Category: Victor Akande

It is not enough that Lagos is the former capital of Nigeria. The will to keep the State at the forefront of socio-political and economic relevance in the West African sub region has been a major factor of its success; an accolade to visionary leaderships that have continued to play the big brother to other states of the federation and the FCT.

Situations at this year’s edition of the annual Festival de Cannes in France give credence to my thoughts, with Lagos playing Nigeria at the festival. Abi how else do you project a country than to fly its flag on a world stage. Indeed, metropolitan Lagos is mini Nigeria, and this played out at Cannes, where the Lagos State Ministry of Tourism, Arts and Culture has, in the last 12 days, been promoting Lagos as Nigeria’s most captivating city and gateway to the world of cinema.

All that guests need to know about Nollywood Nigeria was at Pavilion 210, at the Panteiro-Side of the International Village at the Cannes Film Festival where Destination Lagos has been home for Nigerian delegates, led by the Commissioner for Tourism, Arts and Culture, Mr. Steve Ayorinde who, as a film festival veteran is leading this new Lagos-Cannes narrative for the second time in a row.

Recall that like a technocrat worthy of his onions, Ayorinde took the first shot barely one year into his former appointment as Commissioner for Information and Strategy, when he led a similar delegation to the Toronto International Film Festival (TIFF) in 2016, where eight films representing Lagos were showcased as part of the city-to-city focus programme of the festival.

But for a tourism and arts loving person in Governor Akinwumi Ambode, these brilliant propositions may not have seen the light of the day. Hence, in the absence of a Federal Government’s articulated and sustainable blue print for cultural showcase at such global platforms, it is important for filmmakers to seek ways of tapping into this big brother goodwill, for as long as the governor remains at the helm of affairs in Lagos.

Nollywood has been bereft of contents at festival pavilions. Now is time to cash in on an opportunity that can define Nigerians, not just as Africa’s commercial filmmakers, but masters in the arts and politics of global motion picture business.

What more can a government do than to show its disposition towards a cause, provide a rallying point and enabling environment. And as much as Lagos continues to promote its destination, it cannot do it without the support of the private sector who holds a better chunk of the business environment.

For what is tourism if not a collection of activities, services, and industries that deliver a travel experiences to visitors.

I see Lagos trying to sustain a tradition in its own way. A six minutes documentary titled ‘Nollywood and Lagos’ was screened to ‘festivaliers’ at the Lagos pavilion last Saturday. It captures the huge impact that Lagos, the former capital of Nigeria and economic nerve of the country plays in the journey of Nollywood, a generic name for film industries from the Eastern, Southern, Northern and Western parts of Nigeria.

Voiced by Bimbo Manuel, the documentary features stakeholders like Ayorinde; filmmakers Tade Ogidan and Kunle Afolayan among others, providing an insider’s account.

From the colonial era when film was majorly a tool for government’s activities and propaganda, guests at the pavilion were transported to the historic moments of the Yoruba traveling theatre, followed by the home video era that christened the industry Nollywood. Then, guests saw a return to the cinema tradition, and what today is called the New Nollywood.

The documentary captures film legends like Adeyemi Afolayan, aka Ade Love, Moses Olaiya, aka Band Sala, Hubert Ogunde, Ola Balogun and many others with their classic productions.

The previous day, the second edition of ‘Lagos in Cinema’ journal was unveiled with pomp at the festival. The magazine quoted Ambode as saying that activities within the tourism sector contributed N800billion to the state’s GDP in 2017 alone.

This is just as the editor of the journal, Olumide Iyanda noted that ‘Cinema in Lagos’, is largely devoted to promote the city as a desired film and tourism destination in the light of the immense contribution of Nollywood to the Lagos economy.

Now that it is clear that Nollywood is as important as Lagos in this partnership, filmmakers must fulfill their parts of the relationship with their art, and lobby government on whatever policies and, or collaborations that could help speed up the process.

Even when agencies such as the Nigerian Film Corporation (NFC) and the National Film and Video Censors Board (NFVCB) eventually get Federal Government’s nod to secure a platform for filmmakers at Cannes, TIFF, Berlinale and any other international film event, it can only be a case of convenient collaboration for the Nigerian contingent who will most definitely owe a part of their allegiance to Lagos, and a win-win for the Nigerian filmmakers who would be lucky to have both state and federal mights in their favour.

Need I say that this is the time to play the film festival politics more than in 2006 to 2010 when Nigeria had the opportunity of a constant pavilion at Cannes. The return of the pavilion tradition by Lagos state in 2017 is so timely; happening at a time when the film industry domiciles in the Federal Ministry of Culture where by constitution, it can sign co-production treaties with other countries.

To underscore the fact that Lagos is playing a strategic international relations role for Nollywood, not only was the Artistic Director of TIFF, Cameron Bailey in Lagos ahead of the festival in 2016, Lagos will be playing host to the President of France, Mr. Emmanuel Macron during his scheduled business visit to Nigeria in July.

Togo born actress, Liz Da Silva during the week hosted colleagues and friends at her new fashion house called ‘Tekovi D Tailor’, with outlets located in Lekki and Surulere, Lagos.

The new project according to the actress was borne out of passion for fabrics and creativity, having been organising the ‘The Ankara Day’, in Nigeria for some years, created to promote unity of Africans through culture, and assist the less-privileged through donations made to organize fashion pageants for youths.

Among artistes who graced the opening were Jide Kosoko, Dayo Amusa, Ronke Oshodi-Oke, Ayo Adesanya, Sola Kosoko, Madam Saje, Binta Mogaji, and a host of others.

The mother of one, who went silent after giving birth to her son, started acting in 2004. Her son is four years now.

According to reports, she got inspired into the theatre world from her secondary school days when she started acting in her school’s series of drama.

She released her own movie in 2012. The movie titled ‘Mama Insurance’, generated quite a buzz. It  has an all-female cast, which, according to her, was inspired by the need to do something different.

Cross-over actor, Femi Branch, who has been giving away gifts for his recently celebrated birthday has announced a special one for a lucky fan who is based in London.

According to the actor, the fan will get a ticket to watch the football match between England and Nigeria on June 2nd, 2018, at Wembley Stadium.

On how to win the ticket, the actor posted on his Instagram; “Birthday giveaway London edition. God bless my Fans, more love flowing in from my birthday! Courtesy @femi.kym.bello any football loving fan of mine based in London gets a free ticket to watch the England vs Nigeria Friendly at Wembley Stadium on the 2nd of June.

“Just post a picture of mine from any movie with the title of the movie and the name of my character in it and also state what part of London you reside in and tag it #femibranchlondonbirthdaygiveaway. I will repost only pictures with correct details here on my page and the post with the highest likes within 24 hours wins!

The actor whose birthday was few days back has been giving out recharge cards of different networks on his Instagram page to fans.

Worried about the spate of drug abuse in the society, stand-up comedian, Emeka Erem, who is fondly known as Ajebo, will be visiting campuses to educate the youths.

Speaking on the campaign which has already kicked-off, the comedian noted that as an entertainer, Nigerian youth, and a voice, it is his responsibility to support the fight against drug abuse among the youths.

“Drug abuse is real and is killing our youths,” he said, adding:  “Join me in the fight as we campaign in universities against drugs.”

Working with the comedian on the campaign are Klint da Drunk, Nedu of Wazobia FM,  Destalker, Holyfaze, Hilarious Chinedu among others.

Ajebo who is a protège of comedian AY in addition to being an OAP on NaijaFM Lagos, also runs the House of Ajebo; a comedy animation that deals with metaphors and imagery.

American singer, Chris Brown, and several members of his entourage are being sued by a woman who alleges that she was the victim of sexual battery, assault and gender violence at a party at the rapper’s home.

According to a lawsuit filed on her behalf by attorney Gloria Allred in Los Angeles County Superior Court, the woman, who is listed only as Jane Doe, alleges that Brown’s friend Lowell Grissom Jr. (Young Lo), raped her twice at Brown’s home in February 2017.

Brown’s attorney, Mark Geragos, denied the allegations in an interview with TMZ, adding that Doe originally demanded $17 million from the singer.

“In another era, we might’ve called this a shakedown. Chris didn’t do anything and they know Chris didn’t do anything. Other than using his name so that she could have a press conference, I don’t understand why he’s dragged into anything,” he said.

According to the lawsuit, after attending a Brown concert at a club, Doe went to an after party at a music studio, during which her cell phone was confiscated. Grissom Jr. allegedly refused to return the phone and told her that the group was moving to Brown’s home. Doe claims she went, hoping to retrieve her phone there.

At the house, according to the lawsuit, the group began consuming alcohol and drugs, and Doe claims that Brown gave each female guest a pill and instructed them to take it to have a ‘good time’. She refused, according to court papers. Doe claims that after that, she was repeatedly assaulted. After she was able to extricate herself from Brown’s home, she said she went to a rape treatment center and reported her claims to the police, according to the suit.

With the aim of addressing the ills of child labour and promoting education among children through the use of indigenous languages, a new movie, ‘Street Kid’ is set to hit the cinemas soon.

The child advocacy movie which is produced by Wale Muraina of R24 Media and directed by Tony Dudu, chronicles the story of how a backstreet kid who was forced into hawking by his step mother helped a rich kid to win a national schools’ spelling competition using Nigerian languages.

Speaking on the concept behind the movie, the director says that “knowledge provides the bridge upon which providence acts. In the movie, Afolabi found himself on the street due to no fault of his. He was denied access to education,  yet he helped Adewemimo, a rich and brilliant kid to win a national spelling competition in Nigerian indigenous languages.”

Ahead of its premiere, the movie has already received the endorsement of the Ooni of Ife,  Oba Adeyeye Enitan Ogunwusi Ojaja II.

Featured in the movie are Chioma Chukwuka-Akpotha, Kalu Ikeagwu, Toyin Abraham Aimakhu, Jibola Dabo, Racheal Oniga, Patrick Doyle, Femi Durojaiye, introducing Joshua Ani as the street kid and Kenneth Enweremadu as the rich kid.

“There is the need to bring the plight of the poor kids on the street in Nigeria to the notice of every well-meaning Nigerian, setting a stage for all kinds of interventions,” Wale Muraina stated.

Meanwhile, producers of the movie have hailed the efforts of the First Lady, Hajia Aisha Buhari, towards restoring hope for Nigerian children through her Future Assured Programme which has earned her a United Nations ambassadorial status.

“We are confident that this movie will bring the kids on the lower rung of the ladder to the fore for them to be helped. The wife of the President, Hajia Aisha Buhari has done well in this regard with her Future Assured Programme,” Muraina said.

Considering the history of the Nigerian motion picture industry from the post-colonial era, it may be right to say the business of filmmaking started between 1960 and 1970 as a result of increase in production, especially from the Western Nigeria, when former theatre practitioners such as Hubert Ogunde and Moses Olaiya took their art to the big screen. The Indigenization Decree of the Yakubu Gowon regime which demanded the transfer of ownership of about 300 film theatres from their foreign owners to Nigerians resulted in more Nigerians playing active roles in the cinema and film. But notwithstanding the rise and rise that has brought the industry to the Nollywood era today, one of the factors that has mitigated against Nigeria from being called a full-fledged film industry is the absence of bilateral collaboration in form of MoU or treaty with other countries.

The South African Film industry may not have recorded quantum, one South African film to achieve international acclaim was ‘The Gods Must Be Crazy’ in 1980, and in recent times, ‘District 9’, an action/science-fiction film directed by Neill Blomkamp. The film which was a critical and commercial success worldwide was nominated for Best Picture at the 82nd Academy Awards. Other notable films are ‘Tsotsi’, which won the Academy Award for Foreign Language Film at the 78th Academy Awards in 2006 as well as ‘U-Carmen eKhayelitsha’, which won the Golden Bear at the 2005 Berlin International Film Festival.

There is no doubt that South Africa, having been opened to other film nations through bilateral cooperation, has earned these feats based on technical development, co-productions, tax rebate, and playing the international film politics.

Although Nigeria has desired bilateral relationship with other countries, the best it has got were film grants from foreign embassies and development agencies which have no doubt benefitted some filmmakers. Until the incumbent government, the creative industry was under the Ministry of Information that is not constitutionally empowered to sign a treaty with other countries. However, for the first time, there is a feasible move by the Nigerian Film Corporation (NFC) for collaboration with Morocco for the development of the creative sectors of both counties.

The NFC reported that the discussions are on motion picture co-production treaty between both countries, collaboration between motion picture industries of both countries and cross country collaborations, joint film production, including documentaries, capacity building, festival development, content sales and access to project finding.

The agency believes that when finally sealed through the signing of a Bilateral Memorandum of Understanding and Treaty, Nigeria’s creative industry is expected to witness a leap in its growth through the inflow of direct investment, with measurable impact on the nation’s economy.

Managing Director of NFC, Dr. Chidia Maduekwe led Nigeria’s delegation to the discussion in Morocco, with other delegates, including Lagos State Commissioner for Tourism, Art and Culture, Mr. Steve Ayorinde, NFC’s Head of Production and Industry Support Services, Mr. Edmund Peters,  Head of NFC Abuja Zonal Office, Mrs. Halima Oyelade, and Mohammed Gamul, a film practitioner from Kano State.

Taking a cue from South Africa, the country has entered into co- production treaties with Canada (1997), Italy (2003), Germany (2004) and the United Kingdom (2007), France (2010), New Zealand (2011) and Ireland (2012). South Africa will continue to enter into future co-production treaties with various countries for the benefit of the industry.

The effect of these agreements, as explained on the National Film and Video Foundation (NFVF) website is that, a film or television program, which is approved as an official co-production, is regarded as a national production of each of the co-producing countries, and is therefore eligible to apply for any benefits or programs of assistance available in either country. An additional advantage is that each of the co-producers brings access to their domestic market.

Big Brother Naija 2018 contestant, Ifu Ennada, has taken to her Instagram page to explain why she may not marry soon.

Speaking at a photo shoot where she dressed as a bride, she noted that after being disappointed by her fiancé, she has developed cold feet.

“I like to look at the bride I was for this photo shoot, but I don’t think I have the balls to consider marriage anytime soon,” she said.

“Most people will never be faithful; the ones you love are usually the ones who hurt you the most. I still haven’t gotten over my ex who got married three weeks ago. I didn’t see it coming. He was my best friend and confidant, but look at what he did. A friend said I was asking after him in my sleep few days ago.

“I think I want to be like Saint Paul; live for God and help as many people as I can. I want to be obsessed with being successful and helping others that I don’t think of falling in love ever again.”

On her next plan, she said is happy showing love to everyone. “Love is beautiful; the agape kind, the Jesus kind. The kind of love I want to show everyone around me, both foes and friends. Join our N150, 000 giveaway challenge if you haven’t. Someone will be chosen as winner this week. Check my previous post for more info. I hope to do more for people as I get more established in my dealings.”

Ennada, a graduate of Olabisi Onabanjo University (OOU), Ago Iwoye, Ogun State, is an actress, content creator, TV compere, writer, producer and fashion designer. She had her first movie audition in 2013 which earned her a lead role in the TV drama series, Emerald.