Zendaya got her third Emmy nomination for her role as Rue Bennett in HBO’s Euphoria. The nomination arrives at a time the series is approaching its final chapter.

She received her first nomination for Euphoria after the show’s debut season in 2019. In 2020, Zendaya won the Emmy Award for Outstanding Lead Actress in a Drama Series. She became the youngest winner of the category at 24 years.

She returned to the Emmys in 2022 and won the same award for the show’s second season. This made her the first Black actor to win the award a Drama Series twice.

Photo: Instagram

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Her latest nomination is her third in the lead actress category. Zendaya is nominated alongside Carrie Coon, Chase Infiniti, Keri Russell and Rhea Seehorn in the drama category. In an interview with Rotten Tomatoes, she joked:

“I just hope you don’t get sick of me this year because I’ll tell you what, after this I’m disappearing for a little bit. I’m going to have to go into hiding for just a little bit,” 

Zendaya has also received Emmy recognition for her work behind the scenes. She earned nominations as an executive producer for Euphoria. This highlights her growing role in making the series popular.

In 2022, she received nominations related to the show’s music. Her involvement with original songs featured in Euphoria showed another side of her creative work. She has perfectly combined her acting career with music. Euphoria showed fans what her capacity was after her early years as a Disney Channel actor.

Photo: Instagram

Zendaya got film roles like Dune, Spider Man: No Way Home and Challengers. Her performances in these shows her versatility.

Zendaya’s third Emmy nomination shows she is an actress that should not be underrated. This achievement shows the belief fans and her colleagues have in her. Whatever the final  results, Zendaya’s work on Euphoria is appreciated.

Tyla is expanding her career into film after being announced as part of the voice cast for Toy Story 5, the latest instalment in Pixar’s long-running animated franchise.

The South African singer, who has built a strong international profile through her music, joins a cast that includes returning stars Tom Hanks, Tim Allen and Joan Cusack. While Pixar has not yet revealed details about Tyla’s character, the announcement marks her first role in the globally recognised film series.

The Toy Story franchise has remained one of animation’s most successful properties since the release of the original film in 1995. Across four films, the series has followed the adventures of Woody, Buzz Lightyear and a group of toys navigating changes in their owners’ lives while exploring themes of friendship, loyalty and growing up.

Tyla – Instagram

According to information released about the upcoming film, Toy Story 5 will examine how traditional toys fit into a world where children are increasingly surrounded by digital devices and technology. The story introduces new characters while bringing back familiar favourites that audiences have followed for more than three decades.

For Tyla, the casting represents another high-profile project during a period of growing international visibility. Although she is best known for her music career, the move into voice acting reflects the broader opportunities increasingly available to artists whose reach extends across multiple entertainment platforms.

Tyla – Instagram

The announcement has attracted attention both locally and internationally, with many South Africans welcoming the news as another example of homegrown talent securing opportunities in major global productions. Tyla joins a growing list of South African entertainers whose work is reaching audiences far beyond the continent.

As production on Toy Story 5 continues, more details about Tyla’s role are expected to be revealed. For now, her addition to the cast introduces a South African presence to one of the most recognisable animated film franchises ever created, adding another dimension to a career that continues to develop on the international stage.

African cinema is reaching wider streaming audiences beyond film festivals and niche viewing spaces. Streaming platforms have made it easier to access films from Nigeria, Kenya, South Africa, Senegal and beyond without waiting for limited cinema releases.

This month’s titles focus on migration, identity, class, family pressure and survival.

Eyimofe

Few Nigerian films focus on everyday Lagos life the way Eyimofe does. Directed by Arie Esiri and Chuko Esiri, the film follows two people trying to leave Nigeria for better opportunities abroad. Delayed paperwork, unstable electricity, family obligations and financial setbacks shape nearly every decision they make.

The film keeps its storytelling restrained and relies on realistic situations rather than exaggerated drama. The dialogue feels natural, while Lagos becomes part of the story instead of simply serving as a backdrop.

For viewers looking for a Nigerian film centred on working-class realities rather than glossy romance, Eyimofe is worth adding to the list this month.

Tsotsi

More than two decades after its release, Tsotsi remains one of South Africa’s defining films. Directed by Gavin Hood, the Oscar-winning drama follows a young gang leader in Johannesburg whose life changes after a violent carjacking leaves him caring for a baby.

The story avoids presenting its lead character as entirely good or bad. Instead, it gradually reveals the conditions that shaped him. Johannesburg is shown through themes of crime, inequality and survival without turning poverty into spectacle.

The performances add emotional weight to the story, particularly in moments that rely more on restraint than dramatic confrontation.

Atlantics

Directed by Mati Diop, Atlantics combines romance, migration and supernatural elements in a contemporary Dakar setting.

The story centres on construction workers who go unpaid and decide to leave Senegal for Europe. After they disappear at sea, unusual events begin unfolding back home. Rather than approaching migration through politics, the film focuses on the emotional impact left behind for families and loved ones.

The film uses a minimal visual style and focuses more on mood than major plot twists. Themes of grief, abandonment and economic frustration remain central throughout.

Neptune Frost

African science fiction still receives less global attention than other genres, which makes Neptune Frost particularly notable. Directed by Saul Williams and Anisia Uzeyman, the film combines music, technology and political themes across multiple genres.

Set partly in a mining community, the story explores exploitation linked to mineral extraction and global technology systems. Instead of following a straightforward political narrative, the filmmakers build a futuristic world shaped by African fashion, sound and language.

The film uses experimental visuals closely tied to its themes, while its unconventional narrative structure separates it from more traditional science-fiction films.

The Boy Who Harnessed the Wind

Based on the true story of Malawian inventor William Kamkwamba, The Boy Who Harnessed the Wind remains one of the most accessible African dramas released in recent years.

Directed by Chiwetel Ejiofor, the film follows a teenager who builds a wind turbine to help his village during a famine. The story focuses heavily on community pressure, government failures and survival.

The rural setting is presented realistically, while the film pays close attention to the social tensions surrounding education, poverty and opportunity.

African films are no longer limited to a single style or genre. This list alone moves from Lagos realism to Senegalese supernatural drama and experimental African science fiction. What connects these films is their focus on culturally specific stories without overexplaining their settings or themes for international audiences.

That approach has helped African cinema attract wider global attention, while still remaining grounded in local realities.