Showing posts with label Entertainment. Show all posts
Showing posts with label Entertainment. Show all posts

Friday, April 25, 2025

Nigerian film to screen at 2025 Cannes Film Market

 

A Nigerian historical fantasy film, Osamede, will screen at the 2025 Cannes Film Market on May 17 at the prestigious Pavillon Afriques.

A statement made available to PUNCH Online on Thursday noted that the screening marks a pivotal step in showcasing African mythology on the global stage and positions Nigeria as a major contributor to the international fantasy genre.

Directed by Africa Magic Viewers’ Choice Awards winner, James Omokwe (Chetam, Ajoche, Riona, Itura) and executive produced by finance and investment expert Lilian Olubi, Osamede tells the story of an orphaned girl in the 1897 colonial Benin Kingdom who discovers superhuman powers. With the mystical Aruosa stone in her grasp, she sets out to liberate her people from British colonial forces.

Olubi, who is scheduled to speak on the Cannes panel, said, “Nigeria has exported music and films globally, but with Osamede, we’re revolutionising how African historical narratives are presented by bringing the legendary Benin Empire’s mythology to life with production values and storytelling that mirror Hollywood fantasy epics. Beyond Budgets: Innovative Funding for Filmmakers.”

Omokwe, known for his compelling fusion of tradition and innovation, describes the film as a reclamation of African history through fantasy.

“Osamede goes beyond a fantasy film set in Africa. With this film, we’re reclaiming our historical narrative through the fantasy genre. What Black Panther did for Afrofuturism, we’re doing for African historical fantasy rooted in actual Benin Kingdom mythology. Our approach combines authentic cultural elements with cinematic spectacle in ways audiences haven’t seen before,” he said.

What sets Osamede apart is its evolution from a successful stage production to the big screen. Originally produced and performed by Olubi’s Gold Lilies Productions, the story was staged 12 times to sold-out audiences. This tested narrative structure gives the film a strong foundation, echoing the success of Broadway-to-screen transitions.

“Osamede arrives at a time when global audiences are increasingly seeking authentic cultural storytelling with universal appeal,” Omokwe added. “The film presents a rare opportunity to capitalise on the commercial potential of historical fantasy while introducing audiences to the untapped cinematic wealth of Benin Kingdom lore.”

The film’s international debut also aligns with the growing momentum behind Nigeria’s Screen Nigeria initiative, which aims to amplify the nation’s cinematic presence on the global stage. Osamede’s Cannes screening comes at a historic moment, alongside My Father’s Shadow, the first Nigerian film to be selected for Cannes’ Official Selection.

The film stars Ivie Okujaye Egboh, Lexan Aisosa Peters, William Benson, Tosin Adeyemi, Lancelot Imasuen, and Alexander Bud. Drawing comparisons to global hits like The Woman King, Osamede taps into the emerging genre of African historical fantasy, spotlighting the rich cultural and mythological heritage of the continent.

By Rotimi Agbana, Punch

Monday, April 14, 2025

Video - Nigeria taps creative industry to boost economic growth



Nigeria is turning to its creative industry to drive economic growth and job creation. The sector already contributes $5.6 billion to the country's GDP.

Friday, April 11, 2025

Nigerian cinema in the spotlight as ‘My Father’s Shadow’ to premiere in Cannes Film Festival first

Nigeria is going to Cannes. In what is understood to be a first in the film festival’s near-80 year history, a movie from Africa’s most populous nation has been chosen as part of the Cannes Film Festival’s Official Selection.

“My Father’s Shadow,” directed by Akinola Davies Jr. and co-written with his brother, writer Wale Davies, stars Ṣọpẹ́ Dìrísù (“Slow Horses,” “Gangs of London”). The film is set in Lagos in the aftermath of the 1993 presidential election and follows Dìrísù’s father and two sons Remi and Akin, as they attempt an odyssey across the city amid the election’s turbulent fallout.

Davies Jr.’s semi-autobiographical debut feature, produced by Element Pictures in association with Fatherland Productions and Crybaby, already has strong support in the form of distributor MUBI, which snatched up the rights to the film in North America and other territories long before the news of its Cannes debut was announced – lending additional hype to an already buzzy title.

The movie will screen in the Un Certain Regard strand – a competition for debut and ascendant filmmakers. Fatherland says it will be the first Nigerian film to do so.

Reacting to the announcement, Davies Jr.’ told CNN in a statement, “This is a testament to everyone dedicated to telling authentic Nigerian stories: from crews, to the countless technicians who power our film industry.

“It honors all those – past, present, and future – who laid the foundation for Nigerian cinema. I’m excited to be an ambassador for arthouse film in Nigeria, and even more excited for our cast and crew, whose talent and hard work truly deserve this spotlight.”

Co-producer and founder of Fatherland Productions CEO Funmbi Ogunbanwo told CNN, “It’s an incredible feeling to see our fully Nigerian story – rooted in Wale and Akin’s experience of losing their father at a young age – come to life on a world stage.

“We wove in Yoruba, Pidgin, familiar street names from Lagos and Ibadan, capturing the essence of our home. I feel both excitement and a weight of responsibility, representing independent Nigerian filmmakers who create against the odds. We hope people who watch this film will discover who we are as a people, understand where we come from, and see that this is only the start of how far our stories can go.”


Africa at Cannes 2025

The Cannes Film Festival announced it had screened 2,909 feature films to curate its 2025 lineup. Of those selected, “My Father’s Shadow” won’t be the sole representative from Africa this year.

Also in Un Certain Regard is “Aisha Can’t Fly Away” by Egyptian filmmaker Morad Mostafa, about a Somali woman working in Cairo, and “Promised Sky” by French Tunisian Erige Sehiri. Meanwhile, Swedish director Tarik Saleh, who has Egyptian heritage, is in competition for the Palme d’Or with “Eagles of the Republic” telling the story of an adored Egyptian actor who falls into disgrace.

The US-set “The History of Sound,” starring Paul Mescal and Josh O’Connor, is directed by South African Oliver Hermanus.

African cinema, particularly from Francophone nations, has a long history at Cannes, the world’s most prestigious film festival. Directing giants including the late Djibril Diop Mambéty of Senegal, the late Souleymane Cissé of Mali and Chadian Mahamat-Saleh Haroun all made the festival a home from home.

Recently, a new guard of young filmmakers has emerged – notably, with more women – including Welsh Zambian Rungano Nyoni, French Senegalese Mati Diop (niece of Djibril), Senegalese director Ramata-Toulaye Sy and Tunisian Kaouther Ben Hania.

But despite having the continent’s largest and most prolific filmmaking industry, Nigeria has had little representation at the festival.

Nigerian productions have appeared in festival sidebars like the International Critics Week (where “Ezra” by Newton I. Aduaka screened in 2007). But a search of the festival’s online archives shows no evidence a Nigerian movie has ever been a part of Cannes’ Official Selection – comprising the competition for the Palme d’Or, Un Certain Regard, Cannes Premieres, Special Screenings, Midnight Screenings and Cannes Classics.

Thierry Frémaux, general delegate of the festival, said at the press conference announcing the 2025 lineup on April 10 that the festival would be checking to confirm if indeed “My Father’s Shadow” marks a historic first Nigerian feature.


Nigeria’s big moves

Nigeria will have a big presence at Cannes this year. At the festival’s international village, Nigeria is back with its own national pavilion. There, the Ministry of Arts, Culture, Tourism and the Creative Economy will launch Screen Nigeria as part of the “Destination 2030; Nigeria Everywhere” campaign – a broad plan to create 2 million jobs in creative and tourism industries, and contribute $100 billion to Nigeria’s GDP by 2030.

The goal is to showcase the nation’s talent and promote international collaboration and attract foreign investment.

With the likes of “My Father’s Shadow” and other recent festival titles like “Mami Wata,” the first Nigerian film to premiere at the Sundance Film Festival in 2023, there are signs that Nigeria’s film industry is diversifying.

The 78th Cannes Film Festival runs from May 13-24. The premiere date for “My Father’s Shadow,” and its theatrical release date, are yet to be announced.

By Thomas Page, CNN

Cash-strapped Nigerians turn to YouTube for entertainment

It points to a shifting pattern as Nigerians grapple with one of the toughest economic crises in decades after President Bola Tinubu halted petrol subsidies that kept prices all round low and stopped support for the local currency.

Streaming platforms, cable TV and internet service providers are meanwhile on a price-hiking spree that has put off many clients.

Netflix increased monthly subscription fees twice last year to 7,000 naira ($4.50) from 4,400 naira for its premium package -- a substantial amount in a country where, according to the World Bank, over half of the 230 million people live in poverty.

Many people are slashing their entertainment budget, including cable and streaming subscriptions, according to Lagos-based think tank SBM Intelligence.

Nollywood, Nigeria's massive film industry, releases an average of 50 movies weekly, the second most prolific film industry in the world after India's Bollywood.

Health worker Adeleke Adesola, 31, from the southwestern city of Ibadan, has switched to watching movies on YouTube, driven not just by costs, but for its interactive nature.

"I feel good when I read a comment that speaks my thoughts about a scene or the movie. Also, because I don't have to pay monthly subscription to have access to YouTube movies," she told AFP.

Africa's pay TV giant MultiChoice reported losing nearly a quarter of a million subscribers between April and September 2024.


Production cuts

Despite an uptick in subscriptions last year, streaming juggernaut Netflix has cut back on commissioning new productions in Nigeria.

Prime Video has also adopted the same approach.

With movie tickets now considered a luxury by millions in the west African economic powerhouse, consumers and filmmakers are veering to YouTube and other cheaper alternatives.

Filmmaker and co-founder of iBAKATV YouTube Channel, Kazeem Adeoti, said the number of full-length movies on YouTube had grown tremendously.

Several top actors own YouTube channels to directly distribute their movies to consumers, he said.


YouTube movies 'cheaper'

Income from YouTube depends on factors such as watch time, audience engagement, copyright ownership and viewers' location.

"We see consistently high watch time... indicating strong audience interest in Nollywood content," Taiwo Kola-Ogunlade, spokesman for Google West Africa, told AFP.

"This increased watch time not only benefits the creators but also results in higher ad revenue for YouTube."

Seun Oloketuyi, film producer and founder of the Best of Nollywood (BON) awards, said YouTube had become more appealing to filmmakers as there were no specifications on the types of cameras to be used, the quality of costumes or the language mixes.

"Movies shot for YouTube are significantly cheaper than those to be screened at cinemas or on the digital streaming platforms," Oloketuyi said.

"It seems like a win-win for filmmakers who can spend significantly less on production, maintain ownership rights of the movies and still make good money."

Netflix and Prime say they don't plan on exiting Nigeria, but the contract terms for Nigerian filmmakers have now changed.

Nigerian films to which Netflix has screen rights are restricted to African viewers, leaving YouTube as the major alternative for the diaspora.

Friday, March 28, 2025

Nigeria Launches SDGs Short Film Challenge To Inspire Change Through Storytelling

Nigeria has officially launched the 2025 Sustainable Development Goals (SDGs) Short Film Challenge, marking the third edition of this initiative to leverage storytelling to promote sustainable development.

The Office of the Senior Special Assistant to the President on Sustainable Development Goals inaugurated the event in partnership with the United Nations Information Centre. The challenge is designed to engage filmmakers and encourage them to create impactful short films of up to 15 minutes, addressing critical issues such as poverty, gender inequality, climate change, and social justice.

Senior Special Assistant Adejoke Orelope-Adefulire emphasised the importance of storytelling in raising awareness, fostering dialogue, and inspiring action towards achieving the SDGs. Highlighting the success of previous editions, with increasing participation—from 73 submissions in 2022 to 2,250 entries from 119 countries last year—Orelope-Adefulire announced enhancements for the upcoming challenge. These include training sessions for emerging filmmakers to develop the skills necessary to craft meaningful narratives related to the SDGs. This year’s grand finale will take place over three days from August 21 to 23, 2025, featuring exhibitions and high-level discussions.

UN Resident Coordinator in Nigeria, Mohamed Fall, hailed the initiative as a celebration of creativity and a rallying call for sustainable development. He noted Nigeria’s potential as a storytelling powerhouse and emphasised the importance of empowering young Nigerians to address pressing issues through film. The 2025 SDGs Short Film Challenge aims to raise awareness and drive tangible action towards a more sustainable future, solidifying Nigeria’s role in utilising storytelling as a catalyst for change.

Thursday, March 6, 2025

Nigerian Watchdog Sues MultiChoice Nigeria Over Price Hike

The Federal Competition and Consumer Protection Commission (FCCPC) of Nigeria has initiated legal proceedings against MultiChoice Nigeria Limited and its CEO, John Ugbe, for breaching regulatory guidelines. According to a statement released on Wednesday, the action comes after MultiChoice Nigeria ignored a directive issued by the FCCPC regarding a proposed price increase for its pay-TV services.

Last month, the FCCPC instructed MultiChoice Nigeria to maintain its current pricing for its pay-TV services, including DSTV and GOtv, until a review of the proposed price hike was completed. Despite this directive, the company proceeded with the planned price adjustment on March 1, 2025, an act the commission describes as a clear violation of its oversight.

In response to this defiance, the FCCPC filed charges against MultiChoice Nigeria and John Ugbe at the Federal High Court in Lagos. The lawsuit includes three counts of offenses, with the agency accusing the company of deliberately obstructing its inquiry by going ahead with the price hike despite the explicit order to refrain from doing so.

A post on the social media platform X (formerly Twitter) by the FCCPC emphasized the agency’s stance, stating, “Following this blatant disregard for regulatory oversight, the FCCPC has filed charges against MultiChoice Nigeria and John Ugbe at the Federal High Court, Lagos Judicial Division, on three counts of offenses for willfully obstructing the commission’s inquiry by implementing a price hike contrary to directives.”

At the time of reporting, MultiChoice Nigeria had not provided any immediate response to the charges.

This legal action is the latest in a series of regulatory challenges the company has faced. In 2024, MultiChoice reached a settlement with Nigerian tax authorities, agreeing to pay approximately $37.3 million in taxes for its local subsidiary.

Monday, March 3, 2025

Video - Chinese short web dramas gain popularity in Nigeria



Chinese short web dramas are steadily gaining popularity in Nigeria. Many Nigerians are willing to pay for access to platforms like DramaBox and ReelShort, as the trend is changing viewing habits.

Friday, February 21, 2025

Video - Nigeria's Afrobeats music dominates global scene



Afrobeats music continues to make waves globally, with Nigerian artists taking center stage at the 2025 Grammys. Nigerian singer Tems won the newly created Best African Music Performance category with her song "Love Me Jeje." Tems was also featured at a Formula 1 event in the lead-up to the season opener in March.

Monday, February 17, 2025

Video - Experts appeal for more supports for Nigeria's Afrobeats



Despite Afrobeats’ global rise, experts say Nigerian artists still face major challenges that require government support. At the 2025 Grammys, Nigerians took a lead in the Best African Music Performance category, with Tems winning for Love Me Jeje.

Friday, January 31, 2025

Nigeria's Grammy-winning Tems cancels Kigali concert amid Rwanda-DRC tensions

















Nigeria's Grammy-winning singer Tems announced on Thursday she was cancelling an upcoming concert in Kigali over Rwanda's support of the M23 armed group waging an offensive in eastern DR Congo.

The announcement came amid international condemnation of Rwanda's backing of the M23 group, which seized control of the city of Goma this week in the Democratic Republic of Congo's mineral-rich east.

Tems, whose real name is Temilade Openiyi, revealed in a post on X that she was cancelling a concert at BK Arena in the Rwandan capital on 22 March.

"So I recently promoted my show in Rwanda without realising that there is ongoing conflict between Rwanda and Congo," she wrote.

"I never ever intend to be insensitive to real-world issues, and I sincerely apologise if this came across that way," said Tems, who became the first Nigerian singer to win a Grammy in 2023.

"I simply had no idea this was going on. My heart goes out to those affected."

So I recently promoted my show in Rwanda without realising that there is ongoing conflict between Rwanda and Congo. I never ever intend to be insensitive to real-world issues, and I sincerely apologize if this came across that way. I simply had no idea this was going on. My heart…

— TEMS (@temsbaby) January 30, 2025

The post came hours after M23 leaders vowed to "continue the march of liberation all the way" to the DR Congo capital Kinshasa.

The UK government said on Thursday it was considering reviewing British aid to Rwanda over its involvement in the crisis.

DR Congo has accused Rwanda of waging an offensive to profit from the region's mineral wealth. A report by UN experts in July supported these claims, finding that Rwanda has thousands of troops in eastern DR Congo - and holds "de facto control" over the M23.

Rwanda has denied the accusations.

President Paul Kagame has never admitted military involvement but has maintained the fighting cannot end until a DRC-based armed group, the FDLR, created by former Hutu leaders who massacred Tutsis during the 1994 Rwandan genocide, is eliminated.

Tems will perform in Johannesburg on 20 March 2025 at The Dome, Nasrec, which opens in January 2025, this will be her first South African concert.

Monday, January 27, 2025

Nigerian star 2Baba announces separation from wife

Popular Nigerian musician and performer Innocent Idibia, widely known as 2Baba or Tuface, has announced his separation from his wife, Annie Idibia.

One of Nigeria's biggest celebrity couples, Annie and Tuface got married in 2012 and had two daughters together.

In a post on Instagram, the African Queen singer said they had been separated for some time and had taken steps toward a divorce.

The post was later deleted but 2Baba then released a video to confirm that its contents were accurate.

The singer is seen as being one of the pioneers of the Nigerian music scene that is now popular around the world, paving the way for musicians like Wizkid, Davido and Burna Boy.

The couple had a star-studded wedding ceremony in 2013, an event which was widely followed in Nigeria even though it took place in Dubai.

The star is still widely known as Tuface even though he announced in 2014 that he had changed his name to 2Baba.

News of the separation has shocked fans and admirers across the continent as the couple had overcome previous problems and are one of Nigeria's longest-lasting celebrity couples.

The former Plantashun Boyz member says he plans to hold a press conference to provide more details, adding that he is committed to sharing his perspective directly with his supporters and music lovers around the globe.

"I and Annie Macauley have been separated for a while now, and currently filed for divorce," he said in the Instagram post.

In a bizarre twist, the post was deleted minutes later, followed by another saying the account had been hacked.

But 2Baba then went live on his Instagram account to confirm his initial post about the separation.

"No-one hacked my account, I said what I said, I come in peace," he said in the video.

The couple have also cut ties on social media, unfollowing each other on their respective platforms, backing the performer's statement about their split.

In the video of his most popular song, African Queen, Annie played his love interest and it is believed that their relationship blossomed from there.

Annie, an actor, recently trended on social media after she shared personal details about her marriage, including a miscarriage and struggles with her husband's other relationships, on the reality show Young, Famous & African.

By Mansur Abubakar, BBC

Wednesday, December 18, 2024

The Booming Creator Economy in Nigeria

Young talent managers are stepping up to professionalize the fast-growing content creator market that is coming to millions of mobile phone screens across Nigeria and the rest of Africa.

Some of the top talent already earn six-figure dollar sums with everything from comedy skits to travelogues and cooking shows. Most of that is earned through partnerships with brands trying to reach consumers who are glued to clips on Instagram, YouTube, and TikTok.

Olufemi Oguntamu, CEO of Penzaarville Africa, a Lagos-based talent management agency, said good creators such as his clients can bring in more than 8 million naira ($5,000) per video on average. But with higher production values they can easily bring in more than twice that. Penzaarville manages talent including travel vlogger Tayo Aina, who has 1 million YouTube subscribers, and comedian Broda Shaggi, who has over 12 million on Instagram.

Now content creators are leveraging their social media stardom to transition into Nollywood and television under the guidance of their managers. Taiwo Adeyemi, Founder of Boxx Culture, a talent management agency, said that film producers often approach his clients, not just because of their talent but also their ready-made audiences which run into the millions in some cases. “Nollywood producers are constantly trying to cast people who are content creators to boost the reach of their films,” said Adeyemi, whose clients include Ariyike Dimples and Koye.

While there’s plenty of glitz and excitement around being a creator in Lagos and the mini-fame that comes with having tens of thousands of followers and fans, not everyone is guaranteed to make a living. That’s where the talent managers come in.

In a fledgling creator market, where even Nollywood movie stars have not always been professionally represented, talent managers for online creators are playing a vital role in laying the groundwork for opportunities with major brands and other partners. Unlike in more developed entertainment markets, talent management here encompasses not just career guidance but also agency representation, as well as media affairs, and much more.

The potential is significant in a market which is overwhelmingly young and locked in to their mobile phones. The Africa creator economy is projected to hit a value of nearly $18 billion by 2030, according to Coherent Market Insights, though that total estimate includes other third party enablers, such as fintech companies.

Behind every great video lies a major investment of time, effort, and money spent on hiring recording gear and technical assistance, from editors and production managers to makeup artists. So managers are increasingly important to help the creators manage their costs as they gamble with higher production figures to attract more viewers. But their primary role is bringing in more lucrative brand partnerships.

Oladapo Adewunmi, founder of Lagos-based content and talent agency Apollo Endeavor, says managing partnerships with distribution platforms like Instagram and YouTube is relentless work given the 24-7 nature of social media and the internet. “We are constantly looking out and pushing for more opportunities for the creators and their content to be optimized to generate revenue,” says Adewunmi, whose clients include Josh2Funny and Brainjotter,

The money might be good but it’s important to note that not all brands will work with every creator, and that goes both ways. Oguntamu says he looks out for credibility and alignment of values between the brand and his client. “The brands have to be credible. Regardless of whatever amount you want to pay, I need to be sure that it’s not a brand that will create problems for my clients,”he said.

That confidence is driven by a certainty that the move to self-made creators is just beginning to take hold in the market. “The creator economy is just starting, creators are becoming the new thought leaders and shaping the minds of people,” stated Adewunmi.

By Torinmo Salau, SEMAFOR

Tuesday, December 10, 2024

Netflix cuts original Nigeria productions

Netflix has denied reports it is pulling out of Nigeria but local film producers and industry insiders told Semafor Africa the streaming giant has been cutting back on original productions.

“We are not exiting Nigeria,” wrote a Netflix spokesperson in an email.”We will continue to invest in Nigerian stories to delight our members.”

However two filmmakers who have worked with Netflix on Nigerian productions said some local filmmakers were told last month that their Netflix original projects were either being put on hold or shelved. The conversations with filmmakers were said to have come days after Netflix threw a glamorous “Lights, Camera… Naija!” party on Nov. 2 with a raft of Nollywood actors and celebrities at a venue in Lagos.

The devaluation of the local currency and runaway inflation are said to have made production costs unsustainable in the near term.

Filmmakers said they believe Netflix will continue to license Nigerian films, but likely only ones which already had some traction at local cinemas or elsewhere rather than investing in production.

Nigerian filmmaker Kunle Afolayan, whose comments are believed to have sparked the speculation, said he never suggested Netflix was exiting the country: “I clearly said they are cutting down on their exposure.”

Netflix signalled its Nigeria ambitions with the acquisition of Lionheart, a film produced in 2018 by industry veteran Genevieve Nnaji, as its first original in the country. The streamer has since commissioned and co-produced multiple original series and films in the years since, opening up a new medium for Nollywood’s deep bench of screenwriters and producers to complement theatrical releases.

The King’s Horsemen, a Yoruba language epic that premiered on the platform in 2022, became the first cinematic adaptation of a novel by Nobel Laureate Wole Soyinka. Last year’s hit crime thriller The Black Book had the kind of global reach that appeared to signal to audiences that the world was ready for African storytelling and that it would be a big part of Netflix’s content future. 

Yinka Adegoke and Alexander OnukwueSEMAFOR

Related story: How Nigerian filmmakers mismanaged Netflix funds, splurged on luxury cars – Basketmouth

 

Friday, December 6, 2024

How Nigerian filmmakers mismanaged Netflix funds, splurged on luxury cars – Basketmouth

Nigerian comedian-cum-filmmaker Bright Okpocha, popularly known as Basketmouth, has sparked controversy by alleging that Nollywood producers mismanaged funds provided by global streaming platforms like Netflix.


Basketmouth’s remarks come on the heels of Netflix’s decision to halt the acquiring of movies and funding movies in the country effective November 2024 as revealed by Victor Ohai, president of the Directors Guild of Nigeria at the just concluded Zuma Film Festival in Abuja.

Netflix’s latest decision comes almost two years after its biggest rival in Nigeria, Amazon Prime Video, made a similar move.

Netflix has, however, debunked the reports, saying it remains committed to investing in Nigeria.

In a recent interview on Arise TV, the 46-year-old comedian made some damning allegations, which according to him, were some of the challenges the streaming giant contended within its dealings with Nigerian filmmakers in the past years.

Since it entered into Nigeria in 2020, Netflix has helped Nollywood gain further global recognition.

By 2022, Netflix, in its ‘Socio-Economic Impact in South Africa, Kenya and Nigeria’ report, revealed it invested $23 million in Nigeria, funding over 250 titles and creating jobs.

However, this was much less than the $125 million it invested in South Africa due to better infrastructure and higher returns.
 

Diversion of funds

Basketmouth alleged that most Nigerian producers divert substantial portions of the budgets allocated for streaming platform-funded films to personal luxury.

The comedian-turned-filmmaker said, “When the streaming platforms came in, they provided significant funding to producers. But these producers would take the $1.5 million or whatever they’re given and use about 10 per cent to make the movie. The rest? Houses, cars, and personal expenses. I can’t call names, but they know themselves.”
 

Averted transparency

Basketmouth expressed frustration over producers undermining Netflix’s initiative to pay actors directly and criticised the ripple effects of such practices on the quality of Nigerian films.

The stand-up comedian said, “I’m not generalising, but most of them—70 per cent or more—misuse these funds. When the platforms noticed, they started paying actors directly to ensure transparency. But even then, these producers would go behind the scenes and demand that actors return half of their pay.

“When you do that and expect your movie to be 100 per cent, it can’t. That’s why some of our epic movies look like stage plays. The horses? They’re lean and coughing!

“If you’re given $1.5 million to make a movie, use it all for the production. That’s how you get quality, but cutting corners for luxury and lifestyle shows in the final film product.”

Despite its vibrant creativity, Nollywood faces systemic challenges such as piracy, limited infrastructure, economic challenges and inadequate internet access, making it difficult for streaming platforms to achieve high returns on investment.

In November, Basketmouth released his debut feature film, ‘A Ghetto Love Story,’ starring Akah Nnani, Beverly Osu, Patience Ozokwor, Efe Irele, and Chioma Chukwuka. FilmOne Entertainment revealed that the movie grossed ₦51 million in Nigeria and Ghana, with ₦22.3 million from its opening weekend.

By Nosakhale Akhimien, Premium Times

Related stories: 3 Nigerians selected for Netflix Development Lab to engender more local African content

Netflix involvement in Nollywood

Netflix's new Nigerian movie Hijack '93 out today

Monday, November 25, 2024

Video - Nigeria pushes to replace foreign cartoons with local ones



Nigerian officials say foreign cartoons are contributing to cultural dilution among the youth. To address this, the country's National Orientation Agency plans to support the production of more local content, a move experts believe could also create jobs and grow the film industry.

CGTN

Tuesday, November 19, 2024

Nigeria’s Chidimma Adetshina emerges second at Miss Universe 2024

Nigeria’s representative, Chidimma Adetshina, finished as the first runner-up at the 73rd Miss Universe Competition held in Mexico.


The final moments of the prestigious event at the Arena CDMX in Mexico City, Mexico announced early Sunday morning saw an electrifying face-off between Nigeria and Denmark, as the two women stood poised to claim the crown.

The competition, described as one of the most thrilling in recent years, celebrated the talents, intelligence, and elegance of women from around the globe.

In a post via Instagram, the organisers said, “The final two! Nigeria and Denmark, two incredible women, one unforgettable moment.”

Miss Denmark, Victoria Kjaer Theilvig, ultimately won the crown taking over from Miss Universe 2023, Sheynnis Palacios of Nicaragua.

Meanwhile, Adetshina’s exceptional performance and grace earned her widespread admiration from judges and audiences alike.

Earlier, Adetshina’s official withdrawal from the Miss South Africa 2024 contest, which she had advanced to the final stage of, caused controversy a few months ago.

She made the decision in response to worries expressed by some South Africans who questioned her nationality.

Nevertheless, Adetshina went on to represent Taraba State and win the title of Miss Universe Nigeria.

This is not the first time a Nigerian has achieved this feat.

On November 16, 2001, Nigeria’s Agbani Darego became the first Black African to win the coveted Miss World title at the age of 18.

As a result of her success, “Agbani” became a phrase linked to slender beauty in Nigeria, where many women looked up to her appearance.

As the first Most Beautiful Girl in Nigeria winner to win Miss World, Agbani’s triumph rippled throughout Nigeria and was a great moment for the continent.

By Makua Ubanagu
,Punch

Friday, October 25, 2024

Netflix's new Nigerian movie Hijack '93 out today


On 25 October 1993, four teenage boys boarded a Nigeria Airways flight from Lagos to Abuja with a clear agenda: hijack the aircraft, take all 193 passengers hostage and force the government to bend to their demands.

The moment the pilot told passengers they could unfasten their seatbelts, the young men - aged between 16 and 18 - sprung into action.

After entering the cockpit with a fake gun, the second step of their plan was to declare that the commercial aircraft - which had several leading politicians on board - was now being controlled by the Movement for the Advancement of Democracy (MAD).

'Remain calm, we will not harm you,' they reportedly told the terrified travellers. 'You will be told where the plane will land you.'

But despite their claims that there would be no casualties, the teenagers' carefully constructed plan quickly descended into chaos - culminating in the death of a crew member following four days of tense negotiations.

31 years on from the incident, Netflix has dramatised the case in their film Hijack '93, which lands on the streaming platform tomorrow.

Here FEMAIL delves into hijacking that had Nigeria on tenterhooks in October 1993 - and why the men have since been celebrated as heroes.
 

Political unrest in run-up

The 1980s and 1990s were a particularly turbulent time for politics in the West African country.

In 1983, the Nigerian military staged a coup to overthrow President Shehu Shagri's elected government.

Over the next 10 years, power only passed through the hands of the military, which resulted in internal uprising and power struggles among leaders.

In 1990, Major Gideon Orkar attempted to overthrow the government through a failed military coup - after General Ibrahim Babangida took power via the same means five years before.

Three years later, the country went to the polls for the first time in over a decade - with Chief Moshood Kashimawo Olawale Abiola, who was the leader of the Social Democratic Party, winning over the National Republican Convention's Alhaji Bashir Tofa.

Although MKO Abiola won in a landslide and secured eight million votes, the military government proceeded to annul the election - citing security threats.

At the time, military leader General Ibrahim Babangida said in a statement that 'these steps were taken to save our judiciary from being ridiculed and politicized locally and internationally'.

However, the decision led to unrest among the population amid growing fears there would be indefinite military rule.

A Western diplomat in West Africa told the New York Times in 1993: 'The military has only themselves to blame for this mess.'
 

Hijacking plane with a toy gun

After three months of protests, teenagers Richard Ogunderu, Kabir Adenuga, Benneth Oluwadaisi and Kenny Rasaq-Lawal decided to send a message to the Nigerian government.

When they boarded the Nigeria Airways plane, the foursome had already prepared statements demanding MKO Abiola be instated as the country's rightful leader, which they handed out to passengers.

They also demanded the military return embezzled money to the state and reopen a series of closed newspaper companies and universities.

Before the incident, Ogunderu - who grew up in a middle class neighbourhood and was one of five children - told Sahara Reporters that some of them had not even been on a plane before.

Speaking to Neusroom in 2022, Richard Ogunderu's father Yemi described him as 'strong-willed and obstinate'.

He added: '[Richard] would tell me, "you old men just sat there bemoaning your fate, won’t you do something about this country?"

'The relationship between us was beyond father and son. We relate like brothers. I didn’t even know when he became a member of MAD. He had never discussed activism with me even though he knew I’m highly opinionated about socio-political issues.'

Speaking to The Punch, one of the hijackers said they targeted this specific aircraft because it 'flew the calibre of people we wanted to deal with'.

As well as China's vice president Rong Yiren, there were also top Nigerian government officials on board.

Speaking to the Sahara Reporters in 2009, Richard Ogunderu - who was the group's leader - explained: 'We were on a mission.

'We wanted to show the evil [military] regime that young people were prepared to go the extra length to free Nigerians from the yoke of military dictatorship.'

He then revealed how he was the one to enter the cockpit, where he pointed a fake gun at the pilot and told him to redirect the plane. A fellow hijacker later claimed that Ogunderu pretended to be a student who wanted to look at the plane's controls.

Although reports stated that Ogunderu wanted to land in Germany, the plane didn't have enough fuel - as their planned journey should have only taken just over an hour.

As such, the hijacker settled on Niamey in Niger instead - where they were met with armed forces.

While the aircraft was still in the air, the hijackers doused themselves in the six litres of fuel they had smuggled onto the plane and threatened to set themselves on fire if passengers didn't follow orders.
 

Threatening to blow up plane

After the plane landed, the hijackers began negotiations with the police - with the foursome initially demanding they get more fuel so they could fly to Frankfurt.

When this was denied, they teenagers urged the government to recognise the results of the June Nigerian Presidential election.

If MKO Abiola was not sworn in as President in 78 hours, the teenagers claimed they would set the plane on fire.

In an interview with The Nollywood Reporter in July 2023, Richard explained how he was connected to a BBC journalist to 'tell the world their message'.

He added: 'I said we were going to burn the plane within 78 hours if our requests were not met.

'Of course, that was just a scare tactic. We've decided to let the pleading passengers go the next day.'

In the first two hours, the hijackers released women and children - before releasing a further 129 the following day, including the Chinese vice president.

However, they refused to give up the crew or Nigerian government workers.

At first, the authorities offered not to arrest the hijackers - as long as they released the remaining hostages.

Ogunderu added: 'We were not afraid, at that moment, death meant nothing to us.'


Rescue operation leaves one dead

For four days, authorities held off on entering the aircraft - fearing the hijackers may detonate a bomb.

But on 28 October, police stormed the plane in the middle of the night.

'They thought we were asleep, so they came under the cover of the night and fired several shots,' Ogunderu said. 'They bombarded the plane.'

The rescue operation claimed the life of crew member Ethel Igwe while Richard was also injured. One of the hijackers later said over 300 shots were fired during the mission.

Richard told the Nollywood Reporter: 'I am deeply sorry about [Ethel's] death, and that in itself was one of the reasons we were clamouring for democracy.

The military government was notorious for wanton killing and abuse of human rights. That should never have happened.'

Following this, the hijackers were arrested and were sentenced to over nine months in prison in Niger. They claim to have served their sentence in one small cell, which also served as a toilet.
 

Remembered as 'heroes'

Despite the teenagers' efforts, the interim military government was replaced by General Sani Abacha's dictatorship.

The late dictator was in power from 1993 to 1998 and was the last successful military coup in the country's history.

Although they were unsuccessful in achieving their goal, Richard Ogunderu, Kabir Adenuga, Benneth Oluwadaisi and Kenny Rasaq-Lawal are seen by some as modern-day 'heroes'.

Speaking to The Punch in 2023, Benneth Oluwadaisi said he wanted to 'fight for the stability of democracy in Nigeria'.

In response to the report, one X user wrote: 'These guys are heroes, honestly. The way they went about it, though, wasn't plausible, but they have earned my respect for their courage and brevity.'

Another added: 'In as much as this is a wrong thing to do, I'm proud of them. They fought for freedom, democracy and what they believed in.'

By Lydia Hawken, Daily Mail
 

Related story: 3 Nigerians selected for Netflix Development Lab to engender more local African content

Tuesday, October 1, 2024

Video - Nigerian Netflix epic, Lisabi tops chart in Nigeria



A newly released Nigerian epic movie, Lisabi has topped the Netflix chart in Nigeria and entered the top 10 charts in Kenya and Mauritius. Lisabi is a legendary story of local rebellion against an oppressive empire and its agents derived from a Yoruba historical account.

Released on Friday, September 27, Lisabi is produced by Niyi Akinmolayan and features an exciting list of actors. These include Boma Akpore, Adebowale Adedayo, Gabriel Afolayan, Ibrahim Chatta and Lateef Adedimeji.

Set in the 18th-century Oyo Empire, the movie attempts to tell to retell the story of the Oyo Empire, but from an angle not expected and not unfamiliar. It tells the story of Lisabi Agbongbo-Akala and the Egba people’s fight against the mighty Oyo Empire in the 18th century to highlight how bravery and unity can guarantee independence.

The Oyo Empire, one of the most powerful West African states at the time, exerted significant control over many neighbouring peoples, including the Egba. This control was marked by heavy tribute demands and forced labour.

Songodeyi, the ruthless head of the tribute collectors, alongside his brutal subordinates, terrorizes the Egba people, despite their compliance with the tribute demands. Their cruelty has no bounds—they take more than what is owed, rape young women, and kill anyone who dares to resist their tyranny. As their oppression worsens day by day, life becomes unbearable for the farmers and villagers of Egba land.

Lisabi Agbongbo-Akala was a resourceful Egba farmer who organised a rebellion against the oppressive Oyo rulers. With his strategic brilliance and leadership, Lisabi forms the Aaro society, a communal work group that secretly becomes the backbone of the uprising.

He also turned out to be a skilled military strategist and farmer who united several Yoruba groups to launch an attack against the Oyo Empire between 1775 and 1780.

According to the movie, Lisabi (Lateef Adedimeji) used the combined strength of his fellow farmers and the support of different deities to equip his folks to fight an evidently superior force and win their freedom.

Before gaining their independence, communities such as Ijaiye, Gbagura, and Igbeyin were all under the control of the Oyo Empire. Lisabi’s rebellion marks a turning point in Egba’s history, as he leads his people to victory and freedom from the Oyo Empire’s domination, cementing his legacy as a hero and liberator.

Technext

Tuesday, September 17, 2024

How a beauty queen became the face of South Africa-Nigeria tensions

Anita Odunyao Solarin, a 21-year-old Nigerian who has spent her entire life in South Africa, finds it safer not to disclose her West African roots.


She does her best to assimilate with her peers and rarely volunteers her origins. This, she says, shields her from persistent bullying – a phenomenon she’s faced since childhood after moving to South Africa as a baby.

“I try not to show where I am from or look Nigerian. I hide my identity socially,” Solarin told Al Jazeera. “Because I’ve had to do it for so long, it has become normal.”

Her earliest memories of the tensions between South Africans and Nigerians date back to kindergarten, where she was mistreated by a peer.

“It was disheartening. A child, just four years old, hated me even though we were in the same school, looked the same, and did the same things,” Solarin shared.

“My school life was tough because I was bullied for my background. I was called names, especially the derogatory term, makwerekwere [a local slur for foreigner]. South Africans have this idea that if you’re not one of them, you don’t deserve to be here,” she added, her frustration still palpable.

Solarin was brought up in Pretoria, but she doesn’t feel like she belongs in South Africa. Even decades on, she says it’s still easier for her – and other young Nigerians – not to disclose their heritage.

“Not many Nigerian children here will say ‘I am Nigerian’ because they are scared of the backlash and the hate. It’s just not safe for them,” she said.

South Africa has a long history of simmering anti-foreigner sentiment, and social tensions directed at other Black Africans in the country have turned violent over the years.

However, it’s recent events that have deepened Solarin’s disappointment with South Africa when, last month, 23-year-old beauty queen Chidimma Adetshina faced such severe xenophobic harassment as a finalist in the Miss South Africa (Miss SA) pageant that she eventually exited the competition.
 

Chidimma Adetshina debacle

Adetshina, who was born in Soweto, Johannesburg to two immigrant parents, proudly spoke of her Nigerian heritage during Miss SA, sparking outrage from South Africans on social media.

Many insisted she had no right to represent South Africa in the competition.

When the controversy around Adetshina began, Solarin said she raised the matter for discussion with some of her international relations professors at the University of Pretoria, but was largely ignored. Her peers, on the other hand, tried to justify their belief that Adetshina should be disqualified based on unfounded rumours that her father may have been linked to criminality.

“[Adetshina] was bullied online because her father was Nigerian. If it had been any other nationality, there wouldn’t have been a problem,” Solarin said. “People even said her father was a drug dealer. Where does that come from? It’s the assumption that all Nigerians are criminals – it’s annoying.”

For weeks, Adetshina endured trolling and abuse, with the online vitriol amplifying existing South African-Nigerian tensions that are fuelled by economic frustrations and stereotypes about foreigners.

South Africa suffers from widespread unemployment and sluggish economic growth. While the government does little to improve the situation, many find it easier to turn on migrant African communities, accusing them of taking jobs and increasing criminality. These tensions inevitably spill into social media debates, where xenophobic rhetoric soars.

Adetshina’s situation came to a head when a video went viral of her celebrating her Miss SA qualification with her father, who was dressed in traditional Nigerian attire. The backlash was swift and relentless.

South Africa’s Minister of Sports, Arts, and Culture, Gayton McKenzie – known for his xenophobic rhetoric – only added fuel to the fire.

“We truly cannot have Nigerians compete in our Miss SA competition. I wanna get all the facts before I comment, but it gives funny vibes already,” McKenzie posted on X.

This statement set off a barrage of online abuse, escalating into manifest threats – despite the fact that Adetshina was born in South Africa and therefore qualified to compete.

The South African Department of Home Affairs launched a formal investigation. Minister of Home Affairs Leon Schreiber alleged that Adetshina’s mother had committed identity theft when registering her as a South African citizen.

While the government admitted Adetshina had committed no crime, her mother – who claims South African and Mozambican descent – became the subject of a criminal investigation. Both women denied any wrongdoing, but the pressure eventually forced Adetshina to withdraw from the Miss SA pageant.

“I have made the difficult decision to withdraw from the competition for the safety and well-being of my family and me,” she announced on Instagram in August, days before the Miss SA final.

The abuse had become too much to bear, leading her to quit social media platform X and limit her Instagram engagement. Adetshina later went on to compete in and win the Miss Universe Nigeria contest, representing her father’s homeland on the basis that she carries dual citizenship.

In interviews, Adetshina shared how the ordeal left her questioning whether she would ever return to South Africa. The emotional scars were so deep that she admitted she would seek therapy to cope.
 

‘Disappointed in South Africa’

For Solarin, Adetshina’s withdrawal was disheartening.

“I was very disappointed in South Africa,” she said, her voice filled with regret. Solarin, who dreams of one day becoming a public figure in the political arena, hopes to educate people about the consequences of the social tensions between South Africans and Nigerians.

However, “I don’t see a future for myself in South Africa”, she confessed.

Solarin’s mother, Doris Ikeri-Solarin, who is the head of the civic group Nigerian Union South Africa, says Adetshina was unfairly targeted by anti-Nigerian sentiment.

“This young lady was born, raised, and educated in South Africa. Whatever happened before she was born, she had no control over it. She grew up with the ambition of becoming a beauty queen, and suddenly, because of this tension, she has fallen victim. Even if it turns out her mother was involved in identity fraud, Chidimma shouldn’t have to bear the consequences,” she said.

She views the bullying of Adetshina as a symptom of a deeper rivalry.

“This goes beyond Chidimma. You see it in sport, in school competitions – any time there’s a Nigerian involved, there’s this underlying envy. South Africans don’t want Nigerians to outshine them,” she said.

Ikeri-Solarin compares the experiences of her two daughters: 21-year-old Anita, who studies in South Africa, and 23-year-old Esther, who studies in the United States.

“There’s a stark difference. In South Africa, they see foreigners as threats,” she said, adding that the government should do more to educate citizens. “People migrate all over the world. There are South Africans living abroad, and they’re not treated the way Nigerians are here.”

South Africa witnessed outbreaks of severe xenophobic violence in 2008 and 2015 in which dozens of people were killed. NGO Xenowatch also reported 170 incidents of xenophobia in 2022 and 2023 and 18 incidents in the first quarter of 2024.

South African foreign relations analyst Sanusha Naidu explained that anti-immigrant sentiment in South Africa is Afrophobic. However, she cautioned against interpreting the Adetshina debacle as South Africans targeting Nigerians more.

“Let me put it this way, Nigerians give as they get,” she said of the online social rivalry between both states.

Naidu said tensions between large African countries were political, economic and social.

“I think the challenge is not about South Africa and Nigeria and whether we [are] Afrophobic towards them … There are many competing factors and drives and push and pull issues that informed the way we react,” she said.
 

‘Needs aren’t being met’

Harvest-Time Obadire, a Nigerian who moved to Johannesburg to attend high school in 2001 and later pursued a master’s degree in sustainable energy, has had a different experience than Solarin.

“In person, I haven’t faced xenophobia. My interactions have been pretty normal. Online, though, that’s where the confrontations happen,” he said.

Obadire believes the root of the social tension is frustration on both sides.

“Everyday South Africans feel like their needs aren’t being met, and then they see someone who’s different from them seemingly getting ahead. On the other side, Nigerians are open about their success, which creates friction,” he explained.

Unlike Solarin, Obadire found university life in Johannesburg welcoming and even secured employment after graduation. However, when asked about the Adetshina controversy, he admits both sides could have handled it better.

Meanwhile, Joseph (not his real name), a South African security guard working at Chris Hani Baragwanath Hospital in Soweto – where Adetshina was born – claims that many foreign nationals give birth at the hospital and attempt to register their children as South Africans through illicit means.

“Money talks here,” Joseph said, alluding to corruption in government services.

In Soweto, 22-year-old Patience Dlamini harbours negative views about Nigerians, echoing widespread stereotypes.

“Nigerians commit a lot of crimes,” she said, though she admits she has no proof. “I don’t think the government would lie about her [Adetshina’s] mother stealing someone’s identity. They need to get to the bottom of it.”
Dlamini’s sentiment is shared by other young South Africans who believe that Nigerian immigrants dominate sectors like hospitality and retail while contributing to unemployment and crime.

The social media storm around Adetshina even spurred pranks between South Africans and Nigerians on the e-hailing platform Bolt – which is big in both countries. The taxi app allows users to book “intercountry” requests. People in both countries took advantage of this last month, with Nigerians requesting rides in South Africa and South Africans requesting rides in Nigeria before cancelling them. The so-called ‘Bolt war’ caused prices to surge, left some riders stranded, and led to Bolt restricting intercountry requests.
 

‘Being a successful migrant is a crime’

Alex Asakitikpi, a Nigerian sociologist based in Johannesburg, warns that online tensions can have real-life consequences. He attributes the conflict to economic rivalry between South Africa and Nigeria.

“The comments made by some South African ministers about Chidimma certainly escalated the issue,” he said.

Asakitikpi, who moved to Johannesburg in 2012, acknowledges that while he has experienced xenophobia, most of his South African colleagues have been supportive.

“I overlook the subtle hostility. But I’ve taken precautions, like stopping communication with certain individuals. I don’t visit them anymore, nor do I invite them to visit me,” he admitted.

He argues that politics and media narratives often fuel xenophobia towards Nigerians.

“It’s unfortunate. Just recently, the South African government denied a Nigerian sports team visas. Such actions institutionalise antagonism,” he said.

Olorunfemi Adeleke, a migrant rights activist, agrees.

“In South Africa, it’s almost like being a successful migrant is a crime. The moment you succeed, you face a barrage of investigations,” he said.

Adetshina’s experience, while tragic, underscores the complexities of South African-Nigerian relations, analysts say.

These tensions, though most visible online, reflect deeper issues that both countries must confront if they hope to foster peace and mutual understanding.

Both South Africans and Nigerian social analysts agree that the rivalry doesn’t benefit either country or its people.

By Qaanitah Hunter, Al Jazeera

Monday, September 16, 2024

Video - Creative industry has room for growth in Nigeria



Nigeria’s creative industry is growing rapidly, but analysts say more needs to be done to overcome challenges and fully realize its potential for economic growth.

CGTN