The last decade has seen tremendous growth take place in the film industry in Nigeria and even across the African continent. From Nollywood's rapidly growing presence on Netflix and other global streaming platforms, to record-smashing cinema feats, Nigerian filmmakers are taking the global industry by storm. But it goes beyond the filmmakers. Behind the scenes, there are entertainment executives who are changing the narrative and making big moves from the backend of Nollywood. Sitting amongst those at the peak of Nollywood's executive class is Chioma Ude.

Fifteen years ago, entertainment executive and media entrepreneur Chioma Ude established what would become one of Africa's biggest film festivals. The Africa International Film Festival (AFRIFF) was founded in 2010, with its inaugural edition held in the city of Port Harcourt. While serving as project manager for the ION International Film Festival, a global touring festival which she brought to Nigeria, Chioma Ude identified a gap and knew that only a local film festival that showcased African and diaspora films would adequately fill it. This inspired the creation of AFRIFF. Over the last decade and a half, the festival has grown from a regional initiative into the continent's foremost film festival, fundamentally reshaping the landscape of African and diaspora cinema.

The success of AFRIFF draws significantly from the personality of the woman behind it. Chioma Ude describes herself as a Yes Person, always willing to take a chance on people and on ideas. But she admits that this has both a good and a bad side. "I've learnt how to say no," she says. "I have changed in that way. I'm stronger and more focused now. I wanted to help the whole world and it was draining me at some point. But now I have tunnel vision, and I know what I'm going for."

While AFRIFF is without a doubt a continental success, a lot more is required, especially in terms of financing and resources. "We need studios, we need real resource materials," Chioma Ude says. "Trainings and studios. There is money here. If the investors can see the returns, they will release the money."

This year, as AFRIFF celebrates its fifteenth year, it serves not only as a testament to the immense potential available in the African film industry, but as proof of Chioma Ude's remarkable drive, skill and expertise when it comes to Africa's film ecosystem. With every year she spends in the industry, Chioma Ude cements her place as one of the geniuses putting African cinema on the map.

Factually speaking, keeping anything running for fifteen straight years in this part of the world is no small feat. Here, where there are shifting trends, economic waves and the constant hustle of the creative industry, staying relevant is tough and staying right at the top is just pure royalty. But AFRIFF has proven it's possible! The Africa International Film Festival (AFRIFF) is hitting its 15th-year milestone and somehow, it keeps getting better with each passing year. If you've ever walked into an AFRIFF screening, caught the electric energy at a masterclass or stepped onto its red carpet in Lagos, you already know the unique feel of its atmosphere.

AFRIFF is beyond just an event you attend once a year; it is an entire ecosystem, a whole movement and the undisputed heavyweight champion of African cinema culture.

So, how did a dream launched by Chioma Ude back in 2010 become the most anticipated film festival on the continent?

Long before global streaming platforms made African films a daily routine for viewers around the world, AFRIFF was already building the bridge. It created a massive space where local storytellers could stand side by side with international filmmakers and global critics. It gave African creators a microphone to say: "Our stories are amazing and the world needs to listen."

Beyond the glamour and the fire red-carpet fits, AFRIFF actually does the work. While some festivals thrive on photo ops, AFRIFF has been actively running free training programmes and masterclasses. Over the last decade and a half, thousands of young and aspiring filmmakers have learned sound design, editing, acting and directing through these labs. If you take a look at the new wave of talent redefining Nollywood and African cinema today, a number of them got their start right here. While applauding legends, AFRIFF also invests in building the future.

AFRIFF serves as the central platform where creators connect with global distributors, investors and major platforms. It cuts out the middleman and hands young filmmakers direct keys to global opportunities.

Most importantly, AFRIFF has stayed relevant and fresh! It moves with the culture. Whether it's spotlighting smartphone cinema, exploring animation or giving Gen Z creators a platform to test wild new ideas, the festival constantly evolves. It stays locked into what's next while celebrating voices from across the entire continent and the diaspora.

Fifteen years in, AFRIFF remains unmatched because it never stood still. From bringing in international trainers to flying students abroad for trainings, AFRIFF is continually opening doors, pushing boundaries and putting African stories everywhere. Here's to 15 years of cinematic magic, high energy and game-changing connections. The best part is that there is still so much more to come!

If you want fast storytelling, zero dull moments and raw drama that feels like real life, YouTube is your home. YouTube has become Nollywood's playground for highly relatable stories. Directors and actor-producers use their channels like open studios, testing new ideas and serving audiences directly. Actress Ruth Kadiri is one of those building an empire on YouTube. Her director-producer setup provides high-tension relationship dramas very frequently, racking up millions of views.

Uche Montana is another actress who is making waves on YouTube. This year, her hit movie Monica shattered records and sparked conversations across social media on black tax and the right to maintain individuality even within a family.

Bimbo Ademoye also owns a more-than-thriving YouTube channel, constantly putting out movies that hit millions of views faster than one can blink. Omoni Oboli has also put out movies on YouTube that have gone on to become major trends across social media. Last year, she won millions of hearts with Love in Every Word, a two-part film that gave new life to the words achalugo and odogwu.

Through YouTube, everyday Nigerians gain access to simple films that are familiar yet deeply moving. All you have to do is search your favourite actor or producer on the app, and their channel opens up with no restrictions. YouTube movies are perfect for lazy Sunday afternoons, or days when you just want pure emotional entertainment without overthinking the plot or production design.

Turning a stage play into a movie presents a unique challenge. Wole Soyinka's Death and the King's Horseman, published in 1975, is inspired by historical events in colonial Oyo in 1946. Following the death of the Alaafin, the king's horseman, Elesin, is expected to fulfil a ritual duty. When he fails to do so, the consequences become tragic, with British colonial intervention adding another layer of conflict.

For Biyi Bandele's 2022 adaptation, bringing this story to the screen meant making its cultural world visible and audible. The film foregrounds Yoruba dialogue, traditional music, talking drums and ceremonial elements, rather than relying solely on the English-language poetry of the original play.

These choices matter because the story's meaning is tied to its community, beliefs and rituals. The language and sound aren't just there to make the film look or feel Nigerian; they help audiences experience the world in which the tragedy unfolds.

The 2022 movie stars Odunlade Adekola, Shaffy Bello, Deyemi Okanlawon, Omowunmi Dada, Jide Kosoko and Joke Silva, amongst others. Elesin Oba is currently streaming on Netflix.

If your weekend routine doesn't involve arguing over movie plot holes in the cinema lobby or on social media, then you're definitely one of the silent watchers! But whether you're a loud watcher, a silent one, or one of those bookworms who prefer a novel to a movie, we've curated this list just for you!

Nollywood is currently in its prime era. The screenwriting is tighter, the cinematography is meeting international standards and the cinema lineup over the past few weeks has been pure back-to-back hits. If you've been stuck in the "what should we watch?" loop, we've got you covered! Here is your ultimate guide to what's currently showing on the big screen and what you need to mark on your calendar.

Whether you're in the mood for heavy historical drama, street thrillers or high action, the cinemas have been stacked over the last month. Here are the titles everyone's talking about.

One of the biggest challenges facing African travellers is the difficulty associated with international mobility. Visa applications, financial requirements, documentation and uncertainty can make travelling feel unnecessarily complicated.

For some, the process is so discouraging that they abandon their travel dreams before even beginning.

As someone who has spent years educating people about global mobility, I understand these frustrations. However, I also believe African travellers should become more informed and strategic. Researching visa requirements, understanding entry conditions, planning finances and choosing destinations carefully can make a significant difference. We must continue advocating for fairer mobility systems while empowering Africans with the knowledge to navigate existing ones.

Our passports may determine where we need visas, but they should not determine how far our curiosity extends.

Interestingly, travelling outside Africa has deepened my appreciation for the continent. When you experience how other countries preserve their heritage, promote local tourism, develop infrastructure and market their cultures, you begin to recognise the enormous tourism potential that exists across Africa.

From the wildlife experiences of Kenya and Tanzania to the beaches of Zanzibar, the history of Ghana, the landscapes of Rwanda and the cultural diversity of Nigeria, Africa has extraordinary stories to tell.

Yet many of these experiences remain underpromoted or inaccessible to potential visitors. We need to invest more in domestic and regional tourism, improve infrastructure, promote safety, and tell our stories with greater confidence.

African tourism should not be defined solely by how the outside world sees us. We must become our own strongest ambassadors.

There is something about seeing a story that feels close to home. You laugh, cringe, then send it to your friend and say, "This is literally you!" And before you know it, you're in the comments, sharing your own experience with strangers on the internet. Somehow, Zikoko has mastered how to put out content that sparks this feeling.

What started as a digital publication focused on Nigerian youth culture has grown into a storytelling brand that explores relationships, money, identity, pop culture and the everyday experiences we don't always talk about. As a subsidiary of Big Cabal Media, Zikoko creates content across written, audio and video formats, with one thing at its heart: stories that feel unmistakably Nigerian.

Nigerian life already comes with enough drama, humour, gbas gbos and unexpected plot twists. Sometimes, all we need is someone to tell the story properly.

But Zikoko isn't just asking us what to read anymore. It's giving us something to watch, too. Take its official YouTube channel, Zikoko (@zikokomag), for instance. Beyond short clips and snippets from events, the channel features interviews, game shows, live sessions and original shows such as the popular "One More Thing". Its film offerings include My Body, God's Temple, Before We Fall Asleep, A Happy Ending, Siraam and more, which explore experiences around intimacy, relationships and the complicated business of being human.

Then there's Zikoko Life, a film anthology that turns stories rooted in real Nigerian experiences into screen productions. Instead of leaving these stories on a website, Zikoko works with filmmakers to give them a burst of life. Its 2025 films, for instance, explored subjects such as marriage, sexual expectations, women's choices and other important conversations that can be uncomfortable, but deserve to be discussed openly.

The interesting thing is that this expansion doesn't mean abandoning what made Zikoko recognisable in the first place. Its storytelling still draws from familiar experiences, cultural nuances and the things people discuss in private chats but might hesitate to say in public.

And the audience has responded. In January 2026, Zikoko's editor reported that the publication had reached its highest monthly readership in 2025. Its Zikoko Life films also helped double the series' YouTube subscriber count in a month.

Not exactly. Football clubs can generate revenue through sponsorships, merchandise, ticket sales, broadcasting rights and prize money. Owners may also benefit from long-term appreciation in a club's value or a profitable sale. For celebrities, there is an added advantage: media synergy. Their existing audiences can bring attention, partnerships and commercial opportunities to a club.

In Nigeria, developing young players could offer another route to value. Clubs that nurture talent and negotiate proper contracts may earn transfer fees when players move to bigger teams, potentially including sell-on payments. With Nigeria's deep pool of football talent, the opportunity is there, but so is the challenge of building sustainable clubs.

And football is not an easy business. Operating costs, player wages, debts, regulatory requirements and poor sporting results can swallow revenue. A club's value may rise without its owners receiving regular dividends, and even wealthy investors can suffer massive losses. But it goes beyond the profits. Some owners may simply want to develop talent, support their communities or build a lasting legacy.

So, could owning a football club be a smart investment? Yes, but not just because the owner is famous. The real goal is turning passion, influence and talent into a well-run business. After all, football can be a beautiful game, but the business behind it still has to be intentionally developed and managed.

We've all heard the classic saying: "Beauty is pain." For decades, fashion culture convinced us that if you aren't slightly uncomfortable, you aren't doing it right. From towering six-inch heels and bone-crushing corsets to heavy headgear and fabrics that refuse to breathe, looking good often feels like surviving a major endurance test. But as fashion evolves and Gen Z takes over the style narrative, a major debate is brewing on the streets and online: does high fashion really have to hurt to be hot? Or can we finally embrace the drip without the distress?

Let's look at why the "pain for fashion" culture stayed around for so long. Historically, luxury and high fashion were all about drama, structure and status. Walking awkwardly in ultra-thin heels or squeezing into tight silhouettes was seen as a sign of dedication to the craft. Nowhere is this endurance test clearer than on major red carpets. Think about the snatched-waist corsetry made famous by top designers; stunning gowns that regularly spark viral commentary because stars look like they can barely breathe or sit down. We've seen gorgeous celebrities step out in structured, heavily boned dresses that look like architectural masterpieces on camera, but require three people to help them walk into the room. And if we're thinking traditional, add a tightly tied gele that triggers a headache before they even serve the party rice, and you'll realise that glamour has practically turned into an Olympic sport.

Have you ever opened your wardrobe, stared at your clothes for what feels like forever, and concluded that you have absolutely nothing to wear? Or seen a celebrity step onto a red carpet looking so glammed up that you immediately wondered who put the entire look together?

Well, that celebrity probably has a stylist!

And contrary to what many people think, a stylist's job goes beyond picking out trendy clothes and accessories. They coordinate outfits and overall appearances to match a person's lifestyle, personality or the image they want to communicate. Some work with celebrities, others style brands and productions, while some focus on editorial fashion.

But wait, isn't that what fashion designers do? Not exactly. While a designer creates clothing and accessories, a stylist curates and combines existing pieces to create a complete look. Think of it this way: one creates the pieces, while the other figures out how to bring them together.

Ebuka's journey into shoemaking began while he was still in secondary school. Living with his uncle, an experienced shoemaker who owned multiple shops in Aba, he found himself close to a trade that would eventually shape his life. Instead of simply watching his uncle work, Collins chose to become his apprentice, learning the skills and discipline that the business demanded. His education ended at secondary school because of financial difficulties. "I could not afford to further my education to the university level," he explains. For many young Nigerians, not making it to university can feel like the end of a dream, but Ebuka found another way forward. He poured himself into learning the craft under his uncle and eventually opened his own shop in Aba.

Moving to Abuja brought a fresh start, but it also came with its own challenges. His elder brother gave him a container to use as a business space, allowing him to continue making and selling shoes. After about four years, however, circumstances changed and he had to leave that shop. Thankfully, he had saved enough to rent a shop of his own.

Looking back, Ebuka says shoemaking has taught him "patience, discipline and the importance of paying attention to details." He adds, "Rather than depending on others, I have been able to use the skills I acquired to earn a living and build a business of my own."

Ebuka's story reflects a familiar tradition in Igbo communities: the apprenticeship system, popularly known as Nwa Boi, in which young people learn a trade under an established business owner before eventually becoming independent. The system is more than just learning how to make or sell something; it involves years of practical experience, discipline, observation and learning how a business operates. In many cases, the apprentice eventually establishes a business of their own.

His words hit differently in a country where many young people are searching for jobs, struggling to pay bills or wondering what comes next after school. Not everyone will become a doctor, lawyer, content creator or tech bro. And honestly, not everyone needs to. There is dignity in knowing how to do something with your hands, turning that knowledge into a business and earning a living from it.

For the boys learning under Ebuka, the shop is not a place to spend their days and pass time; it is a space to acquire a skill that could one day help them become independent. Ebuka hopes they will learn more than shoemaking. "My hope is that the young people I train will not only learn how to make footwear but also develop the discipline, confidence and mindset needed to establish themselves someday." That is what makes his work meaningful. Aside from producing shoes, he is helping other young people prepare for a future in which they can stand on their own feet.

In Nigeria, factory-made shoes are everywhere. However, handcrafted footwear offers something personal. Customers can choose their preferred designs, colours, materials and sizes, while the shoemaker brings each pair to life. For Ebuka, the process begins with understanding what the customer wants. He then sources the materials, takes measurements, cuts the patterns, assembles the different parts, fits the sole and finishes the shoe. Every stage requires patience and precision. "The greatest satisfaction comes from turning raw materials into a finished product that a customer can wear and appreciate," he says.

But running the business is not always smooth. Rising material costs, rent and the challenge of attracting customers all demand careful planning. Even so, he has bigger plans for Talent Wears. "In the next five years, I envision building a stronger and more recognised footwear business," he says. He also hopes to expand, create more employment opportunities and train more young people. For someone who started learning as a teenager, that vision represents years of growth, sacrifice and determination.