Category: Victor Akande

Victor Akande

 

IF limited public gathering continues to be the new normal, the rising cinema culture in Nigeria will experience a premature landing. The situation can only take us back to a somewhat analogue era. What this simply means is that, we would probably be back to how entertainment was consumed in Nigeria before 2007, when ‘Through the Glass’ a film by Stephanie Okereke-Linus opened the floodgate to a modern Nigerian cinema era.

Recall that Nollywood earned its name from a DTH model, and while the home video business held sway; the transition was from VHS to VCD and DVD. In all, one factor that has remained a setback for this model is the problem of piracy, until the cinema came to the rescue, and subsequently; pay TV acquisitions, and digital streaming. Without doubts, this forms of distribution and exhibition has relatively earned our filmmakers some ROI.

There was a resurgence of the cinema going culture in Nigeria in May 2004 with the establishment of Silverbird Cinema at the Silverbird Galleria inLagos, but at the time, Hollywood films dominated the exhibition space largely because Nollywood had maintained a direct-to-home production, and later on, the Africa Magic chains on DStv.

Now that what appears to be the new normal is home entertainment, not only will pirates be waiting with their desperate fangs again, the lessons of quality upgrade that theatre has taught our filmmakers are likely to drop too — the latter because after the establishment of Silverbird Cinema in Lagos, one of the earlier challenges for Nollywood films in the theatre was that they were adjudged unfit due to low quality of production, until filmmakers began to use upgraded equipment.

While a predominant home form of entertainment will not be a problem for the developed countries, the same cannot be said of Nigeria where poor electricity supply and high Internet tariff continues to be a huge challenge. Unfortunately, resorting to VCD/DVD distributions will only re-enact old nightmares.

To understand what cinema business has done for Nigerian filmmakers since 2007 is to underscore the number of cinema houses and filmmaker-millionaires that have emerged through the theatre exhibition experience.

Although ‘Through the Glass’ did not achieve much commercial success, having made about N13 million in three weeks of exhibition, the next remarkable Nigerian production, ‘The Figurine’ (2009), by Kunle Afolayan endeared more people to the cinemas, thus the film made about N25million. There was a notable progression in box office earnings, as a project, ‘Ije-The Journey’ (2010) by another Nigerian filmmaker, Chineze Anyaene, who also attended the New York Film Academy recorded N59 million, showcasing in five cinemas across three Nigerian cities. It was the first time a Nigerian movie was making such earning. And this brought hope to many who began to see the cinema as a way of outsmarting DVD pirates who were known to feast on the IP rights of filmmakers. For a long time, ‘Ije’ became a reference point for possibility.

When in 2012, the first Filmhouse Cinema was opened in Surulere, hope for more earnings rose, but for a while, none was able to beat the record of ‘Ije’. However, Kunle Afolayan’s ‘Phone Swap’ (2012) was an improvement on ‘The Figurine’, having made about N30million in the cinemas. Again, Afolayan’s ‘October 1′ (2014) was an improvement on his previous work with more than N35million box office sales apart from about N60million it clinched through the filmmaker’s private screening initiative. In the same year, there was another unprecedented bumper earning by first-time feature film producer, Ayo Makun whose film, ’30 Days in Atlanta’ made N100million. By this time, Filmhouse’s strategic development plan to roll-out 25 cinemas over a six year period had yielded about 60 per cent, added to the likes of Viva Cinema in Ibadan and Ilorin, Kada Cinema in Benin, Dews Cinema in FESTAC Town, Royal Cinema in Alimosho, 5D Cinema 9Ja in Port-Harcourt and Genesis Deluxe Owerri among others.

As the cinema houses rose in number and across several Nigerian states, the exploits of Nigerian films in the cinemas have been particularly remarkable. From ‘The CEO’ to ‘Wives on Strike’, ‘A Trip to Jamaica’, ‘The Wedding Party’, ‘The Wedding Party 2’, ‘Chief Daddy’, ‘Sugar Rush’, ‘Merry Men’, ‘Merry Men 2’, ‘King of Boys’, ‘Your Excellency’, and ’10 Days in Sun City’, the figures are in hundreds of millions of naira.

With the above scenarios, it is obvious that the best form of adjustment is not to return to the failed VCD/DVD days, but a proactive measure of improving the economy through constant electricity and affordable Internet services. This way, local earnings by our filmmakers can complement the inflow from streaming Nigerian films among consumers in the Diaspora.

By Victor Akande

If limited public gathering continues to be the new normal, the rising cinema culture in Nigeria will experience a premature landing. The situation can only take us back to a somewhat analogue era. What this simply means is that, we would probably be back to how entertainment was consumed in Nigeria before 2007, when ‘Through the Glass’ a film by Stephanie Okereke-Linus opened the floodgate to a modern Nigerian cinema era.

Recall that Nollywood earned its name from a DTH model, and while the home video business held sway; the transition was from VHS to VCD and DVD. In all, one factor that has remained a setback for this model is the problem of piracy, until the cinema came to the rescue, and subsequently; pay TV acquisitions, and digital streaming. Without doubts, this forms of distribution and exhibition has relatively earned our filmmakers some ROI.

There was a resurgence of the cinema going culture in Nigeria in May 2004 with the establishment of Silverbird Cinema at the Silverbird Galleria inLagos, but at the time, Hollywood films dominated the exhibition space largely because Nollywood had maintained a direct-to-home production, and later on, the Africa Magic chains on DStv.

Now that what appears to be the new normal is home entertainment, not only will pirates be waiting with their desperate fangs again, the lessons of quality upgrade that theatre has taught our filmmakers are likely to drop too — the latter because after the establishment of Silverbird Cinema in Lagos, one of the earlier challenges for Nollywood films in the theatre was that they were adjudged unfit due to low quality of production, until filmmakers began to use upgraded equipment.

While a predominant home form of entertainment will not be a problem for the developed countries, the same cannot be said of Nigeria where poor electricity supply and high Internet tariff continues to be a huge challenge. Unfortunately, resorting to VCD/DVD distributions will only re-enact old nightmares.

To understand what cinema business has done for Nigerian filmmakers since 2007 is to underscore the number of cinema houses and filmmaker-millionaires that have emerged through the theatre exhibition experience.

Although ‘Through the Glass’ did not achieve much commercial success, having made about N13 million in three weeks of exhibition, the next remarkable Nigerian production, ‘The Figurine’ (2009), by Kunle Afolayan endeared more people to the cinemas, thus the film made about N25million. There was a notable progression in box office earnings, as a project, ‘Ije-The Journey’ (2010) by another Nigerian filmmaker, Chineze Anyaene, who also attended the New York Film Academy recorded N59 million, showcasing in five cinemas across three Nigerian cities. It was the first time a Nigerian movie was making such earning. And this brought hope to many who began to see the cinema as a way of outsmarting DVD pirates who were known to feast on the IP rights of filmmakers. For a long time, ‘Ije’ became a reference point for possibility.

When in 2012, the first Filmhouse Cinema was opened in Surulere, hope for more earnings rose, but for a while, none was able to beat the record of ‘Ije’. However, Kunle Afolayan’s ‘Phone Swap’ (2012) was an improvement on ‘The Figurine’, having made about N30million in the cinemas. Again, Afolayan’s ‘October 1′ (2014) was an improvement on his previous work with more than N35million box office sales apart from about N60million it clinched through the filmmaker’s private screening initiative. In the same year, there was another unprecedented bumper earning by first-time feature film producer, Ayo Makun whose film, ’30 Days in Atlanta’ made N100million. By this time, Filmhouse’s strategic development plan to roll-out 25 cinemas over a six year period had yielded about 60 per cent, added to the likes of Viva Cinema in Ibadan and Ilorin, Kada Cinema in Benin, Dews Cinema in FESTAC Town, Royal Cinema in Alimosho, 5D Cinema 9Ja in Port-Harcourt and Genesis Deluxe Owerri among others.

As the cinema houses rose in number and across several Nigerian states, the exploits of Nigerian films in the cinemas have been particularly remarkable. From ‘The CEO’ to ‘Wives on Strike’, ‘A Trip to Jamaica’, ‘The Wedding Party’, ‘The Wedding Party 2’, ‘Chief Daddy’, ‘Sugar Rush’, ‘Merry Men’, ‘Merry Men 2’, ‘King of Boys’, ‘Your Excellency’, and ’10 Days in Sun City’, the figures are in hundreds of millions of naira.

With the above scenarios, it is obvious that the best form of adjustment is not to return to the failed VCD/DVD days, but a proactive measure of improving the economy through constant electricity and affordable Internet services. This way, local earnings by our filmmakers can complement the inflow from streaming Nigerian films among consumers in the Diaspora.

Victor Akande

 

THE popular Toronto International Film festival (TIFF) recorded its first hybrid experience in 45 years courtesy of the Covid-19 crisis that crippled businesses across the world, the film industry inclusive. Whereas many film events running annually between April and August were cancelled outright this year, TIFF was able to pull through as a September event, although more than 50 percent participation had to hold virtually. While there was also a significant reduction in the in-person theatre screenings due to the need for physical distancing, usual attendance was no doubt depleted owing to the travelling restrictions around the world.

For what could be termed a pandemic style edition, the absence of live red carpet session, paparazzi shows, bustling festival street attractions, glam and excitement are all responsible for the low enthusiasm. Hat said, the real business of film; some of which determine succeeding year’s box office and awards recognitions couldn’t have been affected.

Complimenting the lean cinema room screening attendance was drive-ins and open-air version at several locations around town; a new experience that comes with its own kind of excitement. These cinematic creations include venues like VISA Skyline Drive-In at CityView, RBC Lakeside Drive-In at Ontario Place, OLG Play Stage at Ontario Place, and West Island Open Air Cinema at Ontario Place.

TIFF acknowledged it was going to be a different festival, but assured fans they will get to see some of the top films of the year first before other audiences. In the words of the Artistic Director of TIFF, Cameron Bailey, “We are thrilled to offer a platform where we’ll be screening all of our films digitally and we’re also having and hosting conversations with actors and directors, we are hosting a conference, we also have a pro-platform for all of our industry delegates who cannot travel as well as press and we are hoping that we are also creating moments of surprise and delight.”

The festival had opened with Spike Lee’s David Byrne’s American Utopia on September 10, closing with Mira Nair’s A Suitable Boy. Enthusiasts had their fill with anticipated films like THE WATER MAN produced and directed by Nigerian-British actor David Oyelowo; CONCRETE COWBOY, a Black cowboys movie starring British actor of African descent Idris Elba; ONE NIGHT IN MIAMI by Regina King; PENGIUM BLOOM by Glendyn Ivin; and BRUISED, Halle Berry’s directorial debut among others.

 

Idris Elba relates CONCRETE COWBOY to BLM movement

FOR most of the Black writers and directors this year, the narratives appear to be a timely coincidence with the BLM theme, or rightly so, films that were inspired by recent accounts of systemic imbalance and racial discriminations, leading to fresh protests around the world.

Although the film, CONCRETE COWBOY, which necessitated the press conference at TIFF last Sunday, was shot 15 months ago, its theme of a troubled teen, stuck between a life of crime and his estranged father’s cowboy subculture resonates, albeit subtly with the BLM ideology. The fact is that, there is a culture of Black horsemen and women that is not often told, if ever told. One would have thought that cowboy culture is an exclusive reserve of a particular race. The film set to, not only promote, but reclaim and preserve this history.

Cast and crew of the movie, including Idris Elba, filmmaker Ricky Staub, producer Lee Daniels and others had an exciting time talking about the making of the film during the virtual press conference. And when it came to the question of how this resonated with the BLM movement, Elba noted that, as a father, the story is important to how children are raised in the community. Indeed, there are multiple claims of children in Black communities being mostly raised by single mothers due to the seemingly ‘hunting’ justice system that affects the male folks.

The actor hopes that after watching CONCRETE COWBOY, people will “look back at their communities and respect the role that communities play on young men’s lives, young people’s lives. Because often times it takes a village, you know, and sometimes we might stray outside of our village only to come back to the comfort of our village because that’s where we’re safe.”

Elba cannot wait for his kids to see the movie, saying: “Even where I’m from in England, where there’s a huge knife crime problem… we watch a movie like this and we remind ourselves… there are very important lessons to be learned from telling stories like this.”

The film; a screen adaptation of Greg Neri’s novel, has Elba, a Philadelphia cowboy whose 15-year-old son Cole (Caleb McLaughlin) arrives on his doorstep after he’s expelled from his Detroit school. The boy’s single mother is entirely fed up; she screams at him before sending him off to Philadelphia to spend the summer with his long-absent father.

Directed by Ricky Staub, the film is another directorial debut at the festival. Elba is glad that despite the pandemic, the film was able to make its way to the fore.

David Oyelowo: ‘Why I cried over role in “The Water Man”

WITH a vision akin to the stories of emancipation, THE WATER MAN, a directorial debut by David Oyelowo encourages young Africans through the eyes of his kids — to be strong and to find exceptional ways to confront life’s situations.

His lead role in Mira Nair’s 2016 movie, QUEEN OF KATWE reflects his strong support for kids, especially the girl child. This year, at TIFF, we saw another family-oriented picture with a strong male child character he fathers.

‘QUEEN OF KATWE is for his daughter, just as THE WATER MAN is for his sons,’ he revealed during a press conference on September 12 at TIFF.

“I was so nervous to show it to them because I made it for them,” he said.

“I know what it is to have a loving relationship with your children, but also to have these periods where you’re trying to navigate as they are growing and as you are trying to guide them, and sometimes getting it wrong, you know, which is something that plays out in this film.”

Oyelowo was a fan of movies like E.T. and The Goonies growing up. So, his attraction to a family-inclined script like THE WATER MAN was not surprising.

“I have four kids. I love watching movies with them,” he said. “And I love watching movies, the likes of which I grew up enjoying. Those films had adventure. They had escapism, but they also had a sort of a depth and a meaning to them… I’d been looking for something like this primarily as a producer. It was just the kind of thing I wanted to see in the world.”

Directing the movie came as a sweet coincidence after being asked, firstly, to develop and act in the lead. The initial director stepped aside in the 12th hour, and the team saw Oyelowo carrying on with the vision of the project, also as director. His initial inclusion was with the help of Oprah Winfrey who signed on as a producer, while screenwriter Emma Needell initiated what has now given him his first credit as a film director.

The vote of confidence touched his emotion, and that made him cry. “I cried on the phone because I know how much this story meant to Emma. It’s based partly on her childhood and her family and her growing up in Montana. And it was something that she had lovingly and beautifully written. That vote of confidence was just huge for me.”

But the new call was also a chance to represent his daughter in the film, he said. He had changed the character played by Amiah Miller from boy to girl.

THE WATERMAN follows a sensitive young boy as he embarks on a mission to help his gravely ill mother by locating the mythic Water Man, who may carry the secret to everlasting life. The film stars Lonnie Chavis (Gunner) who seeks out the legendary death-cheating figure in order to help his mother (Rosario Dawson). After Gunner disappears, his father Amos (Oyelowo) searches for him, and the two characters learn more about each other as a result.

 Still on Philadelphia: 40 YEARS A PRISONER

A story of racial tension and police brutality, 40 YEARS A PRISONER is one of the thought-provoking films in official selection at the Toronto film festival. A true-life event, the documentary follows Mike Africa Jr., son of two MOVE members who were imprisoned for the death of a police officer during a police raid and bombing in West Philadelphia on May 13, 1985.

The docu features eyewitness accounts and archival footage of the tension that resulted in the controversial confrontation between police and the back-to-nature group, and a son’s years of agitation to free his parents.

Described by pundits as very timely, 40 YEARS A PRISONER raises concerns about why MOVE’s form of radical action was perceived as a threat.

“I spent three years of my life making a film about the indomitable will of a son to free his parents who were fighting against police brutality, systemic racism, and wrongful incarceration in the 1970s,” says Tommy Oliver, Director, and producer of the film.

“Three years of work that I would have happily tossed away if our country was in a responsible place where things like police shootings of unarmed Black people weren’t daily occurrences and where phrases like ‘I can’t breathe’ weren’t treated as memes…but that’s not the world we live in and as long as it’s not, it’s the role of the artist to shine as bright of a light as possible on those things. 40 YEARS A PRISONER is my light.”

The film explores how, under the circumstances, nine MOVE members – all Blacks – received maximum sentences of between 30 and 100 years in prison. Young married couple Debbie Africa and Mike Africa, expecting a child at the time were among the nine convicted. Debbie gave birth to Mike Africa Jr. inside prison, only to spend the next 40 years fighting for the release of his parents and the other MOVE members.a

By Victor Akande

The human ego is falling on its knee

Like a violent storm in the middle of the sea

How on earth do we make it still

When our masters are themselves ill

This pandemic defies the charisma of scientists

Two months down the line of these bestial antics

Uncertainty is the cloud that envelops our vision

Picketing the economic and social lives of great nations

And although we know the world is at war point

Our weaponry we know not where to point

 

We are angry and sober

We lament and are sombre

Here we mourn, here we grief

As death wins some after a sick so brief

Many more will have to suffer

Many more will die of hunger

Our fates hang in the balance

Even for them in the palace

Death is the ultimate fear that grips our jugular

The ultimate end that makes COVID-19 so popular

 

At the centre of the apocalyptic pandemonium

Is human’s wickedness from millenniums

Human’s ego that craves superpower

Human’s error that exposes the powers

Human’s transgression that calls for atonement

And human’s judgement that brings us to judgement

This great evil cannot be from the one who owns the universe

For it is clear from the divine law that karma is a case of vice versa

It is no longer a joke that many eggs have lost their yoke

And the glitz of New York is not like the days of yore

 

As the reality of time hits us in the face

It gets harder not to touch our face

The need to wash our hands

Rings a bell in our head

We cannot wash our hands

The number of times we use our hands

The distance from hand to mouth

Indicts us more than the gap from mob

Staying more at home makes more sense

For the risks won’t prey on you in your absence

 

Countries have shut borders to strangers

That there be no regrets of diplomatic dangers

Just as States now shut gates to countrymen

To curtail the spread of ominous maim

My countrymen take to the fashion

Not having the elements that make a perfect fusion

Now we dine with more hunger

As soldiers enforce their licensed anger

We are told to die of hunger at home

And not by a virus in a nursing home

 

The jamboree of Nigerian politics takes a new beat

Half a loaf for a million drumbeats

If we ever get out of this alive

Perhaps we’d use our head at polling hive

How we had long eaten our today

At the instance of yesterday’s voting pay

Now our conscience cries for a probe

As our faulty choice desecrates the throne

We know our leaders who know us not

We love our leaders who love themselves nuts

 

What do we gain from this marriage of imbalance

That holes us in solitary ambiance

We are near but yet so far

Our guts they often fear

Even our voice is hate speech

The voice of conscience that we pitch

Many a death confronts us at this end

We cannot wait for this to reach its wits’ end

The world is on lockdown

Ours is obviously a lockup

 

Leaders who love their people pay rents and take foods to their doorstep

For us, throwing crumbs to their goal post is for us another political step

In our selfish journey to 2023

Pray we live to see beyond 2023

For here is a new sheriff in town

He will not let the mighty seek refuge out of town

Now Warri is up in arms against its soldiers

Soldiers who should hold the people in their shoulders

There is a spoil for fight in other communities

With a rise from a frog jump to self-taken justice

 

I weep for Nigeria, my tears from eyes so hollow

Deep from the pains of yesterday, today and tomorrow

For the future of my children and children’s children

For the retirement and old age that I dread

For this suffering in the midst of plenty

For a solution that is so empty

For we move far and far from the right foundation

For what looks like the agony of terminally ill nation

As great nations are held in momentary cry

I know not when my monumental tears will dry

By Victor Akande

As preparations are on-going for the 42nd edition of Cairo International Film Festival (CIFF), one of the leading film fests in Africa, the incidents that constituted stillbirth to the recent appointment of foremost film critic, Ahmed Shawky continues to play in my head. And I cannot but imagine how an opportunity to give a Shawky’s touch to a film festival was wished away due to his past publications as a journalist.

Days into his appointment as Artistic Director of CIFF, Shawky stepped down from his position amidst protests connected with purported controversial social media posts, one of which had to do with the victims of the Port Said stadium riots in 2012, which left 85 fans of the Cairo-based Al Ahly soccer club dead.

In what appears like calling the  dog a bad name in order to hang it, petitioners accused the journalist of inciting violence, being homophobic and sexist with the language of his posts.

Denying the allegations, albeit acknowledging he was the author of the controversial posts, Shawky noted that most of the posts that dated back to 2013 and 2014 had been misrepresented to achieve a smear campaign against his recent appointment.

“Whilst I did make in the past some inappropriate comments that were misused, misplaced and taken completely out of context, I never meant to hurt anyone in any possible way. Actions speak louder than words and accordingly I would urge everyone to judge me on the track record of my actions.

“I presented earlier my resignation and the festival accepted it. I did not want to imperil their image. I also wanted to have the opportunity to speak out to clarify and repeal the baseless accusations I have been subject to.”

According to Shawky, most of the posts were written during the tensed atmosphere of that greeted the reign of Islamist Muslim Brotherhood leader Mohammed Morsi, who was ousted from power by a military coup led by current president President Abdul Fattah al-Sisi in July 2013.

He noted that, “Violent language became the new norm in our daily life, even within the family,” adding that, “it was a complete disorderly period as anyone in Egypt would recall.”

“Extremists were armed and freely wandering in the streets. They blocked my neighbourhood, threatened my family and physically attacked my loved ones. My wife once got attacked for simply not wearing a veil. “In such a precarious environment, it’s extremely challenging to keep one’s sanity! It becomes quite easy to lose control of your feelings, thoughts and get dragged into this chaos and accordingly you become tempted to respond to this violence and extremism that was ravaging our beloved country.”

Indeed, one can imagine the very sensitive position that these accusations have placed Shawky before the international community. The film industry is very sensitive to issues of abuse, gender bias, racism, sexual identity (which he protects), and our friend knows better, what being guilty of such could cost his reputation and years of service across the globe as one of the most travelled journalists and film critic.

While the issue of curse words used carelessly, loosely or jokingly are commonplace in some African countries, it may be difficult to understand by people of western clime, who have become a significant public of Shawky over the years. I do understand that translating some of these loosed local dictions convey stronger, and sometimes inexcusable meaning in western orientation. But our friend and colleague has done well to explain, and I can identify with his position.

“Those who translated my posts know quite well that using swear words in Arabic dialect has absolutely nothing to do with the true meaning of the words themselves. All Arabs know this quite well and especially Egyptians, whereby swear words are being used regularly in our daily communication,” he explained.

On the allegations of being sexist and homophobic, there can be no better defence than Shawky having written “hundreds of articles and social media posts defending Egypt’s LGBTQ community.”

“During my whole career, I was surrounded by amazing empowered women. Funnily enough, when they asked us [CIFF] last year to join the 5050×2020 pledge to ensure that the programming team is equal, I did not have to make any change to the team since it was already composed of 70% women. We were two steps ahead of the pledge.

“Now that I have left the festival, I invite every single woman who came across or worked with me to speak out loud and tell everyone if I have ever showed her the slightest degree of sexism,” he added.

The festival, which is scheduled to run from 19-28 November 2020, sees Mohamed Hefzy continuing as President. CIFF is already accepting submissions for its 42nd edition, The Festival’s management will be guided by the Egyptian government and the World Health Organisation to ensure the necessary safeguards and protections are in place to ensure guests’ and participants’ safety as a result of the pandemic.