Nollywood Breaks Barriers at Cannes: A New Era for Nigerian Cinema
It’s been almost 80 years in the making, but this Sunday, a Nigerian film will finally take its place in a prestigious official slot at the Cannes Film Festival.
Nollywood, the vibrant film industry based in Lagos that produces up to five films a day, is finally getting the recognition it deserves after years of being dismissed for its low-budget, feel-good flicks.
However, producers acknowledge that despite the impressive number of films being made each year—far surpassing Hollywood—they still face challenges in reaching audiences beyond Africa, especially outside the diaspora.
Nigerians have always embraced Nollywood’s endless stream of low-budget dramas that dive into themes of love, poverty, religion, and corruption, often sprinkled with a touch of the supernatural and the tug-of-war between modern and traditional values.
While these films aren’t exactly known for their high quality, many are cranked out at lightning speed on tight budgets.
However, that perception—which producers argue is a relic from the days when most films were shot on video camcorders—might be on the verge of transformation with “My Father’s Shadow,” the first Nigerian film to earn a spot at Cannes, the prestigious hub of arthouse cinema.
“Getting into competition for the first time ever shows that Nigerian cinema has come of age,” insisted Prince Baba Agba, a cultural advisor to Nigeria‘s President Bola Tinubu, who is in Cannes for the premiere.
–Pivotal moment –
Akinola Davies’s first feature is set during the 1993 coup, a pivotal moment in Nigeria’s recent history, when the military annulled the election and General Sani Abacha eventually took power.
The phrase “lost chance” resonates deeply, especially when Akinola remarked that the “rug was pulled away and everyone’s dreams of democracy were just taken away.” This moment continues to leave a mark on the country.
In this semi-autobiographical tale, we follow two young boys as they navigate Lagos alongside their father during the chaos of the coup, with “Gangs of London” actor Sope Dirisu bringing the story to life.
Agba emphasized that this film isn’t just a one-off “unicorn.” Last year, Editi Effiong’s gripping crime thriller “The Black Book” soared to the top of Netflix’s global charts, even clinching the number one spot in South Korea.
“We have had films going to major festivals and we have won prizes at Sundance,” he told AFP, pointing to “Shine Your Eyes” — a hit at the Berlin film festival.
“Eyimofe (This Is My Desire)” has been picked up by the prestigious streaming and distribution network Criterion Collection.
“It was fully shot in Nigeria, with Nigerian producers, Nigerian finance, everything,” Agba added.
“We are still making an awful lot of films, but now in all the strata, from the bottom to the top,” he added.
“You have people doing million-dollar productions, and you have people doing $10,000 films… all telling unique stories with the soul and heart and spirit of Nigeria,” he added.
Tax breaks for filmmakers that are currently making their way through parliament could really change the game, he mentioned, enhancing Nollywood’s ability to make a mark internationally, especially with the rise of streaming and co-productions.
During the pandemic, big US streaming services started to explore the market, with Netflix acquiring titles like “Blood Sisters,” “Man of God,” and the musical “Ayinla.” Meanwhile, local platforms thrived, particularly in the Muslim north’s “Kannywood,” which is named after the city of Kano.
–‘Big challenges‘ –
Since then, there have been a few significant bumps along the way, particularly with Amazon shutting down its operations in Africa last year.
Netflix has also slammed the brakes, as industry insiders in Cannes shared with AFP, even though they’re officially claiming it’s business as usual.
Meanwhile, major local players are looking to fill the void, with the Ebonylife Group—a major force in Nollywood—gearing up to launch its own platform.
“We will start small and we will build… We can’t keep waiting on everyone else to do this for us,” said its founder Mo Abudu, who is also opening a Nigerian cultural hub in London later this year.
Agba acknowledged that the industry is grappling with some significant technological and infrastructure hurdles, especially when it comes to mobile networks since most films are viewed on phones. However, he also pointed out that there has been some progress.
“We hope to double our (cinema) screens to 300. Brazil, with a similar population, has over 3,000,” he said.
When it comes to soft power, Nollywood stands tall alongside Afrobeats music as Nigeria’s shining star. A clear sign of its unstoppable ascent is that Mo Abudu topped The Hollywood Reporter’s “40 Most Influential Women in International Film” list, which was unveiled just before Cannes.
Nollywood Breaks Barriers at Cannes: A New Era for Nigerian Cinema
