Indeed!! JULY is shaking up to be a strong month for Africa Cinema and Television. Meanwhile NETFLIX is doubling down on Arabic-Language content with several new releases, While Kenyan dramas are exploring everything from street-racing to elite family betrayals.

Nigerian Filmmakers continues to push boundaries with anthology series that tackle Love, Money, and Tradition, while South African reality TV is getting bold with relationship ultimatums and stepfather dynamics. From Morrocco’s intergenerational comedies to documentaries exposing kenya’s academic ghostwriting industry, this month’s lineup reflects diverse Storytelling across voices across continent.

In Here, INTALKS.AFRICA is your essential guide to the best African films and TV shows premiering this month!! Highlighting diverse stories from every region of the Continent.

Here’s what’s worth watching across NORTH, EAST, WEST, and SOUTHERN AFRICA this July below;

1) ‘SABBATICAL’ (SOUTH AFRICA)

“SABBATICAL” is a South African film that follows Lesego (Mona Monyane), a successful professional who’s on the verge of becoming CEO at a financial company. Her promising career trajectory is derailed when she becomes entangled in an investigation that threatens her ambitions. Lesego returns to her childhood home during this crisis, and her life begins to unravel. Written and directed by Karabo Lediga, the film explores themes of identity and how we change when we leave our homes behind to build independent lives.

A banker returns unannounced to her childhood home and her overbearing mother who she hardly visits. Unbeknownst to her mother, a life-changing secret brought her back, threatening to upend their relationship forever.

Lesego (Mona Monyane), the lead character in Karabo Lediga’s directorial feature-length debut film Sabbatical, is haunted and confronted by many demons. The first is the depressing knowledge that the career she has built for decades is gradually crumbling alongside the financial and social security it provides. Secondly, the decades-long demon that settled into her life from childhood: the feeling of isolation and displacement she feels in her immediate surroundings which doesn’t fit into the shape of her dream, needs to be confronted. Lastly, it’s addressing the rift between her and her mother, Doris (Clementine Mosimane.) It’s this second and third demon that has, over the years, shaped Lesego’s relationship with her “friends”, colleagues, childhood neighbours and ultimately her mother, Doris, who motivates her to dream big and wild. All through the lifeline of Sabbatical, it’s these demons Lesego is learning to sit with, confront and interrogate after successfully avoiding and isolating them for years.

Lesego (34), a celebrated investment banker arrives unannounced and on the brink of a breakdown to her childhood home in the tight-knit community she long left behind in Thorntree, forty kilometres away from her plush Johannesburg life. Her doting mother, Doris (66) is excited to flaunt her pride and joy to whoever is willing to listen, struggling to accept that something is not quite right with her daughter and that the two no longer really know or like each other. Doris does not know that Lesego, on the CEO track at top investment firm LouwFin, was suspended and placed under investigation for defrauding a miners pension fund, losing their poor widows millions.

A successful banker, Lesego has built an admirable reputation in her company and by extension the country. Though we fragmentarily see the justification of her affluence and reach as one of the country’s successful bankers, Thulisile (Lethabo Mpoko), her childhood friend’s daughter’s intent to model her life after Lesego’s is indicative of her success. A scandal has happened at work and to escape being alone, Lesego compels herself to return home to an overbearing mother, cramped room, “myopic” friends,lover and neighbourhood that doesn’t serve her personal dream and ambition. This return will shape the film’s deep introspection on the question of mother-daughter relationship, the ambitious nature of the working-class and upwardly mobile middle-class South Africans, the feelings of resentment towards a place that once housed you and friends that once fits into your future and ultimately the reclaiming of one’s identity and place in a society that encourages one to scorn their humble beginnings. In this way, Lediga’s film is a comical but serious meditation on these subject matters. And, its ability to mould and mash all these topical issues and present them with performers who accentuate them, strengthen the film’s enjoyability.

An investigator is hot on her heels, and she stands to lose everything. She tries to escape her predicament but quickly realises that she has no friends or allies and that her trusted mentor has thrown her under the bus. Lesego fears telling her overbearing mother tFeeling trapped, frustrated and limited is something every growing adult can relate with. Thus, it isn’t strange for growing adults, unmindful of the social class their parents belong to, to feel cramped and frustrated with living with or following their parents’ dictates, whether overbearing or not. There is always that need to physically, ideologically, culturally and religiously move. This movement often ultimately manifests in moving away from home. But, the shift often happens in recognizing that the space that once nurtured your being isn’t serving you anymore. Thus, there’s always that quiet rebellion against this space and the people in it. It’s this insight and knowledge that Lediga, who wrote and directed this film from a personal story, brings into writing and directing the film. The lead actor also brings this level of familiarity toward her performance too.

In writing Lesego’s character, the script presents the backstory of a young girl whose mother has socialized to be fiercely ambitious and cruelly competitive. These lessons have, hitherto, shaped the life of Lesego. It’s why it isn’t strange that when a troubling situation happens at work there aren’t any friends or colleagues willing to comfort or support her. Even when she returns to the comfort of her childhood home, she feels displaced because she has mentally grown beyond that space. The neighbourhood also feels limiting. This limitation and displacement is situated in Lesego’s relationship with Koketso (Tsholofelo Maseko), her childhood friend and Matome (Kagiso Latane) her teenage lover but, more importantly, the feeling is deeply present in Koketso’s daughter who is similarly ambitious. The truth believing that she will not accept her without all her accolades. She finds solace with her neighbour and childhood friend, Koketso, much to Doris’ horror who deems Koketso a scandalous failure far below her daughter’s level. Koketso transports Lesego back to the joys of her childhood, the friends and love she left behind but the bliss is short-lived, leading to an embarrassing spectacle that changes Doris and Lesego’s relationship forever.

In directing, Lediga makes Mona Monyane move with the restraint of someone who wasn’t afforded much freedom and ability to carelessly make friends. The directing and Monyane’s curtailed movement around her mother’s house despite being a grown adult is filled with residue of living with a mother that subtly encourages you to embrace a cold disposition. For Clementine Mosimane who plays Lesego’s mother, she wears the garment of a single mother who has, for her whole life, moved with the understanding that society is cruel and unforgiving towards single mothers. And, it’s this societal pressure and the high standards she drills this onto her daughter. Thus, in their strained relationship and minimal conversation, it’s impossible to acknowledge the love and respect they have for each other. Unable to acknowledge this unspoken-about love and care, result in their conflict and estrangement. And, in Lesego’s personal life, this societal-enforced distrust and ambition, makes her filter between the timid, brave, caring and callous woman.

The film affords itself the opportunity to interrogate elderly love. In Doris and Gabriel (Seputla Sebogodi)’s relationship, we find a positive image of two elderly Africans who are in an intimate relationship. Uncaring about society’s questioning stare, Doris and Gabriel move with the certainty of two grown individuals who love and care for each other. Lediga’s script ensures that there are minimal moments of conflict but more moments of intimacy in their conversations and onscreen presence. Interestingly, the script deposited a dildo into Doris’ room. This inconsequential and seemingly insignificant image is important in pushing the narrative that an older woman’s sexual activity isn’t dead or should be because of her age. Cinema is a powerful tool for interrogating and crumbling stereotypical and harmful thoughts and thinking and Lediga’s film is aware of this power. And it harnessed it.

Karabo Lediga pays tribute to her larger-than-life mom in heartfelt new film Sabbatical

When the hustle breaks you: Karabo Lediga’s quietly radical Sabbatical

Breathing space: Mona Monyane plays the lead character Lesego in the film Sabbatical, which explores themes such as the price of success and family pressures

We see a woman asleep in bed. She’s wearing make-up and earrings, so it’s clear the previous night must have ended abruptly. The puke stains on her pillow and the right side of her face point to the same conclusion.

She’s woken up by the incessant sound of hammering.

Not quite sure where the sound is coming from, or where she is for that matter, the only clarity available is the feeling of having been hit by a truck and barely surviving.

She slowly sits up on the bed, sunlight streaming through the curtains, and looks around the room. She realises where she is. The first words out of her mouth: “Oh, fuck.”

And with that, writer-director Karabo Lediga throws us right into the world of Sabbatical, her first feature film, set for nationwide release on 9 May.

The woman we are first introduced to in the throes of a historic hangover is Lesego, a successful investment banker. In the midst of a personal crisis, she has turned up at her childhood home, unannounced, telling her mother Doris that she’s taking a sabbatical from work.

The truth is that Lesego, once a rising star on the CEO track at top investment firm LouwFin, has been suspended and placed under investigation for defrauding a miners’ pension fund. She’s suspected of stealing millions from the families of deceased miners.

An investigator is hot on her heels and she’s fled her life in Johannesburg to seek the comfort of the familiar surroundings of her youth, 40km away, in Thorntree.

The setting for Sabbatical is a world Lediga knows well, having grown up in Pretoria herself, before moving to Johannesburg for university, and never quite returning, staying on to pursue a career in film and television. That is until major surgery forced her to move back home for a period of six weeks.

“I was just stuck in this room and I had to be kind of dependent on my mom,” Lediga says. “She’s a nurse, so she was rolling up her sleeves, like, ‘It’s my time to shine now.’”

#2 Directorkaraboledigaonthesetofsabbatical — Debut: Director Karabo Lediga on the set of Sabbatical

It was this experience that sparked the inspiration for what would become Lediga’s first feature film.

But the thread that really opened up the story was her desire to explore what she describes as a generational culture clash and how the pressure to succeed figures into that dynamic, particularly for black South African families.

“I’ve always thought about this pressure, this generational pressure to succeed, and I think it’s quite pronounced for the generation born right after apartheid because we were catapulted into worlds that weren’t accessible to our parents,” she says.

“The freedom is so pronounced. So, we become almost like foreigners in our own country, because we go to places that are predominantly white, where we’re a minority, and we come back home and we’ve changed.

“It’s almost like a culture clash between people in the same families and I’ve always found it fascinating.”

This idea comes out most strongly in the way Lesego, played by Mona Monyane, interacts with people in her hometown. They talk to her as though going to the city and becoming successful has made her different — perhaps even better — than them, when, in reality, Lesego feels crushed by the weight of expectation and is fleeing from the cost of success.

This sense of isolation is starkest in Lesego’s dynamic with her mother Doris, played by Clementine Mosimane. Even as she confesses the pressure of work has been getting to her, and seeks refuge in her mother’s home, Lesego is tight-lipped about the suspension and investigation.

And during the course of the film it’s not hard to see why as Doris seems less concerned with her daughter’s deteriorating mental health than with keeping up appearances.

“There are all of these questions you start to internalise when you were raised a certain way like, ‘Are you going to be presentable?’ and ‘What are people going to think?’ so I thought to exaggerate this relationship between Lesego and Doris,” explains Lediga. “I also think it’s interesting to look at our lives and the nuances of it. There’s something interesting about the in-betweens.”

Karabo Lediga started her film and television career as a researcher and writer working behind the scenes on several productions including Late Nite News with Loyiso Gola, Bantu Hour and Queen Sono.

She went on to direct the short film What Did You Dream?, which premiered at the Clermont-Ferrand International Short Film Festival, and was also in competition at The Palm Springs International Short Film Festival, among others.

#3 Lefttoright Seputlasebogodiasgabriel;monamonyaneaslesego;andclementinemosimaneasdoris — Seputla Sebogodi as Gabriel, Mona Monyane as Lesego and Clementine Mosimane as Doris in the movie

It won Best African Short at the Durban International Film Festival.

Her brother is the multi-hyphenate creative Kagiso Lediga, who is among the leaders of Diprente, the production house behind many of Karabo’s television and film credits and now her directorial debut Sabbatical.

Loyiso Gola also shows up in the film in a supporting role as the inscrutable investigator Percy, who is on the hunt for Lesego.

Lediga’s close connection to the world of comedy made me go into the film with the expectation that it would be a comedy. While it does have its funny moments, it’s more of a dramatic character study, a slow burn, slowly peeling back the layers of its complicated protagonist, her irritable mother and the colourful cast of characters in their Thorntree community.

“It’s interesting to talk about one’s voice as an African filmmaker because, internationally, there’s always this expectation that it will have this kind of stereotypical magical archetype people associate with Africa,” says Lediga. “But then I grew up on American television because the imperialism thrust upon me was American popular culture. And I’ve always loved the American indie — these films where white people get to just be themselves. There’s no fire. Nobody’s dying. It’s just exploring the psyche of characters, in depth.”

“So I’m always questioning: ‘What is it about black life that doesn’t deserve this kind of in-depth simplicity and nuance and humanisation?’

“Because people are just really people, you know. So I was quite obsessed with this indie thing that’s like a language in my style of filmmaking, or my burgeoning style of filmmaking, trying to make that kind of a film.

“I was obsessed with the question of what if this kind of borrowing of indie American filmmaking was to be in an African context with the nuances of black people.”

Lediga leaned heavily on her community of friends and long-time collaborators in the film industry to help her achieve her African indie vision. Sabbatical’s cinematographer Motheo Moeng is a Diprente regular who’s worked on films such as Catching Feelings and Matwetwe.

“What’s great about Motheo is that he also has Pretoria heritage, so he knows the world,” says Lediga. “But he also has an interesting connection with actors, making him a great representative for you as a director, when you’re not there.”

The film’s editor Khulekani Zondi worked on the television series Queen Sono as well as Matwetwe while Lethabo Mpoko, a young actress who has a supporting role in Sabbatical, was the lead in Lediga’s short film What Did You Dream?

The main cast is rounded out by Tsholofelo Maseko, Bathabile Mashigo and Seputla Sebogodi with production design by Ntokozo Kunene and an original score from award-winning South African jazz pianist and composer Bokani Dyer.

“There’s always this interesting question about, ‘What do you lean on?’ And the answer is community,” Lediga says.

“I guess that’s what the film says as well. The people around you matter — they are your currency.

“And it’s the people that you work with on set, the crew that you work with. I like to work with people that I already know and trust and have a relationship with and if we progress, then we should do it together.”

To Watch: Prime Studios

2) ‘KIFF: LORE OF THE RING LIGHTS’ (SOUTH AFRICA)

‘Kiff: Lore of the Ring lights’ follows kiff and her friends on an epic mission to destroy a ring light of overwhelming power. It’s a hilarious nod to fantasy classics with a Gen Z twist. Instead of Kingdoms and Swords, it’s Selfies and Screens. But the stakes are just as wild. Created by South Africans Lucy Heavens and Nic Smal, ‘Kiff’ has captured international attention, earning two Children’s and Family Emmy nominations this year, including one for Outstanding Original Song.

“Lore of the Ring Light” is a special episode of Kiff. It aired as a standalone double-length special between seasons 1 and 2 of the series, and serves as the thirty-second episode and the sixty-third and sixty-fourth segments overall.

At the Table Town Public Library, Miss Moufflé reads from a book titled Lore of the Ring Light, which narrates the story of how many years ago, a coven of witches manufactured a smartphone ring light capable of making its user look so glamorous that it had to be destroyed due to its sheer power. Though the witches believed they had destroyed the ring light by placing it in a box and kicking the box, the ring light was left intact and the box ended up in the back of a storage closet in Table Town Middle School.

Elsewhere at the Table Town Middle School gym, preparations are underway for the annual talent show, which is to be held the following night. Kiff, Barry, Trevor, and Renée, who plan to perform a group dance routine in large novelty furry feet for the talent show, arrive at the gym, followed by Principal Secretary, who will be hosting the show in costume as the founder of Table Town, wearing a longcoat and beard (which he accidentally superglues to his chin). The gathered cast and crew put on their official talent show hoodies, only to find the hoodies oversized, lacking lettering, and with broken zippers.

Despite the talent show only being meant for students, Helen plans to perform anyway. While searching a backstage storage closet for a costume to wear, she stumbles onto the box containing the ring light and turns the light on, immediately recognizing its power. Principal Secretary walks by and notices a mesmerized Helen using the ring light in the closet. Suspicious, he leaves to do some research on the device. Helen returns to the talent show stage for rehearsals but then notices that the ring light is no longer attached to her phone and leaves to go find it.

Kiff finds the ring light on the gym floor. Before she can use it, Principal Secretary returns with a copy of The Table Tome of Table Town to warn her about the gadget’s alluring powers. After sensing the ring light’s corrupting influence himself, he decides that Kiff, who has no concept of ring lights or even selfies, is the only person resilient enough to guard it due to her total indifference to social media. Shortly after, Kiff slips and falls while holding the ring light, and while reaching out to grab it, she accidentally turns it on and stuns everyone present with her now-glammed-up face. Michaela posts a photo of Kiff to social media, which is seen by the Five Pigeons of the Acapellapocalypse, who notice the ring light in the photo and quickly fly away from their mansion to locate the device.

Kiff asks Principal Secretary if she may have inadvertently sent out a signal by turning on the ring light. Flipping through the Table Tome, he finds an illustration of the pigeons seeking out the device and quickly orders Miss Deer Teacher to get Kiff and Barry to the library to evade the arriving pigeons, while he returns to his office to return the Table Tome to its protective case. The pigeons then arrive and trash the gym in search of Kiff and the ring light. Just as Kiff, Barry, and Miss Deer Teacher are about to be discovered hiding, Principal Secretary accidentally steps on a harp lying on the floor, distracting the pigeons and buying the three time to escape.

After making it to his office and safeguarding the book, Principal Secretary bumps into his desk and bruises his knee, forcing him to use his giant novelty pencil as a walking stick. Kiff and Barry, riding on Miss Deer Teacher’s back, reach the library, and the three are pulled inside to safety by Miss Moufflé. The pigeons attempt to enter as well, but the library’s “no phones” rule creates a forcefield that the technology-obsessed pigeons are unable to penetrate. Eventually, Principal Secretary, Trevor, Renée, Candle, Reggie, and Harry make it to the library as well.

Miss Moufflé briefs everyone on the situation, warning that the ring light’s power would allow anyone livestreaming with it to amass millions of followers and take over Table Town. Glarbin emerges from another corner of the library with a copy of the Table Town Charter to confirm that legally, “any master of influence whose acolytes’ number that of 10,000,000 shall be the new town manager.” Kiff suggests simply keeping the ring light stowed away, but Miss Moufflé explains that it has already been awakened and now seeks a user. After a brief discussion on the ring light’s supposedly “indestructible” nature being contradicted by the fact that it can be destroyed by lava, Kiff and Barry – joined by Trevor, Renée, Candle, Reggie, Harry, Glarbin, and Principal Secretary – set off to destroy the device by throwing it into the volcanic hole atop Mount Table. Before leaving, Harry ominously promises not to betray anyone.

At the riddling bridge, the group of nine runs into Terri, whose request to borrow the ring light for her livestream is immediately denied by Kiff. Corrupted by the device’s power of temptation, Terri suddenly begins to glow and float, and her follower count rapidly shoots up. Principal Secretary stays on the bridge to hold off Terri while the rest of the group cross to the other side. Before Terri can catch up to Principal Secretary, Trollie jumps up from the stream below and demands that his riddle be answered. The force of his jump, however, causes a portion of the bridge to collapse. After telling the others to carry on without him, Principal Secretary falls into the resulting hole, alongside Trollie.

While Trollie is swept away by the current, Principal Secretary manages to perch himself on a piece of rubble. Sweepy Steve flies by and is asked by Principal Secretary to relay a message to Ghost Wolf for help. Ghost Wolf then arrives to fly Principal Secretary to Kiff and her friends, who are climbing up the Wall of Goat while evading Terri and her new army of followers; during the flight, Principal Secretary accidentally douses himself in Ghost Wolf’s white paint. After helping Principal Secretary rescue Kiff and the others, Ghost Wolf flies everyone further down the route to Mount Table before splitting from the group – despite Barry pointing out that he could have just flown them to the top of the mountain.

When Barry offers to carry Kiff up Mount Table, Kiff declines and says that it would be “bad for my brand”, contradicting her previous indifference to social media and shocking Barry. While Barry goes to get Kiff a snack, Kiff turns on the ring light and, fully under its influence, has a musical fantasy envisioning the power it could bring her. Barry sees this and turns off the light, urging Kiff to get back to her senses. Meanwhile, Helen is revealed to have been following the group the entire time. While the others simply ignore her presence, Kiff, newly aflush with temptation, grows more watchful of the ring light.

The group arrives at a forest, where Kiff and Barry prepare to head off by themselves to Mount Table to destroy the ring light, while the others stay behind to stand guard. Harry approaches the duo and asks to borrow the ring light for some social media exposure. When they refuse, he lunges at them in a failed attempt to obtain the device and is then kicked out of the group for his betrayal. Kiff and Barry canoe down the river to the mountain, covertly pursued by Helen in another canoe. While the duo is briefly docked on land to get some sleep, Helen snatches the ring light, but Kiff and Barry awaken and retrieve it before Helen can turn it on. Helen throws an upset tantrum, prompting Kiff to admit that she empathizes with Helen, having become newly aware of the trappings of social media. Hearing this, Helen declares her loyalty to Kiff and promises to guide her and Barry up Mount Table.

Back in the forest, the remaining members of the group keep track of Terri’s follower count, which is now in the millions. To buy Kiff and Barry more time, Glarbin hatches a plan to distract Terri by getting Other Barry and Ghost Grannie to photobomb Terri’s selfies in exchange for free sandwiches, which ghosts love. On the way up the mountain, while Kiff and Barry take another nap, Helen schemes to get Barry out of the way by covering him in crumbs from the duo’s donuts. When Barry awakens and accuses Helen of taking the donuts, Kiff is reminded that Helen likes crullers, causing her to decide that Barry is lying and can no longer be trusted to continue with the mission. However, when Barry takes one last look back before walking away, Helen smugly smiles and winks at him in return, which Kiff notices. Kiff immediately dumps her allegiance with Helen and calls back Barry.

Barry carries Kiff, who throughout the journey has grown increasingly fatigued from carrying the ring light around her neck, to the top of Mount Table. The duo makes their way to the mountain’s volcanic hole, and Kiff walks to the edge of the hole to throw the ring light into the lava below. At the last second, however, Kiff becomes consumed by temptation and declares that she will be keeping the device for herself. Barry pleads with her to destroy the ring light, saying that she does not need social media followers when she has people like him who already like her in real life.

In the original, Before Kiff can turn the ring light on, Helen emerges from behind a rock and fights Kiff for control of the device. In the ensuing scuffle, both Helen and the ring light fall into the lava.

The ring light’s destruction triggers a massive shockwave and reverses the device’s effects, teleporting the pigeons back to their mansion and causing Terri’s follower count to plunge back down to 237. Kiff and Barry rejoice, as do the other members of their group, while Helen emerges from the lava unharmed, pointing out that she has already been thrown into similar holes in the past. Ghost Wolf returns to fly Kiff and Barry, but not Helen, back to school, where the duo reunites with Trevor and Renée on the talent show stage at the gym. Glarbin approaches them and declares that they “bow to no one”, then bows down to them, joined by the rest of the gathered audience. As the children stand confused, Barry wonders aloud if the audience might make bowing a “hobbit”, before clarifying that he meant to say “habit”.

In the Bad ending, Kiff ignores Barry and turns on the ring light, completely possessing her, when Helen charge of it, Kiff uses her super strength and throws her into the lava, before brainwashing all of Table Town to follow her with her new powers from the ring light.

How did she join the BEF’s

During Ring Light Possessed Kiff’s takeover of Table Town, she took a picture of herself with the glamours face, she noticed someone photo-bombing the picture, when she turned around it was Bipper, Darcy, and Midnight Sparkle, Kiff then glows and flies away using the ring light’s power. Bipper stopped her and tell her that she was possessed with the magic ring light while brainwashing all of Table Town to follow her, Darcy invests the ring light and mention that she’d upgrade the ring light to make Kiff stronger and more powerful than ever while Midnight Sparkle will insert the powerful magic into it and makes a special necklace to keep it around her neck without losing it. Ring Light Possessed Kiff agreed to the upgrade with the ring light and so Ring Light Possessed Kiff joined the BEFs

Synopsis

Kiff and her friends go on an adventure to destroy a ring light of immense power.

Plot

At the Table Town Public Library, Miss Moufflé reads from a book titled Lore of the Ring Light, which narrates the story of how many years ago, a coven of witches manufactured a smartphone ring light capable of making its user look so glamorous that it had to be destroyed due to its sheer power. Though the witches believed they had destroyed the ring light by placing it in a box and kicking the box, the ring light was left intact and the box ended up in the back of a storage closet in Table Town Middle School.

Despite the talent show only being meant for students, Helen plans to perform anyway. While searching a backstage storage closet for a costume to wear, she stumbles onto the box containing the ring light and turns the light on, immediately recognizing its power. Principal Secretary walks by and notices a mesmerized Helen using the ring light in the closet. Suspicious, he leaves to do some research on the device. Helen returns to the talent show stage for rehearsals, but then notices that the ring light is no longer attached to her phone, and leaves to go find it.

Kiff asks Principal Secretary if she may have inadvertently sent out a signal by turning on the ring light. Flipping through the Table Tome, he finds an illustration of the pigeons seeking out the device, and quickly orders Miss Deer Teacher to get Kiff and Barry to the library to evade the arriving pigeons, while he returns to his office to return the Table Tome to its protective case. The pigeons then arrive and trash the gym in search of Kiff and the ring light. Just as Kiff, Barry, and Miss Deer Teacher are about to be discovered hiding, Principal Secretary accidentally steps on a harp lying on the floor, distracting the pigeons and buying the three time to escape.

Miss Moufflé briefs everyone on the situation, warning that the ring light’s power would allow anyone livestreaming with it to amass millions of followers and take over Table Town. Glarbin emerges from another corner of the library with a copy of the Table Town Charter to confirm that legally, “any master of influence whose acolytes number that of 10,000,000 shall be the new town manager.” Kiff suggests simply keeping the ring light stowed away, but Miss Moufflé explains that it has already been awakened and now seeks a user. After a brief discussion on the ring light’s supposedly “indestructible” nature being contradicted by the fact that it can be destroyed by lava, Kiff and Barry – joined by Trevor, Renée, Candle, Reggie, Harry, Glarbin, and Principal Secretary – set off to destroy the device by throwing it into the volcanic hole atop Mount Table. Before leaving, Harry ominously promises not to betray anyone.

While Trollie is swept away by the current, Principal Secretary manages to perch himself on a piece of rubble. Sweepy Steve flies by and is asked by Principal Secretary to relay a message to Ghost Wolf for help. Ghost Wolf then arrives to fly Principal Secretary to Kiff and her friends, who are climbing up the Wall of Goat while evading Terri and her army of new followers; during the flight, Principal Secretary accidentally douses himself in Ghost Wolf’s white paint. After helping Principal Secretary rescue Kiff and the others, Ghost Wolf flies everyone further down the route to Mount Table before splitting from the group – despite Barry pointing out that he could have just flown them to the top of the mountain.

The group arrives at a forest, where Kiff and Barry prepare to head off by themselves to Mount Table to destroy the ring light, while the others stay behind to stand guard. Harry approaches the duo and asks to borrow the ring light for some social media exposure. When they refuse, he lunges at them in a failed attempt to obtain the device and is then kicked out of the group for his betrayal. Kiff and Barry canoe down the river to the mountain, covertly pursued by Helen in another canoe. While the duo are briefly docked on land to get some sleep, Helen snatches the ring light, but Kiff and Barry awaken and retrieve it before Helen can turn it on. Helen throws an upset tantrum, prompting Kiff to admit that she empathizes with Helen, having become newly aware of the trappings of social media. Hearing this, Helen declares her loyalty to Kiff and promises to guide her and Barry up Mount Table.

Back in the forest, the remaining members of the group keep track of Terri’s follower count, which is now in the millions. To buy Kiff and Barry more time, Glarbin hatches a plan to distract Terri by getting Other Barry and Ghost Grannie to photobomb Terri’s selfies in exchange for free sandwiches, which ghosts love. On the way up the mountain, while Kiff and Barry take another nap, Helen schemes to get Barry out of the way by covering him in crumbs from the duo’s donuts. When Barry awakens and accuses Helen of taking the donuts, Kiff is reminded that Helen actually likes crullers, causing her to decide that Barry is lying and can no longer be trusted to continue with the mission. However, when Barry takes one last look back before walking away, Helen smugly smiles and winks at him in return, which Kiff notices. Kiff immediately dumps her allegiance with Helen and calls back Barry.

Barry carries Kiff, who over the course of the journey has grown increasingly fatigued from carrying the ring light around her neck, to the top of Mount Table. The duo make their way to the mountain’s volcanic hole, and Kiff walks to the edge of the hole to throw the ring light into the lava below. At the last second, however, Kiff becomes consumed by temptation and declares that she will be keeping the device for herself. Barry pleads with her to destroy the ring light, saying that she does not need social media followers when she has people like him who already like her in real life. Before Kiff can turn the ring light on, Helen emerges from behind a rock and fights Kiff for control of the device. In the ensuing scuffle, both Helen and the ring light fall into the lava.

The ring light’s destruction triggers a massive shockwave and reverses the device’s effects, teleporting the pigeons back to their mansion and causing Terri’s follower count to plunge back down to 237. Kiff and Barry rejoice, as do the other members of their group, though she notices that Harry is missing. Harry is sleeping in the forest with his blanket, he snores hooray! They all whispers hooray!. while Helen emerges from the lava unharmed, pointing out that she has already been thrown into similar holes in the past. Ghost Wolf returns to fly Kiff and Barry, but not Helen, back to school, where the duo reunite with Trevor and Renée on the talent show stage at the gym. Glarbin approaches them and declares that they “bow to no one”, then bows down to them, joined by the rest of the gathered audience. As the children stand confused, Barry wonders aloud if the audience might make bowing a “hobbit“, before clarifying that he meant to say “habit”.

Ring Light Possessed Kiff is a squirrel with orange fur, a pale-yellow underbelly, and a bushy tail lined with a reddish-brown stripe. She has a round head, large round eyes with small pupils in the middle of yellow glowing eyes, and two eyelashes on each eye, a dark brown oval-shaped nose, and a buck tooth. She wears an oversize hoodie with lacking lettering and a broken zipper which acts like a cape, large novelty furry feet, and a necklace with the ring light attracted.

Notably, a small chunk is missing from Kiff’s right ear, the cause of which has yet to be specifically explained. While Kiff’s friends are looking through pictures in Miss McGravy’s backyard treehouse of their past exploits in the yard in “The Haunting of Miss McGravy’s House”, they indicate that “the incident with Kiff’s ear” took place there; however, the picture is not shown, and Kiff leaves before she (or anyone else) can elaborate on the nature of the incident. Kiff herself has only acknowledged her missing ear chunk once, in “Lost and Found”. In “Be Still My Harp”, her ear appears intact in a flashback to two years earlier.

Personality

Ring Light Possessed Kiff is a power-hungry possessed, online content creator with an adventure-seeking spirit and a strong sense of determination that typically manifests in her exploits. Though Kiff’s audaciousness can sometimes lead her into unnecessarily complicated situations, her intentions are always well-meaning, and she often tries to spread positivity and help others around Table Town while adventuring. Ring Light Possessed Kiff is also very manipulative and selfish.

Nonetheless, Kiff can also be highly cunning if the situation calls for it. While generally respectful of authority figures and rules, Kiff is not above defying them should they get in the way of her personal principles or goals, or even just her curiosity. In particularly hectic situations, she has been known to resort to what she calls “squirrel attacks”, which typically involve her aggressively leaping onto others.

Kiff has perfectionist tendencies, with Martin calling her “a textbook perfectionist” like her mother, and Beryl herself telling Kiff that “giving 50 percent isn’t exactly your strong suit”. Kiff’s inability to properly “half-heinie” something is, for instance, a major plot point in “Halfway There Day”, where she is tasked with preparing a meal with only 50% effort and ends up stressing herself out trying to make a perfectly average-looking meal. Kiff has also expressed lofty ambitions such as wanting to go down in Table Town history (which she tries to achieve in “Thirst to Be the First” by being the first person to take a sip from Table Town Middle School’s new water fountain) and wanting an exciting future job such as astronaut, president, war hero, or “astronaut president”.

An avid learner, Kiff often enthusiastically participates in her classes and other school activities. She is regarded as a star student by her teachers and enjoys doing homework, to the point of feeling empty when she is not assigned any. Out of her love for learning, she even disagrees with the concept of detention, which she believes to be a waste of time better spent learning, prompting her to break out of it in “Life on the Inside”. Kiff has occasionally found herself trying to promote the values of education to wayward students, such as Harry Buns in “Brunch DJ” and the detention regulars in “Life on the Inside”. Additionally, Kiff frequents the Table Town Public Library and is a member of the library’s book club.

Kiff also has a strong sense of civic pride. In “Career Day”, she is the only student interested in taking a summer job at Table Town City Hall, and once hired, she and Barry resort to shredding all of their tedious paperwork in order to get jobs done around the city faster. In “Totally Table Town”, Kiff produces an elaborate music video about Table Town solely to prove the city’s greatness to a skeptical anonymous TableToob commenter (who turns out to be her own father).

Kiff has been shown to have a proclivity for the arts and particularly loves musicals. She has indicated that she apparently comes up with the lyrics for the various songs she sings throughout the series on the spot. In “The Sound of Helen”, Kiff leads her class in their production of their original musical My Fair Helen, while in “Blooper Quest”, Kiff demonstrates her talent for filmmaking by co-writing and directing the film Found in Ambiguity, which goes on to be a major success.

Among other hobbies, Kiff is an avid collector of assorted comics and toys and maintains a dedicated “collectorium” in her bedroom. She is also a huge fan of action movie star Chubbles Wubbington, having been introduced to his movies by watching them in the school AV room with Barry. In “Kiff Is Good at Sports”, Kiff discovers that she is a naturally talented discus thrower and leads her school to their first ever track meet victories, though she ultimately leaves the track and field team to focus on her academics instead. Kiff is an active TableToob user but is otherwise almost completely indifferent to social media.

Abilities

Fly/Float (Ring Light Possessed Kiff can fly at an impressive speed)
Extreme Divine Power (Ring Light Possessed Kiff’s power is so great that she can open the Earth beneath her with no difficulty)
Ring Light (Ring Light Possessed Kiff uses the Ring Light as an extremely powerful weapon, with this Ring Light, she gains several abilities)
Common sense: Her clever thinking has also solved problems multiple times. She is more level-headed and practical in her ideas,
Hypnosis: Ring Light Possessed Kiff can hypnotize others by staring into their eyes for long amounts of time.
Intelligence: Kiff is exceptionally intelligent for her age. When combined with her rational thinking,
Intangibility: (Ring Light Possessed Kiff can become intangible to a certain extent, causing normal people and weaker enemies to pass through her)
Agility and Strength
Music: Throughout the series, Broken Karaoke shorts and “Okay Karaoke”, Kiff is shown to be a good singer.
Dancing: Kiff also has an affinity for dancing, as shown in numerous episodes.
Filmmaking Skills:

Interaction with the other BEF’s

At first, Ring Light Possessed Kiff thought that most of the BEFs (aside from Bipper, Midnight Sparkle and Darcy) were crazy and murderous over the ring light once they saw it, but over time, she started to get used to it when some of them aren’t interested in the ring light and even started to get along with some, Ring Light Possessed Kiff talks and gets along with Ice Prince Finn (she loves his insanity over his new found powers from the crown), Hilda The Witch, Marra Frida, Glitch Gregory, Vanny Cassie, Yellow Steven, Gem Warrior Connie, Majora Link, Eclipse Jim, Demon Marco, Mother Widow, Corrupted Catra, Luz Azura, Emperor’s Coven Amity, Infected She-Ra, Helos, Bad Tilly, XANA Warriors, Unwanted Loona, Useless Isabella, Apprentice Terra, Ghost Amy, Dark Ash, Black Asta, Rezzack, The Regretful Collector, Dark Yugi, Gwenom, Vampire Lucy, Brainwashed Table Town Students, Regretful Lilith, Evil Stewie, Tiny Rick, Villain Uraraka, Villain Ashido, Fancy Queen Reggie (despite both of them fighting over the ring light sometimes), Crazy Wonderland Alice, Crazy Monika, Yog-Sothoth Billy, Inner Willow, Virus Vanellope, Cider Thug Ash, Cricket the Gripper, ItchFanBoi Remy, King Shadow, and Dark Magic Zatanna , however, she keeps her distance from Crazy Barry, as she can’t see that it’s not her Barry, but only sees the one who left her.

Trivia

She is slightly younger than Barry, and four days older than Reggie.
A diagram shown in “Kiff Is Good at Sports” indicates that she is an eastern gray squirrel (Sciurus carolinensis).
She seemingly loves watermelons and owns several watermelon-themed items, including a watermelon swimsuit, watermelon pyjamas, and a watermelon flag for her bike.
She is shown to have blue eyes when she holds a magnifying glass to her eye in “The Five Pigeons of the Acapellapocalypse”.
She goes by the username “Kifftastic4” on TableToob.
As a squirrel, she has a “two-ton cheek capacity”, enabling her to stuff large amounts of food in her mouth, which she demonstrates in “Friendship in the Time of Cheese Caves”.
When she was a toddler, she cut all of Martin’s jeans into jorts, resulting in the creation of the Chatterleys’ “family court” system for resolving disagreements.
Of the students in Miss Deer Teacher’s class, Kiff and Snekole are the only ones whose mother and father have both been seen.
The Special, Lore of the Ring Light, released on January 21st, 2025 (01/21/2025), and Ring Light Possessed Kiff was suggested on the 24th and had her page created on the 25th, so, Ring Light Possessed Kiff is the second BEF that was created days after the release of her film, episode or animated media, after Goddess Punguar

Cast and characters

Voice credits

Kimiko Glenn as Kiff Chatterley
H. Michael Croner as Barry Buns and Ghost Wolf
Vella Lovell as Candle Fox
Tom Kenny as Trevor Angstrom
Mary Mack as Renée du Bedat
Eric Bauza as Reggie Racona
Lucy Heavens as Helen
Nic Smal as Principal Secretary and The Wall of Goat
Steve Little as Glarbin Gloobin
Aparna Nancherla as Miss Moufflé
Deedee Magno Hall as Miss Deer Teacher
Nichole Sakura as Terri Buns
Josh Johnson as Harry Buns
Rhys Darby as Trollie
Kent Osborne as Sweepy Steve
Lauren Ash as Ghost Grannie

Appearances

Locations

Table Town

Songs

“Show Them the Light“ – written by Nic Smal

Trivia

Opening sponsor: Charlie’s Fake Beard Glue.
This marks the fourth double-length episode of the series, following “Principal Dance Socks“, “Trevor’s Rockin’ Halloween Bash“, and “The Haunting of Miss McGravy’s House“.
The episode features 16 credited voice actors, the most for any episode to date.
The opening sequence retains the new crowd shot introduced in “The Haunting of Miss McGravy’s House”. Additionally, instead of Kiff tickling Barry, Kiff and Barry now jump up and down and dance in a circle during the closing moments of the opening sequence.

Cultural references

The episode’s title and premise parody J. R. R. Tolkien‘s book series The Lord of the Rings and its film adaptations. This is lampshaded in the episode itself, with Glarbin being seen reading a law book titled Parody Law in the library.
- The title card parodies the poster for the 2001 film adaptation of the 1954 novel The Fellowship of the Ring, the first book in the series.
- Kiff and her friends’ journey to Mount Table to destroy the ring light by dropping it in lava parallels the Fellowship‘s journey to Mount Doom to destroy the One Ring by doing the same.
  - In their actions (and attire), various characters serve as counterparts to specific Lord of the Rings characters: Kiff to Frodo Baggins, Barry to Samwise Gamgee, Trevor and Renée to Merry Brandybuck and Pippin Took, Glarbin to Aragorn, Candle and Reggie to Legolas and Gimli, Harry to Boromir, Principal Secretary to Gandalf, and Helen to Gollum.
- The large “furry feet” worn by Kiff, Barry, Trevor, and Renée allude to the large, hairy feet of hobbits. After Kiff introduces the name of their dance routine as “Furry Feet”, she, Barry, and Renée start laughing, but Trevor (now wearing a shirt with the phrase “Didn’t Read the Book.”) simply says, “I don’t get it.”
- Kiff and Principal Secretary’s exchange in the gym parodies a scene from The Fellowship of the Ring, in which Gandalf replies to Frodo’s remark about him being late by saying, “A wizard is never late.”
- Michaela performs a dance routine while wearing a shirt reading “prancing pony”, a reference to the inn the Prancing Pony.
- Glarbin parodies Boromir’s proclamation “One does not simply walk into Mordor.” from The Fellowship of the Ring.
- Glarbin, Candle, and Reggie parody Aragorn, Legolas, and Gimli’s pledge “You have my sword. And you have my bow. And my axe.” from The Fellowship of the Ring.
- Principal Secretary parodies Gandalf’s lines “You shall not pass!” and “Fly, you fools!” from The Fellowship of the Ring.
- Principal Secretary getting covered in white paint alludes to Gandalf’s transformation from Gandalf the Grey to Gandalf the White in the 1954 novel The Two Towers, the second book in the series.
- The line “Not all those who wander are lost” in the song “Show Them the Light” is a quote from The Fellowship of the Ring.
- Glarbin quotes Aragorn’s line “My friends, you bow to no one”, which he speaks before bowing to the hobbits at the end of the 2003 film adaptation of the 1955 novel The Return of the King, the third and final book in the series.
- At the end of the episode, Barry mispronounces the word “habit” as “hobbit”.
The “Best 24 Hour Livestream” trophy seen in the Five Pigeons of the Acapellapocalypse’s mansion resembles a YouTube Gold Creator Award.

Continuity

The three witches who created the ring light were previously pictured in an old Table Times article in “The Five Pigeons of the Acapellapocalypse“.
The song “We Are Goat“ from “Fresh Outta Grandmas“ is reprised by the Wall of Goat.
Helen’s love of crullers was previously seen in “Personal Assistant“.
Kiff’s “Hungee Squirrel” meme photo and Terri’s selfie with Kiff, both from “Hungee Squirrel“, are seen on Terri’s social media page.

Errors

Before the camera zooms up on top of the giant cellphone during the “Show Them the Light” song sequence, characters in the crowd shot such as Michaela, Miss Tulane, Professor Totsy, and others are duplicated.

Production

Just like the preceding special, it was also subsequently produced as a Season 2 episode.

Broadcasting

The episode was initially erroneously reported to be a Christmas special.
A special trailer for the episode was released on January 15, 2025, soundtracked by a somber rendition of the song “Kids with a Calling“ from “Brunch DJ“, in a parody of the “moody trailer cover song” trope. A “Show Them the Light” digital single was released on the same day.
The episode premiered on Disney Channel as part of a special Kiff marathon celebrating Squirrel Appreciation Day, which falls annually on January 21 in the United States.
- This was the last episode to premiere on Disney Channel during the “Doodles“ era, as the network would be rebranded into the “Reflection“ era the week after the episode’s premiere.
By January 23, 2025, the episode had become the most-streamed title on Disney+ in the US.

To Watch: Showmax

3) ‘EYAMADODA: WHEN STEPDADS SPEAK UP’ (SOUTH AFRICA)

the ranakas season 5 family group picture

‘Eyamadoda’ brings long-overdue conversations to the surface, unpacking the complex dynamics between step-fathers and absent biological dads. This raw reality series zooms in on the men who have chosen to raise children who aren’t biologically theirs, and looks at what happens when the fathers who left suddenly want to return.

Mzansi Wethu gets real this June with Eyamadoda, a powerful new show that dives deep into the emotional tug-of-war between stepfathers and absent baby daddies.

Eyamadoda shines the spotlight on stepfathers who step up not just in the home, but in the face of biological fathers who have been missing in action. Whether it’s about financial responsibility, cultural and spiritual rites, or just showing up for their kids, these men are demanding conversations that have been avoided for years.

Hosted by well-known actress Manaka Ranaka, viewers can expect heated confrontations, truth bombs, and healing as she guides these gents through real talk and reflection with her signature mix of heart and heat.

As Manaka puts it: “Kunzima kwa-blended family.” This isn’t just a show, it’s a wake-up call, a healing space, and a mirror to Mzansi’s fatherhood dynamics.

Watch #Eyamadoda premiering on Mzansi Wethu (DStv Channel 163), this June. Season 1 of Eyamadoda is produced by Devandile Media and the full season has 13 episodes.

Join the conversation on Mzansi Wethu’s social media platforms on Facebook and X.

These fathers are drawing the line, from financial duties to cultural rituals. They are speaking up about the emotional, spiritual and practical weight of Fatherhood. Hosted by the award-winning Manaka Ranaka, Eyamadoda brings intense sit–downs, emotional outbursts and moments of Unexpected healing as families reckon with the truth.

To Watch: Showmax

4) ‘LOSE IT OR LOSE ME (SOUTH AFRICA) by TSELISO MONAHENG [SOUTHERN AFRICA]

The Question is What happens when a relationship is literally put on a Scale? LOSE IT OR LOSE ME is Mzansi Magic’s bold new reality TV show that explores the emotional and physical toll of an ultimatum: “Lose the weight, or lose the relationship,” The show follows three people, including popular musician and Tiktoker Tsekeleke, whose partners have said that their future together hinges on a serious lifestyle change. Each participant is supported by a multidisciplinary team of wellness professionals. Registered dietician Phakamile Nqobile Ngubane leads the nutritional fronts. Duduetsang Phele brings tough love as the accountability coach. Trainers Siboginle Ngoma and Tsepang Mokoena handle the fitness. A team of psychologist supports individuals navigating the mental and emotional challenges that accompanies high stakes personal change.

To Watch: Showmax

5) ‘SEX, LOVE AND MONEY’ (CÔTE D’ IVOIRE)

Betrayals and Loyalty sits at the heart of this thriller from Ivorian filmmaker Owell Brown. This high-energy feature follows Axel, an electronics wiz who leads a double life. By day, he runs a phone and computer repair shop, and by night, he is a drug dealer and sex addict. The story funds Axel caught between the fine line between leading a life with a woman he loves and managing his boss’s distrust towards him- a striking tale of survival, grit, and the consequences of betrayal. Directed by Ivorian filmmaker Owell Brown, the film stars Diana Bouli, Emmanuelle Keita, Olivier Kissita, and many others.

Sex Love and Money is a dramatic comedy with thriller elements, directed by Owell Brown. The film explores powerful and provocative themes such as: The moral decay of modern society, Drug use, Money laundering. Visually, it draws inspiration from the cinematic worlds of Guy Ritchie, Quentin Tarantino, and Martin Scorsese (e.g., Casino).
We’re looking for a cinematic and striking movie poster with a modern, bold, luxurious, and provocative graphic style that captures the essence of the film:The world of crime and luxury, the film’s sexual and seductive tone, themes of gambling, manipulation, and temptation

To Watch: Majestic Cinema Abidjan

6) ‘TO BE A FRIEND’ (NIGERIA)

In To Be A Friend, already garnering a string fan base and with over Millions of views, a man finds himself at the center of a grave betrayal. The film is told in flashbacks as an imprisoned man attempts to make sense of the circumstances that led him to his current situation. The story offers a striking view of what it means to be held hostage by the past. The film stars Kunle Remi(Muri & Ko, Anikulapo, Ijakumo), December Okanlanwo(Swallow, Blood Sisters, All is Fair In Love), Bimbo Ademoye(Big Love, Breaded Life), and others.

A Tale Of Friendship, Betrayal And Justice

The movie opens with Tega in prison, immediately pulling viewers into the suspense. From there, the story unfolds in a series of flashbacks that explain how he landed there.

To Be A Friend is a YouTube Nollywood drama directed by Great Val Edochie and penned by Bimbo Ademoye. Available on Bimbo Ademoye TV, this film delves into the complexities of friendship, betrayal, and the quest for justice.

Plot

The movie opens with Tega in prison, immediately pulling viewers into the suspense. From there, the story unfolds in a series of flashbacks that explain how he landed there.

Years ago, Tega and Tunde were inseparable friends at university. While Tunde was a charismatic ladies’ man from a wealthy background, Tega was more reserved and shy, particularly around a girl he liked but couldn’t approach. Despite their differences, their bond was strong. Tunde often helped Tega financially and shared his dream of founding a tech company, planning to make Tega the COO when it became a reality.

After graduation, life took them on different paths, and they lost touch. A decade later, Tega is now the CEO of a tech company built on the very idea Tunde once shared with him. One day, by chance, Tega finds Tunde again, only this time, living in complete poverty. After hearing about Tunde’s misfortunes, including the death of his father and the collapse of the family business, Tega sympathetically appoints Sunday as COO.

Around the same time, Tega reconnects with his long-time university crush, Folasade. He pursues her with passion, eventually winning her heart, and they get married. Years into their marriage, however, Folasade begins to feel neglected as Tega becomes increasingly consumed by work and business travel.

On their wedding anniversary, Tega makes a heartfelt promise to focus more on their marriage and even suggests a vacation. But just moments later, he receives a business call requiring him to travel to Ireland the next day. Folasade is deeply hurt, and they have a heated argument.

The next morning, Tega wakes up with blood on his shirt and no memory of the night before. Soon after, Tunde arrives unexpectedly, saying Tega called him, and shortly afterwards, the police show up. The maid confirms that there was an intense argument the night before, and forensics identify the blood on Tega’s shirt as Folasade’s. He’s arrested for her murder and sent to maximum prison, with no trial and no bail.

In prison, Tega struggles to adjust until he meets Rugged, an inmate who helps him adapt and survive. Meanwhile, Tega paid for Rugged’s daughter’s heart surgery. Because of this, Rugged feels deeply indebted to him and is willing to do anything to protect and help him.

Back outside, Sunday continued visiting Tega, claiming that legal efforts were underway. But as months roll into years, the visits become less frequent. Eventually, Ini, Tega’s assistant, confides in Tega that Tunde has been syphoning company funds into a private account. When Tega confronts Tunde, he makes excuses, saying he was trying to salvage the company. But communication stops altogether soon after.

Then comes the big twist: during a video call to Tunde’s phone, Tega sees Folasade, alive. Instantly, he realises that her “murder” was part of a calculated betrayal. Determined to uncover the truth, Tega begins plotting his escape from prison. He studies the routines of guards and the layout of the prison. Eventually, Rugged, who has also been observing, reveals a secret escape route. Together, they execute a successful prison break.

Back at his former home, Tega discovers that Tunde has completely taken over his life. He also confronts Folasade, who tearfully admits that her growing distance from Tega and his neglect led her to Tunde. Together, they plotted the betrayal.

The question is, will Tega forgive, fight, or flee?

Cast

The casting for To Be A Friend was undeniably one of its strongest elements. With a star-studded lineup, the film featured familiar faces that could easily draw attention, but beyond name recognition, the casting choices were truly impressive. One standout detail was the effort put into selecting younger versions of Kunle Remi and Deyemi Okanlawon (Desmond Bryce and Peace Remi); their physical resemblance added authenticity and made the story flow more naturally.

Deyemi Okanlawon, who played Tunde, delivered exactly what you’d expect: intensity, depth, and emotional range. He knows how to hold the screen and make you feel every bit of his character’s conflict. He also lent his voice to the film’s voiceovers, which were engaging, expressive, and very believable. The narration was a great complement to the visuals, keeping the audience emotionally connected throughout.

Kunle Remi also stood out in his role, effortlessly switching between charm, vulnerability, and resolve. His performance was emotionally charged and deeply convincing.

Bimbo Ademoye, although more passive in this film, was still very effective. She delivered a calm, controlled performance that matched her role in the story without overshadowing the leads.

One unforgettable highlight was Uzor Arukwe, who played Rugged. Uzor has become a reliable comic relief in many films, and this role was no exception. Just seeing him appear on screen already hinted at moments of humour.

Language

The language used was a mix of English and Pidgin, with Pidgin more prevalent in the prison scenes.

Final take

To Be a Friend was an engaging and thoughtfully produced film. At this point, it’s clear that Bimbo Ademoye has built a consistent track record of delivering projects with solid storytelling and intentionality. This wasn’t just another YouTube movie; it was a well-written, well-paced piece that demanded your attention and rewarded your patience with depth and twists.

To Watch: YouTube

7) ‘ZIKOKO LIFE’ (NIGERIA) by NELSON C.J[WEST AFRICA]

Zikoko Life’s First Anthology Captures the Complexity of Modern Nigerian Relationships

Some stories don’t need to be invented. They’re already out there, in WhatsApp chats, over dinner tables, hidden in drafts of unsent emails. Zikoko Life has spent years collecting these kinds of confessions, turning them into essays that feel familiar to anyone who has ever loved, lost, or wanted more.

With its first film anthology, ‘What’s Left of Us,’ ‘My Body, God’s Temple,’ and ‘Something Sweet,’ ‘Zikoko Life,’ in collaboration with Bluhouse Studio and producer Blessing Uzzi, asks a new question: What happens when these stories are seen, not just read?

The answer is a trio of short films that take desire seriously, give women’s voices centre stage, and refuse to flatten human emotion into neat conclusions.

‘What’s Left of Us’: A Quiet Rebellion

Co-directed by Victor Daniel and Olamide Adio, What’s Left of Us is the first film in the Zikoko Life anthology and stars Caleb Richards and Tolu Asanu in a story that Nigerian women will instantly recognise. The film follows a woman grappling with the weight of a patriarchal marriage and her quiet but powerful journey toward self-assertion.

Though Daniel and Adio—both men—adapted the film from pre-existing material, they understood the limits of their lived experience and turned outward. “We knew we couldn’t fully feel misogyny,” they said, “but we could see it.” And so they listened—to their sisters, to their wives. That act of listening, of crafting through community rather than ego, shows. The film is empathetic without being preachy and subtle without shying away from truth.

‘My Body, God’s Temple’: Sensuality, Shame, and Self

Perhaps the most technically and thematically daring of the trio, ‘My Body, God’s Temple’ is Uzoamaka Power’s directorial sophomore effort, which she not only wrote but also starred in opposite Andrew Yaw Burnting. It was shot in Ibadan, a welcome departure from the Lagos-centric backdrops Nollywood often defaults to.

The film interrogates purity culture, shame, and sexual exploration with rare nuance. Its “spicy scenes”—void of nudity yet thick with intimacy—are masterfully choreographed. Power’s direction is confident, even daring. On a closed set with just the two actors, the cinematographer, and the producer Blessing Uzzi, the sex scenes were choreographed down to the tilt of a hand or the length of a stare. “It’s a lot of ‘put your hands here—no, not like that… yes, like this.’ And endless takes,” she joked after the premiere. But the discomfort was made manageable by Burnting’s support and the crew’s sensitivity.

When asked how she juggled all three roles, Power credited collaboration. “There were moments I’d be waiting for the director’s call,” she laughed, “and Blessing would say, ‘You are the director. Come and see the monitor and approve the shot.’” It’s that blend of self-awareness and creative generosity that makes Power a name to watch.

‘Something Sweet’: Desire Across the Divide

The final short in ‘Zikoko Life,’ ‘Something Sweet,’ is a tender exploration of intergenerational romance. Written and directed by Dika Ofoma, the film stars singer-actor Ogranya as Leke and veteran actress Michelle Dede as his older love interest.

Ofoma, known for his quiet, realist heartbreakers, lets his romantic idealism shine through this time. The film is delicate without being timid. One moment that had the premiere audience collectively exhale was when Leke says, “I can call you mummy, if you want,” as a response to Michelle Dede’s character, “I’ve a son your age who calls me mummy.” It is cheeky, sexy, and oddly sincere, perfectly capturing the film’s tone.

Ofoma wanted to push against Nigeria’s rigid cultural scripts around age and relationships. He asks, What does it mean to feel desire in a society that demands you suppress it if it doesn’t look a certain way? In answering that, he gave us a story full of sweetness and depth, resisting the temptation to wrap things neatly or descend into melodrama.

Zikoko Life is an anthology series that explores the minute details of interpersonal relationships as they relate to Love, Power, Money, and Autonomy. It’s the first from Big Cabal Media, which operates Zikoko, a Nigerian publication that covers various aspects of Nigerians experience. The stories in these anthology are inspired by the stories published in three of Zikoko’s major verticals: Naira Life, Sex Life, and Love Life. Split into three short films. Zikoko Life explores the role of tradition in relationships, the complexities of tradition with personal wants; from age gaps to a woman’s rights to choose when to stop giving birth.

They also explore the uncertainty of finding a balance between want and convention. The series stars Uzoamaka Power (Mami Wata, With Difficulty Comes Ease), Michelle Dede (Up North, Moms at War, Quam’s Money), Tolu Asanu (It Blooms in June, Threshold), Ogranya, and Others.

From Page to Screen—And Possibly, A Movement

In many ways, Zikoko Life’s anthology feels like Nigeria’s answer to the New York Times’ Modern Love series. The stories are adapted from real-life submissions by everyday Nigerians, and that authenticity bleeds through each frame. These are not fantasies; they are lived experiences, shaped into narrative by creators who deeply respect the source material.

The success of this anthology raises a thrilling question: could this be a new wave for Nollywood? The industry has long excelled at biopics, adaptations of historical icons and cultural legends. But with recent successes like Wole Soyinka’s ‘Elesin Oba’ and Adaobi Tricia Nwaubani’s ‘I Do Not Come to You By Chance,’ fiction and personal essays are clearly fertile ground. These are stories Nigerians already love; now, they get to see them.

‘Zikoko Life’ may have just cracked open a fresh creative model: emotionally resonant, low-to-mid-budget short films that centre Nigerian voices in their full complexity. If this becomes a recurring franchise, there is so much more terrain to cover: stories of Gen Z, queer love, ageing and intimacy, long-term marriages, and blended families.

For now, this anthology leaves us with one resounding truth: there is no shortage of Nigerian stories, just storytellers brave enough to tell them right.

To Watch: YouTube

8) ‘THE SHADOW SCHOLARS’ (KENYA/UK)

In this gripping documentary, Oxford professor Patricia Kingori travels to Nairobi to uncover the billion-dollar ghostwriting industry where thousands of young Kenyans makes a loving crafting academic papers for Western students. Though the lens of Mercy, a single mother navigating life and labour in this world, the film examines the ethical gaps in global education systems and the unseen workforce that powers them. The film premiered at the 2024 Tribeca Film Festival and has since screened at the Sydney Film Festival.

‘The Shadow Scholars’ Director Eloise King on Diving Into the Essay-Writing Industry in Kenya and Using AI to Protect People

The doc, filmed across three continents, with Steve McQueen among its executive producers, debuted at the London Film Festival and now screens at IDFA: “I’m always interested in having a holistic view.

Eloise King’s documentary The Shadow Scholars takes a deep dive into a multilayered, complex topic: “a twilight academic industry” that has often been covered only from a very specific perspective. Filmed across three continents, the Film4 movie, being sold by Dogwoof, includes British writer and director Steve McQueen (12 Years a Slave, Blitz) among its executive producers.

“When Oxford Professor Patricia Kingori travels to Kenya, she uncovers the murky, multi-billion global underworld of essay-writing,” reads a synopsis. Kingori is not just anyone; she is the youngest female Black professor in the 925-year history of the University of Oxford. “Thousands of young and highly educated Kenyans – overqualified and chronically underemployed – have found lucrative work writing essays for students around the globe who are able and willing to pay for them,” the synopsis continues.

“It’s a complex portrait of an issue that undermines the foundations of a pillar of humanity: education,” said the London festival. The film also contrasts how smart young Kenyans work in an underground economy that supports others’ success abroad while depriving Africans.

The Shadow Scholars, from production firms Lammas Park and White Teeth Films, got its world premiere at the recent BFI London Film Festival where it earned a special mention in the documentary competition. It is now featured in the Frontlight section of the International Documentary Film Festival Amsterdam (IDFA) where it will get its first screening on Sunday.

King recently talked to THR‘s Georg Szalai about her debut feature doc, how she decided to find out about the “shadow scholars,” using AI technology to protect key participants in the film, and taking. holistic approach to her work.

The Shadow Scholars taught me some surprising facts and data points, such as estimates that 40,000-plus Kenyans earn their living with essay writing. But it also felt that I learned about the people doing this hard academic work. How important was it for you to also tell this human side?

Absolutely crucial. It’s central to my style of storytelling. I’m really people first, issue second. It’s often a really powerful way to tell any story. Because if you go for a microcosm, or the people who are at the heart, they are often a reflection of the society and the context that we live in.

We were also just incredibly lucky. Patricia Kingori was never going to be in the film. We were making the film as a collaborative partnership for almost two years before she became part of the process, and we’re really glad she did. We shot during COVID, and the first year, we could travel to Kenya. And then in 2021, the travel bans came in, which meant that we couldn’t go to Kenya at all. At that point, I was really worried, but Patricia happened to get the incredible accolade of being the youngest woman of color to be given a full professorship. That rise in her own professional life also gave rise to a confidence. And I said: “I really think that you need to be part of the story. You’ve come from Kenya.” And she really embraced that.

I’m always interested in having a holistic view. So we weren’t interested in just leaving the students out. Having their voices we felt was really important all, and all of the different academics who’d been working in this area. I think that helped to really show just how many people are connected through this web. Hopefully, it then reflects to our audiences that actually we are, in some ways, either complicit or at least allows people to understand the way in which these complex systems implicate all of us and bring us all in.

***Professor Patricia Kingori in ‘The Shadow Scholars’ Courtesy of Dogwoof***

I have long wanted to travel to Kenya, so seeing Nairobi and the people living there was really interesting to me, especially because it was different from what you sometimes see about Africa.

Having people talk about or sometimes just show us their lives is a really powerful way to understand what’s happening. We see them in their homes, the way they’re working. I didn’t have a different perspective of Kenya or Nairobi. That was the truth of what I was seeing. And so when I compare that to maybe some other depictions of Africa, it feels really different. But I didn’t have to work to give a different representation of those people and their lives, because that’s what was happening.

How did you come away feeling about these super-smart essay writers you met and interviewed on camera? And how did you decide not to try to point fingers a la “these are the good people and those are the bad” people in this underground industry?

It’s this completely sophisticated but unregulated industry. And the more that I understood that, the more I understood that against the backdrop of all of the adversity and the challenges they face, they are the architects of their own financial, economic, and ideological liberation.

In terms of no good guys versus bad guys. Patricia and I, from the beginning, had no interest in vilifying even people in the Global North, such as the students. I think what we were clear about was that there’s a broken social contract for everyone who appears in the film.

How did you first meet the people in Kenya who are featured in the film?

We went on this trip to Kenya, and we essentially met, on the first day, Chege who ended up being in the film. And it was really clear really quickly that not only was he incredible, and the things he was saying were just blowing our minds, for example in terms of the scale of work that they were doing, but he was also the person who opened the door to the community for us. He was a really important conduit for us. Also, as we went through the process, he was the person who would organize these town halls that we would have frequently to elicit feedback.

When we had our first-ever meeting with a number of scholars, they researched us. So when we turned up, they were like: “We know who she is, Professor Patricia Kingori.” She is quite a hero in Kenya. People really respect the work that she’s done. And for myself, they were like: “We’ve seen what you’ve done before, so maybe that will let you tell our story.” And that’s how it began.

I still find myself reading up and researching things mentioned in your film…

Thank you so much for saying that. We put an incredible amount of time and work and research into it. And what we really wanted was this foundation of journalistic and research integrity to do credit to the writers and also Patricia who inhabit this world in a very real way. But I think it just was clear that it wasn’t something that allowed you to have a single thought. Many students go to universities because we’ve been told, “if you go to university, you’ll get a good job and life will be better.” And in America, people are paying and getting into debt. And here, it is increasingly the same.

And I think, for the first time in history, there is a surplus of educated people who can’t get the jobs that we thought that university was going to provide. And so the film hopefully brings people into that understanding that the students who are in Kenya aren’t a million miles away, in some instances, from students who are in the Global North.

Patricia says it in the film: If Kenyans can’t get jobs that are well enough paid and they end up doing work for other people, then what is the value of education? We’re not saying that education is not worth doing. We’re just trying to question some of the ideas about meritocracy. And we really hope that the film prompts people to question who’s really in the shadow here.

It’s that bigger message that we need a broader debate about education…

One of the Kenyan writers, Mercy, talks about it in the film. She was at the top of her class. Especially in Kenya, some of these places are sponsored by churches or others in the community, so when they get to go to university, it’s a really big deal. And to come out of that and to feel that it isn’t being honored I think is also a really big deal.

The protests in Kenya that have been the biggest in many, many years, which are the Gen Z protests, as they’re being called, are exactly about this. One of the things they are complaining about is tax hikes around access to digital media and digital products. So we felt really fortunate to be able to tell the story at this moment. We got contacted by a couple of people who said the film feels like a precursor to what’s happening in Kenya right now. This doesn’t feel like a story that’s just talking about the past. It’s talking about a really future-facing thing, which is: where do all of these educated people who have access to technology go? But also, how could the government do more to support their ambitions and income?

The beginning of the film mentions that it uses AI technology to make sure that essay writers we see and hear from in the film are not easily recognized. Tell me a bit about this decision to use AI for defensive purposes since we so often write about people’s hopes and worries about AI!

AI is obviously part of the story of essay writing insofar as people are trying to use things like ChatGPT instead of the writers. As the film shows, the writers are still having to humanize work. And so the human mind is capable of much more, at this point at least, than ChatGPT. As such, technology feels like this invisible character connecting everyone in the film.

But being able to use technology in order to protect the writers just felt so right. To have the opportunity to do that, and to be able to work so closely with people who are talented enough to make things come to life was really great.

***‘The Shadow Scholars’ Courtesy of Dogwoof***

You saw that they were slightly blurred. I hope that having this digital footprint serves as a reminder that not only do these people need to be protected, but also that actually there’s a barrier between us and them. And it’s frustrating that it’s stopping them from being able to really claim the recognition that they deserve.

I think using technology for good is really exciting. Because it’s really easy to be afraid of new and exciting developments, but in this case, it gave us really truthful testimony, and we kept a lot of the emotion, but fundamentally, they were protected. My thoughts about AI are that like maybe with all things, it depends on who’s using it and if they are using it right. If the idea behind it and the intention behind it is to create something that has a positive benefit for society, then that’s an amazing thing.

How important is it for you to bring such authentic stories from Africa to a broader audience?

Telling stories from Africa and across the Black diaspora is really central. The global majority deserves to have stories told that are nuanced and complex and that allow them to see themselves, perhaps, exactly as they see themselves.

We worked so closely with so many production companies in Kenya, which were really supportive of us. For the bits that we did in Kenya, seeking consultation and working really closely with other production teams on the ground, that collaboration was really important. And to your point, that allows the storytelling to feel authentic. I couldn’t tell a story as a Kenyan, because I’m not, but there is the authenticity of allowing people to direct their own narratives within the film and constantly consulting with them about what they thought was important for us to know. What the writers wanted us to know, what Patricia felt was important, what the other academics and the bookshop owner we show thought was important. Hearing all of these different perspectives hopefully allows us to understand that Africa isn’t a monolith. There isn’t one voice. It’s made up of multiple perspectives.

Any future film projects you can talk about yet?

I have started working on another documentary. It’s probably a little bit too early to announce. But I’m excited about it because it’s about archives, music. Again, it’s really about an untold story, but slightly different formally. So I’m quite excited about it.

To Watch: Currently Screening at Select Festivals; wider release TBD

9) ‘BREAKING 4: FAITH KIPYEGON VS. THE 4 MINUTE MILE’ (US/KENYA)

In the lead-up to and following her attempt to become the first woman to break the four minute-mile, this limited series follows Kenya’s Faith Kipyegon as she prepares for one of the most ambitious feats in athletics. Directed by Suemay Oram (Stolen Gold), the documentary provides rare access to Kipyegon’s training in Kenya and examines the cultural significance of her quest across the world of sport. The series debuted in June, with the final episode – capturing her historic attempt- dropping on July 25^th.

Faith Kipyegon Runs a 4:06.42 Mile in Her Attempt to Break 4 Minutes

Kipyegon finishes over a second faster than her own world record in the mile.

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In her attempt to break 4:00 for the mile, Faith Kipyegon of Kenya ran 4:06.42, the fastest mile ever run by a women. The demonstration event, Breaking4: Faith Kipyegon vs. the 4-Minute Mile, was held at Stade Sébastien Charléty in Paris, the site of her 1500-meter and (since-broken) 5,000-meter world records.

Although Kipyegon’s time is 1.22 seconds faster than the world record of 4:07.64 she set in 2023, today’s result won’t count as an official world record. That’s because she was paced for the entire distance by 11 men, including U.S. standouts Grant Fisher, Craig Engels, and Cooper Teare. Track times run by women who are paced by men aren’t official marks.

Kenya’s Faith Kipyegon reacts at the end of her race after taking part in the “Breaking4” event, in an attempt to become the first woman to run a mile in under four minutes, at Stade Charlety on June 26, 2025 in Paris.

Also, the bespoke spikes Kipyegon ran in today haven’t received approval for use in competition by World Athletics, the international governing body of track and field. In addition, World Athletics requires that at least three athletes in an event be “bona fide competitors” for the winner’s time to count as a world record. Today, Kipeygon was the only one racing.

Kipyegon was close to the goal pace for most of the first three laps. She split 2:00.75 for 809 meters, compared to the goal of 2:00.63. She slipped a little on the third lap, but then slowed significantly in the final 400 meters, running 64.58 for the closing lap.

Breaking 4:00 was always going to be an exceedingly tall order, even for Kipyegon, a three-time Olympic champion at 1500 meters and the only woman in history to break 4:10 in the mile. Doing so would entail lowering her world record by 3.1 percent. Kipyegon’s 1500-meter world record of 3:49.04, set last year, is slightly superior, worth about a 4:06.50 mile according to World Athletics. Still, going from a 4:06.50 mile to 3:59.9 requires a 2.75 percent improvement.

In contrast, today’s event forerunner, the Breaking2 attempt at a sub-two-hour marathon in 2017, required lowering the world record by “only” 2.4 percent. Eluid Kipchoge almost made that audacious leap (he ran 2:00:35) thanks in large part to wearing a version of the first super shoe, the Nike Vaporfly 4%. It’s now widely believed that one factor in the dramatic lowering of marathon times since then is that super shoes reduce the late-race muscle damage that traditionally contributed to slowing in the final 10K. There was no conceivable equivalent performance gain available for Kipyegon in switching from her customary spike, the Victory 2, to today’s customized model, the Victory Elite FK. Any help Kipyegon got from the aerodynamic outfit and new sport bra she wore today was also presumably miniscule.

Therefore, the biggest gains to be had at today’s event came from pacing. A theoretical paper published in February argued that Kipyegon could run 3:59.37 with a pacing/drafting arrangement that sufficiently reduced aerodynamic drag. The paper’s recommendations drew notice in part because among its authors were biomechanists Wouter Hoogkamer, Shalaya Kipp, and Rodger Kram, all of whom were involved in the seminal study on what became the Vaporfly 4%. (Kipp has also published research on how sport bra design can affect breathing capacity.

Nike says that it experimented with several pacing configurations before today’s event. They did borrow from the theoretical paper in using the seemingly counterintuitive detail of someone running behind Kipyegon. Having a runner behind Kipyegon helps to create what Nike calls “a low air pressure pocket” around her. (The paper recommended pacers both 1.2 meters ahead and 1.2 meters behind as the ideal distance.)

Today’s formation, however, differed from the paper’s recommendation of having one pacer ahead and one behind and swapping in new pacers at the halfway mark. Kipyegon started alone in lane 1, then was quickly surrounded in front, alongside, and behind the 11 male pacers. British Olympic medalists Gemma Reekie and Georgia Hunter Bell also were part of the rearguard for the first two laps.

“Creating a low air pressure pocket for Faith requires total synchrony among all the pacers in the formation,” Brett Kirby, a physiologist at the Nike Sport Research Lab, said in a Nike post published before today’s event. “Experimenting with different formations is a lot like rearranging the pieces on a chess board. The timing needs to be right, the group positioning needs to be right, and the relationship between any single pacer to Faith needs to be right.”

Kipyegon ran only one public tune-up race before today’s attempt. In April, she won a 1,000-meter race in China in 2:29.21, the pace needed to just dip just under 4:00 for a mile, but 609 meters (a lap and a half) short of today’s distance.

As for the rest of her preparation, “I didn’t change anything in terms of training,” Kipyegon said during a press conference on June 18. “What my coach always give me is the same, the same workouts I’ve been doing going into the Olympics or world championship. But I think going to this race, the mindset is different.”

To Watch: Amazon Prime

10) ‘QWARE’ (TANZANIAN)

Leila Simba faces betrayal, power struggles, and buried secrets in Qware, the newest drama-thriller.

Leila Simba’s world crumbles when she is framed for her father’s murder, a crime orchestrated by her uncle in a ruthless bid for power. Qware delves into the dark underbelly of Kenya’s wealthy elite, where family loyalty is fragile and legacies are forged through betrayal.

Qware follows the life of Leila Simba (Vanessa Okeyo, Second Family), a young woman whose life is irrevocably shattered when she is framed for the brutal murder of her father, a corporate titan.

Plunged from a life of innocence into a vicious power struggle, Leila must not only clear her name but also safeguard the family legacy from her cunning and ruthless uncle (Reinhard Inzai Bonke), who is determined to seize control at any cost.

The show also stars Elle Ciru (Black & Blue), Silayio Neema (Untying Kantai), Damaris Ketrai (Salem), Bernard Oduor (The Constant Gardener), Alex Khayo (Nafsi), Robert Agengo (40 Sticks), screenwriter turned actor Martin Kigondu (Selina), Moses Kiema (Kina), and Amani Mwasera (Prefects).

A Naota Media production, the show is helmed by Edwin Mulima, the creator of hit shows Muheshimiwa and Joni. The show is directed by Ashford Kirimi and Davis Nato (Selina) while Jazzmine Maina (The Chocolate Empire) serves as head writer, supported by Kevin Mbayagi (Shanga), Cherotich Kibet (Salem) and Marcus Douglas (The Hot Seat).

Producer Edwin Mulima, speaking on the show’s inspiration, said: “Qware grew out of years of watching the power struggles and hidden wars within Kenya’s wealthiest households. I have witnessed family empires shaken by death, greed, and betrayal — and I wanted to dramatise that on screen. It is about more than money: it is about what happens when blood ties become battle lines.”

Edwin adds, “Viewers will feel the injustice, corruption, and struggle to rise above it. They will root for Leila, betrayed by her own family, fighting to reclaim her life and legacy. My wish is for audiences to enjoy an intelligent, layered drama that keeps them hooked.”

Tune in when Qware premieres on 20 July 2025 from 7.30 pm only on Maisha Magic Plus (DStv channel 163/ GOtv channel 3), with new episodes dropping every Sunday.

To Watch: Maisha Magic Plus, From July 20^th, 2025. Sundays at 7:30pm

11) ‘RECKLESS’ (KENYA) by PAULA ADHIS [EAST AFRICA]

After a fatal street race shatters their privileged urban lives, the Sonoko Brothers are exiled to a rural village where survival is not guaranteed and redemption is hard-earned. RECKLESS dives deep into family, masculinity, and identity as the brothers confront their past and fights to reclaim their future. This gritty Kenyan drama seamlessly blends high-stakes action with emotionally charged Storytelling.

Reckless, a new Kenyan youth drama, which premiered on Showmax on 23 June 2025. The series follows the tumultuous lives of the Sonoko brothers who find themselves at a crossroads following a tragic accident during an illegal street race that changes their lives forever. Forced to flee their city comforts, the brothers must navigate the harsh realities of life in a remote village, confront their troubled past, and prove they are worthy heirs to their family’s legacy.

Reckless stars Brian Abajah (Single Kiasi), Sammy Okore (Machachari), and Godfrey Odhiambo (Crime and Justice) as the Sonoko brothers, alongside Georgina Mbira (Our Perfect Wedding), Ann Muli (The Chocolate Empire), Eddie Mbugua (Igiza), Joyce Musoke (Second Family), Suzanne Karani (Pepeta), Mavoko Mbatha (Salem), D’zame Muye (Pepeta) Nyawira Gichuhi, Kevin Mbayagi, and Alex Mwangi (Neema). The series also introduces newcomers Ntinyari Mburukua, Wanjiru Marima, Joan Kenduywa, Zerayah Ramtu, and Brian Ogutu.

Reckless is produced by Live Eye Production, behind the Showmax crime drama Faithless and the telenovela Second Family that follows the cutthroat succession battles of the wealthy Gatehi-Langat family.

“At its core, Reckless is a story about legacy, consequences, and the harsh realities of privilege versus survival. The Sonoko brothers represent a generation caught between entitlement and the urgent need to grow up when life forces them to,” says executive producer Auka Gecheo. “Their journey, from reckless abandon to redemption, mirrors the struggles many young Kenyans face today – the pressure to live up to family expectations, the cost of mistakes, and the fight to prove your worth in a world that’s quick to judge.”

According to Gecheo, the story matters because the series isn’t just about fast cars and wealth, it’s about accountability. “It’s also about the tension between urban excess and rural resilience, between generational wealth and self-made hustle. The kind of story Kenyans will see themselves in,” Gecheo concludes.

Reckless is directed by Carol Odongo (Salem), Gilbert Lukalia (Mission to Rescue), and Isaya Evans (Second Family), with Jim Malakwen (Faithless, Igiza) serving as head writer.

To Watch: Showmax, From July 23^rd, 2025

12) ‘LMESKHOUT’ (MORROCCO)

This comedy by Abdelilah Zirat, which translates to “The Disgruntled”, also explores the complicated relationships between parents and their children. Starring Mohammed Khoyi and Rafiq Boubker, it looks at intergenerational misunderstandings and ways for healthier communication through constructive humor.

To Watch: Morroccan Cinemas starting July 2^nd, 2025

13) ‘CATALOG’ (EGYPT)

Catalog is one of the four Arabic-Language originals that NETFLIX is set to release this year, as part of it’s effort to expand Arabic-Language concert. Directed by Waleed El Halafawy and written by Ayman Wattar, the series follows Youssef, a workaholic widower played by Mohammed Farag, as he navigates life with his children after his wife, Amina, passes away. Guided by Amina’s tips, which she recorded before her death, Youssef attempts to correct course and get his life back on track by reconnecting with his children.

Netflix original series ‘Catalog’ starring Mohamed Farag premiered on July 17

Netflix has released Catalog (original title: كتالوج), an Egyptian series that explores the intersection of grief, family, and technology. The family dramedy centers on a recently widowed father who must learn to raise his two children by following a series of instructional videos his late wife recorded before her death. The narrative is grounded in the complexities of contemporary Arab family life, presenting a story of loss navigated through a uniquely modern form of posthumous guidance. This central device frames the series not only as a journey through mourning but also as an examination of how a digital legacy can shape the lives of the living, mediating the most intimate of relationships even after a person is gone.

A Father’s Uncharted Territory

The series introduces Youssef, a man defined by his career. Characterized as a workaholic, he was emotionally disconnected from the daily routines of his family life before the sudden loss of his wife, Amina. Thrust into the role of a single parent to his children, Osama and Karima, Youssef is immediately overwhelmed. He is out of sync with their needs and struggles to connect with them, finding that his abstract sense of devotion is insufficient for the practical, moment-to-moment demands of parenthood. The narrative portrays him not as a bad father, but as an ill-equipped one, highlighting the tension between his identity as a devoted family man and the reality of his actions.

His life changes when he discovers the “catalog,” a digital archive of videos Amina created. This collection serves as a comprehensive crash course in parenting, offering practical advice on a wide range of topics, from managing his children’s emotions to performing simple tasks like tying a ponytail. Each video becomes a daily guide, a roadmap that helps him navigate his grief while simultaneously rebuilding a connection with his children. His journey is one of transforming passive intention into active, learned practice, as he clumsily attempts to follow his late wife’s digital instructions to become the father his children need.

The Anatomy of a Modern Family

Catalog blends drama, comedy, and family storytelling to create a narrative that is both emotionally raw and quietly humorous. The series explores how families evolve in the face of profound loss and how individuals, particularly men, are reshaped by the weight of new responsibilities. It also advances the theme that it takes a community, or a “village,” to raise a family, showcasing a network of supporting characters who influence Youssef’s journey.

The character dynamics are central to this exploration. Youssef’s arc is a slow, complex transition from a passive presence in his children’s lives to an active, committed parent, a process marked by guilt, confusion, and gradual growth. Although Amina is deceased, her character is a constant and pivotal force. Through her pre-recorded videos, she functions as a posthumous matriarch, her maternal foresight and enduring love actively shaping her family’s future. Her role is not that of a tragic memory but of a continued presence, whose recorded wisdom represents a transfer of the emotional and domestic labor she once shouldered.

This dynamic is supported by an ensemble of characters who form Youssef’s “village.” This includes the neighbor George (Bayoumi Fouad), whose advice is both unhelpful and essential; Om Hashem (Samah Anwar), the woman who helps maintain the household’s functionality; and Osama (Ahmed Essam al-Sayed), Amina’s brother, who serves as both comic relief and an emotional catalyst. The quiet humor of the series often arises from Youssef’s interactions with this support system and his fumbling attempts to implement Amina’s instructions, underscoring the gap between knowing what to do and having the experience to do it effectively.

The Talent Behind the Camera and On Screen

The series is helmed by a team of established Egyptian talent whose collective experience shapes its distinct tonal balance. The central role of Youssef is played by Mohamed Farrag, a prolific actor known for his dramatic range and emotionally layered performances. The pivotal guest role of the late wife, Amina, is portrayed by Riham Abdel Ghafour. The ensemble cast includes Tara Emad as Howaida, Khaled Kamal as Hanafy, Sedky Sakhr as Tamer, and the renowned comedic actor Bayoumi Fouad as George.

Behind the camera, the series is directed by Waleed El Halfawy, a filmmaker with a significant background in comedy, including films like Wesh X Wesh and series such as Fi Betna Robot. The decision to pair a director experienced in comedy with a dramatic premise about grief is a specific creative choice, designed to ensure the story’s moments of levity are handled with expertise. The screenplay is written by Ayman Wattar, an architect-turned-writer known for his work on the satirical news show The Program and several successful comedies. Ahmed El Ganainy serves as producer. This strategic combination of a dramatic lead, a director and writer skilled in humor, and a talented supporting cast is calculated to deliver the series’ intended blend of heartfelt drama and gentle comedy.

An Egyptian Production for a Global Audience

Catalog is a significant entry in Netflix’s growing library of Arabic-language original content. As an Egyptian production, it follows previous Netflix series from the region, such as Paranormal, Drama Queen, and Jinn. Its creation is indicative of the streaming platform’s larger global strategy, which has increasingly focused on producing localized content that can also appeal to an international viewership. The narrative is deliberately and authentically grounded in the everyday realities of Arab family life, featuring a prominent local cast and crew to ensure cultural resonance.

At the same time, the series is built on universal themes of grief, single parenthood, family responsibility, and the enduring nature of love. This thematic core allows the story to function on two distinct levels: as a piece of resonant local programming for its primary market and as a compelling foreign-language drama for Netflix’s global audience. The series is a clear example of Netflix’s strategic shift toward a catalog dominated by original and exclusive productions, which surpassed 50% of its US library for the first time in 2022.

The series is a family dramedy that explores the challenges of modern fatherhood through its unique narrative structure.

Actor Mohamed Farag is awaiting the premiere of his latest Netflix original series “Catalog,” co-starring Reham Abdel-Ghafour.

The series premiered on Netflix on July 17. It also stars Tara Emad, Khaled Kamal, Bayoumi Fouad, Samah Anwar, Sedky Sakhr, Donia Sami, Ali el-Bili, Retal Abdel-Aziz, and Ahmed Essam al-Sayed. It is written by Ayman Wattar, and directed by Walid el-Halfawy.

Catalog tells the story of Youssef, a father who finds himself with the heavy responsibility of raising his two children alone after his wife, Amina, passes away. Having been separated from his children’s daily lives for some time, he struggles to connect with them.

Youssef is lost and confused until he finds a series of videos Amina recorded before her death, which include advice on raising children. These videos become his daily guide, helping him overcome the pain of loss, reconnecting him with his children, and revealing a side of himself he hadn’t known before.

Catalog was preceded by five Egyptian series produced by Netflix, including “Paranormal,” which premiered in 2020; “Drama Queen,” which premiered in 2021; and “Echoes of the Past,” which premiered in late 2024

To Watch: NETFLIX Starting from July 17^th, 2025

14) ‘EL HAREEFA’ (EGYPT)

In this comedy, teenage footballer lover Maged, played by Nour Al Nabawy, is forced to leave his luxurious life at a private school for a public school, where he meets people with diverse social backgrounds and struggles to adjust until he joins their football teams and gains respect for his excellent skills. The team joins the El Hareefa School tournament, leaving Maged confused between his personal goals and the team’s hopes of winning the Championship. Written by Eiad Saleh and Directed by Raouf El Sayed, ‘El Hareefa’ uses football, the world’s number one social practice, to look at Egyptian class relations.

More often than not, what allures movie-goers and enthusiasts about the films they watch is who is starring in them. Famous and popular stars can often make or break a film. Hence, when the poster for Egypt’s newest film El Harifa (The Professionals) revealed that it is a movie starring a new generation of young actors and actresses I was hesitant to see it — but going there changed something in my perception of the movie, and possibly, the future of films in Egypt.

Directed by Raouf El-Sayed, El Harifa stars, Nour El Nabawy, Ahmed Ghozzi, Selim El Turk, Khaled El-Zahaby, Nour Ehab, stand-up comedian Abdel Rahman Mohamed, rapper Ahmed Khaled — famously known as Kozbara – and everyone’s biggest surprise, Egypt’s iconic football player Ahmed Hossam Mido. The concoction — albeit not familiar to many — resulted in one of Egypt’s best ‘feel-good’ movies that have emerged in the past 10 years. It is impossible to see it and not believe that these young actors have the potential to be Egypt’s next rising stars.

In my opinion, El Harifa will be the stepping stone for future films in Egypt — and possibly the Arab world. Besides its compelling and heartwarming, the filmmakers’ faith in the actors is a testament to the changing tides of cinema in Egypt — an opportunity that will foster investment in Egypt’s young talents.

Note: Stop reading here if you want to avoid spoilers. The below discusses key plot points of the film.

The Story: The Underdogs

Maged (played by Nour El Nabawy) is the typical starboy at his high school. In a sense, he has it all — the impressive football skills, the pretty girlfriend, the money. He is super popular and has it all perfect — until he doesn’t. Unexpectedly, his father encounters problems with his work and is forced to sell everything they have. Overnight, Maged is forced to go live with his grandmother and leave his international school to continue his education at a public school.

What seemed like Maged’s worst nightmare later became the best thing to ever happen to him. At first, Maged is overwhelmed by the new school — he isn’t used to the lingo they use, how things operate, and how to make friends with the rest of the boys. Yet, his passion — football — is what changed everything for him in the school.

His first friend at school, Omar (played by Abdel Rahman Mohamed) is his window to understanding how the school operates. He tells me the dos and don’ts — and tells him that the school is run by one big group, which consists of El-Sheshtawi (played by Ahmed Ghozzi), Hetta (played by Ahmed Khaled), El Noss (played by Khaled El Zahabi), and Karim El Salhoub (played by Selim El Turk).

One day during break, as the group is playing football, Maged showcases his football skills. Impressed by his skills, the group invites him to play football with him — but not the football he is normally used to. They invite him to play street football — and a whole new world opens for him.

From this point forward, an unbreakable bond starts between the boys — all because of their love for the game. Through their time together, Maged learns the meaning of loyalty and true friendship. Everything he lacked before, he learned because of his friendship with them — he learns what it means to have your friends’ backs, to give without receiving anything in return, and to truly be a team player.

One of the instances is when Hetta’s mother had to undergo surgery, and the boys had to win a football match that would win them the expenses for her surgery. In other circumstances, Maged would have taken his sum of the money for himself; however, he didn’t think twice about doing it for his friend.

The other instance is when Karim El-Salhoub is sent to jail because of money his family owes — the boys decide to enroll in a competition called ‘El-Harifa’ where the winning team wins a prize of one million EGP. There were two catches to this competition: one was that they needed to enroll with the school name, so the boys got the help of Captain Shalash (played by Mido). The other catch was that they needed to pay 30,000 EGP (980 USD) to enroll. Hence, Maged and Sheshtawi seek the help of one of Maged’s father’s friends — however, when they were asking for the money, Maged asked for 50,000 EGP (1,624 USD) so they can bail Karim out of jail with the rest.

Maged’s character development is shown when he is offered the chance to go play professional football in Spain. However, that would have meant that he was going to leave his team during the final match in the competition they enrolled in. Although he was going to pick what was good for him only, he decided to stay back, and they ended up winning the match.

The Watching Experience: A Movie Theatre or a Football Stadium?

If there is one thing Egyptians will agree on — its their united love for football. It is truly an unspoken language between Egyptians — and it is evident in the movie. However, football in the movie is not just shown as a mere sport, but as something that unites friendships, bridges societal and cultural gaps, and exudes true happiness.
One of the movie’s greatest aspects was that it didn’t rely on big names or massive productions to gain viewers’ attention. Rather, it was its simplicity and authenticity that really captured the hearts of its watchers. I think this film will open doors for other directors and producers to really invest in the younger generations and have them take leading roles.

Watching this movie in the theatre is an experience on its own. When it came down to the scenes with matches, the anticipation of the people inside the theatre was palpable. It felt like we were watching a real-life football match — on the edge of the seats, we were clapping and shouting when one of the boys would score. I didn’t feel like the movie was two hours long — whether it was because of the lively music, the anticipation, or the true chemistry between the actors: it was truly a delight. However, one thing I would change about the film is that its ending kind of ended abruptly, with Maged scoring in the penalty shoot-out at the game. Many viewers are left with lingering questions: whether there will be a second movie or not?

Overall, El Harifa is a masterclass of acting, direction, and scriptwriting. It is a film that could have been swept under the rug of cliches: but it wasn’t. It guarantees room-wide smiles throughout the theaters — and a growing love for the sport of football.

To Watch: NETFLIX.

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