From August 1 to 7, the United States government, in partnership with the Federal Ministry of Health, and development partners celebrated World Breastfeeding Week. The celebration highlights the importance of breastfeeding for infant and maternal health, emphasizing theimportance of collective responsibility to protect, promote, and support this vital practice.

Distinguished guests at the flag-off event included lactating mothers and their children, top-level government officials, representatives from the donor community, various healthdevelopment and welfare organizations, and USAID/Nigeria Goodwill Ambassador for NutritionChioma Chukwuka Akpotha.

As part of the celebration, Ms. Chukwuka Akpotha delivered a goodwill message, and facilitated an experience sharing session with mothers on the importance of breastfeeding. Additionally, over 30,000 Nigerian mothers convened, nationwide, in a bid to achieve the highest number of mothers breastfeeding simultaneously, and raise awareness about the low exclusive breastfeeding rate in Nigeria. Prior to the flag-off event, Ms. Chukwuka Akpotha met with United States Ambassador to Nigeria Richard Mills and U.S. Embassy community to discuss her role as Goodwill Ambassador and her efforts to raise awareness about maternal health and child nutrition in Nigeria. According to the 2021 Multi Indicator Cluster Survey, only 33 percent of infants in Nigeria were exclusively breastfed during the first six months of life. This means only one in every three children receive the proteins, fats, carbohydrates, vitamins, and minerals needed to supportchild development.

For several decades, the U.S. Agency for International Development (USAID) has remained committed to supporting breastfeeding initiatives as a key component of nutrition programming in Nigeria and contributing to improving the health and well-being of mothers and children globally.

By partnering with influential and renowned figures like Chioma Chukwuka Akpotha, USAID and implementing partner Helen Keller Intl are leveraging the reach and prospects of Nigeria’s creative sector to create a lasting impact on the nutritional landscape of Nigeria. Since the goodwill partnership announcement in May 2024, the collaborative efforts between USAID, Helen Keller Intl and Chioma Chukwuka Akpotha, have been instrumental in advancing the goals of Nigeria’s national multi sectoral nutrition strategy. Through targeted interventions, this partnership is poised to contribute to improving breastfeeding rates and reducing malnutrition among children. World Breastfeeding Week serves as a reminder of the ongoing commitment to protect, promote, and support breastfeeding as a fundamental pillar of child health and development.

Speaking at the Abuja flag-off event, Ms. Chukwuka Akpotha remarked; “To all the incredible mothers here today, remember that in your loving embrace, you hold the future of Nigeria. Each drop of breast milk you give is a gift of health, strength, and intelligence. Let’s embrace exclusive breastfeeding as a national treasure, nurturing our children to become the leaders of tomorrow.”

In her directorial debut, Dolapo Adigun helms Criminal, a thriller that unfolds over a single day. The film follows an ex-felon and his gang as they take a hospital hostage, demanding treatment for the gang leader’s dying brother.

Criminal wastes no time setting high stakes. Greenleaf Hospital, the film’s central location, becomes a chaotic scene after a bus accident floods it with patients. Amid the medical staff’s frantic efforts to care for the injured, a pregnant woman takes top priority. During this turmoil, Uzo (Uzor Arukwe) and his gang storm into the hospital, demanding immediate treatment for Uzo’s brother, who has been shot. Overwhelmed, the hospital staff are unable to comply, prompting Uzo and his gang to seize the hospital at gunpoint, turning an already dire situation into a life-or-death standoff.

For a hostage thriller, Criminal hits several key elements. The stakes are undeniably high, centering on Doctor Amara Nwachukwu (Funlola Aofiyebi-Raimi), who faces the harrowing decision of prioritizing care amidst chaos. The urgency is palpable throughout the film. Interactions with law enforcement are nuanced and complex, particularly with the head of the police force, who feels a deep sense of responsibility for Uzo’s actions after facilitating his release from prison. Despite this burden, he is determined to protect Uzo and his brother, driven by his connection to their mother. While the authenticity of hospital operations might be debated, the movie excels in this area, especially impressive for a Nollywood production.

Criminal skillfully employs flashbacks to establish and deepen the emotional dynamics, particularly between the brothers. These glimpses into their pasts effectively illuminate Uzo’s resolute decisions. The dynamic between Uzo and Dr. Amara is equally compelling. Uzo is a man driven to extremes to save his brother, even willing to take lives, while Dr. Amara is equally resolute, prioritizing her patients and refusing to deviate. This clash of wills is what propels the story of Criminal.

However, the real-life plausibility of their actions might frustrate viewers. One might wonder why Uzo doesn’t seek help for his brother elsewhere instead of engaging in a prolonged standoff with the doctor. On the flip side, Dr. Amara’s refusal to comply with Uzo’s demands, despite the mounting casualties, also raises questions. The lives lost are pointless. Additionally, the lack of immediate first aid for Uzo’s brother by the hospital staff seems implausible. Despite these points, the film utilizes tension and character conflicts to make it riveting.

Criminal attempts to create a sense of prior connection between the lead characters, only to later dismiss it. When Uzo bursts into the hospital, he specifically demands Dr. Amara, leading viewers to believe he is familiar with her skills or has some personal knowledge of her. However, it is later revealed that Uzo only found her name while searching for a nearby hospital using phone maps. This fixation on Dr. Amara treating his brother suggests an intimate awareness of her capabilities, which ultimately proves to be unfounded.

This narrative choice adds an intriguing layer of misdirection, initially hinting at a deeper backstory that never materializes. It underscores Uzo’s desperation and the chaotic nature of the situation, as he clings to any semblance of control or hope, even if it’s based on a coincidental discovery rather than a well-informed decision.

Criminal delves into several compelling themes, including survival, family, brotherhood, heroism, courage, and ethical dilemmas. The bond of family and brotherhood is central to the relationship between the brothers, emphasizing their loyalty and dedication to each other. Dr. Amara embodies the themes of heroism and ethical dilemmas as she navigates the challenging decisions she must make under pressure. While these themes are presented throughout the film, they are not all explored with equal depth. Nonetheless, Criminal succeeds in provoking thought and leaving audiences with lingering questions. Viewers are prompted to consider what decisions they would make in Dr. Amara’s situation. The film raises important moral questions, such as whether one life is more valuable than another or if the ultimate goal is simply to save a life, regardless of the circumstances. These themes would encourage audiences to reflect on their own values and the difficult choices faced by the characters.

Criminal aims to deliver a compelling plot but still leaves viewers with perplexing questions and illogical decisions. One such issue is the escape of the disguised blood bank officer, which feels conveniently played out off-screen. Showing this escape would have added to the tension and believability. Another puzzling moment is the decision of the police officer to meet Uzo face-to-face. With Uzo already feeling trapped and agitated, this move seems reckless, especially since the officer was unarmed and vulnerable. It’s a scenario that could have easily ended in more disaster than what was shown.

Additionally, the film raises questions about the severity of Uzo’s brother’s injury. Despite being shot, he survives for almost an entire day, which contradicts the movie’s portrayal of his dire situation. Furthermore, while the hospital is depicted as being overrun with critically injured patients, only the pregnant woman receives visible treatment. This selective focus raises doubts about the urgency and critical nature of the other patients’ conditions.

For all the possible flaws Criminal may possess, the performances in the movie aren’t one. Uzor Arukwe and Funlola Aofiyebi-Raimi adequately balance one another in their steamed performances. Their bullheaded dynamic is brought to life splendidly by both acts. The rest of the cast also deliver fitting performances for their characters but the performance by Chuks Joseph can’t be lost in the sea of secondary characters. Chuks is surely solidifying himself as an actor with all of his performances thus far being great, Criminal not being an exception.

In conclusion, Criminal is a gripping thriller that successfully captures intense drama and moral complexity. While it may grapple with some plot inconsistencies and unanswered questions, its strong performances, elevate the film and keep it engaging. Overall, Criminal offers a compelling viewing experience that will provoke thought and leave a lasting impression, despite its narrative flaws.

“With Difficulty Comes Ease” follows the journey of Zainab (portrayed by Uzoamaka Aniunoh), a young widow whose resolve is put to the test as she navigates the complexities of grief, tradition, and fresh starts against the backdrop of religious and cultural pressures. Zainab embodies perseverance, confronting some of life’s most formidable trials with poise and tenacity, illustrating the lasting strength of hope and the human spirit.

“With Difficulty Comes Ease” directed by Korede Afeez starts with a tragic opening, which is a powerful storytelling tool, creating a compelling and emotionally resonant narrative. The decision to open the film with a tragic event drives the plot forward by quickly establishing the central conflict and problem that the lead character, Zainab needs to resolve. It creates a sense of urgency and stakes that keep the audience engaged. 

Additionally, starting with a dramatic and emotional event sets a somber and intense tone for the rest of the film, signaling to the audience that the story will explore serious, often heavy themes. It prepares viewers for a narrative that will likely involve loss, struggle, and emotional depth. Such an opening also serves as a catalyst for Zainab’s character development, as it shapes her character motivation, actions, and relationships throughout the film, providing a strong foundation for her arcs. It also provides a framework to delve into the human condition and societal issues. 

While the film is deeply interesting, it does not provide the traditional pleasures of entertainment such as humor, action, or drama. The creators have clearly focused on thoughtful storytelling rather than conventional entertainment. The film tackles heavy and controversial topics, particularly the theme of converting from one religion to another. This subject matter is deeply engaging and provides valuable insights, sparking discussion depending on the audience’s perspective and preferences. However, due to its somber and challenging content, it may not be enjoyable or entertaining in the traditional sense.

“With Difficulty Comes Ease” features a slow pace and an unconventional structure that draws viewers into its world in an engaging and thought-provoking manner. It doesn’t provide the immediate gratification of a more fast-paced or straightforward narrative. The film excels in rich character development and intricate dialogue, which will captivate viewers who appreciate these elements, even if the overall experience lacks the excitement or emotional highs often associated with entertainment.

The film centers on Zainab, a young widow grappling with the profound challenges of grief while striving to reconstruct her life amid the weight of traditional and cultural expectations. “With Difficulty Comes Ease” is a deeply character-focused drama that delves into themes of mourning and the solace found in friendship. The story also bravely addresses the delicate issue of familial abandonment that frequently follows a conversion to a new religion, offering a nuanced exploration of the emotional and social ramifications of such a transformative decision.

Different viewers have varied preferences, and what one person finds interesting and intellectually stimulating, another might find lacking in entertainment value. While both aspects are valuable, and films that balance both often achieve a broader appeal, “With Difficulty Comes Ease” does not have a broader appeal. The storyline is authentic but not entertaining in the traditional sense.

When a story is this well-crafted, it will evoke emotional engagement from the viewers. This film left a profound impact on me, thanks to its exceptional storytelling and the cast’s impeccable performances. Despite exploring the familiar theme of the suffering widow, the writer deserves praise for adding depth and nuance. This thoughtful approach enhances the narrative, delivering a powerful tale of loss, resilience, and new beginnings.

Uzoamaka Aniunoh, known for her breakout role in the “MTV Shuga” series, delivers an exceptional performance as Zainab. She effortlessly brings her character to life, using nuanced expressions to convey her struggles without words. The supporting cast, Hajiya (portrayed by Ummi Baba-Ahmed), Rayyan (portrayed by Caleb Richards), Umar (portrayed by Ibrahim Daddy) and Maimuna (portrayed by Habiba Tanko) also shines, adding depth to the narrative with their performances. The script is well-crafted, and the thoughtful storytelling is commendable, featuring engaging dialogue that propels the plot smoothly.

The most powerful moment for me is at the midpoint of the narrative, when Zainab reaches a dead end trying to access her late husband’s money in the bank, and a debtor shows up demanding repayment. Instead of breaking down in tears, Zainab laughs—not out of happiness, but because she realizes the depth of her predicament. This scene showcases the actor’s ingenuity, delivering an authentic and believable performance. At that moment, I was fully immersed in her plight, thinking, “How much can someone take before they break?” Uzoamaka’s performance was consistently compelling and authentic throughout the film. She never once faltered emotionally, carrying the audience’s emotional engagement on her shoulders until the very end. Just like in “Mami Wata,” directed by C.J. Obasi, Uzoamaka demonstrates once again that she’s here to stay as a mainstream actor for a long time.

Ummi Baba-Ahmed’s portrayal of an overbearing mother-in-law is refreshingly balanced, steering clear of the noisy, cliché portrayals we’ve often seen in Nollywood. She brings a new dimension and uniqueness to her role, commanding presence without resorting to unnecessary shouting. This performance highlights her versatility as an actor, especially when compared to her role in “Beyond The Veil” series.

While the film excels in its narrative strength, it unfortunately stumbles when it comes to visuals and cinematography, which are noticeably underwhelming. The storyline is compelling, but the lack of visual allure detracts from the overall experience. Despite this, the film’s meticulous storytelling makes up for its visual deficiencies, highlighting the importance of a well-crafted narrative. 

An authentic approach to conflict, moving beyond the clichéd themes of troublesome in-laws and problematic landlords, would have been a refreshing change. However, even with these limitations, it is gratifying to witness a story told with such deliberate intent. “With Difficulty Comes Ease” remains a captivating tale that successfully maintains the audience’s interest from start to finish.

In the dead of night, two masterminds dive into a dangerous game where every move is a gamble.

Directed by Umanu Elijah, Break Of Dawn tells the story of Jade, the daughter of a rich and influential politician who has a habit of drugging and stealing from her clients while pretending to be a prostitute.

However, she comes in contact with a bad client who’s desperately in need of a girl for money ritual in order to save his dying mother. The stage now is set as the smartest is expected to be the winner and must emerge before the break of dawn.

The cast revealed includes Stan Nze, Kanayo O Kanayo, Efe Irele, Jidekene Achufusi, Mike Ezuruonye, Debby Felix, Segun Arinze, Moet Abebe, Craze Clown, Omini Aho, Emeka Golden and Chioma Agwunobi.

Break of Dawn is produced by Ereyitomi Temisanren and Princess Adaeze .M. Eme. The movie releases in cinemas nationwide on August 23rd, 2024.

Watch the trailer:

“KM 17” aims to be a psychological thriller that delves into themes of obsession, resurrection, and survival. The story revolves around a young woman named Cheeka (portrayed by Toni Tones), who embarks on a harrowing taxi ride with a psychotic driver, Dorigho (portrayed by Blossom Chukwujekwu). What could have been an intense and gripping narrative unfortunately falls flat due to numerous plot inconsistencies and implausible scenarios.

The film starts with promise, introducing Cheeka and her sister Ada, (portrayed by Theresa Edem) who find themselves ensnared in a deadly game with Dorigho. However, the plot quickly unravels into a series of unbelievable events that undermine the film’s suspense and psychological depth. 

After the first sequence, which sets up a promising premise with Cheeka discovering that she’s in the same car her sister Ada last boarded, I was intrigued. However, what follows is tired dialogue and uninspired storytelling. The lack of emotive performance from Toni Tones does little to elevate the unimaginative plot. The actors seem to be merely reading lines, delivering their dialogue with unconvincing emotions and zero nuance. The characters are tediously one-dimensional, and the plot’s single-minded focus on the interaction in Dorigho’s car, to the exclusion of all other characters, leaves no room for meaningful subplots. This results in a narrative that lacks emotional depth and fails to provide a satisfying conclusion. “KM 17” indeed lacks any substance to hold viewer engagement, making it difficult to stay invested until the end.

One glaring inconsistency is the resilience of Cheeka’s makeup. Despite being hit several times in the face by the physically imposing Dorigho, her makeup remains impeccably intact. This lack of attention to detail breaks the immersion and makes the film difficult to take seriously.

Ada’s reaction to life-threatening situations also raises questions. After narrowly escaping death with a gun to her head, she inexplicably sits on the floor, crying over a phone instead of fleeing to safety. Later, it is revealed that she had a spare phone all along, which only adds to the confusion. Her commendation of the taxi driver for hanging a Rosary in his car, despite his rudeness, further muddles the character’s intentions and motivations.

Another major shortcoming of the film is its inability to maintain a high level of suspense throughout. The premise is good, drawing viewers in with the life-or-death stakes Cheeka faces when the reality of who Dorigho might actually be comes to light. However, the film fails to excel in building tension during Cheeka’s interactions with Dorigho. Despite the promise of thrilling moments from the film’s synopsis, the plot feel repetitive, mainly focusing on Cheeka’s continuous attempts to get Dorigho to reveal himself without having a concrete plan. Additionally, the plot sometimes sacrifices deeper character development and meaningful themes to maintain its brisk pace. “KM 17″ does not deliver on its promise to offer an adrenaline-fueled experience to satisfy thriller fans.

Character development is another weak point. Dorigho, the antagonist, remains a mysterious figure throughout the film. Without a backstory or deeper insight into his motivations, his actions lack the compelling nuance seen in well-crafted villains. The audience is left in the dark about his obsession with using one life to resurrect another, which diminishes the impact of his psychotic tendencies.

Similarly, Cheeka’s mother’s death is presented in a way that fails to elicit any emotional response from the audience. The scene is uneventful and does not contribute meaningfully to the plot or character arcs. This lack of emotional engagement extends to the climactic moments of the film, where Dorigho’s sudden talk of marriage to Cheeka feels absurd and out of place.

The film feels lazily thrown together, borrowing tropes from similar movies without adding any substance. Suspending disbelief is one thing, but this movie throws logic out the window. The script lacks genuine wit, often forcing the cast to overact. Theresa Edem, experienced in portraying characters in peril, is given little to work with in “KM 17,” leaving her role devoid of depth. Viewers watch the director’s movie, not the writer’s script, which is why every writer bears the burden of the director’s imagination or lack thereof. With “KM 17,” the execution failed to meet the genre’s expectations.

“KM 17” suffers from a severe lack of plausibility and realism. In one scene, a dead character is seen blinking before their eyes are closed, a glaring continuity error that breaks the tension. Additionally, Cheeka’s interactions with law enforcement are highly unrealistic. She grabs a police officer’s hand, scolds him like a child, and throws tantrums at the police station, behavior that is implausible given her socio-economic status in the narrative.

Moreover, Cheeka’s vocal performance after enduring physical abuse is incongruous with her supposed trauma. She sounds merely stressed rather than in significant pain or distress, which detracts from the credibility of her character’s ordeal. 

The film attempts to feature a complex and chilling antagonist in Dorigho, whose obsession drives him to commit heinous acts. Unfortunately, it fails to convince or evoke fear for Cheeka at the resolution. The dialogue lacks the impact seen in films of similar genre and premise, making it difficult to believe in the characters’ performances.

Blossom Chukwujekwu’s attempt to emulate Norman Bates from “Psycho” falls woefully short. Despite the character Dorigho having a similar backstory, driven by a distorted relationship with his deceased mother and committing violent acts against women, Chukwujekwu’s portrayal lacks believability. His performance does not connect emotionally, leaving the audience unengaged and unconvinced by his portrayal of a deeply obsessed psychopath.

“KM 17″ had the potential to be a compelling psychological thriller but is ultimately undermined by its lack of coherence, character development, and attention to detail. The film’s numerous implausible scenarios and inconsistent character actions make it difficult for the audience to engage with the story or care about the characters’ fates. What should have been a haunting tale of obsession and survival ends up being a frustrating and disappointing viewing experience.

Ekene Som Mekwunye makes another directorial movie release with Move Like A Boss. The director returns with Fulfilment Fuchi Nwaturuocha as the producer.

Joko Adeyanju takes the lead role where she must perform the greatest “abracadabra” to try and out-smart her father’s greedy siblings as they attempt to steal his multi-billion business. In the absence of her father, Joko Adeyanju must do everything it takes to save her father’s legacy. It’s not enough to think like a man. The question is, does she have everything it takes? Can she pull it off??

The movie’s cast includes Nancy.E.Isime, Dr. Jaiye Kuti, Moyo lawal, Mc Lively, Ikechukwu Mitchel Ogbonna, Temitope Olowoniyan, Sir. Victor Osuagwu, Denrele Edun, Michael Uba, Aeries, Yinka Quadri, Dele Odule, Nashaira Belisa, Victoria Nwobodo and Yemi Solade.

Move Like A Boss hits the cinemas on the 9th of August, 2024.

Watch the trailer:

Tokunbo is the story of an ex-car smuggler caught in a race against time and a web of lies, politics and crime. The film tells the story of an ex-car smuggler racing against time to deliver a kidnapped girl.

A crime-tinged picture directed by Ramsey Nouah, which will earn his third feature credit. He returns with Chris Odeh as a producer on the project. Joy Odiete is also credited as co-producer 

The film was shot in November 2022, with Mohammed Attah serving as Director of Photography.

The film boasts a talented cast, including Gideon Okeke, Adunni Ade, Darasimi Nnadi, Tosin Adeyemi, and Funlola Aofiyebi-Raimi.

Tokunbo is teased to be an action drama that explores themes of kidnapping, political mobs, and survival.
Netflix has acquired the rights to Tokunbo, which has been confirmed for a global debut on August 23rd.

Onye Egwu tells the story of Alex, a footballer whose career comes to an end after a series of injuries. His journey to seek a solution leads him to a budding footballer, Nedu, who dreams of playing internationally but is hindered by the penurious family he hails from.

Sports-themed movies are a rarity in Nollywood, which perhaps allows them to dodge the harsh critiques that often accompany other genres. This year saw the release of the disappointing Aburo, which failed to deliver a compelling story. In comparison, Onye Egwu stands out as a superior effort, easily outshining Aburo. However, despite its relative success, Onye Egwu is far from a magnum opus. It falls short of being a defining moment for this niche subgenre, marred by its numerous flaws.

The storytelling in Onye Egwu is straightforward, benefiting from a focused plot that avoids the pitfalls of overcomplication—a significant flaw in Aburo. The film promptly acquaints us with the central characters: Alex, a once-promising footballer facing the decline of his career due to persistent injuries, and Nedu, a young talent just beginning to lay the foundations for his own career amidst the challenges of his impoverished background. This clear and concise narrative allows the audience to quickly become invested in their journeys.

Onye Egwu features a wide array of characters, each playing a crucial role in the story. In Alex’s camp, we encounter his baby mama, who is blamed for his misfortunes, and family members striving to help him turn his life around. The story truly shines in Nedu’s portion, where the plot delves into his familial dynamics. Nedu’s mother supports his football aspirations while emphasizing the importance of having a fallback plan through education. Additionally, a compelling rivalry unfolds between Nedu and his best friend, Uduak, a fellow footballer, fueled by Nedu’s superior skills and a shared romantic interest.

There’s a compelling parallel between the mothers of the young footballers in Onye Egwu. Ngozika, Nedu’s single mother, embodies practicality and caution. While she acknowledges Nedu’s talent, her support for his football dreams is tempered by the harsh realities of their life. Struggling to provide for her three children through her modest akara business, Ngozika can only afford to place so much faith in uncertain dreams. On the other hand, Eno, the mother of Nedu’s best friend, represents a stark contrast. Financially comfortable, Eno wholeheartedly supports her son’s football ambitions, even extending her support to the entire team. Her secure economic status allows her the luxury to gamble on her son’s future; if football doesn’t pan out, she has the means to guide him down an alternative path. Both mothers deeply care for their sons and want the best for them, but their differing economic situations shape the extent and manner of their support. This nuanced portrayal highlights the profound impact of socioeconomic status on parental decisions and aspirations.

Nedu and Alex are positioned as the lead characters in Onye Egwu, but despite Alex’s extensive screen time, his character remains underdeveloped. The audience is told about Alex’s career highs through dialogue rather than shown, which diminishes the impact of his current struggles. Consequently, there’s little to make viewers empathize with Alex or root for his comeback beyond the basic desire to see a man reclaim his career. Zubby Michael’s portrayal of Alex doesn’t help the character either. His performance is marked by a monotonous and dour expression throughout the film, lacking the emotional depth needed to make Alex’s plight resonate. The direction fails to inject variety into his performance, and the script doesn’t provide emotionally charged moments that could engage the audience and drive his character forward. Alex’s character lacks embellishments and nuances that could have added complexity and relatability. Essentially, he could have been any well-connected or wealthy individual serving as a catalyst for Nedu’s rise.

The comedy in Onye Egwu is primarily subtle. While Broda Shaggi and Williams Uchemba bring their well-known expressive humor to the film, the rest of the comedic elements are more understated. These moments are cleverly integrated as character quirks or naturally emerge from the dialogue, enhancing the story without overshadowing the drama. This balanced approach ensures that the humor complements the overall tone of the movie.

For a film about football, there should have been more scenes with the sport. Also, with how the movie develops, especially the parts with Alex, the emotional core that this movie could have had is underplayed. This, right here, is the biggest injury with Onye Egwu.

The plot of this movie leaves some questions. For instance, why did Ngozika choose to deliver the drink intended to poison Nedu days before the match, rather than on the day itself, when its effects would be most critical? Also, Alex is told by his sister that his baby mama is behind his plight and he comes to Nigeria to seek help but they’re not shown together. Instead, Alex is seen seeking assistance from various random sources. This raises the question of why his sister identified a problem without also proposing a solution.

The performances in Onye Egwu are mostly good. Kayode Ojuolape shines as Nedu. He brings a layered expressiveness to his character that is absolutely fitting. Uche Jombo also delivers a commendable performance as a mother. Ini Edo brings a good dose of mischief and comedy to her portrayal, and her performance is the most colourful in Onye Egwu. Eric Emeka also gives a good counterbalanced performance as Nedu’s best friend and properly displays their love-rivalry dynamic. As earlier stated, Zubby Michael’s performance wasn’t engaging but much blame should also be given to how the plot explores his character and the direction he’s given as the actor gets. The rest of the cast performs competently, though many of them are typecast in familiar roles.

In conclusion, Onye Egwu offers a promising story with its unique focus on football. While the film excels in its performances, it falters in delivering a compelling emotional core and showcasing the sport itself.

“A Song from the Dark” written and directed by Ogo Okpue presents an intriguing concept rooted in Nigerian beliefs, dealing with spirits, possession, cursed marks, sigils, and shamanism. The film attempts to blend psychological horror with supernatural elements, wrapped in atmospheric storytelling and a hauntingly beautiful soundtrack that significantly enhances the eerie ambiance. Despite the promising premise and talented cast, the film ultimately fails to deliver a cohesive and compelling narrative, leaving viewers wanting more.

With the slow and rough start, the film dramatic premise kick off with Magnus Williams (portrayed by Wale Ojo), a migrant politician and philanthropist, shockingly ends his life in a gruesome suicide in England. In the wake of his death, his dysfunctional family members begin to develop mysterious, festering scars, prompting them to question the true nature of his demise. Suspecting that dark forces from Williams’ village in Nigeria are at play, they seek the help of Ashionye (portrayed by Vanessa Vanderpuye), a reluctant and struggling exorcist who once served as their domestic help.

“A Song from the Dark” has an engaging story centered on a troubled family with a dark secret, focusing on the consequences of the father’s actions. The film addresses social issues, particularly the treatment of illegal migrant domestic workers. Instead of using typical Catholic symbols found in exorcism movies, it features Nigerian mysticism. However, despite its interesting elements, the film’s lack of creative storytelling is so obvious. The major bane to the interesting concept explored by the creator.

The story revolves around, Isioma Williams’s family. Nse Ikpe Etim, the ex wife of Wale Ojo hires a reluctant spirit hunter named Ashionye to expel an evil spirit tormenting her family following the mysterious death of her husband, Wale Ojo. Ashionye, brought from Nigeria when she was young, is unaware of a dark family secret that the Williams’ family is determined to keep hidden at all costs. While the film aims to deliver a blend of psychological horror and supernatural elements, it struggles with rhythm and momentum, resulting in an episodic and disjointed narrative that detracts from the otherwise fascinating story it seeks to explore.

One of the film’s significant shortcomings is its failure to develop empathetic characters, particularly the protagonist, Ashionye. The backstory involving Ashionye’s father sacrificing himself for his family and tribe is not thoroughly established, raising unanswered questions about the necessity and context of his sacrifice. The narrative lacks the depth and context needed to make Ashionye’s character and her journey convincing. The film’s inability to provide a coherent story structure and plot, unlike successful counterparts such as Jay Franklin’s “Madam Koi Koi,” results in a less compelling viewing experience.

The film hints at a clash between logic and belief in the supernatural, a common theme in horror films. However, this is presented superficially without any substantial philosophical exploration, making it seem like an obligatory inclusion rather than a thoughtfully integrated element. The voiceover narration is another unconvincing creative choice, adding to the film’s aimlessness and repetitiveness. Despite claims of exploring Nigerian mysticism, the authenticity of its representation is questionable, leaving viewers wondering about the depth of cultural insights.

Despite the strange mirror scars that suddenly appear on the characters’ arms, there is no sense of urgency or tension in the story. The characters show no evident anxiety or eagerness to get rid of the scars quickly, often conversing with lavish smiles. This leaves viewers questioning whether the problem is serious at all.

Also, setting the story hook in a remote house felt too convenient, without intentionality. A hut would have been preferable, as the story demanded such. Although the plot twist wasn’t particularly surprising, it was seamlessly woven into the narrative and fit well within the story’s framework. Each element of the story played a role in the larger narrative, with nothing feeling out of place. However, like many recent Nollywood horror films, this one ultimately fails to deliver genuine scares.

Visually, the film has its moments, with decent special effects and cinematography that contribute to a visually stunning spectacle. However, the CGI is inconsistent, with some effects appearing mediocre. The film’s lighting and color grading are skillfully executed, avoiding major technical flaws. The overall aesthetic is appropriate for the genre. While the visual effects are mostly convincing, they sometimes feel excessive, with certain scenes resembling clips from a sci-fi movie.

The performances by the cast, including Nse Ikpe Etim and Wale Ojo, are neither overly impressive nor poor, but they lack the compelling nature needed to elevate the film. Although, Wale Ojo’s portrayal of Magnus, particularly in the scene where he takes his own life, is impactful. Another standout is the scene where Anioji possesses Sammy, with strong acting that grounds this key moment. Peace Oseyenum leaves a lasting impression as Anioji, while Vanessa Vanderpuye shines as Ashionye, in some key moments at the last sequence. Brielle Olaleye, the young actress playing Ashionye, also delivers a memorable performance in her brief appearance.

“A Song from the Dark” is not entirely devoid of merit. The final sequence, where the family secret is revealed, stands out as the film’s most engaging part. Despite its flaws, the film manages to hold interest to some extent but ultimately falls short of its potential. Fans of supernatural and possession-themed films might find the concept intriguing, but the weak narrative and lack of compelling storytelling could lead to disappointment for those seeking a genuinely chilling and thrilling experience.

While the film attempts to bridge traditional African storytelling with modern horror cinema, it misses the mark in delivering a satisfying horror experience. For those planning to watch it, the film might be worth viewing for its concept and atmospheric elements rather than for its execution of the horror genre.

Bolanle Austen Peter’s House of Ga’a continues in line with the recent stream of Yoruba Period Piece’s in Nollywood. And thankfully it is a welcome addition.

House of Ga’a is about the life of the infamous Bashorun Ga’a (Femi Branch), a powerful warrior in Oyo-Ile whose lust for power leads him to great heights but also ends up as his downfall. The story meets us with Ga’a already being a force to reckon with in Oyo-Ile and then it delves deeper into his lust for power and how that manifests in the kingdom, the palace and his family. The film does brilliantly in telling this story centered on one political figure but giving equal importance to other facades of his life. We see his love for his sons very clearly, the importance of family to Ga’a is also shown without the overt expressions usually used, his romantic side is shown as well as his violent side, and his vengeful side as well as his tempered side.

Femi Branch as Bashorun Ga’a is simply brilliant. I hold that there was only one frame of the movie where my brain goes “oh look it’s Femi Branch” after that first frame he became the character and Branch was nowhere to be seen. But this is a common thread throughout the movie. It is remiss to even consider a conversation about House of Ga’a without making mention of the brilliant performance from Jide ‘JBlaze’ Oyegbile who plays Olaotan one of the sons of Ga’a. Characters who are violent in nollywood movies are a dime a dozen, however, those who manage to do it so effortlessly with such unquestionable swagger can be counted on one hand and Oyegbile would always make the list. He embodies the true viciousness that his character is supposed to represent while finding a way to strike a balance of endearingness and wholesomeness in his scenes with his brother Oyemekun (Mike Afolarin). The cast of Bashorun Ga’a is hefty on skills and the screen is hefty on cameos. From Gbenga Titiloye to Stan Nze, the producers have no qualms on bringing in strong performers only to kill them off in the next scene but this too adds to the appeal of the experience.

The greatest downfall of House of Ga’a is the graphics and the scale of production. Too many of the CGI scenes were simply comical to watch. I don’t recall if this is a common thread with the other Period Pieces, however it is much too glaring here to overlook. And then there are certain scenes where it is clear that the ambition and the budget were butting heads with no clear winner. One of such scenes is the opening battle scene between Ga’a’s people and the Nupe army. Something about the way the scene is captured here and the way the fight is choreographed would have been enough to cause the average non-dedicated viewer to click out.

That being said, the filmmakers do a great job of world building with the resources they have. Never once does one doubt the true power Ga’a wields and this is done by a collaboration between writing, performances and cinematography. The movie is never scant and as such the feelings of strength and presence are always sent through. The choice of the writer to also focus on the beginning of the end of Bashorun’s reign instead of a sweeping history from birth is wise as it allows the audience to spend more time with the little minutiae that end up leading to the expected downfall of our lead.

The experience of watching House of Ga’a is impressive and entertaining. Despite flaws here and there, it is an immersive experience.

Zulumoke Oyibo makes her directorial movie debut with The Betrayed. She has previously served as a producer on various projects like ‘Up North,’ ‘Quam’s Money’ and ‘Palava‘. The movie is written by Naz Onuzo and Tosin Anyafulu.

Uche Montana, Gabriel Afolayan and Ibrahim Suleiman star in The Betrayed. The lineup also includes Adunni Ade, Jemima Osunde, Vine Olugu, Stephanie Zibili and Aderonke Onuoha.

Watching from the trailer, The Betrayed is about a loving husband and father, played by Gabriel Afolayan, who seems to embody the perfect family man. His wife, played by Uche Montana, and their two children enjoy a life of happiness.

The character played by Gabriel Afolayan meets a university student. They enjoy a night of passion, but he wakes up to a nightmare— the university student is dead beside him. The police are called, and he is arrested for the university student’s murder. The once-perfect family is thrust into a tumultuous battle to uncover the truth behind the university student’s death.

Inkblot has revealed that The Betrayed will be available exclusively in cinemas on August 2, 2024.

Watch the trailer:

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The director, Rotimi Raji, makes a directorial release with American PlayBoy exclusively premiering in cinemas.  

Created and written by Silas Babalola, American PlayBoy follows the story of two lovers, Akindele & Fadekemi, navigating a somewhat strained period in their relationship. Akindele, an optimist, has been unemployed for years, and with the lovers moving towards a permanent commitment to each other, getting a job becomes paramount. As events unfold, Jimmy, an American returnee with a vendetta, soils the lovers’ relationship.

The Producer & Executive Producer is Silas Babalola. The movie features Adunni Ade, Jide Kosoko, Seun Akindele, Tina Mba, Wole Ojo, Adeniyi Johnson and Silas Babalola.

The movie will be distributed by Blue Pictures Film Distribution Company.

American PlayBoy will be out in cinemas from the 26th of July, 2024.

Watch the trailer:

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“Kofa” delivers a thrilling narrative about eight individuals — four men and four women, Wale (portrayed by Daniel Etim-Effiong), Tosin (portrayed by Gina Castel), Nnenna (portrayed by Ijeoma Grace Agu), Nosa (portrayed by Charles Etubiebi), Hauwa (portrayed by Zainab Balogun), Paul (portrayed by Enyinna Nwigwe), Franka (portrayed by Beverly Naya) and Kenulu (portrayed by Shawn Faqua) — they all wake up in a dark room with no memory of who they are, where they are, or why they are there. Dressed in their underwear and filled with confusion and mutual suspicion, they must grapple with their predicament. Their only hope lies in their fragmented memories, which they believe hold the key to their escape. The arrival of an armed man, Archibong (portrayed by Udoka Onyeka) who picks them out one by one heightens the tension as they struggle to remember and survive.

The opening sequence of “Kofa” is captivating, reflecting some of the best recent work in Nollywood. It is suspenseful, dramatic, and presents a relatable scenario that resonates with the average Nigerian’s fears. This initial engagement sets the tone for the film, keeping the audience hooked and invested in the characters’ journey as they unravel the mystery of their situation. The shared cluelessness between the characters and the audience creates a unique bond, making each revelation impactful and keeping viewers on the edge of their seats.

Jude Idada, the film’s writer and director, demonstrates a deep understanding of the thriller genre. His screenplay incorporates all the necessary elements to maintain engagement and suspense, with a touch of comic relief provided by the character Wale, played by Daniel Etim Effiong. Idada’s direction and blocking of scenes involving all eight characters in a single location are commendable. The use of long takes and handheld shots enhances the film’s realism and intensity, showcasing Idada’s thoughtful approach to visual storytelling.

Characterization is one of “Kofa’s” strengths. Each of the eight kidnapped individuals are distinctly portrayed, with each having a distinct and unique personality and character profile. Wale, an annoying yet smart character, makes fun of everything and everyone to mask his fears with humor. Tosin is level-headed, smart, and cool. Paul, a hunk and erratic stammerer, gets wound up at every opportunity over minor things. 

Nnenna is quiet and socially anxious but has a special ability to know how many hours they’ve been locked up and when the kidnapper arrives. Franka is livid and sassy. Hauwa is intolerant and doesn’t put up with nonsense. Nosa is fearful, naive, and easily picked on. Kenulu is not given enough screen time but lacks leadership qualities, unlike Wale and Tosin, who exude leadership under extreme pressure to survive.

Their differing ways of speaking, reacting, and thinking add depth to the narrative and create dynamic interactions that drive the story forward. This well-crafted character dynamics contribute significantly to the film’s suspense and engagement, keeping the audience engrossed until the unexpected twist at the end. Daniel Etim Effiong and Gina Castel’s character stands out, even in performance.

The casting director did an excellent job by selecting actors with a diverse range of skills who understand nuanced acting and are versatile. The supporting cast, including Kate Henshaw and Lucy Ameh, also brought their A-game. The five-second silence by the amazing Bucci Franklin was the spine-chilling moment I had been waiting for. The cinematography, lighting design, and sound design each told a story in their own right, contributing to the film’s rhythm and momentum.

The film’s climax reveals that it is not what it initially seemed, employing a clever misdirection that highlights social issues crucial to the national transformation of Nigeria and Africa. Jude Idada’s choice to deliver a social message through a suspenseful narrative, rather than a conventional preachy approach, is both effective and refreshing. The film’s ability to convey its message beautifully over an extended period is a testament to Idada’s storytelling prowess.

However, “Kofa” is not without its flaws. One significant issue is the poorly executed search sequence involving a drone in Lagos. The film does not establish whether the search team had any leads that suggested the victims were in Lagos. The drone appears to fly aimlessly over the city, which is implausible given Lagos’s vast population. This lack of specificity undermines the search’s credibility of the screenwriter. A more focused search in a particular region based on a lead would have been more believable and effective. Despite this flaw, the sequence serves as a plot device for the film’s misdirection, though it could have been executed more convincingly.

There are some flaws in the narrative, though the film has redeeming qualities. The lead of the search team from London, sent to help Nigeria find the victims, does not sound British despite the attempt to portray her as such—she just speaks very well. Additionally, the scene where Nnenna and Nosa try to have sex in the middle of their terrible and dehumanizing situation feels strange and implausible. A little romance or deep kissing might have been more believable as a way to calm themselves and build bonds, but sex seemed off. 

Also, the scene where Nnenna and Tosin remove their bras to save Wale, without establishing that he has crucial information, is also implausible considering how annoying and irritating his character is. Despite these issues, the film is still enjoyable for audiences who love thrills and suspense. While some might feel the first two sequences and the last sequence are like two separate films, this showcases the creator’s ingenuity in conveying his message in an unconventional manner, which works. The film is entertaining without being preachy.

In conclusion, “Kofa” is a masterfully crafted thriller that engages audiences with its suspenseful narrative, strong character dynamics, and unexpected twists. Jude Idada’s direction and storytelling shine, making the film a standout in it genre, especially in the catalog of film for impact, in Nollywood. Despite some imperfections, particularly in the drone search sequence, “Kofa” successfully delivers a compelling and socially relevant story that leaves a lasting impact.

Directed by Moyin Ezekiel and produced by Akinbayo Morakinyo of H-Debay Production, The Beads narrates the tale of a bride-to-be whose wedding day tragically transforms into her final day. As she struggles to survive, she yearns to reverse time, embarking on a journey through the complex web of human emotions.

The first thing to note is that The Beads is a time loop story. This sub-genre is slowly making its mark in Nollywood productions, especially with the recent release of Japa still fresh in our minds. This raises the question: will The Beads offer something unique or captivating to this emerging genre?

In Japa, the central theme revolves around the protagonist’s desperate attempt to escape his time loop in order to travel abroad, creating a strong emotional connection with the audience. Similarly, The Beads brings a fresh twist to the time loop concept by setting it on a bride’s wedding day—a day traditionally considered the happiest for many women. The bride (played by Zainab Balogun) navigates the repetition of what should be a joyous occasion, now tinged with dread and suspense.

When working with time loops in movies, a great level of meticulous planning and precision is demanded. It’s crucial to establish clear rules governing the time loop to ensure consistency and continuity across each iteration. In The Beads, the first loop shows the protagonist immediately attempting to explain the phenomenon to her grandmother. This seems premature, as most time loop films typically portray the initial loop as a period of confusion, where the affected individual questions their reality. The protagonist’s dialogue adds to the confusion, as she speaks to her grandmother (played by Idowu ‘iya rainbow’ Phillips) as if she has experienced the loop multiple times, even though this is the first loop presented to the audience.

However, this dialogue flaw is corrected by the second loop, where the protagonist clearly states that she has already lived through the day twice. This adjustment helps to align the story with the established conventions of the time loop genre, ensuring that the protagonist’s journey is believable.

Despite this minor dialogue issue, the film maintains overall continuity in its depiction of the time loops. Each iteration introduces slight variations that align with the unfolding plot, contributing to a sense of natural progression. When more significant changes occur, they feel like a logical escalation of these subtle differences, enhancing the story without disrupting the established flow.

While The Beads is initially easy to follow, as the movie progresses, numerous questions arise about the filmmakers’ choices. The film introduces a variety of themes into the time loop, creating a sense of overcrowding and ambiguity about their purpose. For instance, Ranti, the bride, is revealed to be in recovery from substance abuse—a detail that adds little to the time loop narrative. Additionally, the film briefly touches on her past illness, which is seemingly intended to portray her as someone struggling with a desire to live. However, these elements fail to enhance the time loop’s significance.

The loop is presented as an existential event meant to rekindle Ranti’s love for life. Despite this intention, the events within the loop do not convincingly explain why she eventually wants to embrace life. Instead of serving as a profound catalyst for change, the loop comes across merely as an inconvenience she wishes to escape. The lack of depth and coherence in tying these elements together undermines the film’s potential to deliver a meaningful message through its time loop narrative.

In the final quarter, Ranti’s father (Bimbo Manuel) emerges as a significant figure due to his actions that triggered the villain’s pursuit of Ranti’s life. While the resolution of the time loop aims to bring closure to the villain and his wife, it notably overlooks Ranti’s father. He is intricately linked to the events of the loop, potentially more so than Ranti, yet remains largely unaware of its unfolding.

The Beads portrays Ranti’s father’s insensitivity, and possibly his greed, as catalysts for the loop’s inception. However, by the conclusion, he experiences no repercussions or pivotal moments stemming from this revelation. This oversight is particularly egregious because it denies him the opportunity for repentance or reconciliation with the villain (Segun Arinze). The story fails to address his role in initiating the loop, leaving his character arc unresolved and disconnected from the thematic resolutions explored elsewhere in the film.

The Beads also raises a multitude of questions by the time the credits roll. How does Ranti know that the documents she needs to trace the villain are in her dad’s room and on his table? Why are the documents on the table and the first thing on it? Why will her father who seems to be keeping the case a secret leave the documents carelessly and within reach of anyone looking for them especially after he just had a conversation pertaining to it with his daughter? Why did the villain have an official invite on his table at home considering he broke into Ranti’s house during the drowning scene? What was the real reason behind the loop? While one could hypothesize that the beads initiated the loop to save Ranti’s life after her father’s actions put her in danger, the film’s inclusion of various other elements and explorations suggests a more complex explanation may be necessary, rather than a straightforward solution.

The performances in The Beads are neither laudable nor are they terrible; they effectively serve the film’s storyline without surpassing (or necessarily achieving standout moments) or falling short of expectations. However, the bridesmaids stand out with notably lackluster performances that detract from the overall ensemble.

In conclusion, The Beads offers a Nigerian perspective on the time loop subgenre, introducing intriguing elements regarding how the beads initiate the loop, albeit without thorough exploration. The film presents a compelling exploration of the time loop narrative against the backdrop of a bride’s significant day. It delves into themes of redemption and existential discovery, although it falters at times with unresolved plot points.

“Alaye” follows the journey of Catherine, portrayed by Ruth Kadiri. Her life takes an unexpected turn when she brings in a stranger named Funmi, portrayed by Samuel Perry (Broda Shaggi). The situation quickly spirals into chaos, leading to a series of comedic events.

Alaye is a comedy-drama that masterfully balances humor and authenticity, delivering a hilariously engaging experience from the moment its dramatic premise is established. The film’s strength lies in its well-crafted characters and their interactions, particularly between the lead actors, Catherine and Funmi. Great efforts and emphasis are put into exploring Catherine’s inner conflict.

Catherine, portrayed as a sophisticated, wealthy individual, contrasts sharply with Funmi, a streetwise guy from the ghetto striving to make a name for himself. This juxtaposition of characters creates a dynamic that drives much of the film’s comedy and charm. The writer demonstrates a keen understanding of the genre, utilizing elements that make for a compelling and lighthearted film. One of the standout moments is the use of dramatic irony when Catherine expects Funmi to be a woman, only to find out that he is, in fact, a man. This twist sets the stage for a series of humorous and heartfelt interactions.

Catherine is depicted as orderly, well-mannered, cultured, organized, and strict, while Funmi is her polar opposite — carefree, dramatic, and capable of turning any conversation into a comedic moment. This contrast is not just for laughs; it adds depth to their characters and the story. Notably, Catherine is never set up to be the funny one, which helps maintain a balance. If both characters were comedic, it might have led to an excess of humor, overwhelming the narrative. Instead, Catherine’s storyline remains emotionally authentic, and she sticks to her character’s core traits throughout the film. Funmi, on the other hand, stays true to his role as the primary comic relief, providing numerous laugh-out-loud moments.

The film captures a sense of urgency and tension as we understand the stakes for Catherine to support her debtor, combined with humor, making it engaging. However, the lack of backstory prevents us from fully empathizing with Catherine and understanding why she is in such a dangerous situation. From the first scene, it’s clear that Catherine is in distress, but this alone isn’t enough to make the audience root for her. The film compensates for this flaw with the introduction of Broda Shaggi’s character. The element of dealing with a loan shark like Gabby (played by Aloma “Zicsaloma” Isaac) adds relatability. There is a balance between Catherine’s genuine somber moments and the chaotic, light-hearted interactions of Broda Shaggi and Monica Friday.

While the film is predictable, as many in this genre tend to be, this predictability does not detract from its appeal. Comedy-dramas are often more about the journey than the destination. Audiences are drawn to the character’s journeys, their development, and the “how” of the story rather than the “why.” “Alaye” excels in this aspect, delivering a delightful ride towards an expected yet satisfying conclusion.

However, the film is not without its flaws. There are a few scenes that feel unnecessarily long and repetitive, especially in terms of dialogue. Despite this, the humor embedded in these moments makes them tolerable and even enjoyable. The film serves as a form of escapism, offering a pleasant and entertaining journey through its predictable yet enjoyable narrative.

The premise also feels familiar, especially if you’ve seen Broda Shaggi’s role in “Love In A Showroom” directed by Tolu Awobiyi. However, “Alaye’s” storyline is unique, adding a fresh element and a humorous twist, though it lacks the memorable edge needed to truly stand out. I appreciate that the premise is kept simple, avoiding an overload of subplots that might have left loose ends. The film remains committed to its main story. Watching it feels light and pleasant, offering exactly that —nothing more, nothing less. Despite its familiarity, the premise remains interesting, relying heavily on Broda Shaggi’s comedic appeal as expected. It’s worth watching, but don’t expect anything groundbreaking. The clichés are there, but so is the charm.

On performances, Broda Shaggi slips back into his role effortlessly, delivering his signature wit and charm, with every scene packed with humor and complemented by a fitting soundtrack. It’s a treat for both longtime fans and newcomers. His charisma and comedic timing, especially in the film’s final sequence, are as sharp as ever, making him a joy to watch.

One thing I love about Broda Shaggi’s acting is his chemistry with a “strong and silent” type of co-star who balances his goofiness. Ruth Kadiri’s character does this perfectly in the film. While Broda Shaggi is a talented comedian, he’s not quite strong enough to carry a comedy drama by himself. He always shines as a hilarious sidekick but doesn’t have the same impact as a solo lead.

Tega (portrayed by Monica Friday), Ben (portrayed by Eddie Watson), and Eve (portrayed by Rosemary Afuwape) bring their A-game, adding depth and flair to the ensemble cast. The casting director deserves high praise. The chemistry among the characters feels genuine and authentic, particularly between Broda Shaggi and Monica Friday, as well as between Rosemary Afuwape and Ruth Kadiri. The contrast between their worlds is vividly portrayed through their characterizations, and the reason for their worlds clashing feels plausible and organic, stemming naturally from the characters’ needs rather than serving as a mere plot device.

In conclusion, “Alaye” is a comedy-drama that achieves a commendable balance between hilarity and story authenticity. The character contrasts between Catherine and Funmi drive the film’s humor and emotional depth, making it a delightful watch. While it may have a few pacing issues, its charm and comedic elements more than make up for it. “Alaye” is a film that invites viewers to enjoy the ride, laugh along the way, and appreciate the character’s journeys.

Our Father is a film about a destitute and disillusioned father who seeks to reconnect with his family after years of abandoning them to chase his musical dreams; only to discover one of his children is now a national music sensation.

Sunday Okon, a struggling musician, abandons his family in a last-ditch effort to achieve stardom. Twenty years later, after countless failures, he finds himself a penniless debtor with a short fuse and a habit of lashing out. While dodging creditors one day, Sunday stumbles upon a news story featuring a young woman with his last name who has just won a national talent show. Curiosity piqued, he calls into the show and discovers that the rising star is his youngest child and only daughter. Desperate to escape his destitute life, Sunday decides to reenter his daughter’s world. However, he must first confront his two sons, who are fiercely protective of their sister and determined to keep the father who abandoned them two decades ago at bay.

The movie cast includes Olarotimi Fakunle, Audrey Harrison, Daniel Etim-Effiong, Mike Afolarin, Uche Montana, Kelechi Udegbe, Obed David, Royal Aziomaku, Inem King and other actors.

The movie is directed by Biodun Stephen, and produced byAudrey Edak Harrison and Mo’ Fakorede.

OUR FATHER premieres at ICFF Canada on the 12th of July in Toronto, Canada.

Watch the trailer:

The Fire and the Moth explore the themes of smuggling and cultural artifacts in western Nigeria.

The upcoming crime drama is set in a harsh western Nigerian town. The Fire and the Moth follows how a desperate smuggler’s escape with a rare Ife bronze head sparks a violent upheaval, dragging the town into a maelstrom of corruption and brutality.

Tayo Faniran leads the crime drama, with Olarotimi Fakunle, Ini Dinma Okojie, William Chinoyenem, Ugoh Amanda, Dami Deremi, Kuchi Chris and Haitian actor, Jimmy Jean-Louis, among others set to appear.

The film is directed by Taiwo Egunjobi, produced by Eniola Fagbenle, and written by Isaac Ayodeji. Okwong Fadamana serves as the director of photography.

Sable Production is in a co-production partnership with Nemsia Studios and will yield the second motion picture, The Fire and the Moth. From their first collaboration, they released a movie called A Green Fever.

The Fire and the Moth will be released on Amazon Prime Video.

Stay tuned for more updates about the movie.

The action movie, Voltage, will premiere in cinemas on July 5, featuring an ensemble cast of Nollywood stars which are Segun Arinze, Kate Henshaw, Olumide Oworu, Linda Osifo, Kelvin Ikeduba, White Money, Keppy Ekpeyong, Jude Chukwuka, Rotimi Adelegan, Ricardo Agbor, Aaron Sunday and Sunny McDon.

Directed by Fred Amata, the movie delves into a prevalent concern with satirical lens, exploring its impact on individuals, families, and the economy.

The producer, Ngozi NgLabelle expressed her delight about the movie saying that Voltage is a power packed movie that will be a blockbuster.

“The buzz is everywhere right now, and I trust God for completing what He started” She further commented.

She added: “I was inspired by the fact that I want to contribute to the growth of Nollywood and filmmaking. I have always being there from my teen years, so, I am aspired to impact and to contribute”

Check out the action packed movie in nationwide cinemas on July 5.

Watch the trailer below:

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Almost five years after the release of “Oloture,” its sequel, “Oloture: The Journey,” debuts on Netflix. Instead of a movie, it’s presented as a three-episode miniseries.

This sequel picks up right where the original movie ends. Our journalist, Ehi (Sharon Ooja), who is disguised as a sex worker, is on her way to Europe after a failed attempt to escape the human trafficking ring she infiltrated. This smooth transition should be applauded.

This sequel, like its predecessor, has its strengths and weaknesses. It retains the unsettling investigative tone of the first film, providing a penetrating look into the grim realities of human trafficking and prostitution. The narrative offers a front-row view into the corruption permeating the borders of many African nations. This exploration is vividly conveyed through its setting, characters, and depiction of violence.

The first movie focused more on the prostitution aspect of the ring, but in this sequel, human trafficking takes center stage. However, the prostitution element isn’t discarded; the protagonist’s actions from the first film have lasting repercussions for the ringleaders.

The perils of trafficking are portrayed with stark intensity. Ehi and her companions endure a brutal ambush where their vehicle is overturned and riddled with gunfire, leaving only her and another woman, Peju (Beverly Osu), alive. As they navigate their way across multiple borders, the ominous chant of “five dollars five dollars” follows them, symbolizing their constant peril. The filmmakers’ dedication to authenticity shines through in various scenes, notably when Ehi and Peju are transported in a water tanker. This sequence, among others, draws the audience deeply into their harrowing experiences, ensuring we aren’t detached from their reality. Sandstorms and ambushes further highlight the grim reality that even the most prepared can be left stranded in the desert.

When Ehi reaches out to her boss and he severs all ties, it starkly highlights the inherent risks of investigative journalism. The film poignantly illustrates how many journalists are left to fend for themselves when their investigations take a dangerous turn. For every celebrated investigative success, countless journalists are abandoned and left to navigate perilous situations alone. This narrative draws a poignant parallel between the fate of these journalists and the individuals and issues they strive to expose—both often left neglected and failed by the systems.

The storyline in this sequel transitions smoothly from its predecessor but encounters some pitfalls along the way. In its effort to expose the dark underbelly of its world, the film places Ehi in harrowing situations, yet not all of these scenarios resonate effectively. This is particularly evident when Ehi falls victim to being sold to a brothel, a plot point that undermines the character development she has undergone. For someone who has experienced sexual assault while undercover and endured trafficking, it strains credibility that she would divulge her true identity and motives so readily to Femi (Efa Iwara). This decision feels particularly implausible considering she didn’t disclose this information to her companions—Peju, Ben, and Andrew—, with whom she shared a perilous journey. The inconsistency raises questions about how she could keep her secrets from those she faced danger with, yet disclose everything to someone she just met.

Another baffling decision is Beauty’s (Adebukola Oladipupo) decision to once again attempt illegal immigration to Europe. One might assume that the tragic loss of her sister and mother would serve as a strong deterrent but the writing insists she is driven by a desire to seek justice for her sister. However, this rationale feels strained, especially considering that those responsible for her family’s tragedy are within reach in the same city. Furthermore, Chuks (Ikechukwu Onunaku) killing Ade aids the story, yet the execution falls short. Ade (Bucci Franklin), portrayed as a formidable figure, shouldn’t meet his end so easily. Such plot decisions detract from the otherwise profound exploration the story undertakes. Additionally, the overused trope of depicting villainous gang leaders with excessive smoking should be retired from Nollywood.

The performances in “Oloture: The Journey” are praiseworthy. Sharon Ooja shows significant improvement from the first movie, or perhaps this sequel better harnesses her strengths. She transitions convincingly from a state of dejection to determinedly striving to overcome her circumstances, effectively garnering sympathy for her character. Despite some questionable decisions her character makes, Ooja’s portrayal is compelling enough to overshadow these flaws (which can also be attributed to the scriptwriters). Beverly Osu matches Ooja’s energy as her primary companion, delivering a solid performance. Stan Nze and Amarachukwu Onoh, who join them to form a quartet, also deliver strong performances, making their journey easy to invest in emotionally; hence, when one of them is lost, the impact is deeply felt. The rest of the cast, both returning and new members, adeptly support the lead actors, ensuring a balanced ensemble performance.

The decision to make this sequel into a miniseries raises several questions. It leaves one wondering why the traditional movie format was abandoned in favor of this approach. Unfortunately, this new format doesn’t enhance the project’s presentation; instead, it diminishes the experience. It’s difficult to reconcile that this miniseries clocks in at just an hour and forty-five minutes, especially considering that many Nollywood films now exceed two hours in length. Moreover, ending the miniseries on a cliffhanger, similar to the first movie, already creates an expectation of more content. This begs the question: why wasn’t everything released at once? There are still numerous storylines that require resolution, and one would expect that this format would be utilized to conclude the story comprehensively.

In conclusion, this sequel adequately accepts the torch passed to it by its predecessor and also improves on the story. The cinematography and score help paint the narrative of endurance and the grim world of human trafficking. Oloture: The Journey powerfully illustrates the harrowing struggles for survival and the grim reality faced by those ensnared in exploitation. Although encountering pitfalls, this miniseries manages to unflinchingly deliver on its exploration and the hope is that this story is completed and not snuffed like many investigative journalists.

The Kwara state government led by Governor Abdulrahman Abdulrazaq has opened up its Million naira movie production facility for Nollywood filmmakers based in Ilorin.

This studio is a key part of Governor Abdulrahman Abdulrazaq’s strategic efforts to transform the state’s economy, with a focus on job creation and youth empowerment. His vision for Sugar Factory Film Studios emphasizes creativity, innovation, and excellence, promoting a culture of collaboration and empowerment within the organization. By fostering a nurturing environment, he aims to enable talent to flourish and ideas to thrive, steering the studio towards greater success and expansion in the dynamic world of film production.

The studio completed and commissioned in March, currently has custom sets for the court, office and living room scenes which can be modified for filmmakers’ use.

Actor Gbenga Titiloye has been appointed as the Managing Director of Sugar Factory Film Studios, a state-of-the-art film production studio based in Kwara. In his new role, Titiloye is set to shape the studio’s future and guide its strategic direction. Gbenga Titiloye is a versatile and influential figure in both the entertainment industry and information and communication technology (ICT). With a career spanning 29 years, he has made a significant impact as a veteran actor, producer, and director in Nollywood.

Titiloye has starred in notable movies such as  Battle Ground series (2017-2019), Knock Out Blessing(2018), Merry Men(2018), Bling Lagosians (2019), and  Across the Rising Sun(2020) . 

His remarkable ability to portray diverse characters has earned him recognition and success, contributing to the growth and development of the Nigerian film industry.

In addition to his accomplishments in entertainment, Titiloye has made significant strides in the ICT sector as a consultant and Managing Partner of CTU (Critical Technology Unit). CTU, one of Nigeria’s fastest-growing media companies, has offices in Dubai and Lagos, and a state-of-the-art studio in Abuja, the Federal Capital Territory (FCT).

Sugar Factory Film Studio has already commenced production on several projects, including the “AS-SIRAT podcast”. This weekly Islamic podcast aims to bridge the gap between faith and culture by educating viewers about mutual respect and cultural exchange through dialogue, fostering empathy and appreciation for the varied experiences and viewpoints within the Muslim community.

Additionally, the studio recently welcomed the Mass Communication Student Association of the Kwara State College of Arabic and Islamic Legal Studies, Ilorin. The students visited the studio on Wednesday, April 17, 2024, as part of their quest for knowledge and to gain deeper insights into the industry they are studying to join.

During their visit, Mr. Titiloye enlightened them about Sugar Factory Film Studio’s vision of becoming a major hub for last-mile movie production in West Africa, with the goal of elevating the quality of Nigerian cinema to compete globally. The studio also provided full coverage of the activities during the 2024 Ilorin Durbar Festival. Furthermore, it has hosted visits from prominent Nollywood figures like Rita Dominic and staff from the Nigerian Copyright Commission