By Towobola Dada and Oluwatomiloba AdejumobiFor some months, Film Rats Club and Cheesemonger in their commitment to curating conversation around Nigerian and African cinema have been training a crop of budding film critics interested in documenting and critiquing the film landscape. Some of us were present at this year’s The Annual Film Mischief (TAFM) where we saw and wrote about some of the selected films. Below is our guided and edited commentary on the festival and review of the films we saw. Film festivals serve as a haven for discovery, offering audiences a unique privilege. Unbeknownst or known to film-festivals attendees they are often among the first audience to experience a film outside of the filmmaker’s immediate community. Writing about The Annual Film Mischief(TAFM) inspires apprehension. But, we found solace in the realization that, by attending the festival and watching selected films, we will be part of a select group witnessing a filmmaker’s work for the first time.With only a handful of films chosen from numerous submissions, we’re struck by TAFM’s potential to motivate producers and directors to push creative boundaries and deliver exceptional work, even in the face of adversity. As we prepare to cover the festival, our imagination is bursting with ideas eager to spotlight ⁠the underlying themes and motifs that drive their narratives, the significance of each title, and its connection to the story.Exceptional work deserves recognition. The selected films at TAFM primarily offered thought-provoking commentary on various issues. The three-day screening showcased the breadth and dedication of emerging filmmakers. The lineup included films like Korede Azeez’s With Difficulty Comes Ease, Daniel Itegboje’s On Your Own, Olatunbosun V. Adebayo’s Alice & Alice, Theo-Ziny Joel’s Evil Spirit Get Out, Adio Solanke and Adesuwa Omonzokpia’s Between Silence and Truth and Chinazaekpere Chukwu’s Ti e nbo that sparked intense mental debate and others that captivated audiences despite personal discomfort, keeping them glued to their seats until the very end. Despite varying levels of success, every film will ultimately resonate with its intended audience.The under-listed films have varying focuses, yet they adeptly remind the audience of the need to appreciate cultures and reflect on lifestyles. The majority of the films showcased candid portrayals of African realities, exploring cultural, social, physical, and emotional themes. Yinusa A. Korede’s The gods must be joking. Yinusa’s film is a satirical tale of a young married man struggling to make ends meet, relying on his friends for support. His mantra, ‘Baba God, shepherd me,’ echoes his desperation. Despite lacking a steady income, he promises his girlfriend a better life. As we tag along his journey, so does a stray dog. A dog begins to follow him everywhere. After a series of encounters, the dog’s presence becomes a recurring motif.  The twist, the dog is no ordinary creature. It offers the man a Faustian bargain: unparalleled wealth for a year, The title The gods Must Be Joking aptly captures the absurdity of this situation, questioning the notion that wealth can be achieved without effort or consequence.‘Chukwu Martin’s Oga MikeI’m giving Oga Mike a well-deserved applause. This film is a masterful portrayal of the unwavering resilience of everyday Nigerians in the face of adversity. The titular character, Oga Mike, is a complex and poignant figure – a mascottier who brings joy to others, particularly children, yet secretly struggles to provide for his family and grapples with the weight of his thoughts. Despite his inner turmoil, he’s reminded to bear his cross, no matter how heavy, serving as a powerful reminder of the human spirit’s capacity to persevere.Hope Eniayekan’s The BarThe Bar expertly navigates the emotional landscape, capturing Nkem’s palpable fear of facing his father’s expectations for his career. This resonates deeply, as many Nigerian households prioritize parental aspirations over children’s autonomy, dictating their life paths. Nkem’s hopes of becoming a lawyer are shattered when he fails law school, dashing his hopes of being called to the bar. He is overwhelmed by fear as he struggles to confront his father about his failure. Lola, his girlfriend, helps him find strength through heartfelt conversations, which eventually empowers him to his dad and reevaluate his life’s purpose. With renewed determination, Nkem chooses to shift focus away from his father’s expectations and discover his true passion.Abolaji Zealet Rasaq’s AkitiTwo lifelong friends, enticed by quick cash, abandon their studies to watch a fight club for a violent gang. A tragic fight results in the other grappling with guilt and regret. Though marred by periodic lapses into flat humor, the film remains a compelling commentary on the shortcomings of Nigerian societies in providing viable and modeled mentors for young people with impressionable minds. Charles F. Solomon’s Dan Bature Kudawa(The Englishman of House Kudu) This short documentary shows how a wrestling game can be a source of entertainment and a means of collaborating with people from a different tribe and race. It displays the passion, interest, and resilience of Luke Leyman to experience the Dambe Wrestling game despite the negativity and challenges that emerged. He includes himself in a culture that totally differs from his and he also finds acceptance from the people of Kano and Katsina. Caroline Reucker’s Egili, The Black Queen of Carnaval Egili, The Black Queen of Carnaval, richly shows the beauty of dance as a lifestyle through the person of Egili Oliveira, a living instrument of dance, music, and pageantry. The film captures the depth of the Samba Dance and its cultural relevance to Brazilian identity. Egili’s life is explored as she tries to survive and create an identity for herself through the entertainment world. She emits confidence and the spirit of an African Samba Dancer.  Precious Iroagalachi’s Iwa Ji: a Celebration of the Igbo CulturePrecious Iroagalachi’s documentary captures the New Yam Festival practice accustomed to the Igbo People, its unifying spirit, and how it brings back every indigene home regardless of their far distances. It also tells the essence of identifying with one’s roots and culture. ...