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Lagos Film Review

Lagos Film Review is a publication of the LFS. It’s aim is to present regular film critiques and writings about films to a general audience. The first issues of the Lagos Film Review were published for the iREPRESENT International Documentary Film Festival in Lagos, Nigeria, 24-27 March 2016. You can read the four editions that came out during the festival here. Further reviews will be published directly on the homepage under the category Lagos Film Review.


CINEMA HAUTE COUTURE- What’s new about the “New Nollywood?”

By Didi Cheeka In the earlier period of Nollywood, the camera was simply an equipment that recorded what was simply placed before it. Really, most Nollywood movies look as if they were shot by a camera. These days, however, you know there is someone behind

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TALENT IS NOT ENOUGH Review of Django Unchained and the Films of Quentin Tarantino

By Didi Cheeka “Faster, Quentin! Thrill! Thrill!” This is how film critic, Roger Ebert titles his review of Quentin Tarantino’s newest film, Django Unchained. Tarantino, according to Ebert is “a student and champion of exploitation films. He digests their elements and reforms them at the

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Daughters of Igbo Woman to be premiered in Nigeria.

Following a successful tour to two memorial sites in Bristol UK (The Georgian House Museum; Greenbank Cemetery and ‘the Bearpit’) in October for Black History Month, and contributing to the  Journey to Justice Bristol programme between August and October 2017, Daughters of Igbo Woman will

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Memory is not Without Voice – A review of A Hotel Called Memory by Akin Omotoso.

By Dare Dan If we take Bela Tarr’s Dancing in the Pub as an exciting encounter with silence, then Akin Omotoso’s A Hotel Called Memory, is lacking in that —it’s an outright absurd entry into silence. Early on, we are presented with memory as being

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Big Cities Have Something for Everyone- A Review of Vaya by Akin Omotoso.

By Dare Dan. Two young men, a beautiful lady, and a little girl are among a throng heading for the big city from a countryside in South Africa. Every one of them in the train has a score to settle with the city of Johannesburg.

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IF THE SUN REFUSES TO RISE: A Review of Biyi Bandele’s Half Of A Yellow Sun.

By Didi Cheeka When a director dies, Flaherty says, he becomes a photographer. Biyi Bandele’s direction of Half Of A Yellow Sun reveal the filmmaker’s conception of film as a purely pictorial medium. It is not. I do not mean, with the opening sentence, an

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CINDERELLA STORY OR MODERN DAY “HOTTENTOT VENUS’? (Critical Thoughts on Waris Dirie’s Desert Flower)

By Didi Cheeka The cover photography speaks volume: bust shot of a Black woman, contrasting her snow-white head-scarf and blouse to her deliberately-emphasized blackness. It is a shot of Waris Dirie on the front cover of the autobiographical novel Desert Flower (seemingly co-authored with Cathleen

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[FROM THE ARCHIVES] HISTORY, MEMORY, AND IDENTITY-Ari Folman’s Waltz with Bashir

by Didi Cheeka Where does history begin? And when is memory born? Memory, all too often, is born with that event in people’s lives that serves as a watershed by which all other events are measured. And then people acquire new identities: victims, survivors, perpetrators.

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Gomis’ Heart Of Darkness

A Review of Alain Gomis’ Felicité By Didi Cheeka Félicité, by Alain Gomis, is too long and, for the most part, really quite boring. Between participating in screenings and conversations at Critics’ Week Berlin and German African Foundation, reediting digitized footage at Arsenal Film Institute,

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Bad Market

A review of ‘Bad Market’ by Paul Gaius By Dare Dan In the novel Easy Motion Tourist by Leye Adenle, the protagonist, a Brit, who comes to Nigeria for a short-term assignment as a journalist, busts a syndicate: an underground network of sex workers and

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