@josephjonathan

@josephjonathan has been a member of Linktree for 2 years and joined in October 2023. The social media accounts linked to from @josephjonathan are: • Instagram • LinkedIn • WhatsApp • Email • X Besides social media accounts, josephjonathan5 has populated their site with: • Dammy Twitch’s “Call Of My Life” Is A Nigerian Rom com Cut From a Different Cloth - Joseph Jonathan - The Lagos Review • What Trends Will Drive Africa’s Film Industry in 2025? - Afrocritik • “Bride of the Year” Review: This South African Romcom Doesn’t Take Itself Seriously • “My Father’s Shadow” Returns to Nigerian Cinemas This June, Following Major AMVCA Wins - Afrocritik • The Comment Section Republic: Where Does the Nigerian Anger Go? - Afrocritik • African Producers Accelerator Unveils 2026 Cohort, Announces New Partnerships at Cannes - Afrocritik • “Efunroye: The Unicorn” Review: Nollywood’s Most Politically Charged Historical Epic Chooses Devotion Over Truth • Genevieve Nnaji Joins BBC Drama “Wahala”, Her First TV Role • “Trade by Bata” Review: Biodun Stephen’s Culture-Clash Comedy Has One Brilliant Idea but Doesn’t Know What To Do With It - Afrocritik • ADIFF and ArtMattan Films Launch Nationwide Virtual Series Celebrating Over 30 Years of Independent Black Cinema - Afrocritik • Abba T. Makama’s “Silence is Loud” Film Review • Alex Yazbekʼs Revenge Thriller “180” Review • Cynthia Erivo, Thabo Rametsi, and Guy Pearce Join South African Musical Drama “The Road Home” • Toka McBaror’s “The Creek” Movie Review • Michael Ndiomu’s “Headless” Movie Review: • 15 Women Who Have Shaped Nigerian Film Journalism • The Shocks, Surprises and Frauds of the AMVCA12 Nominations • Adebayo Oduwole and Praise Okeoghene Vandeh Launch “Saving Cinema” Screening Series with Magnificent Cinemas - Afrocritik • Kenyan Documentary “Chorwet (The Rhino Friend)” Selected for 2026 Sundance Institute Sandbox Fund - Afrocritik • Nollywood and African Spirituality: The Demonisation of a Continent’s Tradition • The Archetype of Motherhood as Martyrdom: Appraising Nollywood’s Representation of Motherhood - Joseph Jonathan - The Lagos Review • Filmmaker Chukwudi Nwachukwu Announces Short Documentary “A Sunday Tragedy” - Afrocritik • Karimah Ashaduʼs “Muscle” Movie Review • How Visa Denials Are Costing African Film Professionals More Than Just a Tripafrocritik.com • The Performance of Purity: Nollywood, Kissing and Nigeriaʼs Faux Conservatism - Afrocritik • Uzor Arukwe’s “Alive till Dawn” Movie Review • Valentineʼs Day Is a Scam, But Romance Still Isnʼt - Afrocritik • What Trends Will Drive Africa’s Film Industry in 2026? - Afrocritik • Why Nollywood Has Stars but No Movie Stars • Sundance 2026: “Jazz Infernal” Is a Sonic Portrait of Diaspora and Legacy • “A Very Dirty Christmas” Review: Religion and Nollywood’s Soft Censorship - Afrocritik • 25 African Films Turning 10 in 2026 - Afrocritik • 2026 Oscars: Tunisia’s “The Voice of Hind Rajab” Nominated for Best International Feature Film - Afrocritik • Colours of Fire Review: Visual Spectacle vs. Story Depth • “Behind The Scenes” and the Business of Being Funke Akindele - Afrocritik • What Femi Adebayo's Community Screenings Reveal About Nollywood • Afrocritik’s 20 Remarkable African Short Films of 2025 - Afrocritik • Afrocritik’s 30 Remarkable African Feature Films of 2025 - Afrocritik • Fujifilm Short Film Festival Awards Over $15,000 to Emerging Filmmakers Across Africa, the Middle East, and Central Asia - Afrocritik • TSWA Film Festival 2025: “Girl-Boy”, “Say Something”, “Ziwa”, “Entre Nós e o Silêncio”, “Bureau De Change”, and “Fading Candle” Reviews - Afrocritik • TSWA Film Festival 2025: Freedom of Movement and the Cost of Survival in “Casablanca – Dakar” and “Seed Is Life” - Afrocritik • “Colour Me True” Review: Toluwani Obayan Osibe’s Debut Reaches for Truth but Settles for Surface - Afrocritik • ADIFF 2025: Sana Na N’Hada Examines the Cost of Freedom and the Weight of Memory in “Nome” - Afrocritik • African Projects Dominate at 2025 Red Sea Souk Awards + Full List of Winners - Afrocritik • Martha Ehinome’s Executive-Produced “Man of Her Dreams” Wraps Production - Afrocritik • “The Heart is a Muscle” Review: Imran Hamdulay’s Debut Feature Traces the Wounds We Inherit and the Ones We Try to Heal - Afrocritik • ADIFF 2025: Johan Nayar’s “The Banjo Boys” is a Soul-Stirring Portrait of Music, Faith, and Survival - Afrocritik • “The Man Died” Triumphs at the 2025 Zuma International Film Festival + Full List of Winners - Afrocritik • ENIFF 2025: Jessica J. Rowlands Puts Zimbabwean Cinema on the Map with “Rise” - Afrocritik • ENIFF 2025: “V’s Secret”, “The Noise Around Her Black”, “Falling Out”, “Ụmụnne”, and “She’s Got Courage to Love” Reviews - Afrocritik • Daniel Etim Effiong’s debut "The Herd" stares down Nigeria’s chaos - Joseph Jonathan - The Lagos Review • MultiChoice Partners with Don Julio as Headline Sponsor for the 12th Africa Magic Viewers’ Choice Awards - Afrocritik • Films and TV Shows to Watch Across Africa This Holiday - Afrocritik • ENIFF 2025: Gaëlle Le Roy Chronicles a Decade of Youth Resistance in “Afrikki” - Afrocritik • Akinola Davies Jr. Wins Best Director at 2025 BIFAs as “My Father’s Shadow” Extends Awards Momentum - Afrocritik • ENIFF 2025: Nnamdi Kanagaʼs “Water Girl” Reclaims Ogbanje Narratives With Intimacy and Precision - Afrocritik • “Bad Influencer” Review: Netflix’s South African Series Is a Stylish, Chaotic Tale of Clout and Consequences - Afrocritik • French-Senegalese Project, “Lucky Girl”, Wins Big at TorinoFilmLab 2025 + Full List of Winners - Afrocritik • “3 Cold Dishes” Review: Asurf Oluseyi’s Cold Revenge Thriller Arrives Lukewarm - Afrocritik • AIFF 2025: “Together Apart”, “Jimbi”, and “I Can Smell a Rat” Navigate the Edges of Humanity - Afrocritik • AIFF 2025: In “Radia”, Khaoula Assebab Benomar Crafts a Stark Portrait of Widowhood, Agency, and the Cost of Becoming - Afrocritik • AIFF 2025: Rachida SaadiʼS “Double or Nothing” Is a Gamble on Love and Addiction That Plays It Too Safe - Afrocritik • AIFF 2025: “Safari”, “Kakanda”, “Dead Tide” Win Major Awards + Full List of Winners - Afrocritik • AIFF 2025: “Adunni: Ogidan Binrin” Is a Story of Resistance Undone by Its Own Execution - Afrocritik • AIFF 2025: Enah Johnscott Illuminates the Fragility of Memory and the Fading Architecture of Care in “Lights Out” - Afrocritik • “The Herd” Review: Daniel Etim Effiong’s Debut Feature Is Taut and Human - Afrocritik • “Osamede” Review: James Omokweʼs Film Shines in Language but Falters in Form - Afrocritik • “Finding Optel” Review: A Tender, Uneven Portrait of Ordinary Lives and the Quiet Radicalism of Small Stories - Afrocritik • “Dodo Ikire” Review: Abdulafiz Opeyemi Shittu’s Ode to the Women Feeding a Nation - Afrocritik • “Thinline” Review: Nollywood’s Dangerous Blind Spot on Male Sexual Assault and the Illusion of Morality - Afrocritik • Morocco Named “Country in Focus” at the 2026 European Film Market - Afrocritik • In Absence, You Find Presence: What “My Father’s Shadow” Taught Me About Remembering - Afrocritik • Kenyan-Nigerian Film, “One Woman One Bra”, Wins Sutherland Award for Best First Feature at BFI London Film Festival - Afrocritik • “My Father’s Shadow” Explores the Personal Within Nigeria’s Political Memory - Joseph Jonathan - The Lagos Review • Nollywood and Its Complicated Relationship with the Oscars - Afrocritik • 2025 Zuma International Film Festival to Spotlight Nigeria’s Creative Power and Global Influence - Afrocritik • Neither Here nor There: The Talking Stage as Nigeria’s New Relationship Culture • 2026 Oscars: UK Submits Akinola Davies Jr.’s “My Father’s Shadow” for Best International Feature Film - Afrocritik • 2026 Oscars: NOSC Confirms No Submission For Best International Feature Film - Afrocritik • The City as Villain: Lagos in the imagination of Nollywood - Joseph Jonathan - The Lagos Review • 25 Nollywood Films That Explore Nationhood, Independence, and Self-Discovery - Afrocritik • 30 Nollywood Films That Explore African Spirituality and Tradition - Afrocritik • “This Is Not a Burial, It’s a Resurrection” Review: Lemohang Jeremiah Mosese Crafts a Poetic Resistance - Afrocritik • “The Serpent’s Gift” Review: Kayode Kasum’s Film Is Undone by Shallow Cultural Detail - Afrocritik • “Say Who Die?” Review: Paul Utomiʼs Film Crumbles Under the Weight of its Own Ambition - Afrocritik • Kaelo Iyizoba and Muhannad Lamin Selected for TIFF Directors’ Lab 2025 - Afrocritik • Noise or Attention: What Really Sells Nollywood Films? - Afrocritik • Kaelo Iyizoba’s “Birthright” Selected for 2025 Seriesly Berlin Pitches - Afrocritik • Shirley Frimpong-Manso’s “Stitches” Selected for TIFF Industry Selects 2025 - Afrocritik • “Devil is a Liar” Review: Moses Inwangʼs Film Lies About the Story It Is Telling - Afrocritik • “Cordelia” Review: Tunde Kelani’s Return to Cinemas is an Ambitious but Inconsistent Adaptation - Afrocritik • “PLS RT” Review: Ifeanyi Barbara Chidi’s Film Brings Urgency to Nigeria’s Kidnapping Crisis - Afrocritik • “Marked” Review: The South African Netflix Series Is a Devastating Portrait of Moral Desperation - Afrocritik • To Kill a Conversation: Nollywood, Criticism, and the Culture of Silence - Afrocritik • “Catalog” Review: The Egyptian Netflix Series Is Quiet But Speaks Volumes - Afrocritik • Why African Men Are Finally Embracing Skincare - Afrocritik • “Ms. Kanyin” Review: Jerry Ossaiʼs Wannabe Horror Flick is Forgettable - Afrocritik • “The Moral High Court” Review: Chisom Ifeakandu’s Film Puts Patriarchy on Trial - Afrocritik • 20 Prolific Cinematographer-Director Collaborations in Nollywood - Afrocritik • How Geoblocking and Cinema Scheduling Bias Undermine Distribution in Nollywood - Afrocritik • In Conversation: Ife Olujuyigbe Talks Storytelling, the Realities of Producing, and Navigating Nollywood - Afrocritik • 20 Prolific Producer-Director Collaborations in Nollywood - Afrocritik • “Soccer Season: Playmaker” Review: Stephina Zwane’s Sports Drama Finds Power in Its Humour - Afrocritik • 25 Prolific Actor-Director Collaborations in Nollywood - Afrocritik • “The Fire and the Moth” Review: Taiwo Egunjobi Has Grown in Confidence as a Filmmaker - Afrocritik • Durban FilmMart Institute Announces Participants for 18th Edition of Talents Durban - Afrocritik • AMVCA 2025: What Are We Really Celebrating? - Afrocritik • 14 Prolific Writer-Director Collaborations in Nollywood - Afrocritik • “Landline” Review: Dele Doherty’s Debut Feature Is Held Back by Its Own Ambition - Afrocritik • 30+ Films Selected for NollywoodWeek Film Festival 2025 - Afrocritik • “Meet the Khumalos” Review: Will South African Cinema Ever Move Beyond Forbidden Love Tropes? - Afrocritik • In Conversation: Victor Ugoo Njoku Talks “This Is Love”, Reclaiming Agency, and Representation in Nollywood - Afrocritik • “Recall” Review: Kunle Afolayan’s Return to the Big Screens Is Largely Forgettable - Afrocritik • The Biggest Snubs and Surprises of the 2025 AMVCA Nominations - Afrocritik • Omoni Oboli and Nollywood’s Dilemma With Copyright Infringement - Afrocritik • “Fine Girl” Review: Fatimah Gimsay’s Film Is a Subversive Take On Modern Harassment and Female Empowerment - Afrocritik • “This Is Love” Review: Njoku and Nonso’s Documentary Is a Tender Exploration of Queer Nigerian Love and Identity - Afrocritik • Souleymane Cissé: The Light That Will Continue to Shine - Afrocritik • “Reel Love” Review: Kayode Kasum’s Film Falls Victim to Overused Tropes - Afrocritik • What Happened to Nollywood Sitcoms? - Afrocritik • “Penance” Review: Awal Abdulfatai’s Film Fails to Deliver on Its Premise - Afrocritik • 15 Nollywood Movies Perfect for Date Night - Afrocritik • 21 Films That Shaped Major Trends in Nollywood - Afrocritik • “Mr Easy Loo” Review: The Mandla Ngcongwane-Directed Film Is a Humorous Critique of Apartheid Era South Africa - Afrocritik • “Dahomey” Review: Mati Diop’s Documentary is a Powerful Commentary on Decolonisation - Afrocritik • “Seven Doors” Review: Femi Adebayo’s Directorial Debut is Impressive - Afrocritik • “A Danfo Christmas” Review: Sebastian Ukwa is Committed to Telling Heartfelt Stories - Afrocritik • “Everybody Loves Jenifa” Review: Funke Akindele’s Latest Film Is a Worthy Addition to the ‘Jenifa’ Franchise - Afrocritik • Afrocritik’s 25 Remarkable African Films of 2024 - Afrocritik • Making a Case for Genre Diversity As The Future of Nollywood - Joseph Jonathan - The Lagos Review • Suspicion Review: Tosin Igho’s Supernatural Thriller Is Ambitious in Scope (The Lagos Review) • Does Nollywood Have Too Many Speaking Events? - Afrocritik • 10 African Movies You Can’t Miss This Holiday Season - Afrocritik • “A Ghetto Love Story” Review: Basketmouth’s First Foray Into Film Production Is Impressive - Afrocritik • “Umjolo: The Gone Girl” Review: Fikile Mogodi’s Debut Feature Lacks Substance - Afrocritik • “Loose Cannon” Review: Olisa Eloka’s Short Film Is a Reminder of War's Devastating Consequences - Afrocritik • “Hijack ‘93” Review: Robert O. Peters’ Thriller Fails to Take Flight - Afrocritik • Hijack 93: A thriller that fails to deliver the thrills - Joseph Jonathan - The Lagos Review • “At Ease” Review: Seun Richards’ Directorial Debut Is a Refreshing Take on War Trauma - Afrocritik • 10 Films That Have Shaped Nollywood - Afrocritik • “Tejiri” Is a Timely Commentary on Justice and Governance in Africa - Afrocritik • Nigeria Cinema Day and the Marketing Hurdles Holding Back Nollywood - Afrocritik • “Family Vacation” Review: Voline Ogutu’s Feature Film Unpacks the Facade of Social Media Perfection - Afrocritik • “With Difficulty Comes Ease” Review: Korede Azeez’s Film Is a Masterful Blend of Art and Heart - Afrocritik • “Onye Egwu” Review: The Uche Jombo-Directed Film is a Near Miss - Afrocritik • “Mapantsula” Review: Oliver Schmitz’s Crime-Drama is a Gripping Portrayal of Apartheid-Era South Africa - Afrocritik • “Shina” Review: A Promising Story Undermined by Narrative Shortcomings - Afrocritik • Anticipated Film Releases Coming Your Way This Season - Afrocritik • “A Father's Love” Review: Sebastian Ukwa Directs a Poignant Story With Subtlety and Nuance - Afrocritik • “Kill Boro” Review: Courage Obayuwana’s Debut Feature Leaves A Lasting Impression - Afrocritik • Why Copyright Protection Matters For The Future of Nollywood - Afrocritik • “Momiwa” Review: Family is Redefined in the Biodun Stephen-Directed Drama - Afrocritik • “Strained” Review: Okechukwu Oku's Film is Simple Yet Sophisticated - Afrocritik • “Soweto Blaze” Review: Brad Katzen's Film Fizzles in Its Slapstick Attempt - Afrocritik • “Heart of the Hunter” Review: Another Action Thriller That Flatters to Deceive - Afrocritik • In Memory: 8 Memorable Roles by Amaechi Muonagor - Afrocritik • “Abomkhulu” Review: The Kganki Mphahlele-Directed Film is Fresh, Funny and Filled With Lessons - Afrocritik • Is This the Age of Nollywood at Domestic Box Office? - Afrocritik • “Soon Comes Night” Review: In This South African Crime Drama, There Are No Heroes - Afrocritik • What the African Continental Free Trade Area (AfCFTA) Could Mean for Africa’s Creative Industry - Afrocritik • FESPACO: An Enduring Role in Promoting African Cinema - Afrocritik • Weekly Round-up of New Music — December 24 - Pie Radio • Weekly Round-up of New Music – December 17 - Pie Radio • Weekly Round-up of New Music: December 10 - Pie Radio • “Come With Me” Review: Simplicity Takes Centre Stage in Baaj Adebule's Directorial Debut - Afrocritik • 12 African Series You May Have Missed in 2023 - Afrocritik • 10 Breakthrough African Films of 2023 - Afrocritik • The Origin: Madam Koi-Koi (Chapter 2: The Spirit of Vengeance) Review | Nigerian & Nollywood Movies • Lugard Review | Nigerian & Nollywood Movies • “Ijogbon” Review: The Kunle Afolayan Directed-Film is Relatable But Lacks Attention to Detail • “The Black Book” Review: The Editi Effiong-Directed Film Is a Reflection of Nigeria's Socio-Political Realities • Beyond the Visual Aesthetics, Film Locations Are a Tool for Storytelling in Nollywood • Revisiting Nollywood’s Original Music Score Era: What Soundtracks Reveal About the Progress of Nigeria’s Film Industry • “The One for Sarah” Review: The Lyndsey Efejuku-Directed Film Audaciously Traverses Romance and Domestic Violence • Work at TVovermind • My Design Pack (Canva and Pixel Lab) • Indie Filmmaker Ebuka Njoku on ‘Yahoo+’ and the State of Igbo Language Films in Nigerian Cinema • After Watching “Breaded Life”, My Life Took a New Turn • How Young Nigerian Creatives are Coping with Inaccess to the Right Tools • How Obi-Eke Spurgeon Transitioned from Skit Making to Movie Making • Ticket to Life: Geshin Salvador’s Film is Simultaneously Daring and Impractical