- Afghanistan, “Rona Azim’s Mother,” Jamshid Mahmoudi, director;
- Algeria, “Until the End of Time,” Yasmine Chouikh, director;
- Argentina, “El รngel,” Luis Ortega, director;
- Armenia, “Spitak,” Alexander Kott, director;
- Australia, “Jirga,” Benjamin Gilmour, director;
- Austria, “The Waldheim Waltz,” Ruth Beckermann, director;
- Bangladesh, “No Bed of Roses,” Mostofa Sarwar Farooki, director;
- Belarus, “Crystal Swan,” Darya Zhuk, director;
- Belgium, “Girl,” Lukas Dhont, director;
- Boivia, “The Goalkeeper,” Rodrigo “Gory” Patiรฑo, director;
- Bosnia and Herzegovina, “Never Leave Me,” Aida Begiฤ, director;
- Brazil, “The Great Mystical Circus,” Carlos Diegues, director;
- Bulgaria, “Omnipresent,” Ilian Djevelekov, director;
- Cambodia, “Graves without a Name,” Rithy Panh, director;
- Canada, “Family Ties,” Sophie Dupuis, director;
- Chile, “…And Suddenly the Dawn,” Silvio Caiozzi, director;
- China, “Hidden Man,” Jiang Wen, director;
- Colombia, “Birds of Passage,” Cristina Gallego, Ciro Guerra, directors;
- Costa Rica, “Medea,” Alexandra Latishev, director;
- Croatia, “The Eighth Commissioner,” Ivan Salaj, director;
- Czech Republic, “Winter Flies,” Olmo Omerzu, director;
- Denmark, “The Guilty,” Gustav Mรถller, director;
- Dominican Republic, “Cocote,” Nelson Carlo De Los Santos Arias, director;
- Ecuador, “A Son of Man,” Jamaicanoproblem, director;
- Egypt, “Yomeddine,” A.B. Shawky, director;
- Estonia, “Take It or Leave It,” Liina Trishkina-Vanhatalo, director;
- Finland, “Euthanizer,” Teemu Nikki, director;
- France, “Memoir of War,” Emmanuel Finkiel, director;
- Georgia, “Namme,” Zaza Khalvashi, director;
- Germany, “Never Look Away,” Florian Henckel von Donnersmarck, director;
- Greece, “Polyxeni,” Dora Masklavanou, director;
- Hong Kong, “Operation Red Sea,” Dante Lam, director;
- Hungary, “Sunset,” Lรกszlรณ Nemes, director;
- Iceland, “Woman at War,” Benedikt Erlingsson, director;
- India, “Village Rockstars,” Rima Das, director;
- Indonesia, “Marlina the Murderer in Four Acts,” Mouly Surya, director;
- Iran, “No Date, No Signature,” Vahid Jalilvand, director;
- Iraq, “The Journey,” Mohamed Jabarah Al-Daradji, director;
- Israel, “The Cakemaker,” Ofir Raul Graizer, director;
- Italy, “Dogman,” Matteo Garrone, director;
- Japan, “Shoplifters,” Hirokazu Kore-eda, director;
- Kazakhstan, “Ayka,” Sergey Dvortsevoy, director;
- Kenya, “Supa Modo,” Likarion Wainaina, director;
- Kosovo, “The Marriage,” Blerta Zeqiri, director;
- Latvia, “To Be Continued,” Ivars Seleckis, director;
- Lebanon, “Capernaum,” Nadine Labaki, director;
- Lithuania, “Wonderful Losers: A Different World,” Arunas Matelis, director;
- Luxembourg, “Gutland,” Govinda Van Maele, director;
- Macedonia, “Secret Ingredient,” Gjorce Stavreski, director;
- Malawi, “The Road to Sunrise,” Shemu Joyah, director;
- Mexico, “Roma,” Alfonso Cuarรณn, director;
- Montenegro, “Iskra,” Gojko Berkuljan, director;
- Morocco, “Burnout,” Nour-Eddine Lakhmari, director;
- Nepal, “Panchayat,” Shivam Adhikari, director;
- Netherlands, “The Resistance Banker,” Joram Lรผrsen, director;
- New Zealand, “Yellow Is Forbidden,” Pietra Brettkelly, director;
- Niger, “The Wedding Ring,” Rahmatou Keรฏta, director;
- Norway, “What Will People Say,” Iram Haq, director;
- Pakistan, “Cake,” Asim Abbasi, director;
- Palestine, “Ghost Hunting,” Raed Andoni, director;
- Panama, “Ruben Blades Is Not My Name,” Abner Benaim, director;
- Paraguay, “The Heiresses,” Marcelo Martinessi, director;
- Peru, “Eternity,” Oscar Catacora, director;
- Philippines, “Signal Rock,” Chito S. Roรฑo, director;
- Poland, “Cold War,” Pawel Pawlikowski, director;
- Portugal, “Pilgrimage,” Joรฃo Botelho, director;
- Romania, “I Do Not Care If We Go Down in History as Barbarians,” Radu Jude, director;
- Russia, “Sobibor,” Konstantin Khabensky, director;
- Serbia, “Offenders,” Dejan Zecevic, director;
- Singapore, “Buffalo Boys,” Mike Wiluan, director;
- Slovakia, “The Interpreter,” Martin ล ulรญk, director;
- Slovenia, “Ivan,” Janez Burger, director;
- South Africa, “Sew the Winter to My Skin,” Jahmil X.T. Qubeka, director;
- South Korea, “Burning,” Lee Chang-dong, director;
- Spain, “Champions,” Javier Fesser, director;
- Sweden, “Border,” Ali Abbasi, director;
- Switzerland, “Eldorado,” Markus Imhoof, director;
- Taiwan, “The Great Buddha+,” Hsin-Yao Huang, director;
- Thailand, “Malila The Farewell Flower,” Anucha Boonyawatana, director;
- Tunisia, “Beauty and the Dogs,” Kaouther Ben Hania, director;
- Turkey, “The Wild Pear Tree,” Nuri Bilge Ceylan, director;
- Ukraine, “Donbass,” Sergei Loznitsa, director;
- United Kingdom, “I Am Not a Witch,” Rungano Nyoni, director;
- Uruguay, “Twelve-Year Night,” รlvaro Brechner, director;
- Venezuela, “The Family,” Gustavo Rondรณn Cรณrdova, director;
- Vietnam, “The Tailor,” Buu Loc Tran, Kay Nguyen, directors;
- Yemen, “10 Days before the Wedding,” Amr Gamal, director.
Pioneering The Visual Narrative: Bobola Oniwura’s Impact on Nollywood’s Cinematic Evolution
Nollywood is in the middle of a visual revolution, and at its core is Bobola Oniwura, the mastermind behind some of the industryโs most striking cinematic transformations. Oniwura is a pioneering colorist whose unique approach to film aesthetics has set new standards for how Nigerian stories are told on screen. From the gritty realism of King of Boys: The Return of the King to the vibrant energy of A Tribe Called Judah, Oniwuraโs work has become synonymous with a new era of cinematic excellence, one where color grading is no longer an afterthought but a defining narrative tool. The film industry in Nigeria known as Nollywood has grown into one of the most prolific cinematic powerhouses in the world. Producing thousands of films annually, it ranks alongside Hollywood and Bollywood in terms of output. Once characterized by rapid, low-budget productions, Nollywood has undergone a remarkable transformation, embracing higher production values, diverse storytelling, and international recognition. The industryโs films now command global audiences, made possible by platforms like Netflix and Amazon Prime, and receiving acclaim at major festivals. This evolution has been fueled by creatives like Oniwura, who are redefining the post-production technical standards of Nigerian films. His impact extends beyond the color suite. Drawing on his background in Architecture and user experience research, Oniwura approaches color grading with an acute understanding of audience perception, crafting visual experiences that enhance storytelling, evoke emotion, and immerse viewers in the rich textures of Nigerian culture. His ability to merge technical precision with artistic intuition has positioned him as one of the most sought-after colorists in Nollywood... Read More