beninois language, all tailored to meet the linguistic needs of the characters and the eclectic taste of viewers. The film skillfully weaves a captivating contrast between its cast and the picturesque backdrop, resulting in a cinematic masterpiece. Ijogbon boasts of a familiar story and good production, but it is flawed by some role interpretation and its narrative imperfections. Ijogbon is far from Kunle Afolayan’s best work. Regardless, it is a good watch and that is why it sits comfortably in our number 10 position. **Number 9:** ‘**Jagun Jagun**‘ If Femi Adebayo sets the standard for Yoruba epic with King of Thieves, Jagun Jagun takes it to another level. Gbotija, a skilled woodsman who possesses spiritual command over all trees joins the ranks of the formidable warrior Ogundiji, but not without confronting a series of trials that demand his triumph. Amid these challenges, he finds himself entwined in a forbidden romance, compelling him to fight for love. Jagun Jagun is an excellent portrayal of Yoruba culture, and its ability to blend mythology, folklore, and fiction is magical. We might be expecting a sequel, why not? **Number 8: ‘Sista**‘ Biodun Stephen, at this point, should be the queen of the Nollywood drama genre, and Sista does not disappoint. A struggling single mother faces her worst nightmare when the father of her children returns accidentally into their lives and completely steals their attention all for himself whilst trying to make amends for past sins. Sista is a perfect example of a simple story told beautifully. And Kehinde Bankole is exemplary in her performance as the eponymous character. Sista is Biodun Stephen at her best. A good watch. **Number 7: ‘The House of Secrets**‘ Niyi Akinmolayan’s ambitious noir psychological thriller is next on our list. *The House of Secrets* follows the efforts to retrieve the past of Sarah played by veteran actor Najite Dede and how a secret she holds might prevent the country from electing a dangerous president. The film’s aesthetic appeal is spawned from its cinematography and production design, its effective use of suspense and role interpretation is part of what makes it one of our standout films of 2023. House of Secrets is a unique Nollywood story and genre, a successful exploration by Niyi Akinmolayan. **Number 6: ‘Blood Vessel**‘ Play Network may find it hard to reach the heights of its maiden film, Living in Bondage: Breaking Free but it is safe to say Blood Vessel is the closest so far. Brought together by chance, six people fleeing a town devastated by oil pollution stow away on a mysterious ship -not realizing the dangers that await. There are so many positives in this film but the efforts that went into production are the most outstanding this year. In terms of execution, it is Moses Inwang’s best film. The cultural and social influences on the story give it originality, its only flaw is perhaps, the plot. This thriller is a must-watch. **Number 5: ‘Gangs of Lagos**‘ One of the year’s biggest films, this film single-handedly made a statement for Prime Video in the Nigerian market space. Jade Osiberu owned 2023 and Gangs of Lagos is one of the reasons. This crime thriller follows a group of friends who must each navigate their destiny, growing up on the bustling streets and neighborhood of Isale Eko, Lagos. Gangs of Lagos draws its viewers into the gritty underworld of Lagos, with jaw-dropping performances from its lead characters this well-made film is not just one of 2023’s best movies but one of Nollywood’s finest. *Gangs of Lagos* makes a gritty and slightly compelling watch, not only for its striking and hard-hitting visuals but also for its social relevance. **Number 4: ‘The Trade**‘ Despite being one of the first Nollywood movies to be released in 2023, The Trade is a memorable watch- a wonderful way to begin the year. This action thriller is about a notoriously cunning kidnapper who has ravaged the southern part of Nigeria for over a decade. Eric undertakes a job that brings the law closer than ever before. All the characters delivered solid performances; we see Blossom Chukwujekwu at his finest. The Trade is the second reason why Jade Osiberu owned 2023, this crime drama will stand the test of time. The Trade must be the most underrated Nollywood film we have seen this year; the number 4 spot is befitting. **Number 3: ‘Breath of Life**‘ BB Sasore’s Breath of Life is yet another ambitious and unique story we saw this year. This genre-defying film about faith and purpose is a beautiful watch, From the script to the score, it is a touching heart-wrenching story. Breath of Life gracefully balances humor, love, and tragedy, delivered through spectacular performances that breathe life into the narrative. Genoveva Umeh is particularly brilliant in this film. Amazon Prime has done so many things right in Nollywood this year and Breath of Life is one of them. **Number 2: ‘The Black Book**‘ Perhaps the most successful Nollywood movie released this year. Since its release on Netflix on September 22nd, the movie has become one of the top five films in various countries, such as Nigeria, Brazil, the United States, South Korea, France, Argentina, and more. This is an intense if highly stylized Nollywood action-thriller about a bereaved deacon whose son is framed for a kidnapping, and his efforts to absolve him. Its unique storyline, captivating action scenes, innovative camera angles, and engaging dialogue are some of the many things that make it stand out. We are not entirely surprised by RMD’s performance as Edema, especially as he has shown a glimpse of his ability in Tosin Igho’s Seven. A beautiful directorial debut from Editi Effiong, we look forward to more projects from him. Before we move on to our number one spot, Here are some very good 2023 movies that didn’t make our list: ‘A Tribe Called Judah’ ‘Big Love’ ‘Afamamefuna’ ‘Madam Koi Koi: The Origin’ **Number 1:** [**‘Mami Wata**‘ ](https://nollycritic.com/cj-obasis-mami-wata-bags-naacp-nomination/ "'Mami Wata' ") Beautiful, bold, and charismatic are some of the few adjectives critics worldwide have used to describe CJ Obasi’s Mami Wata. A stylized and elaborate drama, the visual brilliance is impeccable. Mami Wata tells the story of two sisters fighting to save their people and restore the glory of a mermaid goddess to the land when outside elements threaten the peace in their village. CJ Obasi created a work of art, Mami Wata might not be the film an average Nigerian will pay to see but is a film every film lover would want to see, and a film Nollywood should be proud of. It is no wonder that it is Nigeria’s official Oscar selection. A great sign that Nollywood is headed in the right direction. How many of these movies have you seen? Did you feel we missed any other Nollywood films? Let us know in the comment section. Don’t forget to like and share! ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/the-best-10-nollywood-films-of-2023/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/the-best-10-nollywood-films-of-2023/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/the-best-10-nollywood-films-of-2023/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/the-best-10-nollywood-films-of-2023/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/the-best-10-nollywood-films-of-2023/?share=linkedin) - **Categories:** Articles, Nollywood **Tags:** A Tribe Called Judah, Best nollywood films 2023, Blood Vessel, Breath of Life, gangs of Lagos, Ijobon, Jagun Jagun, mami wata, nollycritic, nollywood, Sista, the black book, The house of secrets --- ### [AMVCA: See The Biggest Snubs From The 2024 Nominations](https://nollycritic.com/amvca-see-the-biggest-snubs-from-the-2024-nominations/) **Published:** March 25, 2024 **Author:** admin **Excerpt:** AMVCA snubs are a recurring theme. Every year, audiences point to movies and actors they believe deserve recognition but who get overlooked. **Content:** AMVCA snubs are a recurring theme. Every year, audiences point to movies and actors they believe deserve recognition but who get overlooked. See the full list of this year’s nominees [here](https://nollycritic.com/see-the-nominees-for-the-10th-edition-of-the-amvca/ "here"). Last year, Kunle Remi was not nominated for the [AMVCA](https://www.dstv.com/africamagic/en-ng/show/amvca "AMVCA") in the lead actor category for “Anukulapo,” but this year, some people and films should have been nominated but weren’t. Here are some glaring snubs for this year. “**Breath of Life**“**: Lead Actor Omitted** One question on my mind is: can there be “Breath of Life” without Chimezie Imo? His talent was evident, as he was mostly the life of the movie. He even narrated the story. While other main cast like Genoveva Umeh, Wale Ojo, and Demola Adedoyin received nominations, Imo, who many considered to be a lead alongside Ojo, was overlooked. They could have nominated two actors from the same movie, as no one was more deserving of a nomination than Chimezie Imo. “**Áfàméfùnà**“**: A Box Office Hit Snubbed by AMVCA** Despite being one of the biggest movies of last year, grossing over ₦60 million at the Nigerian box office, “[Áfàméfùnà](https://nollycritic.com/see-our-5-most-adorable-nollywood-couples/ "Áfàméfùnà")” was surprisingly absent from the Best Movie category. This snub is even more puzzling considering the film’s nominations in other major categories, including Best Supporting Actor for Alexx Ekubo, Best Lead Actor for Stan Nze, Best Writing for Anyanwu Sandra Adaora, and Best Director for Kayode Kasum. “**Áfàméfùnà**“**: A Critically Acclaimed Movie Deserved More** The exclusion of Áfàméfùnà from the Best Indigenous Language Film (West Africa) category went beyond a mere snub but was an actual affront to the cinematic excellence that went into imbibing aspects of Igbo culture into the movie. This critically acclaimed film arguably surpassed several of the nominated entries. “**Over the Bridge**“**: A Shower of Nominations, But Not for Ozzy Agu** The unreleased title from Tosin Otudeko, ‘Over The Bridge‘, got the highest nods with 12 categories including Best Director and Best Writing. ‘Over the Bridge ‘ may have received a whopping 12 AMVCA nominations, spanning nearly all acting categories except Best Lead Actor. It was the most nominated movie. How can a movie be so good if its lead actor does not deserve a nomination? **Best Actress – Ade Laoye (**“**The Black Book**“**)** **Best Actress – Uzoamaka Anuinoh (**“**Mami Wata**“**)** **Best Actress – Kehinde Bankole (**“**Sista**“**)** “**The Black Book**“ **– Best Cinematography** ## Author - ![admin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/535a20b173d6fdd1f61720c335dd2bb9.jpg?resize=80%2C80&ssl=1) [admin](https://nollycritic.com/author/nollycritic-com/ "admin") [ ](mailto:gbengamichael2014@gmail.com)[ ](http://nollycritic.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/amvca-see-the-biggest-snubs-from-the-2024-nominations/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/amvca-see-the-biggest-snubs-from-the-2024-nominations/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/amvca-see-the-biggest-snubs-from-the-2024-nominations/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/amvca-see-the-biggest-snubs-from-the-2024-nominations/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/amvca-see-the-biggest-snubs-from-the-2024-nominations/?share=linkedin) - **Categories:** Articles, Blog, Movies, Nollywood **Tags:** afamefuna, AMVCA, Breath of Life, Chimezie Imo, Genoveva Umeh, OVER THE BRIDGE, Wale Ojo --- ### ["Kill Boro": See The Official Trailer For Courage Obayuwana's Thriller](https://nollycritic.com/kill-boro-see-the-official-trailer-for-courage-obayuwanas-thriller/) **Published:** March 21, 2024 **Author:** Michael Arowoselu **Excerpt:** The trailer for the highly anticipated Nigerian thriller Kill Boro is now available. The film demonstrates the success of the First Features Project **Content:** The trailer for the highly anticipated Nigerian thriller *Kill Boro* is now available. *Kill Boro* tells the harrowing story of Elijah (Kosisochukwu Ogboruche), a young boy burdened by his father Boro’s (Philip Asaya) relentless brutality. Driven by desperation in the unforgiving streets of Azuama, Elijah seeks an unthinkable solution from a notorious gang leader (Gregory Ojefua). The Film is Directed by Courage Obayuwana and written by Priye Diri with additional writing by Kester Nirim, *Kill Boro* explores the complexities of family, survival, the consequences of choices, and the enduring possibility of redemption. The film boasts a stellar cast, including Ini-Dima Okojie, Greg Ojefua, Hilda Dokubo, Brutus Richard, and more. The film demonstrates the success of the [First Features Project](https://nollycritic.com/a-green-fever-a-thriller-that-almost-had-it-all/ "First Features Project"), an initiative led by renowned Nigerian filmmakers Steve Gukas and Dotun Olakunri. The project champions a new generation of talented filmmakers, providing them with essential mentorship, training, and funding to produce and promote their debut feature films. *Kill Boro* heads to Prime Video on March 30th. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/kill-boro-see-the-official-trailer-for-courage-obayuwanas-thriller/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/kill-boro-see-the-official-trailer-for-courage-obayuwanas-thriller/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/kill-boro-see-the-official-trailer-for-courage-obayuwanas-thriller/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/kill-boro-see-the-official-trailer-for-courage-obayuwanas-thriller/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/kill-boro-see-the-official-trailer-for-courage-obayuwanas-thriller/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Brutus Richard, First features project, Greg Ojefua, Hilda Dokubo, Ini-Dima Okojie, Kill Boro, nollycritic, nollywood, Prime Video --- ### ["One Too Many": An Emotional and Relatable Movie ](https://nollycritic.com/one-too-many-an-emotional-and-relatable-movie/) **Published:** March 23, 2024 **Author:** admin **Excerpt:** One Too Many is a 2022 movie directed by Kayode Kasum and starring Chimezie Imo, Dakore Egbuson, Tope Tedela, and many others. **Content:** ## *One Too Many* Directed by: Kayode Kasum Written by: Atinuke Akinde, Jennine Okafor, Lillia Oziokor Genre: Drama Released on: 23rd February, 2024 (Netflix) Language: English This movie delivers an emotional punch that highlights the evil in the Nigerian police. *One Too Many* is a 2022 movie directed by Kayode Kasum and starring Chimezie Imo, Dakore Egbuson, Tope Tedela, Omowunmi Dada, Jide Kosoko, and many others. It was just released on Netflix in February. It was also part of AFRIFF 2022 selection. **Plot** One Too Many follows a young man, Otas ([Chimezie Imo](https://nollycritic.com/see-our-5-most-adorable-nollywood-couples/)), who was arrested by the Nigerian police for killing his best friend on their way to NYSC camp. The whole movie centers around his murder trial and his mother, Dakore Egbuson (Adesuwa), seeking justice for her son. It also casts a shadow on his mother, who was brutally raped by policemen. Was the conflict solved too easily? Maybe, but that can easily be overlooked. **Themes** The movie should come with trigger warnings. It speaks about a central issue: police brutality in Nigeria. It paints the Nigerian police as a group of corrupt and morally bankrupt criminals who care nothing for justice and resort to violence without provocation. Any Nigerian who has had any dealings with their policemen will tell you that’s the case. You’ll feel so triggered watching the police scenes especially if you consider how Nigerian youth protested against police brutality just to be brutalized and killed during the End Sars movement. Also, Ota was born from rape, and Ota’s mother, Adesuwa talking about how she was raped and how her family reacted to their golden girl getting pregnant was especially triggering. **Production** The story shares a thematic structure with Netflix’s highest-grossing movie, “Black Book,” but fails to deliver excellent cinematography and top-notch video quality. It looked like a 2005 movie because of the low and dull motion pictures. A good portion of the movie was shot in the University of Ibadan, as an alumnus, it was nice to see. The set and costume design were okay. **Acting** Stellar performances from everyone. Chiemezie delivered his role masterfully, it was a passionate role, and we felt it. Adesuwa had me crying many times; her monologues were excellently delivered, and perhaps we have the writers of the movie to thank. Seeing the late Racheal Oniga acting as a judge was also nice. May her soul rest in peace. **Verdict** The writers were able to present the monologues believably. They captured the emotions perfectly. It was a beautifully well-written movie that sheds light on real societal issues and captures the audience as they solve the murder and unravel the truth together with Adesuwa. **Rating:** 3/5 ⭐⭐⭐ Rating: 3 out of 5. https://www.youtube.com/watch?v=vP0EAlesv9s ## Author - ![admin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/535a20b173d6fdd1f61720c335dd2bb9.jpg?resize=80%2C80&ssl=1) [admin](https://nollycritic.com/author/nollycritic-com/ "admin") [ ](mailto:gbengamichael2014@gmail.com)[ ](http://nollycritic.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/one-too-many-an-emotional-and-relatable-movie/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/one-too-many-an-emotional-and-relatable-movie/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/one-too-many-an-emotional-and-relatable-movie/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/one-too-many-an-emotional-and-relatable-movie/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/one-too-many-an-emotional-and-relatable-movie/?share=linkedin) - **Categories:** Articles, Popular reviews, Reviews **Tags:** 2023, Chiemezie Imo, Dakore Egbuson, Netflix, One too many --- ### [Idris Elba Will Direct ‘Dust To Dreams’ For Mo Abudu’s EbonyLife Studios](https://nollycritic.com/idris-elba-will-direct-dust-to-dreams-for-mo-abudus-ebonylife-studios/) **Published:** March 19, 2024 **Author:** admin **Excerpt:** Idris Elba will be directing a short film titled "Dust To Dreams". The film is a collaboration between Mo Abudu's EbonyLife Films and Afreximbank. **Content:** Idris Elba will be directing a short film titled “Dust To Dreams”. The film is a collaboration between Mo Abudu’s EbonyLife Films and the African Export Import Bank (Afreximbank) through its Creative Africa Nexus initiative (Canex). Set in Lagos, Nigeria, the story explores the relationship between a mother and her teenage daughter as the daughter meets her father for the first time. Elba will be directing actors including singer Seal and Nollywood stars Nse Ikpe-Etim, Eku Edewor, and Atlanta Bridget Johnson. Former Nigerian Idol contestant Constance Olatunde will also be part of the cast. Mo Abudu will serve in multiple roles as creator, executive producer, and producer. Heidi Uys is the supervising producer, while Temidayo Makanjuola, Inem King, and Vanessa Demme are also producers on the project ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/03/Screenshot-2024-03-19-at-17.48.30-1.png?resize=640%2C358&ssl=1) ## Author - ![admin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/535a20b173d6fdd1f61720c335dd2bb9.jpg?resize=80%2C80&ssl=1) [admin](https://nollycritic.com/author/nollycritic-com/ "admin") [ ](mailto:gbengamichael2014@gmail.com)[ ](http://nollycritic.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/idris-elba-will-direct-dust-to-dreams-for-mo-abudus-ebonylife-studios/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/idris-elba-will-direct-dust-to-dreams-for-mo-abudus-ebonylife-studios/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/idris-elba-will-direct-dust-to-dreams-for-mo-abudus-ebonylife-studios/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/idris-elba-will-direct-dust-to-dreams-for-mo-abudus-ebonylife-studios/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/idris-elba-will-direct-dust-to-dreams-for-mo-abudus-ebonylife-studios/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Atlanta Bridget Johnson, Dust To Dreams, Ebonylife, Eku Edewor, Idris Elba, Inem King, Mo Abudu, nollycritic, nollywood, Nse Ikpe-Etim, Temidayo Makanjuola --- ### [Stephanie Coker’s New Documentary "Where the Heck is My Period?" Tackles PCOS](https://nollycritic.com/stephanie-cokers-new-documentary-where-the-heck-is-my-period-tackles-pcos/) **Published:** March 19, 2024 **Author:** admin **Excerpt:** Award-winning host, actor, and broadcaster Stephanie Coker Aderinokun steps behind the camera for her producing debut with "Where the Heck is My Period?" **Content:** Award-winning host, actor, and broadcaster Stephanie Coker Aderinokun steps behind the camera for her producing debut with “Where the Heck is My Period?” This powerful documentary sheds light on Polycystic Ovary Syndrome (PCOS) through the experiences of diverse Nigerian women living with the condition. Directed by Michael Akinrogunde, the film goes beyond medical explanations. It delves into the everyday struggles women face with PCOS, featuring interviews with gynecologists, pastors, public figures, and even traditional healers. Inspired by her own experiences with PCOS, Aderinokun aims to dismantle the stigmas surrounding this under-discussed condition. “Where the Heck is My Period?” is now streaming on Amazon Prime, offering a platform for women to feel seen, heard, and empowered. ## Author - ![admin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/535a20b173d6fdd1f61720c335dd2bb9.jpg?resize=80%2C80&ssl=1) [admin](https://nollycritic.com/author/nollycritic-com/ "admin") [ ](mailto:gbengamichael2014@gmail.com)[ ](http://nollycritic.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/stephanie-cokers-new-documentary-where-the-heck-is-my-period-tackles-pcos/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/stephanie-cokers-new-documentary-where-the-heck-is-my-period-tackles-pcos/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/stephanie-cokers-new-documentary-where-the-heck-is-my-period-tackles-pcos/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/stephanie-cokers-new-documentary-where-the-heck-is-my-period-tackles-pcos/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/stephanie-cokers-new-documentary-where-the-heck-is-my-period-tackles-pcos/?share=linkedin) - **Categories:** Nollywood News **Tags:** nollywood, PCOS, Prime Video, Stephanie Coker, Where the heck is my period? --- ### [Midred Okwo Teases a Sequel to "The Meeting"](https://nollycritic.com/midred-okwo-teases-a-sequel-to-the-meeting/) **Published:** March 17, 2024 **Author:** Michael Arowoselu **Excerpt:** Mildred Okwo, recently shared a sneak peek of the script for the sequel of the 2012 movie, The Meeting, on her Instagram. **Content:** 12 Years After Big Screen Release, a sequel to Audrey Silva’s *The Meeting* is in the Works. Mildred Okwo, recently shared a sneak peek of the script for the sequel of the 2012 movie, *The Meeting,* on her Instagram. The post featured the front page of the script. *The Meeting,* released in 2012, is a Nigerian romantic comedy-drama produced by Rita Dominic and [Mildred Okwo,](https://nollycritic.com/an-overview-of-the-astronomical-rise-of-women-in-nollywood/ "Mildred Okwo,") who also directed the film. It features a talented ensemble cast, including Femi Jacobs, Rita Dominic, Linda Ejiofor, [Kehinde Bankole](https://nollycritic.com/owambe-new-film-starring-kehinde-bankole-begins-principal-photography/ "Kehinde Bankole"), and Jide Kosoko, with special appearances by Nse Ikpe Etim, Kate Henshaw, and Chinedu Ikedieze. The film follows Makinde as he navigates the complexities of political patronage while striving to secure a government contract. The first part is now available on [YouTube](https://www.youtube.com/watch?v=TmdDRToYvAY "YouTube"). The film garnered significant recognition, receiving six nominations at the 9th Africa Movie Academy Awards and winning the award for Achievement in Make-Up. The Audrey Silva Company, founded by industry veteran Producer and Director Mildred Okwo and Star Actress and Producer Rita Dominic, stands as a prominent Nigerian film company. In a brief period, TASC has garnered substantial media backing, significant visibility, and enthusiastic audience engagement through its innovative ventures. With a primary goal to create high-quality content rooted in African inspiration yet possessing universal allure, TASC aims to elevate the standards for enthusiasts of African cinema worldwide. Some of the notable movies produced by The Audrey Silva Company include *The Meeting, Surulere, and La Femme Anjola* all of which received critical acclaim and contributed to the company’s reputation for delivering compelling storytelling with a distinctive African perspective. Exploring political themes in Nigerian cinema provides valuable insights into societal dynamics and challenges. *The Meeting* adeptly delves into this realm, depicting the complexities of political patronage and the quest for government contracts. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/midred-okwo-teases-a-sequel-to-the-meeting/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/midred-okwo-teases-a-sequel-to-the-meeting/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/midred-okwo-teases-a-sequel-to-the-meeting/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/midred-okwo-teases-a-sequel-to-the-meeting/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/midred-okwo-teases-a-sequel-to-the-meeting/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Audrey silva, Femi Jacobs, Jide Kosoko, Kate Henshaw, Kehinde Bankole, Linda Ejiofor, Nse Ikpe Etim, rita dominic, the meeting --- ### [See Exclusive BTS Images of Tobi Bakre in "Farmer's Bride"](https://nollycritic.com/see-exclusive-bts-images-of-tobi-bakre-in-farmers-bride/) **Published:** March 16, 2024 **Author:** Michael Arowoselu **Excerpt:** FilmOne Studio’s awaited second original production, Farmer’s Bride, is currently in production. The film is Directed by Adebayo Tijani & Jack’enneth Opukeme. **Content:** FilmOne Studio’s second production, *Farmer’s Bride*, is currently in production. The film is Directed by Adebayo Tijani and Jack’enneth Opukeme. Tobi Bakre is set to grace the screens again following his successful transition into Nollywood, Tobi Bakre has established himself as a force to be reckoned with in action-packed blockbusters like *Brotherhood*, *Gangs of Lagos*, and the recent hit series *Slum King*. Garnering accolades such as the Actor of the Year Award at the 9th African Magic Viewers Choice Awards (AMVCA) for his role in *Brotherhood*. *Farmer’s Bride* is set against the backdrop of 1980s Ibadan, this period thriller unfolds the story of Odun (portrayed by Femi Branch), a wealthy yet isolated farmer who finds solace in Funmi (played by Gbubemi Ejeye), a young woman from a neighboring village. However, Odun’s newfound happiness turns dark when his nephew Femi (portrayed by Tobi Bakre) and Funmi conspire to eliminate him following an unexpected twist in their relationship. Their nefarious plot succeeds, but they soon find themselves haunted by the vengeful spirit of the farmer, setting off a chain of events that will test their resolve. *Farmer’s Bride* marks FilmOne’s second foray into original productions following the [success of ](https://www.nollywire.com/adire-filmone-productions-ventures-into-the-world-of-originals/)*[Adire](https://nollycritic.com/adire-a-fascinating-tale-of-empowerment-and-redemption/ "Adire")*, directed by Adeoluwa Owu. While FilmOne has made a name for itself through distribution and co-productions, *Adire* signaled the dawn of FilmOne Studios, the company’s in-house production arm dedicated to creating fresh and innovative content. *Farmer’s Bride* has an ensemble cast including Tobi Bakre, Gbubemi Ejeye, Efe Irele, Femi Branch, Mercy Aigbe, and Wunmi Toriola, *Farmer’s Bride* recently wrapped production in Ibadan and is set for the cinemas later this year. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/03/Tobi-Bakre-on-set-of-Farmers-Bride-%C2%A9-FilmOne-Studios.jpg?resize=640%2C799&ssl=1)![farmer's bridge](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/03/Efe-Irele-and-Tobi-Bakre-on-set-of-Farmers-Bride-%C2%A9-FilmOne-Studios.jpg?resize=640%2C799&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/03/Tobi-Bakre-Stars-in-Farmers-Bride-FilmOne-Studios-Latest-Original-Production-1.jpg?resize=640%2C355&ssl=1)![](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/03/Gbubemi-Ejeye-and-Tobi-Bakre-on-set-of-Farmers-Bride-%C2%A9-FilmOne-Studios-1-1.jpg?resize=640%2C799&ssl=1) ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-exclusive-bts-images-of-tobi-bakre-in-farmers-bride/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-exclusive-bts-images-of-tobi-bakre-in-farmers-bride/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-exclusive-bts-images-of-tobi-bakre-in-farmers-bride/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-exclusive-bts-images-of-tobi-bakre-in-farmers-bride/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-exclusive-bts-images-of-tobi-bakre-in-farmers-bride/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Adebayo Tijani, Farmers bride, Gbubemi Ejeye, Jack'enneth Opukeme, nollywood, Tobi Bakre, TobiBakre --- ### ['Saving Onome': Nancy Isime Stars in New Crime Thriller](https://nollycritic.com/nancy-isime-stars-in-new-drama-saving-onome/) **Published:** March 14, 2024 **Author:** admin **Excerpt:** The eagerly anticipated thriller, Saving Onome, reunites Inkblot Productions with the talented actress and TV host Nancy Isime on yet another adventure.. **Content:** The eagerly anticipated thriller, *Saving Onome,* reunites Inkblot Productions with the talented actress and TV host Nancy Isime. *Saving Onome* hits cinemas on April 5, 2024. This marks Nancy’s first film project of 2024 and follows the successful collaborations between Inkblot and Isime on previous projects like *Superstar* (their first film together), *Love In A Pandemic*, and *The Set Up 2* (which topped [Amazon Prime Video](https://nollycritic.com/nollywood-movies-and-series-you-should-see-this-march/ "Amazon Prime Video") in 2023). The movie is directed by Dimeji Ajibola and executive produced by Inkblot co-founders Chinaza Onuzo and Zulumoke. Saving Onome is a Lagos-set drama. The film follows two devoted parents fighting tirelessly for their chronically ill daughter, Onome. With time running out for a life-saving surgery, the story explores the depths of love and the lengths people go to for their loved ones. Written by Janobest Isaac, Saving Onome boasts a stellar cast. Nollywood veterans Keppy Ekpeyong, Femi Jacobs, and Ashionye Michelle Raccah join the production alongside Olumide Oworu, Mary Lazarus, and Kelechi Udegbe. Rounding out the cast are popular comedians and skit makers Nasboi and Nosa Rex. ## Author - ![admin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/535a20b173d6fdd1f61720c335dd2bb9.jpg?resize=80%2C80&ssl=1) [admin](https://nollycritic.com/author/nollycritic-com/ "admin") [ ](mailto:gbengamichael2014@gmail.com)[ ](http://nollycritic.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/nancy-isime-stars-in-new-drama-saving-onome/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/nancy-isime-stars-in-new-drama-saving-onome/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/nancy-isime-stars-in-new-drama-saving-onome/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/nancy-isime-stars-in-new-drama-saving-onome/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/nancy-isime-stars-in-new-drama-saving-onome/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** inkblot, Nancy Isime, Saving Onome --- ### [Enioluwa Adeoluwa Makes Directorial Debut with "All of Us"](https://nollycritic.com/enioluwa-adeoluwa-makes-directorial-debut-with-all-of-us/) **Published:** March 13, 2024 **Author:** admin **Excerpt:** Popular actor and influencer Enioluwa Adeoluwa is stepping behind the camera. He's producing his first film, a limited series titled All of Us. **Content:** Popular actor and influencer Enioluwa Adeoluwa is stepping behind the camera. He’s producing his first film, a limited series titled “All of Us” focusing on the complexities of high school life. The series, written by Emmanuel ‘Mannie’ Oiseomaye and directed by Orire Nwani, tackles themes like friendship, sexual assault, and the ups and downs of adolescence. A star-studded cast brings the story to life: “All of Us” features a mix of rising stars and seasoned actors like Shaffy Bello, Iyabo Ojo, and Yemi Solade. ‘All of Us’ is set to begin filming in Lagos this April, with a summer 2024 premiere planned. Enioluwa emphasizes the team’s commitment to quality: ‘We’re taking our time to ensure everyone enjoys the final product.'” Enioluwa is excited and ready to push boundaries: He expressed his desire to “never stop growing” and “create content that resonates.” This new project reflects his ambition to explore different creative avenues. His new series “All of Us” marks his directorial debut, a chance to broaden his creative horizons. He’s driven by a desire to explore his full potential and make a lasting impact on viewers. “I constantly strive to grow and push myself,” he says. “‘All of Us’ is the next exciting challenge that fuels my passion for the industry.” ## Author - ![admin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/535a20b173d6fdd1f61720c335dd2bb9.jpg?resize=80%2C80&ssl=1) [admin](https://nollycritic.com/author/nollycritic-com/ "admin") [ ](mailto:gbengamichael2014@gmail.com)[ ](http://nollycritic.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/enioluwa-adeoluwa-makes-directorial-debut-with-all-of-us/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/enioluwa-adeoluwa-makes-directorial-debut-with-all-of-us/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/enioluwa-adeoluwa-makes-directorial-debut-with-all-of-us/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/enioluwa-adeoluwa-makes-directorial-debut-with-all-of-us/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/enioluwa-adeoluwa-makes-directorial-debut-with-all-of-us/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** all of us, Enioluwa Adeoluwa --- ### ['Owambe': New Film Starring Kehinde Bankole Begins Principal Photography](https://nollycritic.com/owambe-new-film-starring-kehinde-bankole-begins-principal-photography/) **Published:** March 11, 2024 **Author:** Michael Arowoselu **Excerpt:** Sozo Films has confirmed the leads of Owambe, the principal photography is ongoing in Lagos with director Oluseyi Asurf at the helm **Content:** Sozo Films has confirmed the leads of *Owambe*, the principal photography is ongoing in Lagos with director Oluseyi Asurf at the helm. The film tells the story of a young woman (Kehinde Bankole) who returns from abroad and has to take up her mother’s role as Iyaloja. Kehinde Bankole and [Jidekene Achufusi](https://nollycritic.com/isioma-osajes-japa-set-to-premiere-on-prime-video/ "Jidekene Achufusi") will lead the cast of *Owambe*. Joining the two as supporting characters are Iyabo Ojo, Fathia Balogun, Lina Idoko, Ngozi Nwosu, Tunbosin Aiyedehin, Tope Olowoniyan, Tina Mba, Taiwo Hassan, Iya Rainbow and Nimi Adekanmbi. *Owambe* is about a crafty young woman embroiled in a battle for the position of Iya Oloja after her mother dies. Although she seems sincere to the market women of Isale-Eko, they quickly discover her past is not as it seems. *Owambe* is written by Nimi Adekanmbi, Toniah Chukwurah (*In Another Life*), and Olumide Kuti (*WURA*). Chris Odeh (*Rattlesnake: The Ahanna Story*) serves as producer on the project, in a co-production between Joy Odiete of Blue Pictures, Oluseyi Asurf, and Odeh. KC Obiajulu is credited as the cinematographer and Tunji Afolayan is behind its production design. Further role details remain unknown at this time. ## Author - ![MA](https://i0.wp.com/nollycritic.com/wp-content/uploads/2026/03/IMG_6875.jpg?resize=80%2C80&ssl=1) [Michael Arowoselu](https://nollycritic.com/author/m-a/ "Michael Arowoselu") A Cranky Cinephile. [ ](mailto:michael.arowos@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/owambe-new-film-starring-kehinde-bankole-begins-principal-photography/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/owambe-new-film-starring-kehinde-bankole-begins-principal-photography/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/owambe-new-film-starring-kehinde-bankole-begins-principal-photography/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/owambe-new-film-starring-kehinde-bankole-begins-principal-photography/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/owambe-new-film-starring-kehinde-bankole-begins-principal-photography/?share=linkedin) - **Categories:** Movies, Nollywood, Nollywood News **Tags:** Fathia Balogun, Iyabo Ojo, Jidekene Achufusi, Kehinde Bankole, Lina Idoko, Ngozi Nwosu, nollycritic, nollywood, Oluseyi Asurf, Owambe, Sozo films, Taiwo Hassan, Tina Mba, Tope Olowoniyan, Tunbosin Aiyedehin --- ### [See The 3 Women Crushing the Nollywood Box Office](https://nollycritic.com/see-the-3-women-crushing-the-nollywood-box-office/) **Published:** March 8, 2024 **Author:** admin **Excerpt:** Have you noticed how many top-grossing Nigerian movies are directed by Women? It's like they're the secret sauce to movie magic! **Content:** Have you noticed how many top-grossing Nigerian movies are directed by Women? It’s like they’re the secret sauce to movie magic! Think about it: directors are the orchestra conductors of a film, making sure everything runs smoothly and sounds amazing. It’s a huge job, but these Nigerian queens are effortless directors. Forget the days when women were just supposed to stay home. The times have changed, and these women are proving they can dominate the box office! Here’s a look at some of the top female directors and their record-breaking movies: **Kemi Adetiba** Remember “The Wedding Party 1”? That HILARIOUS movie that held the top spot for ages? Kemi directed that masterpiece! She started in the music video world, directing for stars like Tiwa Savage, before taking over Nollywood. Kemi’s “The Wedding Party 1” was the highest-grossing Nigerian movie of all time for a long time before Funke Akindele dethroned her. It raked in an outstanding ₦452,288,605. **Funke Akindele** You probably already know her from her iconic role as “Jenifa.” But Funke’s not just funny – she’s a box office boss. Her movies “A Tribe Called Judah,” “Battle on Buka Street,” and “Omo Ghetto: The Saga” are the top 3 highest-grossing Nigerian films EVER. She knows the Nigerian audience like nobody’s business, and her films prove it with their killer stories, marketing, and timing. Funke’s the FIRST person (male or female) to hit the ₦1 billion mark at the box office – talk about a GAME CHANGER! **Toyin Abraham** Toyin’s been killing it as both an actress and a director. Her latest film, “Malaika,” is her biggest hit yet, raking in over ₦302 million and landing at Number 9 on the all-time highest-grossing Nigerian film list. Nigerian women are taking over Nollywood, and it’s AMAZING to see! They’re proving there’s a HUGE space for female directors to thrive, and they’re doing even better than many other countries. We can’t wait for more incredible movies from these powerhouses! ## Author - ![admin](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/535a20b173d6fdd1f61720c335dd2bb9.jpg?resize=80%2C80&ssl=1) [admin](https://nollycritic.com/author/nollycritic-com/ "admin") [ ](mailto:gbengamichael2014@gmail.com)[ ](http://nollycritic.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/see-the-3-women-crushing-the-nollywood-box-office/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/see-the-3-women-crushing-the-nollywood-box-office/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/see-the-3-women-crushing-the-nollywood-box-office/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/see-the-3-women-crushing-the-nollywood-box-office/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/see-the-3-women-crushing-the-nollywood-box-office/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Funke Akindele, Kemi Adetiba, nollywood, Toyin Abraham --- ### [An Overview of The Astronomical Rise of Women in Nollywood](https://nollycritic.com/an-overview-of-the-astronomical-rise-of-women-in-nollywood/) **Published:** March 8, 2024 **Author:** Victor Alabi **Excerpt:** The rise of women in Nollywood can be said to have begun during the 90s era. Women in Nollywood found a way to blossom through their art, **Content:** Nollywood is now predominantly women. Most major studios and major deals is run by women and closed by women, and this has signified an upturn in the rise of women in Nollywood. It should be noted that calling them women, does not do them justice, hence why it is more befitting to title them – Nollywood Mothers. ***Mother** – Noun – a powerful female being that commands the utter respect and servitude of we lower beings*. Mothers who had and are sacrificing their blood, and sweat, honed their creativity into a powerful weapon that now fuels Nollywood as we know it. **The Genesis** The rise of women in Nollywood can be said to have begun in the 90s. Women in Nollywood found a way to blossom through their art, their creativity in an industry rooted deeply in its traditionalistic ways, where every gender had its roles and was expected to play such roles to perfection, and of course, this translated into both big and small screens, until the intervention of Amaka Igwe. Amaka Igwe heralded the rise of Nollywood Women, and it is prudent that she be called a Mother – The Nollywood Mother, as not only did she shatter the general idea of what women should be in film and TV, but she also birth an era which heralded women being known for their creativity. Amaka Igwe distinguished herself amid a male-dominated industry, and her productions began a fight against the stereotypical and misogynistic views Nollywood had imposed upon women. Her portrayal birthed the movement of feminism in Nollywood, and the advent of women into filmmaking, storytelling, and complex roles for actresses. Not only was Amaka Igwe the front-runner for feminism in Nollywood, but she also began the video-film era of Nollywood, thereby earning her status as Nollywood’s godmother. This is no surprise neither is it a coincidence when we see actresses going head-to-head with their male counterparts, and beating them by a mile. Amaka Igwe set the foundation for this new age which is heavily dominated by women in every single sector from Directing to Acting to Producing to Writing. **Present Day** More so, the emergence of Mo Abudu and her production company, EbonyLife Studios doubled down on the rise of Nollywood Mothers. With Mo Abudu and EbonyLife, came an era of Nollywood comedies. [EbonyLife](https://nollycritic.com/see-netflix-africas-latest-slate-of-nollywood-series-movies/ "EbonyLife") was one of the very first Nigerian Production companies that signed an exclusive deal with a major streaming platform. In their case, they signed up to collaborate with [Netflix](https://nollycritic.com/see-netflix-africas-latest-slate-of-nollywood-series-movies/ "Netflix") on June 12, 2020. This collaboration with Netflix witnessed the creation of projects such as the law series, *Castle and Castle,* and the film adaptation of Wole Soyinka’s *Death and King’s Horseman*, and more projects are coming from this collaboration. Following the advent of Mo Abudu and EbonyLife, we witnessed more and more female-owned studios sprung up. Isoken introduced Jade Osiberu as a top female director with a taste for biting and immersive stories. Jade did not stop there, as she went further by establishing her own production company, Greoh Studios. A studio that not only signed a million-dollar deal with Prime Video but is also responsible for hit movies such as *Gang of Lagos, The Trade,* and action blockbuster, *Brotherhood*. Every single becoming beloved by critics and audiences alike. This might seem unfair to state, but films made by Jade Osiberu all have the potential to become cult classics. Her repertoire is the envy of many, myself included. It would be a crime to say Kemi Adetiba who also runs her show in the political action film series – *King of Boys,* a phenomenon that took Nollywood by storm. It would be an injustice to not mention Mildred Okwo, a woman who created the comedy/romance cult classic – *The Meeting* – the first Nollywood movie whose plot I can still recall since its release over a decade ago.[ Bolanle Austen-Peters](https://nollycritic.com/house-of-gaa-funke-akindele-and-toyin-abraham-to-star-in-yoruba-epic/ " Bolanle Austen-Peters") has been dazzling on stage and screen. These women have driven demands for Nollywood movies, each carving a niche for themselves, like Funke Akindele who has carved a name for herself as a filmmaker from her first feature, *Jenifa* to her record-breaking show, *Jenifa’s Diary,* eventually evolving into a mega-producer with blockbusters like *Battle of Buka Street*, and the box-office hit, *A Tribe of Judah* that did unprecedented numbers, as it made over a billion naira – the first ever Nigerian movie to perform this utterly beautiful and mind-blowing madness. Not only is Funke Akindele responsible for the biggest box office in Nollywood, but she also has her name written in the top-three highest grossing movies in Nollywood with *Battle on Buka Street, and Omo Ghetto: The Saga*j joining *A Tribe of Judah* to round up the list. This is no easy feat, and she is proving day by day that she has what it takes to create box-office successes. ![nollywood](https://i0.wp.com/nollycritic.com/wp-content/uploads/2024/03/GHCmM3dXwAAPrBn.jpeg?resize=640%2C800&ssl=1)Speaking of highest-grossing movies, women in Nollywood are responsible for the top four highest-grossing movies. In comparison, in a list of the top ten highest-grossing movies in Nollywood, women are responsible for six. Whew! Insert an emoji of a man leaning against the wall with an arm. But, directing isn’t just where these mothers are dominating. Women have risen in rank in every sector in Nollywood. Chinenye Nworah, founder of Giant Creative Media, and the production powerhouse responsible for the Netflix hit series, *Shanty Town* is becoming known for producing the best projects. **The Future** Women are also dominating in the writing sector, and not only are they dominating, but they are also paving the writers for writers of all genders. Writers like the Ifeanyi Chidi Barbara – The TV Witch, and the brain behind most of M-net’s Telenovelas and Showmax’s acclaimed series like *Diiche* and *Crime and Justice Lagos.* Then we have Dami Elebe, Shola Dada, Stephanie Dadet, and Fatimah Binta Gimsay who are constantly bringing passionate stories to our screens while paving the way for others in the writing sector in Nollywood in the same breath. It would please Amaka Igwe to know that the women in Nollywood after her have picked up from where she left up. And to Nollywood’s Mothers… Do not stop the good fight, and more importantly, never stop creating in the face of adversaries and those who would intentionally stunt your growth. ## Author - ![Victor Alabi](https://i0.wp.com/nollycritic.com/wp-content/litespeed/avatar/795daba501a20b99877aa57dd2b54488.jpg?resize=80%2C80&ssl=1) [Victor Alabi](https://nollycritic.com/author/sarcasticthor/ "Victor Alabi") [ ](mailto:dalabivictor@gmail.com) ### Share this: - [ Share on Facebook (Opens in new window) Facebook](https://nollycritic.com/an-overview-of-the-astronomical-rise-of-women-in-nollywood/?share=facebook) - [ Share on X (Opens in new window) X](https://nollycritic.com/an-overview-of-the-astronomical-rise-of-women-in-nollywood/?share=x) - [ Share on WhatsApp (Opens in new window) WhatsApp](https://nollycritic.com/an-overview-of-the-astronomical-rise-of-women-in-nollywood/?share=jetpack-whatsapp) - [ Share on Telegram (Opens in new window) Telegram](https://nollycritic.com/an-overview-of-the-astronomical-rise-of-women-in-nollywood/?share=telegram) - [ Share on LinkedIn (Opens in new window) LinkedIn](https://nollycritic.com/an-overview-of-the-astronomical-rise-of-women-in-nollywood/?share=linkedin) - **Categories:** Articles, Blog, Nollywood **Tags:** Amaka Igwe, Bolanle-Austen Peters, Dami Elebe, Funke Akindele, Jade Osiberu, Mo Abudu, Shola Dada, Stephanie Dadet --- ### [See Netflix Africa’s Latest Slate Of Nollywood Series & Movies](https://nollycritic.com/see-netflix-africas-latest-slate-of-nollywood-series-movies/) **Published:** March 7, 2024 **Author:** Michael Arowoselu **Excerpt:** Netflix is backing three projects from women filmmakers in Nigeria and Africa including the series Baby Farm, executive produced by EbonyLife’s Mo Abudu. **Content:** [Netflix](http://www.netflix.com "Netflix") has unveiled a slate of female-led African projects to coincide with International Women’s Month. Netflix is backing three projects from female filmmakers in Nigeria and Africa including the series *Baby Farm*, executive produced by EbonyLife’s Mo Abudu. EbonyLife TV boss [Mo Abudu](https://deadline.com/tag/mo-abudu/) will exec produce *Baby Farm*, a series following Adanna, a young pregnant woman, who unknowingly entrusts her unborn twins to a high-profile NGO, only to discover she’s become a prisoner of a sinister baby farm. Rita Dominic leads a cast that includes Joseph Benjamin, Onyinye Odokoro, Genoveva Umeh, Langley Kirkwood, and Jenny Stead. ![](https://i0.wp.com/nollycritic.com/wp-content/uploads/20