Interviews

Grief led Uwana Anthony to make his short film Everything Must End. His style is “a movement and a cause for change in our approach to pursuing knowledge.”

As founder of the Africa International Horror Film Festival (AIHFF), the first such platform in West Africa and second in the continent, Nneoha Ann Aligwe believes that the genre “allows us to confront” the “darkness within us.” And courage matters to her, hence her documentary Born Different.

Guided by his “Igbo awakening,” Dika Ofoma sets his brief features — God’s Wife, A Quiet Monday, and A Japa Tale, among them — in southeastern Nigeria, with characters, often women, whose day-to-day lives, he argues, are “interesting enough.”

Not wanting to be boxed in, Fatima Binta Gimsay moves from television to short films. Her work includes Fine Girls, Omozi, and Ijo. “The challenge on the indie side of things will always be money,” she said.

As Series Editors of Global Black Writers in Translation, Vanessa K. Valdés, Anette Joseph-Gabriel, and Nathan H. Dize know that “Black literature is the least translated.” In a mostly white field, the long histories of Afro-diasporic, Caribbean, Spanish, French, and Portuguese erasures inform their work.

The documentary This Is Love shows Nigerians who “live beautiful love stories in a place where the love they share is taboo.” After a Best LGBT Feature win at Brazil’s Bahia Independent Cinema Festival, director and co-producer Victor Ugoo knows that “distribution seems to be the hardest part of filmmaking.”

Godwin Harrison’s “advocacy-led” HUG Media Concept is “about using cinema to address issues.” His new film Ima’mi is based on his life as an Efik prince who was outed as gay.

The New York Times bestselling author of The Girl with the Louding Voice and And So I Roar on her writing process.

Staged by the Malawian artist Mirriam Francesca Nkosi, with sponsorship by Africa No Filter, it “focused on preserving, celebrating, and documenting these native plants and the traditional knowledge associated with them.”

Hosted by the East African activist Name Redacted, with sponsorship by Africa No Filter, “conversations like these provide a counter-narrative to predominant Western narratives of ‘coming out.'”

Created by the Nigerian artists Vetum Galadima and Amaka Obioma, with sponsorship by Africa No Filter, it “combines museum technology and art direction to create a perspective for art preservation.”

Crafted by the Nigerian designer Izuchukwu Udokwu, with sponsorship by Africa No Filter, it weaves fashion, music, and poetry to show that “you don’t have to create physical pieces that would probably end up in the waste bin and contribute to the wastes in our environment.”

Booker Prize winner Ben Okri, author of The Famished Road, and Ghanaian rapper Delasi, with the EP The Audacity of Free Thought, in a deep, rare reflection on storytelling, art forms, and their quests for origins.

Hopping between genres, his scores are heard in almost every major recent box office and streaming success, including A Tribe Called Judah, Jagun Jagun, Gangs of Lagos, and Battle on Buka Street. “I’ve been trusted by filmmakers,” he said.

On his debut album Diary of a Loverboy, the Nigerian singer and actor channels frustration, anger, and love.

Director, producer, and screenplay writer Ebuka Njoku and producer Lorenzo Menakaya on their professional journeys and the making of their Netflix No. 1 hit.

In Between Starshine and Clay, the novelist interviews Toni Morrison, Michelle Obama, and Wole Soyinka, among other major Black figures in the arts and politics. “One of the things that was the most surprising was the actual extent to which they forged their own path,” she said.

In two acclaimed and bestselling novels, the British Ghanaian writer and photographer has enlarged his terrain from love and art to family and memory. “I wanted to take my sentences past this thing of knowledge and more toward feeling,” he said. “It feels like a progression in the questions I’m asking, specifically around identity and Blackness, but, really, around love.”

How to Write About Africa gathers vivid, powerful essays and fiction by the late Kenyan icon. Its editor Achal Prabhala talks compiling it, a second posthumous book, and an uncompleted novel. “Much is made of what he did for other writers, but it was his own writing that did it for me,” he said.

Alhaji Waziri Oshomah fused Highlife, local folk styles, and Western pop into songs of positivity in Auchi, Nigeria. When New York label Luaka Bop released The Muslim Highlife of Alhaji Waziri Oshomah in its World Spirituality Classics series last year, we spoke to musician and label about his artistry.