Nollywood’s Glorious Five Years

Nollywood’s Glorious Five Years

Nollywood Scenes. Collage by THE REPUBLIC.

the ministry of ARTS / FILM DEPT.

Nollywood’s Glorious Five Years

Nollywood’s successes over the past five years have been so diverse that what is happening can only be described as an entertainment boom.
Nollywood’s Glorious Five Years

Nollywood Scenes. Collage by THE REPUBLIC.

the ministry of ARTS / FILM DEPT.

Nollywood’s Glorious Five Years

Nollywood’s successes over the past five years have been so diverse that what is happening can only be described as an entertainment boom.

Nigeria’s film industry, Nollywood, is relatively close-knit due to its manpower size and accessibility. The industry is made up of filmmakers and film professionals broken into smaller sub-industries such as Kannywood (Hausa-speaking movies), Asabawood (pidgin and Igbo-speaking movies), and more, depending on geographical location. Nollywood’s boom from 1992 and initial relevance came with the home video era where films were sold on VHS and later, CDs within and outside the shores of the country. With technological advancements and herculean efforts to fight piracy, some filmmakers took refuge in cinema releases and subsequently, the safer tenets of the ‘streaming wars’.

The last five years have easily been marked by growth and resilience due to the COVID-19 pandemic, which resulted in economic disruption that led to a 321 per cent fall in the Naira. Despite the setbacks, Nollywood has recorded great progress in several aspects of the industry from technological development to multi-million-dollar deals.

FREE EDUCATION AND ACCESSIBILITY

While the barriers of entry into Nollywood have relatedly been low to non-existent, education and varying knowledge levels influence creative output in the workplace. In addition to the boom Nollywood has had recently in terms of foreign investment and partnerships with streamers, there is heavy demand for a structured labour market. In an attempt to fuel the present creative economy boom, the industry has also received significant support from its regulatory bodies and the Lagos State government. The last years have had an uprising of creative academies run by veterans in the industry opening up free education in film and television for willing students and debutants.

The National Film and Video Censors Board is the foremost body set up to regulate content in the film and video space in Nigeria. The board launched the Nigeria Digital Content Regulation Conference in 2021. This was an initiative of the then executive director, Alhaji Adedayo Thomas. The conference provides a meeting ground for stakeholders in Nollywood to discuss emerging problems and growth strategies within the network. The conference also holds a cohort for younger filmmakers to learn in a two-day intensive training.

Two of Nollywood’s foremost stakeholders have also delved into the film education space. The EbonyLife Creative Academy was created in partnership with the Lagos State government in 2021. This was through the Lagos State Creative Industry Initiative of the Ministry of Tourism, Arts, and Culture. The academy belongs to established producer, Mo Abudu, who is known for her blockbuster film, Wedding Party, and her long-lasting partnership with Netflix. Kunle Afolayan also set up KAP Academy, which has now partnered with MasterCard Foundation, Netflix, the National Film Institute and the USC School Of Cinematic Arts. The academy aims at training 300,000 students in the space of three years.

Government input in Nollywood is not new. Former president, Goodluck Jonathan, gave a N3 billion fund titled ‘Project Nollywood’ to the industry in 2013 to encourage the production of better quality films. However, in 2022, veteran actor-producer, Emeka Ike, claimed that the scheme was a sham and the funds were only allocated to friends and close associates. This education route, however, curbs corruption as support is given to structured learning institutions and young filmmakers are given a chance to produce their own films. Looking forward, the future might include student exchange programmes or advanced degrees.

FILM TECH

Cinema has without a doubt always been a merge of technology, science and art; a true Science, Technology, Engineering, Art, and Math venture. Nigeria is a hub for fintechs and unicorns in the African space. As of February 2023, Africa had seven unicorns four of which are Nigerian. While cinema is seen primarily as ‘content’ or ‘art’, it is also just as equally a venture of technology since the images produced are ‘captured light’.

This ‘technology’ includes software, cameras, and oftentimes distribution chain for the supply of equipment. A problem with the cinema space is the ticketing system used in Nollywood, which is what the founder and CEO at Fusion Intelligence technologies, Kolade Adewoye, has set out to solve. The company was established in 2022 and has since revamped the cinema experience of moviegoers, simplifying ticket purchases online through relevant cinema houses and pioneering software solutions for the film industry.

Albantsho is another tech solution founded in 2020 by Julie Ako from Nigeria and Nikita Mokgware from Botswana. The film-tech solution doubles as a marketplace for screenwriters to sell their scripts to producers and also as an online screenwriting platform. The solution curbs the inaccessibility of less established screenwriters pitching and selling their scripts while also creating an affordable and seamless writing solution that tackles expensive and often inaccessible products like FinalDraft and Celtx.

Record keeping is a necessity in any venture, especially in an industry like Nollywood. Access to films, actors and crew has often been a hindrance especially when ‘agents’ and ‘managers’ are not always available. Nollydata, founded by Chidinma Igbokweuche, was created as hub to find information related to Nollywood. In 2022, Nollywood actor, Ibrahim Suleiman, joined the venture as a co-founder. Nollydata is a database similar to IMDb. However, Nollydata gives a formal means to easily contact actors, crews, writers and others registered on the platform. It also gives an easy means to record films made over the years and fact-check when necessary.

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BLOCKBUSTERS

Like any other industry, Nollywood has its fair share of explosive news and viral moments. These are not lost as several productions in recent years have brought fans together in momentous ways.

Netflix announced the Nigerian original series Blood Sisters on 7 April 2022, with a trailer release. The limited series, a four-part crime thriller, directed by Biyi Bandele and Kenneth Gyang, was released on 5 May 2022. The series received initial hype for its production quality. However, confusion lingered as many expected it to be a remake of Tchidi Chikere’s 2003 film starring Genevieve Nnaji and Omotola Jalade Ekeinde. The series was launched with much praise given to Mo Abudu and the production team as well as Kate Henshaw for her portrayal of Uduak Ademola, a character in the movie. Her character’s look also garnered so much attention that the costumes were given a feature in Bella Naija, highlighting Yolanda Okereke and Carina Ojoko as superb costume and makeup artists.

In the same period, Funke Akindele shone demonstrating her strength as an actress and her rise as a filmmaker. After crafting a niche of loyal fans over the course of about three decades, she has now peaked as a Triple Threat; not only does she appear three times on the top 10 grossing films of all time in Nigeria, she also holds the first three spots. Her films A Tribe Called Judah, Battle on Buka Street and Omo Ghetto: The Saga have all been blockbusters with the foremost gaining over N1 billion in box office sales; the first ever from a local production.

THE NEW WAVE CINEMA

While Nollywood fans and scholars may be used to Kunle Afolayan’s New Nollywood, a fresh set of younger filmmakers are emerging in Nollywood’s New Wave cinema. Where New Nollywood Cinema focused on better production quality and less machina-style storytelling, the New Wave goes beyond ‘look’ and builds the metaphysical world of the film to be just as important as the mise en scene.

In 2016 CJ ‘Fiery’ Obasi, Abba T. Makama and Mike Omonua; three filmmakers challenging visual stereotypes of Nigerian cinema through their mindfully crafted stories formed Surreal 16 Collective. From the auteurs, Juju Stories, Mami Wata, The Lost Okoroshi, Rehearsal and many more productions have graced the screen, allowing Nigerian audiences to experience euphoric samples of auteur cinema and well-crafted plotlines. Notably, Obasi’s Mami Wata, a film in West African Pidgin English and Fon, tells a tale in the oceanside village of Iyi. The film won the Special Jury Prize in the World Dramatic Competition for its cinematography at the Sundance Film Festival in 2023, won three awards at Pan-African Film and Television Festival in 2023 and was Nigeria’s official section for the 2024 Oscars. The trio have also been instrumental in giving a platform to films produced with similar ideologies championing visual technique through the S16 Film Festival.

The New Wave Cinema has also had its fair share of controversies as it pushes the boundary of sexuality. In 2020, Uyaiedu Ikpe-Etim’s Ìfé was released to controversial fanfare following its announcement. The film follows the romantic relationship between Ìfé and Adaora ‘who fall in love over a three-day date’. Despite their feelings, societal pressures and taboos threaten their happiness. The film was made in collaboration with ​​Pamela Adie, an LGTBQ+ rights activist. The trailer was released on YouTube in July 2020 and quickly made its way to social media where it was immediately under scrutiny and intrigue. The film caught the attention of regulators with the then director general of the National Film and Video Censors Board, Adebayo Thomas, insisting that the film would not be given a right to screen in Nigeria and the filmmakers could face a fourteen-year sentence for the portrayal of homosexuality. The ordeal garnered international attention with BBC, The Economist, and other news outlets putting the story in the spotlight. Uyaiedu ​​was also listed on the BBC’s 100 Women list in 2020 for her courage regarding the film. The film was able to premiere online at the Inside Out Toronto LGBT Film Festival in 2020.

In a shining feat, Arie Esiri and Chuko Esiri, co-directed their debut film Eyimofe: This Is My Desire. The film is a beautiful, artful and truthful representation of the japa syndrome (desire to leave Nigeria in search of a better life abroad). Eyimofe was officially selected to be premiered in 17 countries in their respective film festivals including the 70th Berlin International Film Festival, BFI London Film Festival, AFI Film Festival, among several others. The film was nominated for seven Africa Movie Academy Awards and won five including Best Director and Best Nigerian Film in 2021.

All the Colours of the World Are Between Black and White is a Nigerian romantic drama written and directed by Babatunde Apalowo. The film won the 2023 Teddy Award for Best Feature Film at the Berlin International Film Festival—one of the ‘Big 5’ film festivals in the world.

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STREAMERS, PRIVATE INVESTMENTS AND PARTNERSHIPS

Since their entrance into Nollywood, streamers have leveraged large budgets to commission major projects. Contrary to the threat Hollywood producers like Steven Spielberg have posed about Netflix and streamers and the award-season games they play, the story is quite different in Nollywood. Collaboration and commission from streamers appear to currently be the glass ceiling for most ‘New Nollywood’ productions. This has allowed the creation of large-budget projects with global standards regarding quality.

Since 2020, Netflix has announced deals with Mo Abudu to create two original series and multiple original films and Kunle Afolayan in a three-picture slate. Prime Video, Amazon’s streaming service, has also announced deals with Jade Osiberu, Nemsia and Anthill Studios, among others. South Africa’s MultiChoice has since commissioned several projects with James Omokwe including Itura, Ajoche and Nigeria’s first Showmax limited series, Diiche. Netflix’s socioeconomic impact report showed that the company had invested $23.6 million between 2018 and 2022 to license 283 titles and commission three originals. This also translates to $2.6 million in tax revenue for Nigeria. The streaming wars (competition in the music and entertainment companies) have favoured talents, studios and the government.

In 2019, Canal+ acquired one of Nollywod’s largest studios, ROK from IrokoTV. Canal+ reported that it made the acquisition to make African content more accessible. In 2020, Vivendi, Canal+’s parent company, began purchasing stocks from MultiChoice in the Johannesburg Stock Exchange and was approaching the 35 per cent stake required to make an offer according to South African law. In February 2024, Canal+ made an offer to buy MultiChoice in a non-binding $2.5 billion acquisition offer, which the latter declined.

In November 2023, at the CANEX Summit, Afrimax Bank announced a $1 billion African Film Fund. The summit held as part of the third Intra-African Trade Fair in Cairo and, after the summit, Afrimax further confirmed the acquisition in a press release on their website. Three years earlier, the company had reported that Nollywood alone generated about $1 billion yearly.

In 2019, Kugali, a UK-based pan-African company announced its plan to take on the media and entertainment company, Disney by reinventing animation and challenging African storytelling and Black representation in animation. When Disney executives caught wind of it, they saw it as an opportunity and instead made an offer: a collaboration on a project. Five years down the line, Iwaju, an animated mini-series, was released. It was made as a collaboration between Walt Disney Animation Studios, Kugali Media and another entertainment company, Cinesite. The afrofuturist series is set in Lagos with a storyline tied to the class divide of the Lagos ‘mainland vs island’. The series employed a stellar voice cast and had its premiere in February 2024.

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A REVIVAL OF ADAPTATIONS

Adaptations in Nollywood have always led to iconic and often heartfelt memories relevant culturally and to the career growth of filmmakers’ careers. In the past, Nollywood has boasted of well-received adaptations like Chinua Achebe’s Things Fall Apart which gave the actor, Pete Edochie, significant popularity, Femi Osofisan’s Maami and Chimamanda Ngozi Adichie’s Half of a Yellow Sun. The past five years have been nothing short of interesting with some of the most beloved books and novels receiving attention on the big screen.

In June 2020, Mo Abudu secured the rights to adapt two well-known source materials through her Ebony Life production company exclusively for Netflix. These included Lola Shoneyin’s The Secret Lives of Baba Segi’s Wives and Nobel Laureate Wole Soyinka’s Death and the King’s Horseman. In the usual style of collaboration with the audience, Mo Abudu took to X (Twitter) to announce to her audience that Shoneyin’s novel would be adapted into a series. She then listed out the characters, gave descriptions and encouraged fans to give casting suggestions (who they would like to see) on screen in the roles. Excitedly, her comments were filled with hundreds of suggestions. Although both projects were announced at the same time, it was Soyinka’s play that graced the screen first as Shoneyin’s adaptation is yet to be released. The adaptation was released as Elesin Oba: The King’s Horseman in 2022. The film was directed by Biyi Bandele who also directed Half of a Yellow Sun (2013).

Another compelling Soyinka adaptation was announced in September 2022. The project is spearheaded by longtime collaborators and friends of Soyinka including Nigerian veteran filmmaker, Femi Odugbemi, culture consultant, Jahman Anikulapo, and the film’s director, Awam Amkpa; playwright and New York University professor of drama, film and social and cultural analysis. The source material is The Man Died: Prison Notes of Wole Soyinka which he wrote in Cambridge while in exile from Nigeria. The book detailed his incarceration during the Nigerian Civil War (1967–1970) where he was accused of treason and assisting Biafran secessionists.

During the Nigerian Civil War, Soyinka was arrested and incarcerated for 22 months, most of it spent in solitary confinement in a cell, 4ft by 8ft. His offence: assisting the Biafran secessionists. Despite the tragedy of his situation, conviction and humour are elements he employs to stay afloat. The film is set to be released in July 2024. Its trailer has garnered positive reception on social media. On YouTube for example, user @/ugoawa3171, wrote:

It’s good that we are beginning to tell the difficult stories about our troubled history as a nation. This is a quality production and we need many more like this to come.

The trailer was released at an expedient time after a pubic rift from the recent 2023 general elections in Nigeria with Soyinka losing public opinion as a result of seemingly disparaging comments made on ‘Obidients’ (a political movement of young Nigerians who supported the presidential bid of Peter Obi) calling them and calling the party itself a ‘regional party’ at his ‘The Lives of Wole Soyinka—A Dialogue’ event in Stellenbosch, South Africa.

Swallow based on a novel of the same name by Seffi Atta is another project graced with an adaptation from Kunle Afolayan through a collaboration with Netflix. The film was released in 2021. It tells the 1980s Lagos middle-class story of Rose and Tolani, eternally hustling in corporate Nigeria to make ends meet with nothing but poverty pangs and sexual harassment to show for it. In hopes of better financial days, Rose clings on to a drug smuggler and she decides to take a fatal leap into the illicit world herself. Despite the extravagant production design and superb casting, including a comeback from Ijeoma Grace Agu, some reviewers criticized the film as soulless and reductive.

In an exciting switch of visual format, the industry has also announced some projects that have kept viewers keen and on the edge of their seats. In November 2018, Magic Carpet Studios released a teaser for a 2D animation adaptation of Mallam Illia’s Passport. The story is a tale of vengeance and the personal cost it often requires. The teaser went viral, gaining over 65,000 views. Five years down the line, the studio has released a teaser. Although prolonged, the yearly updates the studio has provided have kept hopes up and fans interested. The studio has also announced two other projects including an animated sitcom, Meet the Igwes, which is based on ‘an underclass family trapped in a class war’ and a pan-African mythology 3D series, Legend of Bulan.

Nollywood’s successes over the past five years have been so diverse that what is happening can only be described as an entertainment boom. Different stakeholders are concurrently chasing different goals—funding, technological advancement, education, artistic flair and more—but arriving at the same end: growth⎈

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