Kemi Adetiba’s To Kill a Monkey is a compelling demonstration of cinema’s ability to dramatize the damaged condition of modernity.

In her debut film, Yam and Egg, Emily Nkanga set out to tell a story beyond familiar narratives, focusing on the emotional and mental struggles of migrants as they face loss and adapt to life abroad.

Ten years since its release, Kunle Afolayan’s October 1 remains a brilliant cinematic exercise at using Nigeria’s independence story to investigate deeper, systemic issues rooted in our country’s colonial experience.

Since the landmark Soyinka-Bọ́lẹ̀kájà debate of the 1980s, African poetry has sparked intense discussions about authenticity and the influence of Western literary traditions and forms on its poets.

While Bolanle Austen-Peters’ biopic on Funmilayo Ransome-Kuti takes a bold leap in Nollywood’s approach to biographical storytelling, the creative liberty of the director overclouds the distinction between fact and fiction.

Lawrence Dieyi’s animated epic film, Oya: The Goddess of the Gods, falls short in its attempt to retell the legendary story of Oya to a new audience. However, it successfully bridges the gap between tradition and modernity by reimagining an ancient tale in a fresh and innovative way.

While Niyi Akinmolayan’s Rainmakers emerges as a bold foray into African mysticism, the film struggles to faithfully depict the ritual art of rain calling.