Now, I would be dishonest if I stood here in 2026 and spoke about the future of the creative economy without naming the force that is already remaking it: artificial intelligence. And I know the fear in this room, because I share the caution -that the machine will flatten our voice, that it will make every story sound the same, that it will take the bread from the animator and the editor and the writer. That fear is not foolish.
Tag: Nollywood
The Nigeria AI Film Festival (NAIFF) will return to Alliance Française Lagos in September 2026,…
Nigeria’s film sector will fall under the spotlight on June 6 as actors and producers…
Call of My Life, written by Uzoamaka Power and directed by Dammy Twitch, is a film that knows this language and has decided, with considerable charm and only occasional uncertainty, to go against it. Power plays Soluchi, a call centre agent whose emotional texture runs at a frequency the city around her has not been calibrated to receive. She’s quirky and high spirited. She spins on the pavement on her way to work. She gives herself completely to whatever she sets her heart on, which in the film’s opening act is Kalu (Zubby Michael), a financially comfortable Igbo businessman whose love language is his debit card
From May 20-23 in Nairobi, the Africa Soft Power Summit convenes investors, creators, policymakers and…
Putting a city’s name in the title of a film is indirectly promising the audience that the city is central to the soul of the story. Aba has an incredibly distinct, commercial and bustling identity. The Aba setting of this film, however, is nominal; there is nothing visually tying this film to the city. It could have been set in any city but Aba.
Nollywoodʼs suffering mother, in its earliest and most honest incarnations, had something of the former. In most of its contemporary iterations and certainly in its most commercially successful one, it has become the latter. The mother suffers, the children unite, the audience weeps, the credits roll, the naira accumulates…
A strong thread running through the film is the idea of desperation, not just the kidnappers’, not just the families’, but a national kind of desperation that corrodes values and bends every character toward self-preservation.
Cinéma Africain: Archiving, Resistance and Freedom, a new anthology celebrating the richness and diversity of…
The Nollywood Studies Centre (NSC) at Pan-Atlantic University (PAU) is set to host a crucial…
The National Film and Video Censors Board (NFVCB) has announced the 5th PAO Nigeria Digital…
Nigerian production companies Judith Audu Productions and Switch Visuals Productions have officially begun production on…