Ikenna Churchill

Riyo David on taking the risky role in All the Colours of the World Are Between Black and White, the power of the stage, and why he keeps moving

Ny Nana on her Urhobo-language short film Okeoghene, its 21 TINFF nominations, and why she is building indigenous cinema from London

Netflix turned a limited series into a franchise, but did Blood Sisters Season 2 need to exist? This review breaks down the new cast, the returning performances, and why the sequel lost what made the first season special.

A review of The Fisherman, Ghana’s history-making Venice entry, on Akosua Adoma Owusu-Martinson’s comedy about tradition, family, and a talking fish, and its rocky Nigerian theatrical run.

Olive Nwosu and Amanda Oruh talk to TNR about building Lady, the Sundance-winning drama on sisterhood, sex work, and Lagos, without moralizing.

Jimmy Jean-Louis has been a fixture in Nollywood for two decades, long before it was trendy for international stars to show up. In this interview, the Haitian-born actor talks about art, artefacts, the Niger Delta and why African stories must be told by Africans.

Ahmed Muhammad Bande on Zaaminar, a Hausa superhero universe built on ancestral memory, and why Nigeria is ready for homegrown global heroes.

Joshua Olaoluwa talks about producing One Woman One Bra, shooting in a Kenyan village with no electricity, and winning at Venice and BFI London.

Bimbo Ademoye’s confrontation with street touts exposed a growing crisis. Agberoism is pushing Nollywood off real Lagos locations and into sanitized sets, changing the visual language of Nigerian film forever.

Chimezie Imo opens up about emotional restraint, finding refuge in acting, turning down false roles, and why he lets the work speak. An exclusive Nollywood Reporter feature.