#(2022) Nollywood Movie

[viral9ja]

Pink Butterfly (2024) – Nollywood Movie

A cyber-crime agent must disguise herself as a glamorous influencer to trap a notorious cyber-fraudster. VIDEO INFORMATION Filename: -Pink.Butterfly.2024.540p.x265.AAC.[viral9ja.com ].mkv Filesize: -195 MB Duration: 01:49:06 Imdb: https://www.imdb.com/title/tt35098358 Title: Pink Butterfly Year: 2024 Type: Movie Country: Nigeria Language: English Director: Seun Sonoiki Genre: Crime,…

[lampstaketv]

Twin Brothers. pt 1.

[kemetic-dreams]

She is a Nigerian-British citizen.

She is a British-born.

She is a Nigerian actress.

She is an Igbo lady.

Her name is Beverly Ifunaya Bassey popularly known as Beverly Naya, a Nigerian actress and screenwriter.

Beverley Naya was born on April 17, 1989 in London, England in the United Kingdom. She was born and raised in UK. She is currently 34 years old and now based in Lagos state.

Beverly Naya is originally from Igbuzor, Delta state in the south southern part of Nigeria. She is the only child of her parents.

In 2006, at the age of 17, she began her acting career.

After completing her secondary school education, Beverly Naya proceeded to Brunel University and studied psychology, philosophy and sociology. She also studied filmmaking and scriptwriting in Roehampton University in London.

After she graduated from university, she just knew that she wanted to act and in London, she could shoot a film probably once in a year and that's it. Whereas coming to the Nigerian movie industry, she can build a brand as well as shoot films more often and be given a more diverse amount of scripts.

So, she relocated back to Nigeria and joined Nollywood because of its rapid growth, and the opportunities that it creates for aspiring actors.

Beverly Naya made her debut appearance in a Nigerian movie in titled “Leaving in Exile”.

Due to her outstanding performance in Leaving in Exile, Beverly Naya has earned several movie roles for herself in the industry acting alongside prominent A-list Nollywood actors and actresses like Deyemi Okanlawon, Kate Henshaw, Chidi Mokeme, Nancy Isime, Uche Jombo, Zubby Michael, Chioma Chukwuka, Matilda Obaseki, amongst others.

She is known for Believe in You (2020), Across the Rising Sun (2020) and Kofa (2022).

The British-born is very pretty, skillful, creative and talented actress who is good at interpreting movie roles.

She is very good in acting.

Good in interpreting his role.

Credit: Joshua Lekhithah

[whileiamdying]

Eyimofe (This Is My Desire): Floating Currencies

By Maryam Kazeeme ESSAYS — APR 26, 2022

The film exists within the tradition of African cinema, to which cultural critic and filmmaker Manthia Diawara ascribes two central themes, “social realism and colonial confrontation,” as well as within the larger tradition of “world cinema” that Lúcia Nagib has described as “cinema of the world” that “has no center.” The Esiris have noted that their film is heavily influenced by the New Taiwan Cinema, which is evident in the confident austerity of the camera as we journey through Lagos, shown in a way that balances social-realist and modernist aesthetics and echoes Edward Yang’s Taipei Story. Eyimofe may not seem to have much in common with the gaudy commercial movies usually associated with Nollywood, as Nigeria’s film industry is popularly known, with their accelerated and complex plotlines and, most often, characters that are either good or evil. But in fact, the film must be seen as part of both the Nigerian film industry (which extends beyond this monolithic perception) and world cinema. The Esiris are committed to realism and novelistic detail, and they masterfully transpose plotlines, people, and places that could very well exist in a commercial Nollywood movie into a style of filmmaking whose deliberate pace demands that we witness the various currencies being exchanged in the world of the film—discern their logic, feel what they cost to earn and to spend. Money is Eyimofe’s true villain. Within twenty-four hours of receiving a passport (with the name Sanchez, signaling to viewers that Mofe’s papers are legal-adjacent) and the unexpected deaths of his sister, Precious, and young nephews due to “something to do with the generator,” Mofe must spend. He must pay to keep their bodies at the hospital while he looks for more money to arrange their release. He must pay for their funerals, without the help of his estranged father (the late Sadiq Daba, compellingly infuriating). He must pay a lawyer to retrieve funds from Precious’s bank account that she had planned to give him for his travel documents. Throughout all this, Mofe shows patience. “It’s okay,” he responds to the nurse who informs him indifferently that the bodies of his family will be disposed of if he doesn’t pay. “It’s not okay. It’s not right,” his friend Abu insists.

“The Esiris’ camera is quite literally interested in the big picture, in asking: What means are truly available to Mofe and Rosa to attain the currency of self-determination?”

In the second chapter of the film, we meet Rosa face-to-face. We’ve seen her before at a distance—collecting water at a public tap, as Mofe returned home from work the night his sister and nephews died—but wouldn’t have known who she was. Here, she smiles softly for the camera; her visage, tilted in front of a fluttering white sheet for her passport photo, resets our visual palette, infuses us with energy—we’re hopeful this chapter will be different. While Rosa is much younger than Mofe, there’s a parallel in their sibling-oriented family structures. Rosa works hard to provide for herself and her teenage sister, Grace (Cynthia Ebijie), whom we meet when she is about four months pregnant. Rosa may not be estranged from her mother, but a perturbed glance at Grace when their mother calls to check in suggests that she doesn’t factor into Rosa’s decisions about her own and her sister’s day-to-day lives, nor into her vision for their Italian future.

We encounter new shades of Lagos—vibrant and lush—through Rosa, as she attempts to shift in and out of her class status, and often falls flat. Italy is on Rosa’s mind as she washes a customer’s hair at a salon and places Long Island iced tea orders for people at the trendy bar where she also works, some of whom happen to be friends of hers on the prowl for men with money. Grace, on the other hand, often laid out on a purple leopard-print pillow on their shared bed, wants only to watch videos and dance with her best friend. She does not want to get her passport photo, or the medicine for the health of her baby that Rosa struggles to afford. “If you don’t start behaving yourself, I���ll send you back,” Rosa threatens, scolding Grace through a mirror in the dark, as a neighbor’s generator pounds away. “Sorry,” Grace mutters, the camera’s focus on her reminding us that she is just a child acting out, using the little power, and pout, she has to resist her older sister’s plans. In the same luxe apartment building where Mofe works as a nighttime security guard, we are introduced to Mama Esther (comedian and wedding emcee Chioma “Chigul” Omeruah, in one of her first dramatic roles) through her mercurial voice, before we see her simultaneously ebullient and menacing expression. “So, you want to go to Italy?” she asks the sisters, followed by a slew of questions about Grace’s pregnancy. While Mama Esther and Rosa discuss logistics, Grace’s eyes are fixed on Mama Esther’s young daughter, playing with makeup in the foyer. Is Grace contemplating what it would be like to sit on the floor and play with makeup with her own child, or by herself? The lingering gaze on the girl and Grace’s childlike wonder invite us to consider both. When Rosa meets Peter (Jacob Alexander), a handsome Lebanese American, Italy seems to falter slightly in her mind. Dates to the beach and to rooftop restaurants show her something unfamiliar. But Peter’s wealthy friends berate him for dating Rosa, often right to her face. At the beach, not far enough out of Rosa’s earshot, his arrogant friend Seyi (Tomiwa Edun) callously jokes about the plight of being poor. “My father is in the hospital, and they won’t treat him until they get paid; maybe you can help,” he imitates mockingly—creating an ugly echo as we recall Mofe’s recent tribulations at the hospital, and anticipating Rosa’s own, soon to follow. 

Rosa must also contend with the idea that she is currency herself, as we see in her fending off the overtures of her landlord, Mr. Vincent (also Mofe’s landlord). She acquiesces to his desire for affection in exchange for help with her rent, and then, to get Mr. Vincent to leave her alone, she resorts to asking Peter to pay her rent. Grace, on the other hand, through her body, is literal currency. The Esiri brothers use Grace’s story, quietly and harrowingly, to draw our attention to the interconnectedness of human trafficking and illegal migration. “I swear I’ll give you my baby,” Grace tells Mama Esther, her hand stretched over a satin pouch of money that will soon be accompanied by her pubic hair, passport photo, and blood to seal the oath in exchange for Italian visas for the sisters. And whether Rosa wants to be currency or not, it seems by the end of her chapter that she won’t be able to escape that fate. 

Rosa’s and Mofe’s parallel stories are spatially intertwined, with many of their days unfolding around the same places, yet the writing doesn’t oversell their connectedness. It is Lagos that brings them together, and the Esiris give the city the time and space to reveal itself to us. When Rosa comes home from work late at night and we hear the hum of a generator in the distance while she covers the sleeping Grace with a red mosquito net, it seems plausible that this is the same evening Precious and her children die, possibly even the same faulty generator beating away. These subtle pieces of visual and sonic evidence of the proximity of Mofe’s and Rosa’s lives fill us with a thrill of longing to see them actually connected, even if just within a frame.

And why are things so difficult for Rosa and Mofe? Who is responsible? The Esiri brothers give us clues. The earliest moments of “Spain” are inundated with broken objects (the roller at the factory, Mofe’s green lamp, a table-tennis paddle, Precious’s television). This is how we come to understand the immediate lives of our characters—they need to get things working, using whatever tools are accessible, and to believe that nothing is past the point of repair. We hear talk on the radio of government officials in Nigeria outearning their U.S. counterparts, yet responsibility for what is broken in Eyimofe has to be pieced together. “Generator? We are finished,” Mr. Vincent says when Mofe tells him how his sister and nephews died. But not once do the Esiris spell out for us exactly what happened with the generator. Later, when Wisdom, Mofe’s younger associate from the factory, mentions “dirty fuel” as they hover over the same generator, Mofe doesn’t know much about it, even though that dirty fuel—which Europe sells to Nigeria because we don’t yet refine our own oil—was likely the cause of the deaths in his family. But Eyimofe is perhaps ultimately uninterested in blame. The Esiris’ camera is quite literally interested in the big picture, in asking: What means are truly available to Mofe and Rosa to attain the currency of self-determination? In the film’s epilogue, we return to Mofe. After being fired for destroying the junction boxes that nearly electrocuted him, he has been able to build something with money his father eventually shared from Precious’s estate. We take leave of Mofe similarly to the way we met him—in uniform, but this time his own. Standing beneath a sign for his new electronics repair shop—named Precious Repairs—Mofe offers assistance to the family he has left. “I’ll be checking in from time to time,” he says on the phone to his stepmother, who has pleaded with him for his help, as he and Wisdom carry a generator into the shop. Slivers of light peek between the slats of the iron door. We’re left wondering what happened to Rosa and Grace, as the Esiri brothers, in a quite befittingly Nigerian sentiment, ask us to believe in the currency of hope.

[creativechronicleskristone]

Osagie Ogbeosamudia David: A Nollywood Legend Remembered

Osagie Ogbeosamudia David, popularly known as Osagie, was a celebrated Nollywood producer, actor, and scriptwriter. Born on October 1, 1968, in Igbanke, Delta State, Osagie grew to become a prominent figure in the Nigerian film industry, especially known for his captivating performances in royal roles.

Osagie attended Ika Grammar School in Agbor, Delta State, where he obtained his secondary school certificate in 1986. His academic journey continued at Obafemi Awolowo University, where he graduated with a bachelor's degree in 1998.

A man of vision and creativity, Osagie was the president of Deltabond Media Concept Limited and Deltabond Film House and Studio, organizations that significantly contributed to Nollywood's growth. He was instrumental in producing and promoting films that resonated with audiences both locally and internationally.

One of his legendary films, Ring of Fate, remains a testament to his exceptional talent and storytelling ability. Fans can exclusively stream this iconic movie on kdnplus.com, currently available at a 30% discount for a limited time.

Osagie was an active personality on social media. Three weeks before his sudden passing, he shared posts on Instagram, including one where he wrote, “The King in this one,” reflecting his frequent portrayal of royalty in movies. In another post, he expressed his passion for traveling and filmmaking, stating, “Traveling has always been a part of my hobby. Then movies have further energized it. Thank You Almighty God.”

Tragically, Osagie passed away on May 3, 2022, after returning from a movie set. His sudden death came as a shock to many, especially since he was not known to be sick.

Osagie Ogbeosamudia David's contributions to Nollywood will forever be remembered. His legacy continues to inspire aspiring filmmakers and actors, and his films remain cherished by fans worldwide.

[midevibezng]

Kofa (2022) – Nollywood Movie http://dlvr.it/T9b478

[sageglobalresponse]

Biodun Stephen’s ‘Sista’ wins big at NollywoodWeek Film Festival

Biodun Stephen’s widely-celebrated drama, SISTÀ, released on Amazon Prime, has made an impact at the 11th annual NollywoodWeek Film Festival in Paris.

The NollywoodWeek Film Festival (NOW) was launched in 2013 in Paris, France, by film enthusiasts and curators Nadira Shakur and Serge Noukoue, who noticed a lack of films appealing to the large and diverse Black community in France and Europe.

The festival showcases films from Nigeria and bridges the gap between Francophone and Anglophone Africa.

The film won the Audience Choice and Jury Prize awards for best movie, highlighting its ability to resonate with viewers across cultural boundaries.

SISTÀ, inspired by Stephen’s upbringing with a single mother, sparked thought-provoking discussions and deep emotional satisfaction among a wide range of movie fans when it was released.

She said: “Single mothers are a blessing to this world. Being one myself, I can relate to every one of her pain. I wept all through because I knew that feeling and realised that our stories may differ, but our strength is the same everywhere. I believe the reason most men flee is the same as the man in the movie. I hope men in similar situations find the courage to do the same, rich or not. These children need you! It was as real as it gets,’ a viewer, Adekitan’s online review underscores SISTÀ’s emotional impact.

SISTÀ wasn’t Stephen’s only success at NollywoodWeek Paris. Her film “ATIKO”, co-produced with Adediwura Blackgold, had the honour of opening the festival.

More laurels

Her NollywoodWeek victories are merely the latest in many successes, and critics say her films consistently explore universal themes—love, loss, family, and societal challenges—encapsulated within uniquely Nigerian narratives.

These new awards follow SISTÀ’s impressive track record, having previously won Best Nollywood Drama at the Toronto International Nollywood Film Festival (TINFF) and Best Original Score at the International Independent Film Awards.

Stephen’s talent has consistently been recognised. In 2022, she won the Best Writer award at the AMVCA for her work on “The Kujus.” Last year, her movie The Wildflower won the Audience Choice award at the NollywoodWeek Festival in Paris.

The success of “SISTÀ” and “ATIKO” at NollywoodWeek Paris, combined with Stephen’s impressive portfolio, underscore a burgeoning era for Nigerian cinema.

“I always love to tell stories that resonate and look real while subtly adding comedy to douse emotional purge. I am thrilled that my films are recognised for their authentic portrayal of African narratives and their ability to connect with global viewers. It’s a victory, not just for me but for Nollywood,” she said.

She is also notable for films like Breaded Life, Big Love, Finding Baami, and Picture Perfect.

[hardynwa]

I revived Jim Iyke’s career – Uche Maduagwu boasts

Controversial Nollywood actor Uche Maduagwu has claimed that he revived veteran colleague, Jim Iyke’s acting career. He made the claim while addressing his 2021 stunt with Jim Iyke in a recent episode of the Trends and Bants podcast. we recalls that Jim Iyke made headlines in 2021 after a video of him beating Maduagwu for questioning the source of his wealth on social media, went viral. However, Maduagwu disclosed in 2022 that the video was a stunt to promote Jim Iyke’s comeback movie, and that he received N4.8 million for the stunt. Speaking on the Trends and Bants podcast recently, Maduagwu claimed that before the stunt, the veteran actor was absent from the movie industry. He said, “The truth is I revived Jim Iyke’s career with that stunt. Before the skit, were you hearing about Jim Iyke everywhere? I revived his acting career.” Read the full article

[viral9ja]

Fame And Fury (2024) – Nollywood Movie

A movie that portrays issues going on in many relationships VIDEO INFORMATION Filename: Fame.And.Fury.2024.480p.x265.AAC.[viral9ja.com ].mkv Filesize: 218.17 MB Duration: 01:48:15 Imdb: – Title: Fame And Fury Year: 2024 Type: Movie Country: Nigeria Language: English Director: Great Val Edochie Genre: Drama, Romance Stars: Daniel Etim Effiong, Bimbo Ademoye, Uzor Arukwe, Omeche…

[lampstaketv]

Twin Brothers. pt 2.

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Almajiri (2022) Nollywood Movie

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Just Between Us (2022) – Nollywood Movie

A chance at true love for him, and a moment of weakness for her. Mp4 Download Just Between Us (2022) – Nollywood Movie 720p 480p , x265 x264 , torrent , HD bluray popcorn, magnet mkv Download Video Information Filename: Just.Between.Us.480p.mkvFilesize: 221.74 MBDuration: 01:29:00Imdb: https://www.imdb.com/title/tt23016222/Director: Goodnews Erico IsikaWriter: Nduka NwobodoStars: Michael…

[creativechronicleskristone]

Daniel K. Daniel: Nollywood’s Iconic Star Shines in "Ring of Fate" – Watch Now on KDNPLUS with 30% Off!

Daniel Kanayo Daniel, born May 22, 1986, is a celebrated Nollywood actor, model, and voice-over artist, known for his dynamic roles and charisma. Fans of Nigerian cinema can now catch him as Ekene in the must-watch drama "Ring of Fate", streaming on KDNPLUS with an exclusive 30% discount. His portrayal of Ekene, a young man confronting a mysterious illness and fate, showcases his incredible range and ability to captivate audiences.

Daniel K. Daniel: Award-Winning Actor and Nollywood Icon

Daniel's breakout role as Bossman in A Soldier’s Story earned him the prestigious Africa Magic Viewers' Choice Award (AMVCA) and the Africa Movie Academy Award (AMAA) for Best Actor in 2016. His versatility shines across genres, from the gripping period piece 76, where he starred alongside Nollywood legends like Ramsey Nouah and Rita Dominic, to the light-hearted Mummy Dearest, featuring Liz Benson.

In 2022, Daniel’s success soared further when he was inducted into the Academy of Motion Picture Arts and Sciences—an exclusive honor highlighting his influence in the film industry.

Watch "Ring of Fate" Starring Daniel K. Daniel on KDNPLUS

For Nollywood fans, Daniel K. Daniel’s role in Ring of Fate is a must-watch. KDNPLUS offers a 30% discount on your first subscription, letting you dive into this captivating drama featuring Daniel’s gripping performance. Experience the talent of Daniel K. Daniel and other Nollywood stars by streaming Ring of Fate today on KDNPLUS.

Why Watch Daniel K. Daniel in "Ring of Fate"?

From drama to action, Daniel K. Daniel’s powerful performances are unforgettable. Don’t miss out—watch Ring of Fate now on KDNPLUS, your source for the best of Nollywood!

#DanielKDaniel #Nollywood #RingOfFate #KDNPLUS

[rainsmediaradio]

Movie: Anikulapo to Return as a Series "Rise of the Specter".

From left: “ANIKULAPO: RISE OF THE SPECTER"; Producer, Kunle Afolayan. Nollywood's highly rated movie "Anikulapo" will return to screens as a series titled “ANIKULAPO: RISE OF THE SPECTER" packed with more action and intriguing performances by the industry's best actors. The widely watched epic fantasy movie was released on Netflix on September 30th 2022 as produced by the multiple award winning producer and actor, Kunle Afolayan. Just as many viewers have anticipated a comeback, it appears we will again be seeing storytelling written by Shola Dada as brought to life by notable talents Kunle Remi, Bimbo Ademoye, Sola Shobowale and a host of others. Speaking with Bella Naija, Kunle Afolayan said “ANIKULAPO: RISE OF THE SPECTER" has been a labour of love, combining the extraordinary vision of my humble self, the writer Sola Dada, the exceptional talent of our actors, and the expertise of our production team. We are confident that the final result will captivate and leave a lasting impression. It was also gathered that the series production has been completed and will now proceed to post-production, which includes editing, sound design, visual effects, and scoring.

Photo collage of the production crew and cast members. If you are excited to see “ANIKULAPO: RISE OF THE SPECTER" as we are, what are your expectations? Leave your thoughts in the comments below Read the full article