The Nation Newspaper

Category: Victor Akande

  • BIODUN OKEOWO FINDS LOVE AGAIN

    BIODUN OKEOWO FINDS LOVE AGAIN

    YORUBA actress, Biodun Okeowo, popularly called Omo Butty, is in love again. The mother of two posted a love message, stating that one should not allow a love that has everything you wish for go away.

    “When luck finds you, and you find someone who makes you happy, makes you smile, makes you forget all the pains you’ve ever gone through, who check up on you often to see if you’re okay, who watches out for you and wants the best for you in life, who loves and respects you, don’t let them go. People like that are hard to come by”.

    “There’s always that one person that you’ve had feelings for since the moment you first met them, she added.”

    The actress has also had it out with Cyber Bullies. Omo Butty who recently posted a picture of herself wearing a tight hugging gown, with a pose showing off her backside, which she referred to as God given, is asking the bullies to get busy and stay off her case.

    “Cyber bullies please get busy!!! The fact that you struck the same pose like I struck In this picture and yet your ass refused to show, tells me that you’re a bully…do I cut off my God given gift because it will show anytime I take a picture? Niger peeps I tire o….cyber bullshits don’t mess with me…”

    With past records, this is not the first time; the actress/producer and entrepreneur have been hit by followers for her clothing, which most time show off her curves.

  • CATCHING UP WITH FRANCIS DURU

    CATCHING UP WITH FRANCIS DURU

    NOLLYWOOD actor and producer, Francis Duru, who seems not to be a regular face on the screen anymore, according to our findings, have been engaged in humanitarian work.

    The actor, alongside some of his colleagues with support from Oxfam; a world-wide development organisation that mobilises the power of people against poverty, have been paying visit to the displaced people across states to help bring smiles on their faces.

    The actor who started his career in Nollywood in the early 90’s has acted in some notable movies like “Rattle Snake”, “Mama Sunday”, among others.

    He also recently celebrated his 13th wedding anniversary.

  • OPPORTUNITY LOST

    IN the aftermath of the announcement of Lagos filmmakers as the focus of this year’s segment of the City-to-City programme at the prestigious Toronto International Film Festival (TIFF), I’d listed some films with the potential of being selected for this once-in-a-life-time opportunity for Nollywood films. Unfortunately, most of them didn’t make the final list.

    Forobvious reasons, some of the films couldn’t be selected due to the rule of the game which was clear to all. One of them is Kunle Afolayan’s most celebrated new film, The CEO.

    Jealousy is the lot of every big film festival. Therefore, for any film to be accepted, they are not expected to have been premiered on any international platform. Thus, when The CEO held a glamorous in-flight premiere on Air France enroute Paris, it breeched that rule.  However, on the strength of the filmmaker’s work and personality, not only was The CEO difficult to ignore by TIFF, as the festival has prepared an aside screening for the film on September 12, Afolayan himself as been hugely advertised to enjoy a special focus alongside sultry actress, Genevieve Nnaji on September 11, in a session tagged “In Conversation With…” , an onstage conversation which will explore Nnaji and Afolayan’s inspiring stories, illuminating the complex dynamics behind Nollywood’s rise to prominence at home and all over the world.

    Asides the clear reason why Afolayan’s The CEO not eligible for the selection of 8,a couple of other films such as Fifty by Biyi Bandele, Gidi Blues by Femi Odugbemi, Road to Yesterday by Ishaya Bako, as well as the likes of Hoodrush, Journey to Self, Dazzling Mirage, Flower Girl, The Meeting, Surulere, When Love Happens and Heroes and Zeros could have been shunned by TIFF for several other reasons ranging from year of production and the kind of dynamism, daringness and experimentations that are expected of the new Nollywood. Hence, there is need for filmmakers to understand and play according to the interest of each festival in order to gain access to a global platform such as TIFF.

    However, if there is a set of films that might qualify but have greatly missed this opportunity, they are the huge budget films from the Bank of Industry’s NollyFund, of which The CEO is one. Others such as Amina by OkeyOgunjiofor, Three Wise Men by Opa Williams, Anyama by EmemIsong and When

    Love Happens Again by SeyiBabatopeare films with high potentials. Unfortunately, these films are in post-production and couldn’t meet the City-to-City focus deadline.

    Unlike Cannes, TIFF’s aspiration for new discoveries in the world of filmmaking has led to the City-to-City initiative. Thus, ambitious film destinations in the world that could have been lost in the crowd are given a chance by a team of curators who have identified Lagos, the entertainment hub of Nigeria, as the next-in-line.

    The eight selected films are touted to have come from Nollywood’s most popular filmmakers, together with new voices who are introducing an alternative, indie spirit to Nigerian cinema. They include 76 by Izu Ojukwu; 93 Days by Steve Gukas; Green White Green by Abba Makama; Just Not Married by Uduak-Obong Patrick; Okafor’s Law by OmoniOboli; Oko Ashewo (Taxi Driver) by Daniel Emeke Oriahi and The Wedding by Party by Kemi Adetiba.

    Interestingly, the programme has also identified two fast-rising actors from Nigeria who are breaking the barriers of international collaborations. They are Lagos-born actor, singer and winner of the 2006 Amstel Malta Box Office reality TV show, OC Ukeje and Lagos-based actor, model and fashion executive, Somkele Iyamah-Idhalama.

    While it is painful that some have missed this chance, there is no doubt that the new exposure will soften the grounds for other films from Nigeria that may aspire for the contemporary world cinema segment of TIFF in the future.

    Indeed, those who have been curious about the Nollywood phenomenon will get to know how the 1,000 low-budget features ‘Nollywood’ products generate about $1 billion in box office returns each year, and how a new generation of filmmakers is emerging to both advance and challenge Nollywood with bigger budgets, greater artistic ambition.

    Opportunity lost notwithstanding, the show must go on for Nollywood.

  • FUNKE ADESIYAN EXPLAINS FOUR YEAR HIATUS

    FUNKE ADESIYAN EXPLAINS FOUR YEAR HIATUS

    FANS of actress, Funke Adesiyan, would have noticed her absence from the movie scene for four years but she has taken time to explain what she has been doing while off the scene.

    The Yoruba actress, who just got her first script, explained: “I accepted my first script in four years. Many friends, family and fans have wondered why I decided to take a break from my hobby. Sometimes, you just have to develop yourself on some new frontiers.

    “I went into charitable causes, business, politics and agriculture. In this little while, God has breathed into my existence. You have not started living until you do something for people who have nothing to give you in return and touch their live privately, not for social media likes.”

    She explained further that: “God commands us to give to the right hand without the left knowing. I bless God for the lives He has used me to touch and even though I didn’t give birth to the beautiful kids he has blessed me with, your success at school always keeps me going. I don’t have to announce you; your success will announce me.”

    The actress, who contested for a seat in Oyo State House of Assembly in 2015, recently started a fitness programme, which she explained is for a healthier living, and not about losing weight.

  • CHIKA CHUKWU DEFENDS LOW-KEY ANNIVERSARY

    ACTRESS, Andrea Chika Chukwu, who recently celebrated her first wedding anniversary with her husband, Brian Ahern, after she secretly got married revealed that she might later have a big celebration, where friends and family will be present.

    The actress who has acted in some movies and soaps, celebrated the big step, with a message on her Instagram page, with pictures of their wedding ceremony; officially introducing her husband

    She wrote: “Good morning my lovelies – A year ago I got married to an awesome man (Brian Ahern) I took a step into the unknown, because like everything in life happens different for all the same applies to me. I had a quiet ceremony (I figured could have a big celebration at some point in the near future, I just wasn’t feeling up to the nerve thing for Bride’s to be). Please join me in celebrating the anniversary of our union. Bless you all.”

  • NIGERIA IN THE NEWS FOR MARK ZUCKERBERG

    NIGERIA just got the world’s attention again with the visit of the Facebook man, Mark Zuckerberg who was more than delighted to meet some filmmakers, having been attracted to the industry called Nollywood.

    The mere reason that Zuckerberg finds more attraction in our film industry than our music sector says a lot about the special place that filmmaking holds in the entertainment space.

    It’s a mix grill for our dear country, as we are so in the news all the time whether for the good or bad reports. But, sure, this is a good one. And I must say another promotional stuff for Lagos State, with the picture of the guy jogging among many along the much celebrated Ikoyi Bridge.

    Few hours later, the world’s sixth richest man was meeting with Nollywood, having said earlier at a Town Hall meeting with entrepreneurs: “One of the things I’m looking forward to on this trip is checking out Nollywood. I think it is, and I hope it’s not disproved, a kind of national treasure.”

    I guess that the fact that Nigeria has the largest Facebook population in the whole of Africa is quite endearing, going by the level of social and political engagements that take place on that space.

    Anyone would also be amazed our political woes play out in such a subtle manner on Facebook in form of still and motion picture visuals. These are no less talents that call for some more opportunities. Thus, he said, while talking on investing in Andela and Bridge Academies; “We want to try and make opportunity as equal distributed around the world as talent is.”

    Indeed, it takes a man who believes in a people to want to ‘invest’ in their future, hence, he said, “I’m here (in Nigeria) because this is where I think a lot of the future is gonna get built.”

    Leading his conversation with Nollywood was the rave-of-the-moment filmmaker, Kunle Afolayan, whose international exposure has just received further boost, after his recently attained record as the first in Nigeria to partner an international airline such as Air France in a pan African movie and arguably the first to have an in-flight premiere of his movie on an international flight.

    A typical business savvy Afolayan was captured in a video released after the encounter, asking about the Facebook application that can complement movie distribution in Nigeria.

    “The question I’m willing to ask,” says Afolayan, “is that is there a possibility at some point for Facebook to do something whereby you post a content and you monetise it?”

    According to the filmmaker, “ before now, I used to post and promote, but I’m looking at more opportunities because distribution is a major problem in this country; DVDs are no go area, and we have always tried to come up with an App that is safe and not easy to copy, but it’s a major challenge. So, if there is an opportunity where there is an App on Facebook where you put content like YouTube is doing and the amount of followings or views you get is monetized; that will make you our superman.”

    It is also remarkable that the Facebook man chose Afrinolly for this rendezvous. Where else could have been appropriate for such meeting if not this outfit run by a change agent called Chike Maduegbuna and his wife, Jane.

    “It was a surreal moment for us at Afrinolly, when Mark Zuckerberg paid us a surprise visit. This is one of those moments when you’re not sure if it’s just his gracing us with his presence, or the fact that he found what we do here “interesting – You tell me,” said Maduegbuna.

    Continuing, he said: “All we know here at Afrinolly is, that his surprise visit has done all lot to boost and affirm our belief in what we stand for.”

    The couple who became popular for their Afrinolly film App and short film competition had received an exceptional Google rating and prizing. They have also partnered Ford Foundation on talent development. Not only is their studio listed among the Bank of Industry (BoI)’s preferred, their facility pass for an official Secretariat and foreign business contact for Nollywood.

    It was an eventful visit for Zuckerberg who also attended the much anticipated birthday party of the most popular Nigerian on Snapchat, Bobrisky, at Escape nightclub, Victoria Island, Lagos.

    It is heartwarming that Lagos, and indeed Nigeria is in the global news for this great man and other opportunities his visit has offered in the marketing of the Nigeria brand.

  • TIFF: NIGERIA’S TURN, LAGOS’ DANCE

    2015 was particularly a strong year for Africa and Palestine at the annual Toronto International Film Festival (TIFF), with films from Ethiopia, Morocco, Algeria, Tunisia and South Africa. A few titles also made their world premieres alongside films that launched their career in the Berlinale, Cannes and Venice. But South Africa hit the spotlight with six films, the most from a single African country that year – Nigeria had none. In fact, I was perhaps the only Nigerian at TIFF last year, save for Jude Idada, a screen writer and Lonzo Nzekwe, film director: two Nigerians based in Toronto.

    Although ‘Best of No Nation’ was the biggest film that defined Africa at the festival that year, it was promoted as an American film.

    This fall, Cameron Bailey, the Artistic Director of TIFF has programmed the selection from Africa and the Middle East. And it`s going to be an exciting year with a special spotlight on Lagos, Nigeria. To this end, eight films have been curated by Bailey. They include ’76’ by Izu Ojukwu; ’93 Days’ by Steve Gukas; ‘Green White Green’ by Abba Makama; ‘Just Not Married’ by Uduak-Obong Patrick; ‘Okafor’s Law’ by Omoni Oboli; ‘Oko Ashewo’ (Taxi Driver) by Daniel Emeke Oriahi and ‘The Wedding Party’ by Kemi Adetiba.

    But Nigeria’s outing is likely going to explode beyond the eight films to also include Kunle Afolayan’s latest flick, The CEO, which will enjoy a special industry screening. This is just as Afolayan will share the stage with sultry actress, Genevieve Nnaji and six other internationally celebrated special guests such as Hiam Abbass, Sônia Braga, Isabelle Huppert, Karan Johar, Mark Wahlberg, and Zhang Ziyi.

    Tagged “In Conversation With…”, this onstage conversation will explore Genevieve Nnaji and Kunle Afolayan’s inspiring stories, illuminating the complex dynamics behind Nollywood’s rise to prominence at home and all over the world. This is just as Lagos-born actor, singer and winner of the 2006 Amstel Malta Box Office reality TV show, OC Ukeje, alongside model and fashion executive, Somkele Iyamah-Idhalama are being identified by the festival as two fast-rising actors from Nigeria who are breaking the barriers of international collaboration.

    It is ironic how South Africa’s participation has dropped this year.

    In 2013, South Africa had six films at TIFF, including Mandela: Long walk to freedom, Khumba, iNumber Number, Of Good Report, Berea and Unogumbe (both short films). It was perhaps the first time that six local films have been selected at TIFF and all of them have not yet been released on cinema except for ‘Of Good Report’, which was on circuit at that time.

    Last year, South Africa rolled out the drums again with five films. The five were Oliver Hermanus’s ‘Endless River’, Charlie Vundla’s ‘Cuckold’, Zamo Mkhwanazi’s ‘The Call’, Jihan El-Tahri’s ‘Nasser’ and Ben Russell’s ‘YOLO’.

    A 20-member South African delegation, led by the Department of Trade and Industry (DTI), was also at TIFF to promote South Africa’s attractiveness as a film destination to filmmakers attending the festival, and to provide exposure to emerging South African filmmakers.

    According to DTI Deputy Minister Mzwandile Masina, the participation of South African filmmakers in TIFF was part of the DTI’s strategy to create access to local film and video products and promote an increase in the volume of film production in South Africa.

    From indications, it is likely going to be a Lagos State show at TIFF, with perhaps little of Federal Government’s involvement going by the lukewarm attitude of the agencies like the Nigerian Film Corporation (NFC) and National Film and Video Censors Board (NFVCB), which could have put the Ministry of Information and Culture in the front seat of this landmark celebration.

     

  • Opportunity Lost

    IN the aftermath of the announcement of Lagos filmmakers as the focus of this year’s segment of the City-to-City programme at the prestigious Toronto International Film Festival (TIFF), I’d listed some films with the potential of being selected for this once-in-a-life-time opportunity for Nollywood films. Unfortunately, most of them didn’t make the final list.

    Forobvious reasons, some of the films couldn’t be selected due to the rule of the game which was clear to all. One of them is Kunle Afolayan’s most celebrated new film, The CEO.

    Jealousy is the lot of every big film festival. Therefore, for any film to be accepted, they are not expected to have been premiered on any international platform. Thus, when The CEO held a glamorous in-flight premiere on Air France enroute Paris, it breeched that rule.  However, on the strength of the filmmaker’s work and personality, not only was The CEO difficult to ignore by TIFF, as the festival has prepared an aside screening for the film on September 12, Afolayan himself as been hugely advertised to enjoy a special focus alongside sultry actress, Genevieve Nnaji on September 11, in a session tagged “In Conversation With…” , an onstage conversation which will explore Nnaji and Afolayan’s inspiring stories, illuminating the complex dynamics behind Nollywood’s rise to prominence at home and all over the world.

    Asides the clear reason why Afolayan’s The CEO not eligible for the selection of 8,a couple of other films such as Fifty by Biyi Bandele, Gidi Blues by Femi Odugbemi, Road to Yesterday by Ishaya Bako, as well as the likes of Hoodrush, Journey to Self, Dazzling Mirage, Flower Girl, The Meeting, Surulere, When Love Happens and Heroes and Zeros could have been shunned by TIFF for several other reasons ranging from year of production and the kind of dynamism, daringness and experimentations that are expected of the new Nollywood. Hence, there is need for filmmakers to understand and play according to the interest of each festival in order to gain access to a global platform such as TIFF.

    However, if there is a set of films that might qualify but have greatly missed this opportunity, they are the huge budget films from the Bank of Industry’s NollyFund, of which The CEO is one. Others such as Amina by OkeyOgunjiofor, Three Wise Men by Opa Williams, Anyama by EmemIsong and When Love Happens Again by SeyiBabatopeare films with high potentials. Unfortunately, these films are in post-production and couldn’t meet the City-to-City focus deadline.

    Unlike Cannes, TIFF’s aspiration for new discoveries in the world of filmmaking has led to the City-to-City initiative. Thus, ambitious film destinations in the world that could have been lost in the crowd are given a chance by a team of curators who have identified Lagos, the entertainment hub of Nigeria, as the next-in-line.

    The eight selected films are touted to have come from Nollywood’s most popular filmmakers, together with new voices who are introducing an alternative, indie spirit to Nigerian cinema. They include 76 by Izu Ojukwu; 93 Days by Steve Gukas; Green White Green by Abba Makama; Just Not Married by Uduak-Obong Patrick; Okafor’s Law by OmoniOboli; Oko Ashewo (Taxi Driver) by Daniel Emeke Oriahi and The Wedding by Party by Kemi Adetiba.

    Interestingly, the programme has also identified two fast-rising actors from Nigeria who are breaking the barriers of international collaborations. They are Lagos-born actor, singer and winner of the 2006 Amstel Malta Box Office reality TV show, OC Ukeje and Lagos-based actor, model and fashion executive, Somkele Iyamah-Idhalama.

    While it is painful that some have missed this chance, there is no doubt that the new exposure will soften the grounds for other films from Nigeria that may aspire for the contemporary world cinema segment of TIFF in the future.

    Indeed, those who have been curious about the Nollywood phenomenon will get to know how the 1,000 low-budget features ‘Nollywood’ products generate about $1 billion in box office returns each year, and how a new generation of filmmakers is emerging to both advance and challenge Nollywood with bigger budgets, greater artistic ambition.

    Opportunity lost notwithstanding, the show must go on for Nollywood.

  • MAYOWA: TOYIN AIMAKHU’S LINE SUCKS!

    IF I hadn’t seen Toyin Aimakhu cry in movies, I probably would have been taken by her crocodile tears at the Lagos University Teaching Hospital (LUTH), where she made a fun of everything she claimed was a true charity project to help save Mayowa Ahmed, the young lady who is down with Kidney problem and whose family resorted to public help to bring her back to life.

    After a messy marital separation from her erstwhile husband, Niyi Johnson and perhaps a messier one that tore her and her film marketer suitor, Seun Egbegbe apart, the actress appeared to be warming her way back to the heart of her fans with claims of charity works, until she shot herself in the foot again by calling the #SaveMayowaFund a scam.

    Between the blog that first denigrated the public donation and Aimakhu who followed suit with a louder cry, both have since gone under on this issue. Why? A good intention cannot be shamed for too long: Mayowa is on her way for treatment in UAE, even though more than the LUTH doctors who purportedly said there was no hope for the sick, Toyin Aimakhu had condemned Mayowa before her time.

    Indeed, she sucks in those lines, saying they made her lie to the world.

    According to Francis of Assisi, “Where there is charity and wisdom, there is neither fear nor ignorance.”

    After receiving bashing from fans, Aimakhu claimed she was only trying to clear her name, querying why Mayowa’s parent let them continue the campaign for donations when they (the parents) had been told by doctors that there was no hope of survival.

    What name or integrity is Aimakhu trying to clear, if I may ask? What integrity does she have that is costlier than the life of the sick girl? If indeed Aimakhu’s interest to help save Mayowa was genuine, she would not give up on the poor girl in that cheap manner. Apparently, the dramatic wailing actress did not take a deep reflection before creating a scene on the matter. And I wonder if she would be able to look at the sick girl in the face and say ‘you can’t make it’. Yes, the words she thought her parents couldn’t tell her. The foolish faith which she thought they have. The undeterred effort for which Aimakhu has tagged Mayowa’s parents thieves.

    In the words of Jackson London: “A bone to the dog is not charity. Charity is the bone shared with the dog, when you are just as hungry as the dog.” This, to my mind, is what Mayowa’s parent share which Aimakhu could not, perhaps because she is not her blood. It matters to a discerning mind if Mayoya’s life can be extended by just one day.

    Even if the plane takes-off only for her to give up at that point (God forbids) her spirit would know they stood by her till the very end. This is the kind of charity that Jackson London is talking about here.

    One can see clearly from this point that, like Aimakhu’s disposition, “Some indeed have tears naturally, when the higher motion of the soul makes itself felt in the lower, or because God our Lord, seeing that it would be good for them, allows them to melt into tears. But this does not mean that they have greater charity or that they are more effective than others who enjoy no tears.” -Saint Ignatius

    I recall that in 2012, our friend, Chris Kehinde Nwandu was confronted with a similar situation when raising fund for a fellow journalist, Laura Nduoyo, who some doubting Thomases ruled out for survival. Nduoyo needed N5million for corrective surgery, having been down with ‘acute gastroenteritis’, a condition resulting in an extremely swollen stomach accompanied with intense pain.

    Like Mayowa, some doctors said she couldn’t survive the ailment, but some people didn’t relent. They put their names on the line, and with the assistance of well-meaning Nigerians, they raised the money, sent her abroad and today she is a living testimony. Indeed, it is God that heals, not the doctors. It doesn’t matter if Aimakhu and her likes believe this or not.

  • RE-WHEN LOCAL CONTENTS CRY FOUL

    YOU discussed many important issues in a clear way. I can perhaps add some comments from a global perspective. This is an issue faced by almost every filmmaking community. Obviously India and Japan are exceptions since their local cinema is so popular.

    In Europe, Canada and some other territories (you mentioned South Africa), the government supports not just the production of films, but also the distribution through subsidies and quotas. Some of the systems have failed while others have been successful. Many films are produced and distributed that are not worthy simply because subsidies exist in these parts of the world. However, many great films are also given a chance to be seen by the public because of these systems.

    Korea had a very effective screen quota system for many years and it got to a time it was no longer needed because the quality of those films had risen to a point where they could compete effectively. This would not have happened if there had been no quotas. The films made were usually very commercial and were made to suit the audience – often with the active participation of the companies that owned the cinemas.

    One advantage Nigeria has today is that the big studios do not expect much in revenues from the cinemas here. They invest a lot of time and effort into using unfair practices to book cinemas in Europe and the EU has been fighting them on that for many years. The studios fight back by claiming unfair trade restrictions (same in China, except that China is making the rules that the studios have to follow for now). If the studios suddenly decide that there is a lot of money in distribution in Nigeria, they will work very hard to restrict any attempts at quotas or government support of local films.

    You make a very good point about effective quotas – they must specify that you cannot meet the quota requirements by running films at times when no one will see them. I always tell people to just use basic logic when thinking about these things. You decide on a clear goal and devise the best system to meet the goal. The goal in this case is not to get films on screens (or on TV), but to sell tickets for those films.

    There is a saying that “if a film is a success, it is because of great filmmakers, but if a film is a failure, it is bad marketing”. This is a joke, of course, but filmmakers will always blame the marketing people on the choice of release date.

    The CEO movie example is a very interesting case study and I look forward to discussing the business side of things with the producer, Kunle Afolayan after the film has completed its theatrical run. The Air France deal, product placement, sponsorship, VIP screenings and other revenue sources were probably as important to revenues as the theatrical release. FIFTY also had an interesting path to revenues and I think it’s great that Nigeria is leading the way in designing new methods of generating revenues in these changing times. Soon, there will be no DVD revenues and filmmakers will need to determine how they will recoup their investments. Many will go into the TV business with the new digital channels. I hope there will be a healthy theatrical market for the other group of filmmakers. That end is always a huge risk, but the government can certainly help to make the system more favourable to the local filmmakers.

    I think cinema owners will have to educate filmmakers about their research of the industry. Filmmakers must also humble themselves and allow every professional do their Job. I foresee a situation whereby cinema owners will start producing their films, using the same advice Nigerian filmmakers have rejected for free.

     

    –Faranpojo Olaitan is the CEO/Festival Director of Gospel Film Festival.