The Nation Newspaper

Category: Life – The Midweek Magazine

  • NFVCB: how growth and diversity drive Nollywood

    NFVCB: how growth and diversity drive Nollywood

    • Board classifies 1,185 films, pushes for name change

    national  Film and Video Censors Board (NFVCB) has said sustained growth and diversity drive the Nigeria film industry to higher success.  This is just as the board approved and classified 1,185 films between January and December 2025, underscoring an upsurge of activity in the sector.

    According to the annual classification report, the films approved during the year spanned a wide range of genres and languages, reflecting both the vibrancy of local film production and the continued submission of foreign-language content for classification in Nigeria. By comparison, the Board classified 1,088 films in 2024, indicating a consistently high level of industry engagement.

    English-language films accounted for the highest number of approvals throughout the year, reaffirming their dominance in Nigeria’s film production landscape. Yoruba and Igbo films followed, while Hausa and other indigenous Nigerian language films appeared less frequently. The report, however, noted a broader representation of indigenous languages—such as Nupe, Berom, and Gbagyi—particularly in September 2025, highlighting Nigeria’s cultural diversity. Foreign-language films, including those in Hindi, French, and Japanese, were also classified during the year.

    In terms of audience classification, the data reveal a strong concentration of 15 and 18 ratings across all months, indicating that most films approved in 2025 were targeted at mature audiences. Family-friendly classifications such as G, PG, and 12A were comparatively fewer, suggesting limited production of children’s and general-audience content during the year.

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    Monthly analysis showed that May 2025 recorded the highest number of film approvals, with 173 titles classified. Overall trends for the year indicate: a consistent dominance of English-language films in monthly approvals; a clear majority of films classified under mature ratings (15 and 18); growing, though still limited, inclusion of indigenous Nigerian languages beyond the major ones.

    Commenting on the report, the Board reiterated its commitment to encouraging greater diversity in film production, particularly increased investment in family-friendly content and wider use of Nigeria’s indigenous languages. This aligns with the Executive Director’s ongoing emphasis on promoting cultural representation and inclusivity within the nation’s film industry. The Board had in a bid to encourage more indigenous language films reduced the classification fees of indigenous language films outside of Igbo, Youruba and Hausa.

    The Board affirmed that the 2025 classification figures demonstrate sustained momentum in Nigeria’s film sector and reaffirm the NFVCB’s role in ensuring responsible content classification while supporting industry growth.

    Speaking at an interactive session with Arts Writers in Lagos, the Executive Director of National Film and Video Censors Board (NFVCB) ,Dr. Shaibu Husseini, lamented that despite the production capacity of the industry, a culture of bypassing the regulator is starving the sector of its accurate data needed to attract massive global investment. He identified lack of institutional registration as an obstacle to Nollywood’s growth.

    “The law says that once a film is produced in this country, or imported to be distributed, it must be classified and registered by the NFVCB. But with technology that allows you to distribute your film with your phone from your home, a lot of people don’t bother to send those films to us.”  He noted that this setback creates a false narrative in the international market regarding the industry’s scale.

    “Investors want to know numbers, but we can’t give them accurate numbers. We are reporting about 2,800 films annually, but it is not true. We make more than that. I dare say we make close to 800 films a month in this country. I know a single lady who produces four films in a month. If we don’t have an index of these films, we cannot have a truly recognised industry.” To him, there will be vigorous enforcement this year in order to combat the menace.

    “This year, we are going to spend time implementing that aspect of our law that makes it mandatory for you to send your film to us for classification and registration. We are supposed to keep a register of films.”

    In sync with global best practices, Husseini has initiated a name change for the board to National Film and Video Classification Board, which according to him, is being attended to by the National Assembly.

    Seeking the support and cooperation of the Arts Writers, the ED stressed that the public needs to be educated, particularly on films that attract undue controversies such as Ini Edo’s A Very Dirty Christmas.

     “People need to understand that these things are fiction. Regarding the Christmas film title, it was a metaphor; the film had absolutely nothing to do with the Nativity of Christ. However, the law provides that where there is a public outcry, we can review. We reached an understanding with the filmmakers that the film will be retitled before moving to any other platform.

    “A single line can finish a whole film. We watch for those things— not to ban, but to restrict and ensure we don’t use the medium of film to generalise or cause division,” he added.

  • Artist seeks justice after attack

    Artist seeks justice after attack

    To most artists, holding an art exhibition is akin to taking delivery of a new born baby. It is not only a bundle of joy, but also a fulfillment of a dream and an unhindered expression of inner minds. But, for Nigerian visual artist, Mr. Oguntimehin Adeyemi Ariyo, his experiences shortly after the close of his recent 8-day solo exhibition, Muted Loud were devoid of that joy and fulfillment. He lost two paintings to attackers, while five works were destroyed.

    He survived a targeted attack on Friday January 9, by 9pm while returning from venue of the exhibition, Tosho Art Gallery, Lekki Phase 1, Lagos. The incident, according to him,  occurred on the long bridge on Lagos–Ibadan Expressway, where his artworks were damaged and some stolen, while the artist narrowly escaped being killed.

    Narrating his oredal, the artist said the attack took place while he was returning with the unsold artworks after the close of the exhibition.. “The assailants reportedly focused on destroying and carting away artworks, suggesting a deliberate attempt to silence or intimidate the artist rather than a random act of violence,” he said.

    Continuing, Ariyo said: “This attack was not just on me as an individual, but on my voice as an artist. My works speak for the silenced, and it appears some group of people wanted those voices erased.”

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    Muted Loud, which ran between December 12 and 19, is an exhibition of 35 drawings and paintings that confronts themes of religious intolerance, human suffering, and freedom of expression in Nigeria. The show has attracted attention for its bold visual narratives and advocacy-driven content.

    He recalled that at the exhibition opening, some people in the gallery were not pleased with the works because of the religious undertone.

    “Even when I was being attacked, they expressed their disslike verbally too,” he added.

    Following the attack, the artist reported the incident at the nearest police station in Warewa, Ogun State, where a complaint was lodged and investigations were expected to commence.

    The incident has sparked renewed concerns among artists, culture practitioners and human-rights community about the safety of artists in Nigeria, particularly those whose works address sensitive social and religious issues. Advocates are calling for a thorough investigation, recovery of the stolen artworks, and stronger protections for creative expression.

    As the case unfolds, the attack on Ariyo stands as a troubling reminder of the risks faced by artists who challenge silence and injustice through their works. 

    Among Ariyo’s works that perhaps drew the ire of the attackers include Beneath the Cross, The fellowship series, The Jihadist stories, Scent of a woman, The cross wept, The Just shall leave by fate, The conformist 1&2, The clergy, the pains, we can’t say it all, What they did, Submission, In his presence, The last disciple, Serenity, and We will never give up.

    The  2000 graduate of printing from Auchi Polytechnic and CEO Greener Expressions Ventures, described his exhibition as a paradox—strength expressed through restraint, whispers that roar louder than screams. The solo show investigates the tension between silence and voice, belief and doubt, reverence and rebellion.

    “Through a series of paintings and mixed-media works, I reflect on my personal journey with religion, the myths that shaped my upbringing, and the unspoken struggles of faith and identity.“Religion and belief often demand silence, obedience, and conformity, yet within that silence lies a loudness questions, resistance, and truths that cannot be erased. My work captures that paradox: images that are visually muted in tone yet loud in meaning. The pieces borrow symbols from myth, ritual, and sacred traditions, reshaping them into a language of both critique and remembrance,” he said in a brochure to the exhibition.

    To the gallery proprietor, Ahmed Nurudeen Omotosho, the show is more than an exhibition, as it is an invitation. He said through bold symbolism, layered textures, and emotionally charged compositions, Ariyo asks viewers to confront their assumptions while rediscovering the humanity that binds us together across lines of faith.

    According to him, each piece functions as a visual dialogue honest, courageous, and necessary. “This body of work arrives at a critical moment in Nigeria’s cultural conversation. As tensions rise around issues of religious freedom and coexistence, Ariyo’s artistic voice urges us toward empathy. His belief that art can speak where words fail is powerfully evident throughout this exhibition. The works do not impose answers; they open doors—to reflection, healing, and collective responsibility,” he added.

  • Cultural significance of motif-carved doors

    Cultural significance of motif-carved doors

    By Aderemi Michael

    In many Yoruba communities, art is not separated from daily life; it is woven into architecture, ritual and identity. In Okeigbo, Ondo State, one of the most striking expressions of this tradition is the motif-carved wooden door panel — an object that functions not only as an entrance, but also as a cultural text, a spiritual symbol and a marker of social identity. Found in palaces, shrines and ancestral compounds, these doors go far beyond decoration. They communicate meaning, memory and authority, silently narrating the worldview of the people who created and used them.

    Okeigbo is a historic Yoruba town located in present-day Ondo State. Oral traditions trace its origins to early migration waves from Ile-Ife and surrounding Yoruba settlements, with its growth shaped by kingship, warfare, trade and craftsmanship. Over time, Okeigbo developed strong communal institutions and a rich heritage of oral history, festivals and artistic traditions, particularly in wood-carving and architectural expression. Its cultural landscape reflects a blend of ancestral lineage, chieftaincy structures and religious practices that continue to define social life today. It is within this historical environment that the tradition of motif-carved door panels evolved and flourished.

    A craft rooted in identity and knowledge

    The carving of door panels in Okeigbo is rooted in the skill and insight of indigenous wood-carvers who combined artistry with cultural interpretation. The carver was more than a craftsman; he was a custodian of symbolic knowledge, translating beliefs, social values and collective memory into visual form. The choice of wood, the arrangement of motifs and the rhythm of carving were deliberate, especially when the door was intended for a sacred or prestigious space. In many instances, the process itself carried ritual awareness, underscoring the spiritual importance of the finished work.

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    Symbols that speak

    The motifs on these doors are rich with layered meanings. Common forms include animals, human figures, crowns, drums, weapons, masks and geometric patterns — each communicating aspects of authority, spirituality or identity.

    Elephant motifs evoke strength, dignity and leadership.

    Crocodile and reptile figures convey resilience, vigilance and spiritual consciousness.

    Interlocking and geometric designs suggest unity, continuity and the cycles of existence.

    Human figures may depict lineage heads, ancestors, warriors or ritual custodians.

    To elders and cultural interpreters, these carvings function as a visual archive — preserving knowledge that predates writing and formal documentation. The door becomes a silent text that records memory, reinforces values and reflects the cosmology of the community.

    Uses and social functions

    Motif-carved doors in Okeigbo perform multiple roles beyond aesthetics. In palaces and chieftaincy houses, they signify prestige, power and social status, distinguishing important spaces from ordinary dwellings. In ancestral compounds, the doors mark symbolic thresholds between the living and the departed, reinforcing kinship bonds and collective memory. In shrines and sacred spaces, the carved panel represents protection and reverence, announcing the spiritual significance of the space within.

    The door also acts as a cultural identity marker. Long before a visitor steps into a compound, the motifs already introduce the household — its history, beliefs and social standing. In this sense, the door becomes an extension of oral tradition, communicating silently yet powerfully.

    Cultural representation in a changing world

    These doors reflect the Yoruba understanding that beauty, spirituality and social order are interconnected. They demonstrate that architecture can embody culture, and that everyday objects can carry historical, philosophical and symbolic meaning. However, modernization and urban building practices now threaten many of these heritage pieces. Some panels have been removed or sold as art objects, while others deteriorate through neglect and environmental exposure. When these doors are displaced from their original contexts, the stories and meanings they embody risk being lost.

    Preservation and continuity

    There is an urgent need for documentation, community sensitization and collaborative heritage preservation. Museums, cultural agencies and local custodians can work together to record surviving panels, support conservation efforts and encourage younger artisans to sustain the carving tradition — whether through restoration, apprenticeships or contemporary adaptations. Preserving these doors is not only about protecting wood; it is about safeguarding memory, identity and cultural knowledge. They remind present and future generations that indigenous creativity is both intellectual and spiritual, grounded in a worldview that values symbolism, continuity and community.

    Motif-carved doors in Okeigbo stand as silent storytellers. They show that culture is transmitted not only through speech or writing, but also through objects that guard our spaces and reflect our beliefs. To value and preserve them is to honour the ingenuity of the craftsmen who produced them and the heritage of the people who lived behind them. Beyond decoration, these doors embody history, spirituality and identity — and they deserve recognition as vital elements of Nigeria’s cultural legacy.

    • Aderemi Michael is Assistant Chief Museum Education Officer, National Museum, Onikan, Lagos.

  • NTDA, FAAN to revive tourism information desks at airports

    NTDA, FAAN to revive tourism information desks at airports

    The management of Nigerian Tourism Development Authority (NTDA) and the Federal Airports Authority of Nigeria (FAAN), have begun plans to revive dedicated tourism information desks at major airports across the country.

    Director-General (NTDA), Dr. Olayiwola Awakan who recently paid a courtesy visit to the Managing Director/Chief Executive of FAAN, Mrs. Olubunmi Kuku, at FAAN headquarters, Lagos said airports represent the first and most critical point of contact for international visitors, making them essential gateways to Nigeria’s tourism experience.

    “Tourism is about movement,” he said, “and FAAN plays a huge role in that because for anyone coming into the country, airports are their first point of contact.”

    Describing Nigeria as ‘sitting on a gold mine’ of tourism opportunities in every region; from cultural heritage and natural landscapes to eco-tourism and adventure destinations, he  called for a powerful combination of compelling storytelling, reliable data, and seamless travel experiences to reposition the nation as a world-class destination.

    READ ALSO; Arewa, this has to stop

    At the core of the discussion was Dr. Awakan’s strong appeal for the return of tourism information desks at airports, which would offer arriving passengers immediate access to tour guides, maps, attraction highlights, and local travel options.

    According to him, the international airports across the country will be considered for the revival of the desk, adding that a committee has been set up to work out the modalities for its reactivation. He disclosed that take off time will be end of second quarter of the year.

    “The international airports will be considered. We have set up a committee to look into the structure, and we hope to commence hopefully by end of second quarter,” he said.

    Among Nigeria’s international airports are Murtala Muhammed International Airport, Lagos; Mallam Aminu Kano International Airport, Kano; Port Harcourt International Airport; Akanu Ibiam International Airport Enugu; and Nnamdi Azikiwe International Airport, Abuja. 

    Mrs. Kuku welcomed the renewed partnership, describing aviation and tourism as ‘naturally interconnected’ and commending Dr. Awakan for his consistent support and friendship over the years.

    She affirmed FAAN’s full readiness to collaborate closely with NTDA to enhance passenger experience, upgrade airport infrastructure, and drive growth in both domestic and international tourism arrivals.

    At the end of the meeting, the two leaders established a joint committee to coordinate data sharing and oversee ongoing collaborative initiatives between the two agencies.

    The renewed focus on airport-based tourism support is expected to create a more welcoming first impression for visitors and help showcase Nigeria’s rich diversity right from the moment of arrival.

    Recall that these dedicated Tourism Information Desks were operational in major airports across the country during the tenure of Mrs. Sally Mbanefo as Director General of NTDC then, which formed part of the critical sub-unit of marketing and promotion department of the corporation. The reviving of the desk is not only a right step in right direction, but also a strategic boost to Nigeria’s tourism development 

  • The sacred staff of indigenous medicine

    The sacred staff of indigenous medicine

    By Adetutu Adebimpe

    Among the Yoruba people of southwestern Nigeria, few ritual objects carry as much spiritual weight as the Opa Osanyin the sacred staff of Osanyin, the orisa (deity) of herbal knowledge, medicine, and healing. More than a carved artifact, the Opa Osanyin represents the deep relationship between nature, spirituality, and indigenous science in Yoruba cosmology.

    Traditionally forged from iron, the Opa Osanyin is easily identified by its central vertical shaft crowned with a ring of birds, usually eight, sometimes sixteen, arranged in a circular form. These birds symbolize spiritual forces, vigilance, and the invisible powers believed to guard medicinal knowledge from misuse. Iron, sacred to Ogun, signifies durability and spiritual authority, reinforcing Osanyin’s control over the forest and its healing resources.

    Osanyin occupies a unique position among the Yoruba orisa. Unlike other deities with elaborate shrines and public festivals, Osanyin is revered quietly, often in forest groves or sacred spaces. He is regarded as the ultimate custodian of ewe (herbs), possessing knowledge that balances life, health, and destiny. Herbalists, traditional healers, and priests invoke Osanyin before preparing potent medicines, believing that without his consent, herbs lose their power.

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    The Opa Osanyin serves both symbolic and functional purposes. It is planted at shrines or carried during rituals to invoke protection, spiritual balance, and healing. In some traditions, it is also used to mark sacred medicinal spaces, warning against desecration or unauthorized access. Its presence affirms legitimacy, authority, and spiritual discipline.

    Beyond religion, the Opa Osanyin highlights the sophistication of Yoruba indigenous knowledge systems. It reflects centuries of environmental observation, botanical expertise, and ethical restraint in the use of natural resources. In an era of renewed interest in traditional medicine and cultural heritage, the Opa Osanyin stands as a powerful reminder that African knowledge systems are deeply rooted, symbolic, and scientifically informed.

    Preserving and understanding objects like the Opa Osanyin is essential not only as cultural heritage but as living evidence of Africa’s intellectual and spiritual history.

    • Adetutu is Principal Asst. Museum Education Officer 1 (PAMEO 1) Education Dept. National Museum Lagos

  • Young author’s enviable feat in book publishing

    Young author’s enviable feat in book publishing

    In a remarkable feat that has sent shockwaves through the indie author community, Anuoluwapo Ogunmoroti has successfully launched three books in one year, In the name of love her debut novel, Diary of a dainty butterfly her poetry book and Escape.- this is a remarkable achievement. This talented Nigerian author has defied odds and shattered expectations, proving that hard work and dedication know no bounds.

    READ ALSO; Arewa, this has to stop

    With each launch, Ogunmoroti’s popularity has soared, garnering her loyal following and critical acclaim. Her unique voice and perspective have resonated with readers, making her books instant bestsellers.

    The author’s achievement is a testament to the power of innovation and perseverance in the ever-evolving publishing landscape. As Ogunmoroti continues to push boundaries, one thing is clear – she’s a force to be reckoned with in the world of indie publishing.

  • How Flavour’s Homecoming rocks Awka

    How Flavour’s Homecoming rocks Awka

    By Chuka Nnabuife

    Memories of Flavour’s Homecoming concert at the Solution Fun City, Awka, on December 30 are still fresh. The event was a grand slam, with over ten thousand participants rocking out to the Anambra State-born musician’s tunes. The venue was abuzz with energy, verve and ample space for attendees to roam and revel in the festivities. There was a large space for cars to park and scores of security cops on duty.

    As the star artiste Flavour (locally known as Chinedu Izuchukwu Okoli) took the stage, the audience was treated to a seductively lit, colourful spectacle that went beyond just music and performance. Flavour’s infectious rhythms had the crowd dancing, singing along, and making merry. The atmosphere was agog, electric, with young lads blasting away fireworks in the euphoria of the Yuletide season. When the popular avantgarde, Onitsha-based cleric, Chukwuemeka Cyril Ohanaemere (aka Pastor Odumeje, Indaboski among other aliases) joined Flavour to perform on stage, the arena erupted higher.

    But it wasn’t just the music that stole the show – the Solution Fun City itself was a spectacle to behold. Brilliantly coloured paintings, artistic installations, and engaging pieces of functional engineering created an atmosphere of wonder. As attendees explored the venue, they discovered a vast array of facilities, including an amusement park, water park, and lifestyle entertainment complex.

    Indeed, the Solution Fun City is more than just a recreational park – it’s a large, integrated leisure destination that’s redefining modern recreation in Southeastern Nigeria. With its thrill rides, Ferris wheel, water slides, and sports facilities, it’s the perfect spot for families, tourists, and major events. The facility boasts an impressive array of amenities, including multiple swimming pools, indoor gaming and cinema halls, a mini-sports stadium, and courts for tennis, squash, volleyball, and badminton.

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    Governor Chukwuma Charles Soludo who spoke at the concert noted that the fun city has been attracting over seven thousand visitors daily during the Yuletide period, a testament to the ingenuity of the initiative. As Anambra State’s flagship leisure project, the Solution Fun City is positioning the state as a hub for modern recreation, tourism, and the creative economy.

    The success of the Flavour concert is a clear indication that the Solution Fun City is on the right track. The facility has become a beacon of entertainment and leisure in Anambra State, offering something for everyone. Whether for a thrill-seeker or family looking for a fun day out, or simply someone who wants to experience the best of Anambra’s culture, the Solution Fun City is fast-evolving into the place to be, not only in Anambra but in the South-East zone.

    As the Yuletide season comes to a close, the Solution Fun City remains a shining example of what Anambra State has to offer. With its unique blend of entertainment, culture, and natural beauty, it is turning out to be a destination that leaves a lasting impression on visitors.

    • Nnabuife, Managing Director of the Anambra State Civic and Social Reformation Office writes from Awka.

  • Ada celebrations spark applause for Lagos Commissioner

    Ada celebrations spark applause for Lagos Commissioner

    Ada’s rich cultural heritage took centre stage as the recently-concluded Ada Week celebrations rekindled memories of the global attention that greeted FESTAC ’77, drawing renewed focus to Nigeria’s growing cultural and heritage tourism potential.

    The celebration, held at Ada Secondary Commercial School, Ada, Osun State, attracted traditional rulers, community leaders, media executives and indigenes, with special commendation for the Lagos State Commissioner for Information and Strategy, Mr Gbenga Omotoso, whose presence and support drew widespread applause.

    Omotoso, an indigene of Ada, led notable media executives, including Mojeed Jamiu and Ayodele Aminu, to the event in what the Central Planning Committee (CPC) described as an unprecedented show of solidarity and philanthropy. It marked Omotoso’s first homecoming and public participation in the Ada Day celebration since its inception in 2012. The grand finale of the 3rd Ada cultural celebration began around 11 a.m. with the arrival of the royal host, the Olona of Ada, HRM Oba Dr Oyetunde Olumuyiwa Ojo, Ogunbodun I, who led high chiefs and prominent indigenes to the venue.

    The event featured a colourful display of culture and artistic expressions, including performances by traditional dancers, teenage drummers, acrobats and local artistes. A parade of traditional hunters, whose dane guns echoed intermittently, thrilled market women, artisans and members of social clubs, many of whom turned out in colourful ankara attire, singing and dancing in celebration of their identity.

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    Chairman of Ada Community Development Association, Chief Olusegun Alalade, Bobagunwa of Ada Land, in his welcome address, thanked dignitaries and friends of the community for their presence and generous donations. He said the support underscored a shared commitment to repositioning Ada as a national cultural hub, given its rich heritage and historic sites.

    One of the highlights of the celebration was the fundraising exercise, which received overwhelming support from members of the communities, social clubs, and traders’ associations. Members of the Osolo community, led by High Chief Oladele Omotoso Fagunwa, Jagun Oke; Baale Chief Dr Fakorede Abel; and the Eesa of Ada, High Chief Ajayi Oyeniyi Samson, drew commendation for coordinated donations running into millions of naira.

    The festivities climaxed at the palace groundof Oba Ojo with a vibrant Akara Night Fiesta. The culinary event celebrated African cuisine and hospitality, attracting both casual diners and lovers of traditional delicacies, and bringing the Ada Week celebrations to a memorable close.

  • ‘My movie is not a slight to Christian celebration’

    ‘My movie is not a slight to Christian celebration’

    Nollywood actress and producer, Ini Edo, has dismissed claims that her new film, A Very Dirty Christmas, is an attempt to undermine the Christian celebration of Christmas, describing the title as a metaphor rather than a mockery of faith.

    The controversy surrounding the movie has sparked conversations across religious and creative circles, with the Christian Association of Nigeria (CAN) raising concerns over what it perceived as a trivialisation of a sacred season. However, industry stakeholders insist the film is being misunderstood.

    In a statement issued by the Actors Guild of Nigeria (AGN), signed by its outgoing president, Emeka Rollas, the guild maintained that the title does not insult Christianity but rather serves as a creative expression used to convey the film’s storyline.

    According to the AGN, the movie is a family drama set against the backdrop of Christmas and does not in any way ridicule or demean the Christian faith. The guild urged critics to assess the work in its full context instead of drawing conclusions based solely on its title.

    “Christmas remains a sacred season symbolising holiness, redemption and hope. Yet, it is also a time shaped by diverse human realities. These realities do not diminish the sanctity of the season but reflect the complexity of lived experiences,” the statement read.

    The guild also noted that Ini Edo, a practising Christian, would not deliberately produce content that undermines her faith, adding that the Nigerian Film and Video Censors Board had approved the film in line with its regulatory mandate.

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    Speaking at a private media screening held at Filmhouse Cinema, Landmark, recently, Edo explained that the title was chosen to reflect the events that unfold during the Christmas season in the film.

    “The whole idea was that it is Christmas and they are coming home to celebrate. The events that unfold during that period are what informed the title. It’s metaphorical and meant to spark curiosity,” she said.

    The actress explained that the title was also influenced by commercial considerations and the need to keep audiences intrigued without revealing too much of the plot. She added that no objections were raised before the film’s release and that the title would have been reconsidered if concerns had been expressed earlier.

    Edo further disclosed that the word “Dirty” was initially intended to be spelt as “Detty”, but the alternative was already trademarked. While she admitted considering a title change, she noted that it would be difficult given that the film is already showing in over 70 cinemas nationwide.

    “I don’t want anyone to feel hurt by something that was meant to entertain. I respect Christianity deeply and would never intentionally disrespect it,” she said.

    A Very Dirty Christmas tells the story of a family reunion that spirals into chaos as buried secrets come to light. The narrative follows sisters Lulu and Lala, who reunite at their father’s home for Christmas, only to discover that their sister, Jade, is missing. Their search sets off a chain of events marked by tension, revelations and emotional confrontations.

    Blending humor with suspense, the film explores themes of betrayal, deceit and redemption. Despite assumptions suggested by its title, it contains minimal explicit content and focuses largely on storytelling and emotional depth.

    With its mix of drama, humor and moral undertones, the film offers audiences a compelling festive experience and adds a distinct flavour to Nollywood’s Christmas movie lineup.

  • Stakeholders canvass community service for minor offenders

    Stakeholders canvass community service for minor offenders

    Stakeholders in the Lagos justice system rose from this year’s Restorative Justice Week seeking an increased community service as a panacea for decongesting correctional centres, rehabilitating minor offenders and promoting the restorative justice system.

    Led by the Lagos State Ministry of Justice Community Service officers, the team made sensitisation visits to communities in Ikeja and Lagos Island, among others.

    Lagos State Justice Commissioner, Mr. Lawal Pedro (SAN) emphasised the importance of community participation and offender rehabilitation, saying restorative justice was not just a legal principle but a fundamental human right. According to him, justice must go beyond punishment to include dignity, restoration, accountability and victim empowerment.

    This year’s Restorative Justice Week was attended by stakeholders from the judiciary and non-governmental organisations, and funded by the European Union. The sensitization drive would offer education on the purpose and value of community service as a corrective and developmental tool in modern justice administration, and reinforce the message that justice is not only punitive but also restorative.

    The International Institute For Democracy And Electoral Assistance, the Sweden-based organisation, which supports democracy in Africa with electoral management training and risk assessments, regretted that public awareness and understanding of Community Service remained relatively low, especially at the grassroots level. “Many residents, traditional leaders, and local authorities still perceive imprisonment as the only valid form of punishment. This misconception often results in stigmatization of offenders, resistance to placements, and weak community collaboration with the justice system,” it stated.

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    According to statistics, in 2024 the Community Service Unit of Lagos Ministry of Justice supervised 3,765 (3,600 males and 65 female) offenders that had been sentenced to do community service, a figure considered relatively low.

    State Coordinator of Rule of Law and Anti-Corruption Programme (RoLAC), Mrs. Ajibola Ijimakinwa, said though over 300 cases have been referred to the Restorative Justice Unit, “the numbers are still low, and we look forward to increased referrals from magistrate courts and the police.”

    She said: “Before now, justice was mostly about punishment and incarceration. Now, victims and offenders can come together, discuss what happened, the impact of the crime, and reach agreements that ensure the victim is taken care of. We are here to sensitise the public that the Restorative Justice Unit exists in the Ministry of Justice.

    “We urge judicial officers to continue reporting minor offences to the unit, ensuring people don’t go to prison unnecessarily. Awareness must increase so that, in one year, we can see more referrals. Even for cases already in the system, custodial centres can create awareness and request restorative justice when the offender appears before the court.”

    The Director Lagos State Ministry of Justice Community Service Unit, Mrs. Tomi Bodude identified the three major objectives of community service as rehabilitation, restoration and decongestion.

    She said: “Community Service is a non-custodial sentencing for minor offenders, where offenders are required to perform unpaid work for the benefit of the community instead of being sent to prison. Offenders are monitored.”

    “Community Service…helps correct behaviour, allows offenders to give back to society, and reduces overcrowding in our correctional facilities by keeping minor offenders out of custody. It also saves public resources and prevents the exposure of first-time offenders to hardened criminals.”

    The Executive Vice Chairman of Lagos Island East LCDA, Hon. Monsurat Oluwatosin Balogun, said community sensitization program provided an important avenue to educate residents on the purpose and value of community service as a corrective and developmental tool in modern justice administration. “It reinforced the message that justice is not only punitive but also restorative — aimed at building better citizens and strengthening community bonds,” she said.

    The event also witnessed medical outreach offering free health checks, consultations, and treatments.