Can the Milkmaid win Nigeria’s first Oscar?

When the Nigerian Official Selection Committee sat down to select Nigeria’s nominee for the 2021 Academy Awards last December, the jury voted overwhelmingly for Desmond Ovbiagele’s film The Milkmaid over the sex-trafficking drama Oloture and film festival toast Eyimofe.

Unlike Genevieve Nnaji’s Lionheart which the Academy disqualified from the international feature film category last year for having English as the main language of the script, The Milkmaid fulfils the requirement for a predominantly non-English dialogue track. It conveys authenticity with Hausa, Fulfulde and Arabic, three languages hermetically spoken throughout the film.

The film follows the story of two sisters, Aisha (Anthonieta Kalunta) and Zainab (Maryam Booth), who get separated when insurgents attack their village. Aisha is determined to rescue Zainab from her captors and traces her whereabouts to an enemy camp, where she is enslaved and treated inhumanely.

A sophomore feature from Ovbiagele after his 2014 crime thriller debut Return to Caesar, The Milkmaid is a compellingly superior entry into Nollywood’s Boko Haram-themed cinema.

The genre is relatively new, inspired by the Boko Haram insurgency in Northern Nigeria, which began its deadly uprising in 2009 and has claimed the lives of more than 37,000 people and displaced 2.5 million. Most of these films are not made to be box office hits as they usually employ largely unknown actors, so they sail under the radar.

But with Joel Kachi Benson’s Daughters of Chibok winning a Golden Lion at the 2019 Venice Film Festival and Netflix picking up Adekunle Adejuyigbe’s The Delivery Boy a year later, the genre is slowly occupying an expanding space in the public imagination and has set off some conversations about violence in society.

Tackling such sensitive issues as religious extremism and violence, The Milkmaid has predictably faced censorship at home. The Nigerian Film and Video Censors Board (NFVCB), the government agency whose mandate is to regulate the creation, distribution and exhibition of films and video products by rating them, denied the film classification because it felt it portrayed Islam as an enabler of religious extremism.

To obtain a classification for pubic screening in Nigeria, 24-minutes-worth of footage was cut from the director’s original version. “We had to remove everything – costume, dialogue, language that was an authentic depiction of a particular religion, even though there is nothing in the film that states that the religion was directly responsible for violence,” Ovbiagele said in a December 2020 interview.

The Milkmaid’s censorship was to be expected, considering the NFVCB’s history of stifling artistic freedom and paranoia that films can threaten national unity. The film does not suggest Islam inspires extremism and it also does not glorify terrorists and whatever their motivations are. Rather it exhumes the traumatic experiences of women and girls in a world blighted by insurgency. Although the film is yet to do a wide release, the response from the members of the Muslim community who have seen it at private viewings has been positive.

Because of censorship at home, The Milkmaid turned to Cameroon and Zimbabwe for its theatrical release in November, then went on a limited run with its toned-down cut in select Nigerian cinemas in afterwards. Garnering local buzz, the motion picture swept last year’s Africa Movie Academy Awards with eight nominations and four awards, including Best Film.

For the Oscars, Ovbiagele sent the film’s original version, which contains all the elements of a potential winner: a compelling story, captivating actors’ performance and masterful cinematography.

Through Ovbiagele’s deft handling of the camera, audiences can see how beauty tightly intertwines with violence, creating a stunning artistic patchwork. This visual language is defined by the crisp cinematography of Yinka Edwards whose technical detailing does not just dwell on scenery but also within interpersonal spaces.

At the core of that is a feminine reckoning with extremism and its fallouts – the abduction of women and girls, violence and enslavement.

There is something particularly auspicious about The Milkmaid’s Oscar campaign footprint. But will it appeal to the Academy?

Aside from its obvious artistic merit, the Oscar fate of The Milkmaid will be determined by how the Academy voters – representing the American audience – see anti-terrorism messaging almost 20 years after the start of the US “war on terror”.

Like Nollywood, Hollywood too has experienced a boom in the production of films inspired by the themes of extremism and insurgency. A few have even made it to the Oscars and won.

The genre has successfully propelled the US government narrative of its forces fighting foreign terrorism and restoring stability to faraway conflict-torn regions and has done little to illuminate the disastrous consequences of US anti-terror-driven imperialism.

Although it does not tackle the international aspect of the Boko Haram insurgency, The Milkmaid fits well into this mainstream US narrative about terrorism. Its story would feed into the American viewers’ self-righteous disdain for overseas terrorist groups and will probably be well received. Whether this is what the Academy will be looking for in this year’s international film feature category remains to be seen.

By Bernard Dayo

Al Jazeera

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Netflix shines light on Nigerian sex trafficking

Set in the shady underworld of Lagos brothels, Nigerian thriller Òlòtūré gives viewers an inside look at the sex trafficking schemes that ensnare thousands of Nigerian women each year.

The film is fictional but aims for a realistic and gritty picture to raise awareness of what is a persistent and little-discussed problem, said 36-year-old director Kenneth Gyang.

For decades, scores of Nigerian women and girls have been lured to Europe with promises of work, then trapped in debt bondage and forced to sell sex.

The United Nations migration agency estimates that 80% of Nigerian women arriving in Italy - more than 11,000 in 2016 - are potential victims of sex trafficking.

“I know people are not always receptive to documentaries, so sometimes you have to put these things in fiction so that people will see it,” said Gyang, who won international acclaim for his first film, Confusion Na Wa, in 2013.

His thriller debuted on Netflix this month and quickly became the streaming service’s most-watched film in Nigeria, reaching the top-10 list in another 13 countries.

“For me it’s about people watching the film and then trying to push for policies that will protect these young women from getting trafficked,” he told the Thomson Reuters Foundation.

In the movie, a journalist goes undercover as a sex worker to expose human trafficking and quickly gets in over her head.

It is worlds away from the films that are usually popular in Nollywood, Nigeria’s massive film industry, which favours comedies and light-hearted tales about rich people, said Gyang.

“The producers were not sure how it was going to be received,” he said.

“When the film came out, it was #1 on Netflix in Nigeria and on social media, everybody was talking about it. People were angry. People were talking about the fact that they didn’t know this is what happens when people get trafficked.”

In one scene, sex workers undergo a religious ritual that binds them to their traffickers with black magic - a common practice that renders women too fearful to mount an escape.

Gyang said he sought support from NAPTIP, Nigeria’s anti-trafficking agency, to make sure he got the details right.

Part of his motivation, he said, was seeing Nigerian women on street corners when he travelled in Europe.

Foreign donors have poured money into anti-trafficking programmes in the traditional industry hotspot, Edo State, but experts say sex traffickers are now moving to other parts of Nigeria to avoid detection.

"I hope what will happen is that the right people in the right places will see the film, and then the relevant bodies will push for policies to try to help these young women," said Gyang. (Reporting by Nellie Peyton, editing by Lyndsay Griffiths; Please credit the Thomson Reuters Foundation, the charitable arm of Thomson Reuters, that covers the lives of people around the world who struggle to live freely or fairly. Visit news.trust.org)

By Nellie Peyton

Reuters

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New Nollywood film shines a light on human trafficking in Nigeria

 

Dressed in a transparent and colorful blouse, a sex worker in Lagos, the commercial center of Nigeria jumps out the window of a room at a party to avoid having sex with a potential customer.
She is seen, heels in her hand, running away from the party and eventually getting into a bus heading back to a brothel, where she lives with other sex workers.

These scenes are from the Netflix original film, "Oloture," in which we later find out that the sex worker, also named Oloture, is a Nigerian journalist who is undercover to expose sex trafficking in the country.

Every year, tens of thousands of people are trafficked from Nigeria, particularly Edo State in the nation's south, which has become one of Africa's largest departure points for irregular migration.
The International Organization for Migration (IMO) estimates that 91% victims trafficked from Nigeria are women, and their traffickers have sexually exploited more than half of them.
 

Through "Oloture," the difficult realities of these women, particularly those who are sexually exploited, come to light. It shows how they are recruited and trafficked overseas for commercial gain.
Directed by award-winning Nigerian filmmaker, Kenneth Gyang, the film features Nollywood actors including Sharon Ooja, Omoni Oboli and Blossom Chukwujekwu.
 

Mo Abudu, executive producer of "Oloture," told CNN that the crime drama was inspired by the numerous cases of trafficking around the world and in Nigeria.

"There have been many reports around the world highlighting human trafficking and modern slavery. It has been in our faces. I dug and dug and did a bit more research, and when I came across the numbers and saw how much was made annually from human trafficking, I was totally shocked," she said.
Human trafficking is a $150 billion global industry. And two-thirds of this figure is generated from sexual exploitation, according to a 2014 report by the International Labor Organization.
Abudu -- who is also CEO of EbonyLife Films, which produced "Oloture" -- added that the film mirrored some real-life reports by journalists who had gone undercover to expose sex trafficking patterns in the country.

One of them, she said, was a 2014 report by journalist Tobore Ovuorie, in the Nigerian newspaper, Premium Times. 

"Upon research, we found that many journalists had gone undercover to report on human trafficking. But the Premium Times article did spark our interest as some of it plays out in the film," Abudu said.

Easy prey for traffickers

Ovuorie, whose report was credited in "Oloture," told CNN that women often get trafficked as a result of their need to make money abroad. Ovuorie said she met many women in the course of her reporting who wanted to get to Europe in hopes of better job opportunities that would earn them more money.

"People were motivated by greed, you know, the need to get rich. I spoke with the women I was supposed to be trafficked with, and many of them wanted better lives motivated by money. There was one girl who had never earned more than 50,000 naira (about $130) as salary since she graduated from university," she told CNN.

Most of the women were fleeing harsh economic conditions and poverty, making them easy prey for traffickers, Ovuorie said.

During Ovuorie's investigation, she said she posed as a sex worker on the streets of Lagos, looking to travel to Europe.

Her plan worked. She was eventually linked with a trafficker who promised to get her to Italy. In partnership with ZAM Chronicles and Premium Times, she documented her experience.

After a series of "humiliating trainings" and physical abuse, she said she was told she and other girls would receive a fake passport in preparation to be smuggled outside the country through the border in Benin in West Africa.
She escaped at the border.

Physical and sexual abuse   

Many women who are trafficked in Nigeria face sexual, physical and mental abuse, according to a 2019 report by Human Rights Watch.
 

The rights group interviewed many women who said they were trafficked within and across national borders under life-threatening conditions as they were starved, raped and extorted.
On some occasions, according to the report, they were forced into prostitution where they were made to have abortions and coerced to have sex with customers when they were sick, menstruating or pregnant.
 

"Oloture" portrays some of these harsh realities as the lead character (played by Ooja) suffers sexual violence and physical abuse, including being whipped by one of her traffickers.
It was important to depict the reality of sex trafficking so viewers can understand the experiences of women who are forced into the trade, Gyang, the director, told CNN.
 

"I wanted people to know that this is the reality of these ladies. People always want closure but life is not about a Hollywood ending; you can't always get a happy ending," he said.
While directing the film, Gyang visited places with sex workers to get a better idea of how they live and work, he said.
 

"I actually went to places where we have sex workers in Lagos with one of the producers of the film. We wanted to really capture their lives so that we would be able to show it realistically in the movie. We talked to them, and some of the rooms we used in the movie were actually used previously by sex workers," he explained.

'The most impactful movie we have ever done'

The film was shot in 21 days towards the end of 2018, he said. Post-production was covered in 2019, and it was released Friday on Netflix.

In just days, it has become the top watched movie in Nigeria and is among the top 10 watched movies in the world on Netflix. 

 
"It's huge for me as a filmmaker that people have access to the film from all over the world. I want many people as possible to see it and have conversations about sex trafficking," Gyang said. 

The film is doing well in countries like Switzerland, Brazil, and South Africa because it is authentic and "deals with the truth," Abudu said.

"EbonyLife has done seven movies. But this is the most impactful one we have ever done. And the most important," Abudu said.

The National Agency for the Prohibition of Trafficking in Persons (NAPTIP), the law enforcement agency in charge of combating human trafficking in Nigeria, wants the film to be made available to people in rural communities who don't have access to Netflix.

"I haven't seen the movie, but if it is trying to portray the ills and dangers of trafficking, then it's fine since that is going to raise awareness," Julie Okah-Donli, the director-general of the agency said.
And while she is happy that "Oloture" is shining the light on human trafficking, she told CNN that women mostly targeted by traffickers may not get to watch it.

"The people watching it on Netflix all know what trafficking is. It needs to go to those girls in rural communities where traffickers go to bring them from. Those are the girls that the awareness should go to," Okah-Donli said. 

With more people partnering with NAPTIP and raising awareness of the dangers of trafficking, sex trafficking will be minimized in Nigeria, she said. 

By Aisha Salaudeen 

CNN

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Netflix Unveils Nigerian Original Series, Three Films

Netflix on Monday unveiled a new Nigerian original series and three new films from the African country.

"The new series and films, which are at different stages of production while others are ready to premiere, will join the growing slate of Nigerian content on the service and debut to 193 million members in 190 countries around the world," the streaming giant said.

The new original series is an untitled young adult drama series created and produced by Inkblot Productions. It follows the story of Ishaya, "a charismatic teenager and talented artist from a poor family, whose dreams suddenly appear within reach when a prestigious scholarship to the most exclusive school in the country catapults him into the luxurious world of Nigeria's 1% – all while a huge secret threatens his newfound status and, ultimately, his family's safety."

Created by Chinaza Onuzo and Dami Elebe who serve as executive producer and head writer, respectively, the six-episode series will be directed by Onuzo, Tope Oshin and Niyi Akinmolayan. Funke Akindele is confirmed as playing one of the lead characters with more casting details to follow. Zulumoke Oyibo and Damola Ademola will serve as executive producers.

"Netflix is proud to continue to invest in more original content from Nigeria," said Dorothy Ghettuba, the lead for African originals at Netflix. "We’re also thrilled to grow our existing creative partnerships while forming new ones with Chinaza and the amazing Inkblot team who will now join the growing list of Nigerian partners."

Said Onuzo: "We’re thrilled to be partnering with the Netflix team to tell the story of Nigerian youth on a global scale. We cannot wait to share with the world what it feels like to grow up in one of the most dynamic countries on the planet."

Netflix also unveiled deals for three Nigerian films from filmmakers Mo Abudu, Kunle Afolayan and Kemi Adetiba that will premiere on the streaming service. They are Òlòtūré, Citation and King of Boys II.

The first is the story of a young female journalist who goes undercover as a prostitute to expose a human trafficking syndicate. The film is part of Netflix’s partnership with Mo Abudu and her production company Ebonylife. The movie will launch globally on Oct. 2. Directed by Kenneth Gyang, its cast includes Sharon Ooja, Omowunmi Dada, Omoni Oboli, Blossom Chukwujekwu and Wofai Fada.

Citation, from director Kunle Afolayan and produced by Golden Effects Pictures, will hit Netflix globally on Nov. 6. It is the coming-of-age story of Moremi, a bright university student who forms a bond with her charismatic and well-connected professor who ends up sexually harassing her. The film follows Moremi’s quest for justice and stars Jimmy Jean Louis, Gabriel Afolayan, Ini Edo, Joke Silva, Adjetey Anang and newcomer Temi Otedola.

King of Boys II is the sequel to director Kemi Adetiba's 2018 crime thriller, in which a businesswoman and crime boss is drawn into a power struggle that threatens all she holds dear. Set to launch globally in the first half of 2021, the movie begins with Eniola Salami's triumphant return, after a five-year exile, to Lagos City. "Not content with the prospect of a fresh start," she this time aims even higher than before. The movies features returning stars Sola Sobowale, Remilekun "Reminisce" Safaru, Tobechukwu "iLLBliss" Ejiofor, and Toni Tones, as well as new talent in Richard Mofe-Damijo, Nse Ikpe-Etim, and Efa Iwara.

"These Netflix original films demonstrate how we’re building a home for the best-in-class Nigerian content for our members in Nigeria and beyond," said Ben Amadasun, Netflix’s director of licensing and co-productions in Africa. "It’s amazing to see how Nigerian films and series resonate with audiences around the world. By making it easy for people to watch films and shows from other countries, we can help them build empathy and develop a shared understanding of the world."

By Georg Szalai

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The Nigerian filmmakers risking jail with lesbian movie Ife

Two Nigerian filmmakers face the prospect of imprisonment if they ignore the stern warning of the authorities and proceed with the release of a movie about a lesbian relationship.
The dramatic face-off with the regulators - the Nigerian Film and Video Censors Board (NFVCB) - is worthy of a film itself.

Producer Pamela Adie and director Uyaiedu Ikpe-Etim are determined that Ife (meaning "love" in the Yoruba language) reaches a Nigerian audience, but the NFVCB says it will not be approved as it violates the country's strict laws on homosexuality.

International premiere

To get around this, the filmmakers are planning a surprise online release to catch the regulators off-guard. The NFVCB, however, is diligently monitoring all digital platforms to prevent the movie from getting out.

According to NFVCB boss Adebayo Thomas, Adie and Ikpe-Etim could be jailed for promoting homosexuality in a country where same-sex relationships are forbidden and can carry a 14-year sentence.

They are organising a private screening in the commercial capital, Lagos, at the end of the month, for which they believe they do not need to get permission.
Ife will also get an international premiere in Canada in October.

Adie said the aim of the film was to show an accurate picture of lesbian and bisexual women in Nigerian movies.

If a lesbian woman does appear in a standard Nollywood movie they are often portrayed as being possessed, influenced by bad friends or forced into homosexuality and always needing "saving", she told the BBC.

"You rarely see stories about LGBT people, especially about queer women that speak to the realities of our lives.

"Ife was made to bridge the gap and to get the conversation going in Nigeria."

Coming out to a Nigerian mother

Ife is a story about two women falling in love as they spend three days together. They "then have their love tested by the realities of being in a same-sex relationship in a country like Nigeria", according to the publicity for the film.

If July's trailer, where sex is hinted at but not actually shown, is anything to go by, then Ife certainly pushes the boundaries of telling the LGBT story by Nigerian movie standards.

In one shot, the two protagonists, Ife and Adaora are in bed talking about love and the challenges faced by LGBT people especially within their families.

Their conversation forms the spine of the teaser for the film.

"I told my mum first, took her about a week to come to terms with it," Ife, played by Uzoamaka Aniunoh, says talking about revealing that she was a lesbian.

"Which is short for a Nigerian mother," interjects Adaora, played by Cindy Amadi.
"Is it too soon to say I might be in love with you?" asks Adaora as they cuddle.
"We are lesbians, this is the perfect time," answers Ife.

'It has to be censored'

Homosexuality is an extremely contentious issue in many parts of Africa and Nigeria is no different.
It is a highly religious and traditional society and its influential Christian and Muslim organisations oppose homosexuality.

As a consequence, Nigeria is one of 30 countries on the continent where it is criminalised.
The legislation outlawing same-sex relationships was passed in 2014 and built on the colonial-era prohibition of sodomy. Police in Nigeria have cracked down on people suspected of homosexuality, forcing most into hiding.

The feeling of being sidelined and the need to challenge beliefs that homosexuality is immoral is what inspired director Ikpe-Etim to take on the project.

"Before now, we have been told one-sided stories. What we are doing with this film is normalising the queer experience, we are normalising the LGBT romance.

"It will begin to erase that shame that LBQ [lesbian, bisexual and queer] women face," she told the BBC.

The lesbian, gay, bisexual, transgender and queer (LGBTQ) community in Africa is becoming increasingly vocal and visible, thanks to the internet providing a space for films, talk shows and websites.

But that has not stopped filmmakers from getting into trouble with authorities.
The head of the NFVCB said there was no space for Ife or other homosexual movies in Nigeria, citing the law.

"There's a standing law that prohibits homosexuality, either in practice or in a movie or even in a theatre or on stage. If it's content from Nigeria, it has to be censored," Mr Thomas told the BBC.
He said that whatever the platform was, "as long as it's Nigerian content and it's telling a Nigerian story, then we have a right to it".

But there is no plan for large-scale screenings of Ife in Nigerian cinemas or selling the DVD, as the producers want to make it available online as pay-on-demand.
But even that will get them into trouble with the regulators.

Increasing acceptance of LGBTQ people

"If it did not pass through NFVCB and it is released, the filmmakers will be prosecuted according to the law," Mr Thomas said.

"As long as it's Nigerian content, we will pull it down because we have collaborations with Google, YouTube and other key players."

But that has not deterred the producers and Adie says her team will continue as planned, as they believe they have done nothing wrong and do not plan to seek permission for an online release.
This is not the first time an LGBTQ-themed movie has fallen foul of regulators on the continent.
Stories of Our Lives, a collection of five short films based on stories of LGBTQ life in Kenya was banned in 2014 for being "contrary to national norms".

This was also the fate of Rafiki, Kenya's first film about a lesbian relationship, which went on to be the East African nation's first film to premiere at the Cannes film festival and also receive an Oscar nomination.

Inxeba/The Wound, a South African film about a relationship between two men in the context of the Xhosa initiation ritual was also banned from mainstream South African cinemas in 2018.
Despite the set-backs, some in the LGBTQ community in Africa say they are gradually gaining confidence and acceptance and link it to the increased visibility in films and literature which are encouraging greater tolerance among younger generations.

A 2019 survey of attitudes in Nigeria showed an increase in acceptance of LGBTQ people - though the balance was still tilted against them.

Some 60% of Nigerians surveyed said they would not accept a family member who was LGBTQ, but this was significantly lower than the 83% who put themselves in that category in 2017.
The need for further change is why people like Ikpe-Etim want to keep telling the stories of the LGBTQ community.

"As a member of an under-represented group, you are constantly at the mercy of people who don't understand what it means to be queer.
"I knew if I wanted the society to view LGBTQ people in a different light, I had to tell the full story," she said.

By Azeezat Olaoluwa

BBC 


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Nigeria's 'Kannywood' films soar online thanks to virus

At a time when the coronavirus is wreaking havoc on businesses around the world, the film industry in Nigeria's mainly Muslim north is going from strength to strength.

The region's movie machine -- dubbed Kannywood after its largest city Kano -- has become the dominant source of entertainment for West Africa's 80 million Hausa speakers.

Since springing up in 1992 with just seven production companies, the industry has grown to include 502 production outfits and 97 editing studios.

It now employs more than 30,000 people, according to the Kano chapter of the Motion Pictures Practitioners Association of Nigeria.

While Kannywood films have the same themes of love, revenge and betrayal as those churned out by the prolific Nollywood film industry in the predominantly Christian south, the content must adhere to strict Islamic rules.

Northflix, Kannywood's fledgling online streaming platform, has seen its client base soar since authorities imposed lockdowns to contain the coronavirus pandemic in March.

Its subscriber base of 40,000 has nearly doubled, while revenue has tripled, CEO and co-founder Jamil Abdussalam told AFP.

"Coronavirus has been a blessing to us business-wise, despite the disruptions it has caused to the global economy," he said.

"It was not by chance, but a result of a conscious and concerted business strategy".

Kabiru Sufi, a Kano-based economist who follows trends in Kannywood, attributed the success of streaming platforms to their astute business sense and technology.

Abdussalam said Northflix formerly used the pay-per-view system but quickly switched to flat-rate subscriptions after the virus emerged in Asia and Europe, knowing that it "would reach all corners of the world".

The fee is just 1,500 naira ($4) a month in addition to subscribers' smartphone and internet costs.

The lockdown, which saw cinemas, hotels, bars and other recreational outlets shut down, was a boon for Northflix as idle Nigerians turned to their mobile phones to stream their favourite movies.

That opportunity also came as producers were desperately seeking an alternative market for their films with cinemas and DVD stores shuttered.

- 'A lifesaver' -

Northflix was the answer.

"It was a lifesaver for film producers who would not have had the avenue of making money from their movies," said Kano-based filmmaker Abdulkarim Mohammed.

And subscribers have stuck to the platform despite the easing of the lockdown, according to Abdussalam, because of the convenience it offers as well as the fact that pirated copies can no longer be found on the streets.

The new business environment has challenges both old and new.

Nigerian telecom services are notoriously poor, with frequent signal disruptions, coupled with exorbitant data costs which affect online-based firms.

But Northflix has been coping, the owners say.

"With a single (reception signal) bar, you can watch a movie without disruption, it doesn't freeze and our network is capable of buffering the video," Abdussalam said.

Other issues include censorship, criticism on religious grounds and piracy.

Muslim clerics and government officials say the platform promotes foreign values by mimicking Hollywood and Bollywood productions at the expense of the regional Hausa culture.

The industry has also come under state-imposed restrictions and scrutiny which filmmakers say are killing creativity.

Under the law, every film must be cleared by the censorship board which requires strict adherence to Islamic injunctions, including a ban on touching between men and women.

Defaulters are usually sanctioned.

But Northflix's location in the capital Abuja puts it beyond the jurisdiction of the Kano censoring agency.

"It has helped us bypass the restrictions... and fight piracy," said Sani Danja, a leading Kannywood actor and producer.

France24

Nigeria's Nollywood gets creative in response to Covid-19

As coronavirus closed businesses around the world and forced billions to stay home, Nigerian director Obi Emelonye came up with an innovative way to keep filming.

Inspired by his wife's teleconferencing calls from their isolation in Britain, he wrote and put together a short feature about a couple separated between London and Lagos.

There was just one day for rehearsals and two for filming, and relatives shot the actors on mobile phones in their homes on two continents.

"I said to myself, 'What if I shoot a film remotely? I can direct my actors and produce it from home, and the cost is zero," the well-known 53-year-old director told AFP.

"I wanted to show young people that despite the countless difficulties of our profession, despite the coronavirus, you can make a film without funding, without even a real camera."

Inventiveness has always been a hallmark of Nigeria's Nollywood -- the second most prolific film industry on the planet -- as it has risen from shaky homemade movies to slickly-produced blockbusters.

But now, in the face of the coronavirus crisis that has seen social distancing rules shut down shoots and cinemas closed, the sector has needed that spirit more than ever.

"We are an endangered species, we have to be innovative and to push the boundaries," said Emelonye, whose short "Heart 2 Heart" was released for free on YouTube last month.

"Things are very bad? You can make them better!"

'Difficult times'

The Nigerian film industry is riddled with contradictions.

On the surface are the red carpets, glitz and glamorous stars with millions of Instagram followers.

But underneath, much of the sector is poorly-funded, salaries are miserly and rampant piracy robs it of crucial revenues.

The arrival of the virus has dealt a major blow just as producers try to focus on higher-quality movies, cinema audiences grow and giants like Netflix push to tap into the country of 200 million, the most populous in Africa.

Moses Babatope watched in dismay as a government order to close saw income evaporate over the past three months at the Filmhouse, a cinema chain he co-founded in 2012.

"We've been through other difficult times, but this crisis is even worse," he told AFP.

Babatope estimated loses for the sector had reached over $9 million (eight million euros) so far due to the virus.

Dozens of film shoots have been put on hold or scrapped and the legion of workers in the industry -- from make-up artists to technicians to ushers -- are going unpaid.

Netflix has suspended the filming of its first original series made in Nigeria and French media giant Vivendi has delayed the opening of its first cinema in the capital Abuja.

Distributors reckon some 50,000 jobs are under threat since the sector juddered to a halt.

"It's going to take a while before it really starts up again," Babatope said.

'New experiences'

To navigate the current troubles the industry has begun pushing its boundaries.

Producer Charles Okpaleke teamed up with two local cinema chains Genesis and Silverbird to launch open-air "Drive-in" facilities.

A first screening in Abuja in late May saw all tickets sell out in just a few hours as viewers flocked to watched his film "Living in Bondage" from the comfort of their own cars.

"COVID forces us to rethink our habits, but it is also an opportunity to try new experiences," Okpaleke told AFP.

Producers and directors are also looking increasingly to the release their films on online streaming services like Netflix and its local competitor Iroko TV.

And even up-and-coming industry hopefuls were given the opportunity to keep on honing their skills despite the disruptions.

French start-up LAFAAC has partnered with cinema school Femis and Nigerian television channel Wazobia to offer online training to would-be scriptwriters via a mobile app.

"Nowadays there is a huge demand for series from Subsaharan Africa despite a relative lack of training," said LAFAAC co-founder Francois Catala.

"I believe that online releases are the future of Nollywood."

France 24

Nigeria to resume film production under coronavirus guidelines

Nigeria's movie industry is set to resume film production which has been banned during lockdown amid the coronavirus pandemic, according to a producers association.

The Theater Arts and Motion Pictures Producers Association of Nigeria (TAMPAN) announced relaxed restriction on movie production, saying it was in line with the Lagos state government's relaxation order which took effect from June 1.

In a statement reaching Xinhua in Lagos on Tuesday, Bolaji Amusan, TAMPAN's national president, thanked members for abiding by the earlier proclamations of the association to stop shooting of films and other related productions during the pandemic.

He however urged the artists to take the necessary precautionary measures that would protect them from contacting the virus in the course of their work, as the pandemic had not been completely defeated.

He said part of the measures to put in place subsequently on movie locations was that producers must provide soap and running water for constant washing of hands by both the cast and crew members.

"Avoid close contact with anyone showing symptoms of respiratory illness, coughing or sneezing repeatedly, and quickly report such cases to the production managers for necessary actions," Amusan said.

Nigeria's movie industry, also known as Nollywood, is one of the largest film industries in the world in terms of quantity of films produced every year. Nigeria's films and TV series have enjoyed popularity in Africa and even made a hit on international theaters, such as "Lionheart", "Up North", and "Chief Daddy".

Xinhua

Nollywood star arraigned for breaching coronavirus rules

A popular Nigerian actress has been arraigned in court for throwing a birthday party during a lockdown to curb the spread of coronavirus in the country's commercial capital, Lagos.

Funke Akindele, a Nollywood film star popularly known as Jenifa, and her husband pleaded guilty in court and were each fined 100,000 naira ($260).

The court also sentenced them to 14 days of community service.

It ruled that the couple "shall visit 10 important public places within Lagos State to educate the public on the consequences of non-compliance with the restriction order."

They were accused of hosting guests at Saturday's bash for her husband in their upscale residence in Lekki.

Other alleged guests at the party, including well-known singer Naira Marley, have been told to report to the police criminal investigation department for questioning, Lagos state police spokesman Bala Elkana said on Monday.

Akindele's actions sparked angry reaction online from her fans after she earlier appeared in advertisements calling on Nigerians to observe social-distancing measures.

The actress issued an apology on her Instagram page on Sunday.

"I am sorry if I have misled you. I appreciate your concerns and I promise to always practice what I preach," she said. "I promise to always support the government in creating more awareness to eradicate this pandemic."


Al Jazeera

Netflix Orders First Nigerian Original From ‘Vaya’ Director Akin Omotoso

Netflix has unveiled its first Nigerian original – a drama from Vayadirector Akin Omotoso.

The streamer has ordered an as-yet-untitled six-part series that will be directed by Akin, Daniel Oriahi and CJ Obasi.

Starring Kate Henshaw and Ade Laoye, the series is set in contemporary Nigeria and shot in Lagos. It tells the story of Kemi, a goddess reincarnated as a human to avenge her sister’s death. But first, she must learn how to use and harness her superpowers to defeat her enemies and save her family from destruction.

It is produced by Rififi Pictures, producers of Tell Me Sweet Something and Material.

Netflix’s Chief Content Officer Ted Sarandos said, “Movies like King of Boys, Merry Men and The Bling Lagosian have shown how much our members love Nigerian movies. So, we’re incredibly excited to be investing in Made in Nigeria stories – bringing them to audiences all around the world.”

Dorothy Ghettuba, manager of international originals, who oversees its African original push, added, “Our continent has a wealth of diversity, multiplicity, and beauty in stories that have yet to be told and we want to be top of mind for creators in Nigeria, especially when it comes to stories they haven’t had a chance to tell yet.”

By Peter White

Deadline

Bollywood and Nollywood collide in a tale of a big fat Indian-Nigerian wedding

Two of the world's biggest movie industries, Bollywood and Nollywood have joined forces to produce a new movie about an inter-cultural love story.

Titled 'Namaste Wahala' it is directed by businesswoman-turned-filmmaker, Hamisha Daryani Ahuja, who weaves a tale across two diverse and rich cultures -- India and Nigeria.

'Namaste Wahala' loosely translates to 'Hello trouble' and it is filmed mostly in English with a mix of Hindi and Nigeria's pidgin language.

Ahuja has lived in Nigeria since she was a child and says her experience living in Africa's most populous country inspired her to make her debut film.

"I am Indian but I have lived in Nigeria my whole life. Everyone loves Bollywood and Nollywood, so I thought 'how is it that no one has done a love story between the two?'" she told CNN.
Now in her 30s, Ahuja says she decided to fuse her experiences from both cultures to create a love story that people can relate to.

The movie will be released in April and features top movie stars from both countries including veteran Nollywood actress Joke Silva, Richard Mofe Damijo and Segal Sujata, Ini-Dima Okojieand Ruslaan Mumtaz.

Colorful celebrations

Nigerian and Indian weddings are colorful and lavish affairs -- and they are also big business.
A Nigerian wedding can cost up to $13,515, while India's wedding industry is reported to be worth $50 billion, according to Vogue Business.
Through Namaste Wahala, both wedding industries fuse, showcasing a celebration between both cultures.

"The story has been in my head for a long time but I wanted it to be completely accurate. I wanted both cultures to be portrayed the same, that no culture was above the other," Ahuja said.
Filmed entirely in Lagos, Nigeria's commercial nerve center, Ahuja says it features classic Bollywood dancing and singing scenes to keep it as authentic as possible.
"It is a fun comedy, a lot of laughs with a few tears," she said.

Nollywood to the world
 
Nigerians have taken to social media to express their excitement about the upcoming movie release.
"The name alone wants me to watch it. Namaste [means] peace. Wahala [means] trouble/problem. Gotta watch it with some Chicken Biryani and Jollof Rice for the culture(s)," wrote Twitter user Jerome Antwin- Lewis.

This is not the first international collaboration with Nollywood. Over the past years, Nigeria's movie industry has partnered with China, France, and the US to produce and distribute wide-ranging movies.

In 2019, for example, China and Nigeria partnered to create their first major movie collaboration, and in the same year French Media giant, Canal+ acquired Nigeria's ROK studios as part of its expansion plans into Africa.

Ahuja says these partnerships are important because they help showcase Nollywood's talents beyond the walls of Africa.

"We have so much talent in Nollywood. What I think with these international collaborations is that we will be able to showcase all these amazing work internationally."

By Aisha Salaudeen

CNN

Film industry in Nigeria draws global entertainment brands

“Oya!” shouts the director in Nigerian Pidgin English. Actors take their marks. Lighting blinks on. The film crew snaps into action after the order to hurry up.

It’s another day in Nollywood, the affectionate nickname for Nigeria’s film industry - the world’s second most prolific after India’s Bollywood, producing hundreds of films and TV episodes each month.

For decades it was a factory churning out visual pulp fiction destined for the market stalls of DVD pirates. But Nollywood is increasingly grabbing the attention - and financing - of global entertainment brands.

Some, like French group Vivendi’s Canal+, seek to harness Nigerian hustle and know-how to extend the lifespan of the traditional pay-TV model, which is bleeding customers in developed markets but still has a future in Africa.

Others, including South Africa’s MultiChoice, are using Nigeria as a testing ground for introducing streaming platforms in African markets with poor communications infrastructure and low income levels.

In both cases, it’s local production that’s benefiting.

“Ten years ago Nollywood was very different,” Mary Njoku, whose ROK studios was acquired by Canal+ in July, told Reuters as the film crew worked in an abandoned hotel in Nigeria’s megacity Lagos. “Today we shoot with better cameras... We do things differently.”

A room on the hotel’s top floor was standing in for a college dorm on “What Are Friends For?”, an ROK comedy series that will be among new shows aired by Canal+ in coming months.

The company first dipped its toe into Africa’s most populous country six years ago, buying up local films, dubbing them and airing them on a dedicated channel, Nollywood TV, to viewers in French-speaking Africa.

That success led to the creation of a second channel.

The deal with ROK secures a steady supply of new films and series as the firm eyes a further expansion of African content, said Fabrice Faux, Canal+ International’s chief content officer.


Since it was founded six years ago, ROK has produced more than 540 films and 25 series. Under the Canal+ deal, Njoku says it aims to increase production from next year to around 300 films and 20 series annually.

Canal+’s pivot to Africa - a golden opportunity for ROK - is a business necessity for the French company.

“It is one of the very rare pay-TV markets that is growing and is growing very fast,” Faux told Reuters. “When I joined Canal+ International back in 2014, we had half a million (African subscribers) and now we have 4 million.”

Compare that to mainland France where, as of last year, it had lost some 1.3 million individual subscribers since 2013.

Much of that decline arose from losing broadcasting rights to popular sporting events. But it also reflected stiff competition from streaming services such as Netflix and Amazon. However, Faux believes such rivals pose no threat in Africa due to a widespread lack of 4G coverage or fixed broadband internet on the continent.

To properly develop African markets, however, Canal+ must cater to their diverse audiences, Faux said.

Francophone Africa has no Nollywood equivalent. Producing shows there has been slow and expensive, as Canal+ has been forced to bring in film crews from Europe to shoot on location, Faux said. He now hopes Canal+ can use ROK to clone the Nollywood model.

“The best knowledge and expertise is there in Nigeria. So it is our intention to try to bring some producers, technicians, directors to French-speaking Africa, for us to try to develop new production methods,” Faux said.

TEMPORARY GLITCHES?

If Canal+ sees little threat from streaming services in Africa, MultiChoice - the first major entertainment group to realize Nollywood’s potential - is out to prove it wrong.

In its infancy in the 1990s, Nollywood churned out cheap films ranging from bawdy comedies to morality tales about witchcraft and infidelity.

Low on production quality but high on entertainment value, these movies quickly garnered a fanatical following across Africa and its diaspora. And in 2003, MultiChoice launched Africa Magic - a Nollywood channel that would grow into a subscription package on its DStv satellite network.

In July, Showmax, MultiChoice’s fledgling video-streaming service, launched in Nigeria.

“The Nollywood phenomenon makes it quite interesting from a content development point of view. You have a huge base of very loyal fans,” said Niclas Ekdahl, CEO of MultiChoice’s connected video division.

Showmax - also available in South Africa and Kenya - is not alone in Nigeria’s video-on-demand market.

U.S. streaming giant Netflix released “Lionheart”, its first original film produced in Nigeria, in January. It is also negotiating licence deals for Nigerian films such as “Chief Daddy”, a comedy that debuted on the platform in March.

But bringing streaming to African audiences won’t be easy. Expensive mobile data and low incomes make regular streaming unaffordable for many on the continent.

One gigabyte of data, enough to watch about three films, costs the equivalent of around $2.80 in Nigeria, while most people live on less than $2 a day.

The experience of Malaysian streaming platform iflix is a cautionary tale.

It launched in Nigeria in 2017, then expanded to Kenya, Ghana and Zimbabwe following a tie-up with Kwese TV, a subsidiary of Zimbabwe’s Econet Media Limited.

However, data discounts and a pay-as-you-go option were not enough to sustain the business. In December, iflix sold its Africa business to the Econet group, which shut down the streaming service last month.

Showmax’s Ekdahl remains undaunted, passing the challenges off as “temporary glitches”. The potential payoff - a largely untapped audience of 1 billion - is worth the effort of tailoring a business to African markets, he believes.

Showmax partnered with mobile phone operators Vodacom, MTN and Telkom in South Africa and Safaricom in Kenya to offer reduced data and subscription fees. It aims to do the same in Nigeria.

It is also experimenting with installing wireless internet in public transport, so viewers can download content during their daily commutes without incurring data costs.

The boom in interest in Nigeria’s film industry can only be a good thing, says Joshua Richard, a barrel-chested actor who plays a fanatically religious student on “What Are Friends For?”

Foreign investment will, he hopes, help Nollywood shake off a reputation for shoddy camerawork and muffled sound, while also leading to greater artistic recognition overseas.

“It exposes African actors to a bigger audience,” he said. “We have lots of good content in Nollywood, but it doesn’t get the credit it deserves.”

By Alexis Akwagyiram

Reuters

Related stories: Nollywood: most prolific movie machine

Tracking movie box office earnings to become easier in Nigeria

The latest boost local movie industries in Africa are getting is data.

Comscore, the US-based media analytics company known for providing box office measurement data, is expanding operations to nine African countries where it will “capture more than 95% of all revenue and admissions.” The company’s operations on the continent will focus on West and southern African countries including Nigeria, Ghana, Liberia, Namibia, South Africa, eSwatini, Zambia Mozambique and Zimbabwe.

As expected, Nollywood, Nigeria’s high-profile movie sector, has proven a big draw. With investment in cinema outlets spiking over the past decade (and with more on the way), movie earnings have grown steadily in tandem. And this growth has not been limited to Hollywood blockbusters as Nollywood hits are also earning big box office returns with an increased focus on quality rather than quantity.

But the rising box office earnings have also created the need for more accurate data on movie earnings in an industry that’s long had a culture of opacity. A long-running piracy problem has usually meant that it’s unclear how much profit, if any, filmmakers and producers earn. But with cinemas now opening up an important revenue stream in comparison to other existing earning models like DVD and VCD releases, the need for industry data is even more apparent.

While local bodies like the Cinema Exhibitors’ Association of Nigeria currently track box office earnings, they lack the credibility of a global independent player like Comscore. There has also been some skepticism from industry insiders who suggest that earnings by local Nollywood movies may be inflated especially as earnings are typically declared by filmmakers and production companies rather than independent box office data sources. Indeed, last December, Genevieve Nnaji, veteran actress and director of Lionheart, Netflix’s first original Nollywood film, accused local cinema chains of manipulating numbers to maintain a “false imagery of making box-office hits.”

While Comscore is currently focused only on West and Southern Africa, there’s a chance it might look farther across the continent as more investors make plays to build cinema infrastructure. For instance, Orange, the dominant telecoms player in the region has partnered with CanalOlympia, the cinema network owned by French media giants Vivendi, to open a chain of twenty 300-seater cinemas.

By Yomi Kazeem


Quartz

Netflix involvement in Nollywood

Global streaming service Netflix set its eyes a few years ago on Nigeria’s film industry, better known as Nollywood. Distribution of Nigerian movies on Netflix started around 2015. At the time the American giant bought the rights of blockbusters such as Kunle Afolayan’s October 1st, Biyi Bandele’s Fifty and several others, after they had already been distributed in Nigerian cinemas.

During the Toronto International Film Festival 2018, Netflix announced the acquisition of worldwide exclusive distribution rights for Nollywood star Genevieve Nnaji’s debut film as director, the comedy Lionheart. The film marked the first Netflix original film from Nigeria. Many saw this as the beginning of a new era in the relationship between one of the world largest streaming platforms and Africa’s most prolific film industry.

But, is this actually true? Is Netflix going to transform Nollywood? And how significant will its impact on the Nigerian film industry be?

Difficult questions

These are not easy questions to answer. Nollywood’s economy and modes of production are unlike those of most other film industries. Over the past 20 years Nigerian films have circulated mostly on videotapes and Video Compact Discs (VCDs).

This distribution system made the industry widely popular across Africa and its diaspora. But it prevented Nollywood from consolidating its economy and raising the quality of film production. Piracy dramatically eroded distribution revenues and producers had trouble monetising the distribution of their films. Nollywood prioritised straight-to-video distribution because cinema theatres had almost disappeared in the country (as in most other parts of Africa) as a result of the catastrophic economic crisis that affected Nigeria in the 1980s.

New multiplexes have emerged since the beginning of the 2000s. However, today there are only about 150 widescreens for a population of almost two hundred million people. The cinemas that exist are often too expensive for most of the population that used to buy and watch Nollywood films when they were distributed on tapes.

Within this context, many in the industry thought that streaming could be the best solution to the industry’s problems with distribution. However, a closer look to the history of what has been labelled the “Nigerian Netflix” (iROKO.tv, the leading streaming platform for Nigerian contents) shows that the reality is more complicated.

When the company decided to move its headquarters from Manhattan to Lagos it encountered countless difficulties. They were mainly connected to the costs of infrastructure development in Nigeria and to the hostility of local distributors who controlled Nollywood’s economy since its creation.

Weak internet

Internet connection in Nigeria is still too weak and expensive to guarantee easy access to streaming platforms. As a result, Nollywood content distributed by iROKO.tv and Netflix circulates mostly in the diaspora. Netflix is aware of this problem and is investing in infrastructures to secure a better connection for its Nigerian audiences.

But larger investments seem to be necessary to produce a significant impact on audiences’ behaviour. Accessing Nollywood films via piracy or local screening venues will continue to be, at least in my view, the key strategy adopted by the largest percentage of Nigerian viewers.

Netflix could have better chances in penetrating the country’s elite market, as richer people in Nigeria and across Africa have easier access to reliable power supply and internet.

This might be the reason why MultiChoice, the South African telecommunication giant controlling much of Nollywood distribution across Africa through its Africa Magic channels, has reacted nervously to Netflix’s increased interest in African markets. MultiChoice wants Netflix to be more closely regulated.

These two aren’t the only telecommunication “superpowers” in the field. France’s Canal Plus and the Chinese StarTimes have also made a few investments in Nollywood over the past few years. The competition among all these actors will probably have a positive impact for viewers across Nigeria and the continent. It could bring lower subscription fees for streaming and TV content packages.

There are also likely to be new investments in content production and infrastructures. And there’s larger continental and global exposure for Nollywood films in the offing.

Foreign investments

It remains to be seen how good these developments will be for Nollywood producers. Until now, foreign investments in Nollywood have mostly translated into “more of the same” content. Working conditions for crews and actors have remained the same – basically, low budgets and quick shooting schedules.

In fact, big investors seem to be mainly interested in Nollywood’s already established popularity with African audiences. Making Nollywood more palatable for international audiences doesn’t seem to feature.

This means that in most cases they are not ready to invest bigger money in production budgets. Rather, they invest in better structuring distribution networks to extract as much profit as possible from the Nigerian industry.

And most African audiences are indeed happy with how Nollywood is, even if they tend to complain regularly about the low quality and the repetition of film contents and aesthetics. The fact that Nollywood as it is keeps on attracting audiences makes investors reluctant to change the scale of their production budgets.

There are a few bigger productions, with higher production standards, that have emerged over the past few years in Nollywood. But they have hardly been the result of investments made by foreign firms like Netflix, Canal Plus or MultiChoice.

Nigerian producers are those who are mostly concerned about raising the quality of Nollywood films. They want to give better content to their audiences and reach global screens. In most cases, the people investing money in these kinds of projects have been independent producers or groups of investors related to the new business of multiplexes in Nigeria.

In my view, the question is: will these people benefit from Netflix, so as to continue investing in higher quality content? Or will Netflix and other international companies end up taking over the industry to make it only a bit more of the same?

Mail & Guardian

MultiChoice opens film school in Nigeria

MultiChoice Talent Factory Academy, West Africa, officially opened on Monday in Lagos, with the objective of providing Africa’s next generation of film and television storytellers after a 12-month training programme. Speaking at the launch of the Academy, Lagos State Commissioner for Tourism, Arts and Culture, Mr. Steve Ayorinde, commended MultiChoice Nigeria for giving youths selected from across the country an opportunity to understand the film production.

Ayorinde said: “What MultiChoice did deserves huge commendation and these 20 students need to acknowledge the fact that stakeholders in the entertainment industry in Nigeria and across the continent expect a lot from them.”

Also speaking at the launch, Ghanaian Deputy Minister of Tourism, Arts and Culture, Dr. Ziblim Iddi, congratulated the 20 students selected for the inaugural edition of the Academy and charged them to be committed. On his part, Managing Director, MultiChoice Nigeria, John Ugbe, said: “The film and television industry is the pioneer of creative industries in Africa and is particularly relevant as a tool for shaping the African narrative. “We have been telling authentic and well-produced stories that only Africans themselves can tell. But there is a lot of raw talent that need to be nurtured and polished. “The Academy will give such talent the opportunity to hone their skills, thereby increasing the pool of world-class talent. It is also about teaching the business of film and television.

“We are fortunate to have the calibre of broadcast partners that we do in M-Net and Africa Magic, who believe in this project and have been on it with us from the very beginning.”

Vanguard

Video - Nigeria gets first Netflix Original starring Genevieve Nnaji

International TV streaming service, Netflix, is making its headway to Africa gradually. The company recently entered the Nigerian market by acquiring the world rights to Genevieve Nnaji’s Lion Heart film.

The movie will be showing on Netflix international platforms. The movie is Genevieve Nnaji’s first movie to direct. Lion Heart also premiered at the Toronto International Film Festival in Canada where Kenya’s Rafiki movie will also be screening.

Netflix already has several South African shows on its platform. Kenya might be next to this growing company.

Nigerian filmmaker Femi Odugbemi becomes member of Oscars voting academy

Nigerian producer and filmmaker Femi Odugbemi has been formally invited into the voting membership of the Academy of Motion Picture Arts and Sciences in the United States of America.

The academy organises and decides the nominations for the universally-acclaimed Oscars award for motion pictures.

It is a world recognised movie-related organisaion, comprising more than 8000 accomplished men and women working in cinema.

Academy membership is limited to film artists working in the production of theatrically-released motion pictures.

The academy has 17 branches ranging from actors, writers and two categories that involve members-at-large and associates to accommodate individuals who have no defined branches in motion picture.

Elated Odugbemi shared the news of his invitation to the oscars on his Instagram page @femiodugbemi on Monday.

He wrote: “so today, I received a formal invitation to become a voting member of The Academy of Motion Picture Arts and Sciences in the United States. Honoured! #Oscars #Vote4bestfilm.”

Odugbemi, who studied Film and Television at The Montana State University, scripted, directed and produced numerous documentaries, short films and drama.

He produced Tinsel, a widely acclaimed soap opera that started airing in August 2008 and celebrated as a successful drama on Nigerian television.

The producer’s filmmaking credits include ‘Gidi Blues’, ‘Battleground’, ‘Maroko’ and ‘Bariga Boy’.

Odugbemi was the President of the Independent Television Producers Association of Nigeria in 2002, a tenure that ended in 2006.

In 2008, he produced ‘Abobaku’, a short film directed by Niji Akanni. The film won the Most Outstanding Short Film at the Zuma Film Festival held in 2010.

It also won Best Costume at the 6th Africa Movie Academy Awards held on April 10, 2010 at the Gloryland Cultural Centre in Bayelsa.

In 2013, Odugbemi scripted, produced and directed a documentary titled, ‘Literature, Language and Literalism’ about the late Nigerian writer, Daniel O. Fagunwa, the author of ‘Ògbójú Ọdẹ nínú Igbó Irúnmalẹ̀’.

PUNCH

Video - Women take the stage in Nigeria's floating slum

Nigeria's floating Makoko slum - a vast settlement of houses on stilts in a Lagos lagoon was the stage for this year's showing of the popular play - "Hear Word" - a performance targeting issues affecting women. The cast of Makoko residents, with no acting experience, alongside Nollywood veterans delivered powerful scenes on a stage that will later be converted to a community center for the women of the slum.

Video - Nigeria's Nollywood recognised on an international platform

The Africa International Film Festival has wrapped up in Nigeria's commercial capital of Lagos. Celebrities like Nollywood stars Rita Dominic and Ramsey Noah graced the red carpet, much to the delight of fans.

France and Japan to help develop Nollywood

The Federal Government has expressed its readiness to partner with Japan and France to develop the movie industry through animated movies in line with its diversifying the economy.

Alhaji Lai Mohammed, Minister of Information and Culture, said this on the sideline of the second edition of the Animated Film Festival organised by the Japanese and French Embassies in Abuja on Wednesday.

Mohammed told the News Agency of Nigeria (NAN) that government was set to partner with japan and France to build the capacity of the country’s movie industry.

“What we have seen here is another genre of movie making and I am sure we will be able to partner with both Japanese and French embassies in the capacity we are building for our movie industry.

“We agreed to work together because the Japanese are developing this animation industry quite tremendously and they promised to partner with us again in capacity building.

“With technology in the movie industry, the potentials are limitless,” he said.

French Ambassador to Nigeria Denys Guaer explained that animated films had become an important part of the movie industry globally, adding that it created jobs and promoted the images of countries.

Gauer said cooperating with Nigeria in that sector would give more visibility to animated films in the country, which he noted, “has still not been developed”.

“Animated film is very well developed in many parts of the world that is why we organised this festival with the Japanese Embassy, bringing Japanese and French production and screening them here in Abuja. Animation in France occupies a lot of people and in Japan it is a trademark.

“So, you see how important it has become even for the image of modernity and of creativity of a country and at the same time it is a business.

“It brings in money and there is a new market to occupy in Nigeria; that is why we want to make it more visible and cooperate to develop that segment in Nigeria.”

He also added that the country’s history and culture could be promoted through the art of animated movies.

Earlier, Japanese Ambassador to Nigeria Sadanobu Kusaoke said that “the animated film festival is a good starter” of cultural cooperation between both countries.

Kusaoke further said the three countries could share experience they had in the movie industry.

“I hope this (the festival) can start a trilateral exchange in animated film and creation among Nigeria, France and Japan.

“I am sure there is much we can learn from Nollywood’s and Nigeria’s filmmaking,” he said.

This second edition of the Animated film festival will close on Nov. 5 and will show French, Japanese and Nigerian animated films.

The festival will include some short film screenings and a panel discussion in partnership with some Nigerian animation studios based in Abuja.

Guardian