For every word I have ever written on a screenplay, there has been an equal number of excuses not to write them.

I have always had a reason not to write that screenplay, a million and one times; and am not alone. Something always seems to stop me. It's like a force determined not to make me finish that screenplay that I have been talking about months on end. So why does this happen? why does it take us that long to settle down and write or even complete that one project?

1. Self doubt
I know this feeling very well. The feeling that you can't possibly write that screenplay well enough. You start questioning your knowledge on the topic, the people you are writing for, how to start, how to make it as creative as possible, bla bla bla... Most times when this happens the easiest thing to do is not write it at all. Then the guilt that comes with not actually writing when you had the chance to then finally seeing someone actually do it. You don't lose anything by trying, you get to learn and improve your writing instead. Beat that inner cowardice and get on with writing that screenplay. It's high time already!

2. Lack of commitment
This calls for everything you do on a daily basis like losing that stubborn weight, it calls for discipline. setting time for working out, and eating right. The same goes for screenwriting. you need to set some time to write, daily, at the same time even when you don't feel like writing. Because the only way to get it done is by actually doing it. so, set deadlines to achieve and guide yourself with discipline and commitment and you will see the fruits. Nothing beats that wonderful feeling of completing a screenplay and sharing it with the world to see. 

3. Research for your screenplay
Write what you know. Well, what if I don't know shit? Well, ever heard of something called research? there you have it. not being adequately familiar with a topic you are writing about will give you an uphill task when writing your screenplay. write down the things you need to research on before getting started on the screenplay. you need not be an expert in rocket science or psychology, as long as your research is thorough, you are sorted. it will be a walk in the park once you begin writing the words on paper.

4. My office isn't the creative cocoon I need it to be.
I. Am. A. Serious. Artist. Well, you probably need your work space to be a safe haven for the birth of your brilliant ideas, and I totally agree with you. But don't use it as an excuse not to work on your screenplay by avoiding the office all together. Make your working space the perfect place to inspire your writing. If need be, surround your space with art, listen to music that makes you focus on work, not distract. Get everything that you need before hand to make your writing easier.

6. I like my script, but I don't really like it. 
You know that feeling you get when you're excited about working on your screenplay, and you think about it constantly, and everything reminds you of it, and you can't wait to get home so you can put your hands all over it. Yeah, you're dating your script and you two are in your honeymoon phase. 
There's nothing inherently wrong with this. I'm kind of a cynical person, so admitting I'm infatuated with something makes it immediately unattractive to me but sometimes that infatuation and excitement doesn't carry you through even the first draft, let alone the second, third, and so on.
In the wise words of Beyoncé, if you like your script put a ring on it. No, it's not perfect, but none are. And maybe you think you can do better, but a script is only as good as its writer. It's time to grow up and choose which one will get all of your time and attention. (And remember, never go to bed angry :) )

7. I need to resolve one more case
Distractions are the ultimate motivation killers when writing. I know you have that dream iPhone and you can't seem to stay away from it, especially Instagram and the selfies. But take a moment and switch it off if you want to get some work done.
​Your social media is not going anywhere, so just take a chill pill. Switch that Tv, radio or music off, reschedule with that friend that distracts you from working to later, they will understand. Or alternatively, find something that encourages and inspires you to work, not distract you.

8. The screenplay I want to write is maturing faster than my skills
I've realized that as a screenwriter, I'm running a race and the script I want to write, which used to only be a couple of strides ahead of me, is now lapping me and laughing at me while it does it. The script I want to write requires skills that I haven't acquired yet. And you know what, I don't want to waste a good idea for a story on the skill set I have now. It wouldn't do it justice.
This is the cycle I currently find myself in: I'm not writing scripts because I'm not good enough yet, but I'm not good enough yet because I'm not writing scripts. The solution: write terrible scripts. You'll hate them. You'll be embarrassed of them. But guess what, you'll get better. You might get good. You might even get good enough to write something you don't completely hate.

Sources: No Film School, YouTube

(c) https://studentsofcinema.wordpress.com/2014/02/28/weekend-net-flick-enter-the-void/

So, to be honest, I don't have much knowledge about this genre of film so we might as well learn together.

In simpler words, its like taking a good picture and distorting it so it looks far different from the original to inspire certain effects and/ feelings.

The films in this genre often create an illusion of abstract art by the way the story is told; with unclear flow and hidden meaning often left for the audience to decipher however they please.

The films use cinematography, narration, editing, sound design and music to create worlds of distortion. Whether the film is depicting madness or creating an atmosphere of existential confusion, these films somehow experiment with the audience’s sensory perceptions in order to uproot the viewer from reality.

These films welcome (or in some cases, force) the audience to interact with a plethora of psychedelic imagery, sounds, and/or narration.

I have sampled a couple of films that fall under this genre.

1. Un Chien Andalou (1929) Dir. Luis Buñuel
I once used this film as an example of an experimental film because of its 'unclear' and 'undefined' in structure.

In the film, there is no overt plot, but rather an amalgam of surrealistic images. We are presented with distorted religious symbols, such as ants crawling out from a stigmatic hand of the protagonist (a young unnamed man played by Pierre Batcheff), and dream-like scenarios. For instance, the young man dragging a piano topped with a dead donkey carcass and two priests in his pursuit of a young woman (Simone Mareuil).

Such images, surrealistic in nature, create a distorted sense of reality, a quality found in many psychedelic films.

(c)http://www.tasteofcinema.com/wp-content/uploads/2014/05/Un-chien-andalou-1929.jpg

2. The Red Shoes (1948) Dir. Michael Powell and Emeric Pressburger

Michael Powell and Emeric Pressburger’s classic film The Red Shoes incorporates Expressionistic sets and costumes, subjective point of view shots, and passionate performances to tell the story of a young woman, dancer Victoria Page (Moira Shearer), torn between her love for a young man and her love of dance.

The dance sequence performed toward the end of the film captivates the viewer with its mesmerizing, painted landscapes and P.O.V shots which subtly bring Victoria’s subconscious thoughts and fears to the forefront.

Banned upon release, the film depicts a destructive playfulness that Czech authorities apparently found dangerous. There is a political undertone to the film with World War II film stock inter-cut amongst the characters’ antics. Daisies stirs up the audience with its Puckish protagonists and psychedelic imagery and editing.

(c)http://www.tasteofcinema.com/wp-content/uploads/2015/02/daisies-movie.png

4. Point Blank (1967) Dir. John Boorman
John Boorman’s neo-noir thriller, Point Blank is a hypnotic film of a man’s thirst for revenge. The pacing, color choices and atmospheric music, led by Lee Marvin’s deadpan portrayal of Walker, yields a mesmerizing experience for the viewer.

The film’s pacing, which goes from a slow and moody atmosphere to periods of intense violence and action creates a lulling hypnosis which the viewer is then startled from. Color plays a role in the atmospheric tone of the film, for example, Lynn’s silver grey apartment reflects her drab unfeeling character, riddled with guilt.

(c)http://www.tasteofcinema.com/wp-content/uploads/2015/02/2001-a-space-odyssey.jpg

5. 2001: A Space Odyssey (1968) Dir. Stanley Kubrick
Stanley Kubrick’s science fiction masterpiece is an awe-inspiring, brilliant piece of art. The film’s stunning visuals combined with the grandeur of the classical music scores and György Ligeti’s haunting, dissonant avant-garde music produces a filmic experience like no other.

Kubrick’s exploration of the history and future of humankind excites the viewer’s senses as it leads us to confront the great unknown of space and time.

What aspects of this genre do you identify with? What are your thoughts on this genre? Let us know in the comments section below.

Source; Taste of cinema _, Google

(c)http://www.tasteofcinema.com/wp-content/uploads/2013/10/metropolis.jpg

In the next couple of weeks I will look at the interesting genres of films, and recommend some of the best films ever made in those genres for you to watch, to make it even easier and more interesting to understand why you have to watch them and what those genres are all about.

To begin, let us visit Dystopian films to learn a thing or two about this genre and films made that are worth your time.

(c)http://www.tasteofcinema.com/wp-content/uploads/2013/08/battle-royale-photo.jpg

The term dystopia is the antonym of utopia. Whereas utopia refers to an imagined place or state where everything is perfect, dystopia refers to a state or place where everything has gone to hell.

Per their very definition, films dealing with dystopian themes are therefore at the very least speculative and almost always part of the science fiction genre. The films often deal with totalitarian societies or ones that have degraded environmentally or socially.

Dystopian movies seem to be one of the current fads in film, or at least when it comes to the teenage market. The Hunger Games proved to be a great financial success and in its wake films like Divergent and more recently The Maze Runner have managed to do great business as well.

Dystopian films might be proof that we are indeed living in a dystopian society ourselves.

Below is a list of 10 greatest dystopian films to have ever hit the screen in no particular order:

(c)http://www.tasteofcinema.com/wp-content/uploads/2014/07/children-of-men.jpg

10. Gattaca (Andrew Niccol, 1997)

Gattaca, a title comprised on the first letters of guanine, adenine, thymine and cytosine, which are the four nucleobases of DNA, is a 1997 science fiction drama, which was the directorial debut of New Zealand screenwriter Andrew Niccol, who also wrote the screenplay.

Set in a dystopian future society where one’s lot in life is determined by one’s genetics instead of one’s education or talents, the world has been clearly divided in the haves, those able to afford the genetic manipulation of their offspring referred to as “valids”, and the have nots, the rest of the population “in-valids”. Vincent (Ethan Hawke) is an in-valid and is therefore excluded from the Gattaca space program, his greatest dream in life. 

An intelligent, cool and ultra-stylish exploration about the ethics surrounding genetic manipulation and science, Gattaca is filled with social commentary and a stunningly designed and shot piece of psychological science fiction. 

9. Brazil (Terry Gilliam, 1985)

Perhaps best described as a dystopian satire, Brazil was the ambitious follow-up to Gilliam’s Time Bandits, the film that firmly put him on the map as a director, after having started his career as part of the Monty Python troupe.

Sam Lowry (Jonathan Pryce) is a civil servant in a future society, which has become a nightmare of bureaucracy, automatisation and totalitarianism. To escape reality, Sam often day dreams about being a hero and saving the girl of his dreams in far more appealing worlds. When one day he is called to investigate the incidental death of an innocent citizen during an interrogation, who was mistaken for a terrorist, he is astonished to find out that the man’s widow Jill (Kim Greist) looks exactly like the girl from his dreams.

A visually inventive satire, Brazil can easily be imagined as 1984 on drugs with a good measure of humour thrown in. As usual with Gilliam films, the movie is bursting at the seams as every possible idea he had seems to have been thrown in and can be hard to follow as a result, especially as it’s also quite a visually overwhelming piece of work. Brazil was nominated for two Academy Awards (Best Original Screenplay and Art Direction), won two BAFTA Awards (Best Production Design and Special Effects) and also managed to win Best Film, Director and Screenplay at the Los Angeles Film Critics Association Awards.

8. Fahrenheit 451 (Francois Truffaut, 1966)

Based on the novel of the same name by Ray Bradbury, Fahrenheit 451 is a dystopian science fiction film, which would turn out to be the only American film adapted for the screen and directed by François Truffaut, starring Oskar Werner and Julie Christie.

Some time in the future, the government has placed a ban on all books in order to control public opinion and the profession of fireman now consists of enforcing the law by burning every illegal book that is found. In this world, we follow Montag (Werner), a fireman married to a woman (Christie) completely indoctrinated by the state’s views, who has started to doubt the system as well as his job.

Fahrenheit 451 has a terrifying and fantastic central premise and one that seems to become more relevant with the passing of each year. The film is a strange mixture of a very normal boring looking world and a highly stylised one with some very unique production design features. Shot in washed out colours by future director Nicholas Roeg, the film looks quite unlike anything else and it lacks any written word, as even the opening credits are spoken. The film was nominated for the Golden Lion at the Venice Film Festival.

(c)http://www.tasteofcinema.com/wp-content/uploads/2014/04/A-Clockwork-Orange-1971.jpg

7. Mad Max 2 (George Miller, 1981)

The second Mad Max is quite possibly one of the most kick-ass science fiction films to have ever been produced. And whilst the first film was a giant hit in its own right, this sequel upped the ante, eclipsed the original and became so popular it has almost become synonymous with the post-apocalyptic film genre and one of the greatest dystopian visions to have ever graced the screen.

The story of course, is set in a desert post-apocalyptic landscape in which gasoline has become one of the most prized commodities. The world is inhabited by a bunch of crazed barbarians whose only purpose seems to be cruising around in their modified vehicles in search of more fuel to be able to keep doing just that. Max (Mel Gibson) has been surviving as a loner ever since having lost his family in the first film but becomes the reluctant hero when he agrees to take back a man to his compound, which houses a very rare oil refinery, after an attack by scavengers.

This is also the film that made Mel Gibson an international star, for better or for worse. The film received six nominations from the Academy of Science Fiction, Fantasy & Horror Films, winning the award for Best International Feature, whilst it received seven nominations from the Australian Film Institute, winning five for Best Direction, Sound, Production Design, Costume Design and Editing.

6. Children of Men (Alfonso Cuaron, 2006)

Based on the novel of the same name by P.D. James, Children of Men was director Alfonso Cuaron’s first critically acclaimed entry in the science fiction genre, before he also found commercial success last year with a very different type of sci-fi movie, Gravity.

The film tells the story of the world in 2027 when mankind has lost ability to procreate and civilisation is on the brink of collapse. The United Kingdom is the only place left in the world which still resembles some sort of functioning society but the influx of asylum seekers and general fear caused by the prospect of extinction has turned the country into a totalitarian state. The film was nominated for three Academy Awards (Best Adapted Screenplay, Cinematography and Editing) and won two BAFTA awards for Best Cinematography and Production Design.

5. Dark City (Alex Proyas, 1998)

Directed and co-written by Alex Proyas, Dark City is a neo-noir-ish science fiction film which looks like something of a cross between Fritz Lang’s Metropolis and the Wachowski Brothers’ The Matrix, which this film actually pre-dates by a year.

John Murdoch (Rufus Sewell) awakens one night in a bathtub in a hotel, suffering from amnesia. In the room is also the body of a murdered woman and he receives a phone call from a Dr. Schreber (Kiefer Sutherland), who informs him he needs to escape as some men, known as “The Strangers” are after him.

Equally incorporating elements of film noir, German Expressionism, Kafka and science fiction, the film was director Proyas’ follow-up to The Crow and so far the crowning achievement of his filmography, proving that he was a highly imaginative visual storyteller. If you like your science fiction dark, dystopian, moody and visually arresting, Dark City is just what the doctor ordered.

4. A Clockwork Orange (Stanley Kubrick, 1971)

Adapted from the novel of the same name by Anthony Burgess, A Clockwork Orange is a violent dystopian science fiction satire directed by Stanley Kubrick and starring Malcolm McDowell.

Alex (Malcolm McDowell) is a Beethoven loving delinquent in future London, who, together with his gang of “Droogs”, likes to get stoned at the Korova Milkbar before committing some “ultra-violence”, i.e: murder, rape and other heinous acts. When Alex is apprehended after killing a woman by smashing her skull with a giant phallus, he is sentenced to 14 years in prison. But two years into his sentence, he is able to partake in the experimental Ludovico treatment, which is designed to rehabilitate criminals by exposing them to violent imagery whilst being drugged and listening to loud renditions of Beethoven’s compositions.

As a result, Alex becomes nauseous whenever confronted with violence, sexual imagery or the music of his favourite composer. He is released but becomes a victim to the people he used to terrorise as they are out for revenge. Constantly abused by those he did wrong by and despising his life now that he can no longer enjoy Beethoven’s music, Alex tries to commit suicide, turning public opinion against the treatment that “cured” him.

Highly controversial due to its extremely violent content (the film was originally released with an X-rating in the United States), A Clockwork Orange was a critical as well as financial success upon its release.
The film was nominated for four Academy Awards, three Golden Globes and seven BAFTA Awards (all including Best Film and Director). It also won those awards at the New York Film Critics Circle Awards as well as the Pasinetti Award for Best Foreign Film at the Venice Film Festival.

(c)http://www.tasteofcinema.com/wp-content/uploads/2014/07/Akira-movie.jpg

3. Akira (Katsuhiro Otomo, 1988)

Akira is not just one of the best animes ever released. It’s one of the best science fiction films ever released as well. An absolute landmark in Japanese animation, which forever opened the eyes of the West to anime, its influence can not be understated and its cyberpunk vision of a dystopian future is as impressive today as when it was first released over 25 years ago.

The year is 2019 and Tokyo has been rebuild as neo-Tokyo after some cataclysmic event caused 30 years ago by someone called Akira. Tetsuo is a young member of a motorcycle gang, who greatly looks up to its leader Kaneda. One night Tetsuo is involved in an accident with a child-like being who has been sprung from a laboratory by an underground resistance group. As his gang look on, he’s taken away by the military.

Akira was adapted from a 2182 page manga and deals predominately with the first half of the comic book series. Additionally the film had a huge scope, stunning designs and a truly unique and unforgettable soundtrack. The film has a fully realised cyperpunk dystopian vision that has never been matched in any other animated work and if you only see one anime in your life, make sure it is this one.

2. Metropolis (Fritz Lang, 1927)

A highly influential German Expressionist silent science fiction film, Metropolis is directed by Frtiz Lang, who co-wrote the movie with his then wife Thea von Harbou, and is especially noteworthy for its grand design and as the first ever feature length film in its genre.

Set in the futuristic dystopian city of Metropolis, the film deals with the glaring difference between its upper classes, who live in luxury and decadence in its high towers, and the huge working class, who live in slave-like conditions in the lower parts of the city, keeping its machinery going. Freder (Gustav Froehlich) is the son of the city’s ruler, Joh Fredersen (Alfred Abel), and lives in blissful ignorance about the the conditions of those below until he one day meets Maria (Brigitte Helm), a beautiful girl from the city’s lower levels, when she visits the Eternal Gardens with a group of kids to show them how the wealthy live.

Struck by her beauty and aghast by her poor appearance, he makes his way down to the lower levels and discovers the conditions there. When he later confronts his father about these, he learns to his horror that his father thinks that this is the way things ought to be.

1. Blade Runner (Ridley Scott, 1982)

Based on the novel Do Androids Dream of Electric Sheep? by Philip K. Dick, Blade Runner is a dystopian neo-noir science-fiction film and arguably, along with Alien and The Duellists, one the greatest films directed by Ridley Scott, who never again returned to such heights.

The year is 2019 and Los Angeles has turned into a sprawling dystopian megapolis filled with giant neon signs and flying vehicles. Rick Deckard (Harrison Ford) is a retired blade runner, detectives who specialise in hunting down and taking out rebellious replicants, life-like androids with a build-in limited lifespan who are designed by the Tyrell Corporation to take on jobs which actual humans are not willing to perform in the off-world colonies.

Whilst Blade Runner wasn’t a huge success upon its initial release and divided critics, the film gained a true cult following over the years and has since been regarded as a true science fiction masterpiece. The film’s look was unlike anything that had ever come before it and its production design, special effects and the melancholic synthesiser score by Vangelis still make it a truly unique and stunning experience.
​
One of the most influential science fiction films ever made, Blade Runner remains a cinematic milestone and only seems to get better with age. Fans of the movie are also advised to seek out the nearly three-and-a-half hour “making of” documentary Dangerous Days: The Making of Blade Runner.

​Let us know what you think of this genre in the comments section below.

Source:  Taste of cinema

The use of emojis in our everyday life has become unavoidable as mush as we see it as an 'it' thing for the younger generation.

We may not know what they all mean, but it is a good thing to understand why it has become part of our daily lives and why it is here to stay.

In a surprising move, Oxford Dictionaries made the tears of joy emoji their word of the year for 2015. Sure, we're all using emojis (it's automatically in our phones) but are they that big, though? You can search Instagram posts by emoji, and Facebook's latest update lets "react" to posts by emojis.

​Linguists have taken a hold of the matter, and as it turns out filmmakers can learn a lot from using emojis. Here's how.

And if there's one thing you have to be great at other than telling a story, is communication. You have a vision, you have to explain it. You're dealing with people, and you will need to act accordingly.

What's the difference between "That's not necessary." and "That's not necessary [smiley face]". It's less harsh. Of course, I'm only saying that, provided you want to manage people's feeling's.

2. You're learning a new language

​The latest edition of SXWS held a panel called "The linguistic secrets found in billions of emoji", in which researchers explained their findings from analysing all the data of emoji usage throughout the world.

​Apparently, the world is crying [tears of joy], the French have a (predictably) [broken heart], and Scandinavians love themselves some [Santa].
Emojis account for 4.6% of our conversations. It's a language that has both formal and informal qualities. And it's far more elaborate and creative.

4. You're learning about voiceover

​Voiceover is one of the things that many filmmakers will fail at. One textbook example of successful voiceover is Sunset Boulevard. The same kind of process is used in Annie Hall, in the famous scene during which subtitles show us what the characters are actually thinking. There's what happens, and there's what's really happening. It's definitely not about a scene and the voiceover describing what's happening.

There's a difference between: "Want to come over?", "Want to come over? [smirking face]" and "Want to come over? [eggplant]". The first one implies tea and a friendly chat, the second one implies sex and the third one doesn't imply much because it doesn't leave anything to the imagination.

How else can you use emojis to be a better filmmaker? Let us know in the comments section below.

​Source: Raindance

(c)From a whisper

First up, our very own Kenyan film From a Whisper - Dir. Wanuri Kahiu, Kenya, 2009. Winner of five African Movie Academy Awards including best picture, Wanuri Kahiu’s first feature, “From a Whisper,” is a fictive take on the bombing of the U.S. Embassy in 1998 in Nairobi and its lingering impact a decade later. Though occasionally stilted in writing and performances, this drama does effectively put the causes and aftermath of large terrorist actions in personal terms. Its production polish and primarily English language dialogue eased transition to offshore ancillary sales. The movie is very real and I liked Ken Ambani's realistic acting and I loved the music too. Wanuri Kahiu is a good director who will go on to make greater films. The cinematography on this film was exceptional 

(c)Viva Riva

From the name, who wouldn't want to watch this one. Viva Riva- Dir. Djo Munga, DR Congo, 2010. This is simply a sophisticated gangster movie. It has raw energy and puts a human face to all that is happening in the Congo. Sometimes just too real, it is gritty, fun and a must-watch thriller.

Sinking Sands - Dir. Leila Djansi, Ghana, 2011
This film deals with domestic violence, but based on the personal journey of a man disfigured in an accident, which makes him turn against his wife. Ama K. Abebrese, who plays the wife, made this film for me and she won Best Actress at the African Movie Academy Awards (AMAA) for it, and I felt that director Leila Djansi made the film engage with the audience in an emotional way, showing not just the rawness of domestic violence, but taking us through a range of pain and forgiveness. The film also depicts how women can immerse themselves in guilt and force themselves to feel like the guilty party. I think I have given away too much already, go on, watch this amazing film

'From Naija with love' like my students would say comes White Waters - Dir. Izu Ojukwu, Nigeria, 2007
"White Waters" was a very good movie. It tells the story of a disadvantaged boy who is discovered as a gifted runner. I loved the feel, the music and the fact that it was about achieving something from nothing.I loved the cinematography. Izu Ojukwu, the director and cinematographer and actor O.C. Ukeje were phenomenal in this movie.

(c)Mwansa the great

Moolaade - Dir. Ousmane Sembene, Senegal, 2004
Sembene is the ultimate African filmmaker of all time and if you don't know him or haven't watched any of his work, well, its time you did . "Moolaade" dealt with a subject that most men would rather not deal with, female genital mutilation. But director Ousmane Semebene was not afraid to tackle the subject in a manner that the film was artistic, yet detailed, and did not derail the issues that most people in Africa are afraid to confront. Coming from Sembene it was important, visual and professionally made and it pulls at the viewers' heart strings.

Otelo Burning - Dir. Sara Blecher, South Africa, 2011
This woman continues to do more and more in South Africa and most of her movies have made it to awards around the world. This is the story line of young black South Africans in the 1980s excelling in surfing as a sport that was reserved for the whites. The sound and picture quality is excellent, as was the acting. "Otelo Burning" is one of the best African films I have ever seen and I feel it should have had a lot more accolades than it did.

Benda Bilili - Dir. Renaud Barret, Florent de La Tullaye, DR Congo/France, 2010
This is a great musical documentary telling the story of Staff Benda Bilili,  a group of disabled Congolese musicians. The band members start out making a living on the streets of Kinshasa, before becoming world-famous musicians. I personally haven't watched this one, but it's definitely on my 'to watch list.'

​Irapada- Dir. Kunle Afolayan, Nigeria, 2007
I love anything to deal with African myths and mysticism. Did you know that it was the first Nollywood film to make it to mainstream film festivals including the London Film Festival and Pan African Film festival in Los Angeles after winning an AMAA (Best Indigenous Film) in 2007? Now you know.

Ghett'a Life - Dir. Chris Browne, Jamaica, 2011
​ Not strictly an African movie, but "Ghett'a Life" is one of those films that you need to watch. The music in it is brilliant, and the cinematography too. It deals with the political violence in Jamaica in a realistic way, showing that people born in the ghetto can escape. "Gett'a Life" can be hard to deal with but when you watch the documentary "Marley" you begin to understand how politics, music and sports all merge in developing countries. For me, this movie is in the same league as "Otelo Burning," with its message that you can get out of the corner if you really try. Story line: excellent, acting: brilliant.

That's it from my list of Africa movies of the 21st Century you should watch, let us know what you think about them in the comments section below. Can't wait to share with you my students' experience and reactions when they watch the films and what they think.

Source: CNN, Variety, Google

It is the most popular award ceremony in Africa. The AMVCA, also popularly known as Africa Magic Viewers Choice Awards 2016 went down LIVE at the Eko Hotel and Suites in Victoria Island, Lagos on Saturday, March 5. It was nothing short of glamour on the red carpet, with stars from all over Africa and an absolute blast to the awards ceremony too.

The show, organised by Africa Magic in association with Multichoice, held its fourth successful edition of the annual awards which was hosted my renowned media personality IK Osakioduwa and Minnie Dlamini.

The AMVCAs were created to celebrate the contribution of African filmmakers, actors and technicians in the success of the continent’s film and television industry and was a great night and broadcast live across Africa.

Well, I would like to say I will save you all the history and science terminology of what popcorn is and all the jargon that explains why it pops, but I won’t. You need to understand the correlation between popcorn and the movies.
 
We all have been to the movies a couple of times, and probably never miss to get a packet of popcorn and a drink as we go in to treat ourselves to a moment of imagination, and wonder as we travel through someone else’s mind and simply allow ourselves to be entertained.

It’s buttered, it’s salted, it’s plain but it’s always hot and delicious (or it should be) but why do we all hanker for popcorn at the movies, and pop it when we watch at home? Popcorn itself has been around 8,000 years since corn was first cultivated, but it’s been a movie theater staple for far less time.

Popcorn was basically the food of the streets, and as such, had no place in hoity toity movie theaters. Plus when there wasn’t sound playing during the days of silent films, the crunch of your neighbor is even more annoying.

Eventually movies added sound, and the movie theater industry started to broaden its horizons. When the Great Depression hit, audiences flooded movie theaters seeking an escape from the everyday blues. And there was popcorn, cheap, mobile and tasty. At first people would just walk in with their popcorn purchased on the street, despite the protestations of theater workers.

Things really kicked into high gear during World War II, as wartime rations severely limited the competition from other snacks that required sugar. By the time the war was over, popcorn was firmly entrenched in the hearts of movie lovers everywhere.
Once microwaves started popping up in homes later in the 20th century, popcorn was there to stake its claim as the proper snack companion to living room theaters as well.

By charging that outrageous and frankly insane mark-up we pay at the concessions, the movie theater can keep ticket prices lower and make their profit selling snacks and treats. Ultimately it is this little puff of air and starch that is responsible for keeping movies in business. For without popcorn, there simply would be no theaters, and perhaps no movies at least not the way we know them. Whether you partake or not, know that this simple ancient snack help make film and film making possible

It’s time to put the champagne on ice as we await for the awards-season grand finale, the 88th Academy Awards around the corner.
 
As we celebrate the men and women who worked their hearts and souls to make movies that cut it to the Academy Awards this year, we can’t ignore the uproar that rose with the nominations.
 
The 2016 Oscars campaign will be remembered as the year in which a glaring lack of diversity among the nominees (again) sparked an #OscarsSoWhite uproar and led to much-needed change within the Academy ranks. It’s a controversial, hot-button topic that host Chris Rock will surely address in the show’s opening moments, on February 28 to address the issue of discrimination against people of color.

Though some of the categories were snitched before Christmas presents were unwrapped, and some still remain uncertain, let me give you a chance to run by your predictions and see how the movies did this year. Let’s begin:

1. For Best Picture, here are the nominees:

• The Big Short
  
• Bridge of Spies
• The Martian
• Mad Max: Fury Road
• The Revenant

The Revenant stands out as the favorite in this category. The story of a sprawling and challenging revenge epic, this is the kind of heavy drama the Academy tends to favor. In a true neck-and-neck race, it’s got the muscle to overtake Spotlight. It’s a box office studio hit, and a BAFTA and Golden Globe award winner that garnered the most nominations and its director, Birdman helmer Alejandro G. Inarritu, is poised to take home back-to-back trophies.
 

   2. For Best Actor, here are the nominees:

• Bryan Cranston, 
  
• Matt Damon, 
• Leonardo DiCaprio, 
• Michael Fassbender, 
• Eddie Redmayne, 

He probably should have won it two years ago for The Wolf of Wall Street, but no matter. The man is due. Plus, did you hear he ate raw bison to prep for the role?
 
   3. Best Actress

• Cate Blanchett, 
  
• Brie Larson, 
• Jennifer Lawrence, 
• Charlotte Rampling, 
• Saoirse Ronan, 

Blanchett and Lawrence have each won in this category like five minutes ago. Now the path is clear for Larson, who delivers a blistering turn as a devoted mom in the indie drama and, like DiCaprio, has won every major award leading up to the big night. And hey, maybe her victory will finally convince people to see Room, which is one of the top 10 lowest-grossing Best Picture nominees in the past 33 years.
 

    4. Best Supporting Actor has the following nominees:

• Christian Bale, 
  
• Tom Hardy, 
• Mark Ruffalo, 
• Marky Rylance, 
• Sylvester Stallone,

C’mon, is there anyone not rooting for Stallone to win gold 39 years after he lost the Best Actor race for the same role in Rocky? The 69-year-old star is the sentimental choice here among voters and fans alike. He’s also the correct one. That said, if SAG winner Idris Elba got a nod for Beasts of No Nation, this race would have been a lot more interesting.
 

   
5. Best Supporting Actress

• Jennifer Jason Leigh, 
  
• Rooney Mara, 
• Rachel McAdams, 
• Alicia Vikander, 
• Kate Winslet, 

This is the closest one to call. Yet there’s no denying Vikander, the current It Girl who enjoyed a monster breakout year (see: Ex_Machina). She just won the SAG and her turn as the conflicted wife of a transgender pioneer is so meaty that it should have been in the Best Actress category. Semi-related intrigue: Will she thank her boyfriend and fellow nominee, Michael Fassender?
 

And the Rest! 
 
Best Director: Alejandro G. Inarritu, The Revenant
 
Best Original Screenplay: Tom McCarthy, Spotlight
 
Best Adapted Screenplay: Adam McKay & Charles Randolph, The Big Short
 
Best Animated Feature: Inside Out
 
Best Foreign Language Film: The Son of Saul
 
Best Documentary: Amy
 
Best Documentary Short: Body Team 12
 
Best Live Action Short: Ave Maria
 
Best Animated Short: Sanjays Super Team
 
Best Original Score: The Hateful Eight
 
Best Original Song: “Til It Happens to You,” Lady Gaga & Diane Warren