@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, What Trends Will Drive Africa’s Film Industry in 2025? - 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.