‘Neptune Frost,’ written and co-directed by Saul Williams, knows that extraction is everyone’s problem.
Lindsey Green-Simms’ book “Queer African Cinemas” explores the intersections of postcolonial thought, queer theory, and screen media.
King of Boys: The Return of the King, a seven-part limited series of Netflix, is a sustained—if ultimately pessimistic—critique of Nigerian corruption.
Journalist Vincent Bevins’ new book, The Jakarta Method, shows that some of the 20th century’s ugliest episodes are still unfolding.
A Nigerian play and its leading man confront western misrepresentations.
After having a heart attack, a white American falls in love with his Nigerian nurse in the CBS TV sitcom, Bob Hearts Abishola. It is also about Nigerian-Americans’ visibility on mainstream US television.
Africa and its peoples were central to the great Immanuel Wallerstein’s intellectual development and political activism.
At this year’s New York African Film Festival, we saw films united by key thematic concerns, some of them quite unexpected.
Director Dare Olaitan’s Knock Out Blessing (2018), is nothing less than a meditation on rape culture.
Sunshine Cinema is repurposing a tool of 20th century European colonial and neocolonial capitalist domination.
Poitier is a pioneer in Hollywood (the first black male actor to win an Oscar), but, like in most of his US acting roles, he also played it safe in African roles he took on.
Emmanuel Macron’s Lagos visit came and went in a long tradition of diversionary state visits by Western politicians who condescend to Nigerians.
Dare Olaitan’s film Ojukokoro gets some room to breathe in New York, after being stifled at the box office in Lagos.
The book ‘Nollywood: The Making of a Film Empire’ takes a journalistic approach to that industry without falling back on the bombast of most popular accounts.
Nigerian filmmakers are embracing the short form as more than just a cinematic calling card.
The American network VICE turns to Nigeria and its film industry as a further source of wonder for its mostly white correspondents.