Tag: Film

  • Splash of music, fashion, film, others at EWL 2024

    Splash of music, fashion, film, others at EWL 2024

    Africa’s premier entertainment event, Entertainment Week Lagos (EWL) 2024, is set to make a splash on the Nigerian entertainment scene from December 10-15, inviting the world to experience the energy and creativity of Africa’s thriving entertainment landscape.

    Focusing on the theme, “Connecting Tides,” the event explores the dynamic intersection of AI, technology, and storytelling across creative expressions. It explores how African creatives can blend cutting-edge innovation with cultural authenticity to captivate and resonate with global audiences.

    With over 5,000 creatives, innovators, and industry leaders expected to attend from across the African continent and beyond, EWL 2024 will showcase the best of Africa’s talent in music, film, art, fashion, and technology while focusing on building sustainable futures and empowering new voices.

    According to Deola Art Alade, Group CEO Livespot360 and Co-Founder of Livespot Foundation, the vision of the event is anchored on shaping the world through empowering young talents with practical creative expressions.

    “The vision is to create real impact. EWL 2024 isn’t just about celebrating talent, it’s about equipping creatives with practical tools to succeed globally,” she stated.

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    Building on the success of previous editions, EWL 2024 will shine the spotlight on LABSPOT Creative Skills and Enterprise Development (CSED) – an initiative dedicated to continuous training and enterprise development for youth and women in the creative sector.

    Through LABSPOT CSED, this year’s extensive lineup of masterclasses and workshops will provide valuable insights and hands-on learning for participants looking to grow and excel in their creative careers.

    In addition to its educational components, EWL 2024 also offers an unparalleled entertainment lineup with Art Exhibitions, Music Performances, Film screenings and Fashion shows, which will transform Lagos into a vibrant playground of creativity.

    In her remarks, Tiwa Medubi, Managing Director of Livespot360 said, “EWL is about creating bridges – between local talent and global opportunities, between creatives and the tools they need to succeed. It’s a space for growth, collaboration, and impact, and we can’t wait to see the magic that unfolds this year.”

    The Marketplace will also provide a platform for small businesses, featuring pop-up shops, merchandise booths, and exhibition spaces where visitors can support local brands and discover new talent.

    EWL 2024 will also offer an unforgettable pop-up nightlife experience with Club X and Livespot X Concert.

    Being the perfect melting pot for creativity, EWL 2024 is opening its doors to creatives, storytellers, innovators, investors and fans of African entertainment. EWL is an initiative of Livespot Foundation

  • BFI London film festival selects The Weekend for screening

    BFI London film festival selects The Weekend for screening

    The Weekend,’ a film directed by acclaimed Nigerian filmmaker Daniel Oriahi, and produced by Uche Okocha for Trino Motion Studios, has achieved remarkable success, cementing its place in Nollywood history.

    The film has just been selected to screen at the prestigious 68th BFI London Film Festival (LFF) in partnership with American Express, further enhancing its international acclaim.

    The selection adds another feather to the movie’s cap as it continues to dominate the box office, attracting huge numbers in Nigerian box office and emerging number one film for the weekend.

    Before now, in what was described as historic moment for Nollywood, The Weekend also became the first Nigerian film ever to be showcased at the Tribeca Film Festival, one of the world’s most revered film events, which took place earlier this year. Its inclusion at Tribeca marked a significant milestone, as no other Nollywood production had been featured in the festival’s 22-year history.

    The film’s Tribeca debut garnered standing ovations and praise from global critics for its compelling storytelling, rich cultural elements, and stellar performances.

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    Daniel Oriahi, known for his dynamic approach to filmmaking, expressed his excitement:

    “It’s an incredible honor to have The Weekend recognized on such significant platforms. The reception from Tribeca was overwhelming, and to now be selected for LFF is a dream come true for our entire team and for Nollywood as a whole. This is a huge win for African cinema.”

    Following its historic Tribeca premiere, ‘The Weekend’ has been smashing box office records, with audiences flocking to see the film in unprecedented numbers.

    The movie has not only captivated viewers across Nigeria and Africa but has also gained a global fan base online as demands to see it expresses via social media, proving that Nollywood is a powerful force in the global entertainment industry.

     The film, a thrilling drama that weaves suspense and emotional depth with quintessential Nigerian culture, has been lauded for its exceptional direction, gripping storyline, and powerful performances by an ensemble cast of Nollywood’s finest talents.

  • Film in the Park debuts tomorrow

    Film in the Park debuts tomorrow

    Two  hundred guests will attend the maiden Film in the Park billed for tomorrow at Freedom Park, on Lagos Island.

     In a statement, Producer, Tomiwa  Otun, said the edition: “Empowering emerging voices and inspiring change,” is dedicated to showcasing emerging talents.

    She said: “It showcases cinematic brilliance, where film is celebrated and harnessed as tool for culture and social change.’’

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     “The vision is rooted in purpose. The FLIP festival was borne out of a need to document and illuminate our life and times through film. Unlike music, films have a lasting impact.

     “Some people share their experiences growing up, how they found themselves mimicking actors.

     “Consider how most people don’t have good opinions about Police. This can be traced to their portrayal in films.The festival documents and showcases budding and exceptional filmmakers.

    “This task is crucial, as stories we tell today will shape the legacy we leave behind, just like how we are shaped by stories we watched and heard while growing up.”

  • Nigeria film distribution firm launches International operations

    Nigeria film distribution firm launches International operations

    Tribe Nation Theatrical Distribution Limited (TNTD), a mainstream entertainment company dedicated to the distribution and marketing of local and international filmed content, has announced the expansion of its distribution operations into French-speaking West Africa.

    The strategic move marks a significant milestone for the company and its commitment to bringing compelling and diverse film content to audiences worldwide.

    TNTD is also kicking off the international operations with the release of “The Other One” (under the title “L’Autre Homme”) in Cote d’Ivoire on December 1, 2023—just in time for the festive season. The movie was exclusively released in Nigeria on June 30, 2023, and has since garnered acclaim for its compelling storyline, outstanding performances, and high production values.

    Recognitions for “The Other One” include an Official Selection at the 2023 Toronto International Nollywood Film Festival (TINFF), three nominations, including Best Feature, at the 2023 Abuja International Film Festival (AIFF), and six nominations at the upcoming 2023 Best of Nollywood (BON) Awards.

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    The film was produced by Lillian Amah Aluko’s New Dawn Productions and directed by David Gee Ahanmisi, is globally distributed by Tribe Nation Theatrical Distribution, who acquired the rights earlier this year.

    The company first launched in February 2023 with the goal of addressing key theatrical distribution challenges in the African film industry, particularly in Nollywood. Now a provisional member of the Film Distributors Association of Nigeria (FDAN), Tribe Nation Theatrical Distribution has since successfully released several films within Nigeria, including the critically acclaimed “The Other One” and “Charlie And The Boys” (directed by Sele Got).

    In August 2023, TNTD formed a strategic partnership with the Directors Guild of Nigeria. This collaboration aimed to empower guild members with essential distribution knowledge, fostering the creation of content tailored for the market while resonating with global audiences.

    The decision to venture into international distribution aligns with Tribe Nation’s strategic vision of fostering cultural exchange and promoting African cinema globally. Facilitated in part through a pioneering collaboration with the African Film Institute (itself a partner of the African Union), this expansion will see Tribe Nation Theatrical Distribution extend the distribution of its catalog to fourteen African nations, including but not limited to Cote d’Ivoire, Benin Republic, Burkina Faso, Cameroon, Chad, Gabon, Guinea, Mali, Niger, Senegal, Togo, and more.

    Chief Executive Officer of TNTD, Anita Edwards in a statement said: “We are thrilled to announce the launch of our international distribution operations, a significant step in our journey to share the beauty and diversity of African cinema with audiences around the world.

    “The release of ‘The Other One’ in French-speaking West Africa is just the beginning, and we look forward to bringing more compelling stories to cinema-goers across the continent and beyond. We would like to thank the African Film Institute and all our partners for their instrumental role in making this expansion a reality.”

     The film distribution firm looks forward to captivating audiences across French-speaking West Africa with “The Other One” and anticipates further international expansion in the near future. The company invites film enthusiasts, industry partners, and the media to join in celebrating this momentous occasion and anticipates continued success in expanding its presence on the global stage.

    TNTD is a mainstream entertainment company specializing in the distribution and marketing of local and international filmed content. With a distribution network spanning cinema, inflight entertainment, streaming platforms, and linear television networks within and outside Africa.

  • International Student Film Festival berths

    International Student Film Festival berths

    Following his trajectory in the African and intercontinental film industry, veteran filmmaker Lancelot Imasuen has launched the International Student Film Festival (ISFF).  

    At the unveiling of the festival in Lagos, Imasuen hinted that the vision of the festival, dedicated to filmmakers in training, was to see to the development of filmmakers affiliated to learning institutions such as academies and universities.

    “Overtime, it has been observed that student-filmmakers do not get dedicated opportunities to showcase their creative works. One of the beauties of this festival is that it has been designed to travel from one location to another,” said Imasuen.

    The festival with the theme “Rising”, is slated to be held between October 12 and 15, at the Igbinedion University, Okada, Edo State.

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    Two hundred and fifty student-made films have been submitted by many countries, including Nigeria, Cameroon, Kenya, and Spain, among others.

    The ISFF independent jury has presented for screening 37 films selected from Africa and 22 films from outside Africa.

    Some award categories endowed by Nollywood legends include Kennedy Uyi Oviahon Memorial Award for Best Comic Actor, Sir Gabriel Igbinedion Award for Best Student Film on Culture, Iyen Agbonifo Obaseki Award for Best Costumier, Raymond Aleogho Dokpesi Memorial Award for Best Student Documentary Film, Dr. Hosa Okunbo Memorial Award for Best Student Overall film, Emem Isong Misodi Award for Best Student Scriptwriter, Liz Benson Award for Best Student Actress, Enebeli Elebuwa Memorial Award for Best Student, Chico Ejiro Memorial Award for Best Student Director, Sadiq Daba Memorial Award for Best Student Short Film and Cleopatra Starretts Award for Best Student Make–Up.

  • A film that makes the difference

    A film that makes the difference

    It was a great moment when guests gathered at the Main Auditorium of the United Nations House Abuja, for the premiere of the film titled brain drain (the documentary) which was produced by Collins Akpapunam of the Efizzi Communications. The film is an exposition of the reasons behind the explosion of the japa syndrome and what Nigerians do abroad to expand their frontiers in all spheres. Edozie Udeze watched the premiere.

    Everybody that spoke on the day of the premiere of the film titled brain drain (the documentary) commended the efforts of the producer Collins Akpapunam by making the film a reality. Venue of the premiere was the Main Auditorium of the United Nations House, Abuja. In attendance were important personalities that matter in the issues of migration not only by Nigerians but across the whole world. It was a great opportunity indeed to view and discuss why people migrate, the problems and situations that necessitate migration. In tow were Akpapunam and his team of the Efizzi Communications, making all the necessary efforts to ensure that the show was a success.

    The hall suddenly came alive pronto. Important guests and film buffs that turned up for the premiere were eager to say one or two things about the film. Essentially, the film centred on the migration of highly skilled individuals from one country to another in search of good life.

    But in the case of this documentary, Efizzi went on ahead to take viewers deeper into the gains and losses of this migration both to the migrants and the country of origin and to the country where they are migrating to. Therefore, the film became an eye-opener of sorts that allowed the world see the pros and cons of what this trend means in global affairs both before, now and in time to come.

    A well detailed film that truly touched on many areas of migration, brain drain took the producers many tireless months to put together. It was so remarkable that the guests really commended the richness of the production. In it, you see many Nigerian professionals, well skilled, doing exceedingly well in places where they have migrated to. But even as they do so, some still think home, wishing also to return home when the situation is conductive to help rebuild the Nigerian nation. The nostalgia they feel is all expressed in the film. You can also see the business empires they have built just because both the environment and the system permitted them to go farther than they did. Migration happens because the system where you are migrating from is faulty, unfriendly or too uncomfortable for you to operate. This is the whole import of the brain drain show, properly enunciated by the Efizzi production.

    At the end of the premiere, Abike Dabiri-Erewa of the Diaspora Commission was obviously elated. She did not only thank Efizzi for the documentary, she commended him also for using the film to explore and expose Nigerian skilled talents abroad. She said “This is a good documentary. For me it is one of the best that has exposed some issues on this subject matter. I also thank the International Organisation for Migration (IOM) led by Laurent de Boeck for their interest in this matter. Yes, because the issue of migration is a global phenomenon. But this film celebrates the good in us, whether here in Nigeria or abroad. It shows we got talents and we can develop and harness so wherever we find ourselves. This is why this documentary makes a lot of difference to us; to this nation”.

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    She went on “we can see the japa syndrome. People leave Nigeria daily to other climes. This is real. It is what happens. But what are we doing to stop it?. Government must do more to stop this trend. But looked at from another angle, people migrate to improve, to steal technology and technical know-how which they also bring back to their country of origin. This is how technology grows and spreads and then the whole mankind benefits from it.

    Abike insisted that people should not leave the country in a hurry. They have to first understudy where they are going in order to avoid facing unnecessary hardship abroad.” It is good to be documented; it is good for you to be sure you have a job where you are fleeing to”. Then after you have built up your capacity, you can also return home. Also you endeavor to do remittance to assist people at home. It was on this note also that she suggested that Efizzi should embark on the second and third part of this film. The second should be on those who have returned to invest. The third part should be on those who did not find it easy when they migrated.” In all these”, she said, “let us try to bring out the best in us as a people”.

    In his own reaction Laurent M.J de Boeck, Chief of Mission of the International Organisation for Migration (IOM) to Nigeria said “This is a great moment for us all. And I thank the producers of this documentary for using this opportunity to redraw our attention to migration. It will reopen discussions on this issue. It is almost turning into a pandemic and the world has to sit up by addressing the concerns raised in this film. But as it is, the issue at home is just to see away to engage, enable and empower the Diaspora. In it all, we think about human mobility”.

    He clarified however, that Nigeria as a nation has already adopted the necessary official policies to regulate the movement of our people across climes. It is not necessarily bad to migrate. It is a natural human phenomenon. It is only bad and terribly reprehensible when it is allowed to become a pandemic. And also when people travel out blindly to meet more hazardous situations where they are going to. And for us to make it work to benefit our people, we have to constantly exchange ideas, share information and so on, on how to increase and improve our living standard and condition”

    Boeck whose Organization is an organ of the UN also believes that through brain drain those who have left these shores can constantly remit money home to assist their people. “That way also, you reduce poverty and agony”, he said. Boeck is a strong believer in the exchange of ideas and jobs via migration. Large remittance has direct impact on Nigeria’s economic growth and advancement. Even though brain drain is a serious matter to the world now, it was noted that those who are in the position to make things work for the populace should do so forthwith. As it is now the problem is more prevalent in Africa. Consequently as African nations lose their best brains on a daily basis, so do they also lose their urgent chances to develop speedily.

    The gathering observed that many trained skilled workers in Nigeria move out in droves. Even then, this move can, in the end, help to improve trade and relations between Nigeria and the host nations. To Boeck, in a well-structured situation the Diaspora are the best suited now to transfer technology, increase social capital and make life better. This is how brain drain can therefore be turned into brain gain, a situation that is beneficial to all and sundry.

    He nevertheless commended Abike Dabiri for her tireless efforts in helping Nigerian Diaspora to regain their rhythm. What Nigeria did in 2021 which pointed to the fact that you can turn brain drain to brain gain in which more remittances and investments were recorded was a good move. Nigerians in Diaspora have done well in this regard. Many of them have been helpful. They also think home as often as they can.

    The Ogun State Commissioner for Health Dr. Oluwatomi Coker also spoke. Coker is already considered one of the brain gains. She left Nigeria alongside many of her course mates at the University College Hospital, UCH, Ibadan, Oyo State, soon after graduation. Destination was Europe and this was many years ago.

    “The situation was not conducive for us at the time”, she reminisced. However with the second coming of the Abiodun-led government in Ogun State, Coker was invited home to help restructure the health sector.

    A consultant obstetrician and gynecologist. She is well exposed to render the necessary help to her people. She said “It is good, first and foremost, to create a conducive environment for the japa to return home. Many want to return home. But they cannot return to the same bad situation that drove them away in the first place. I am back because I care. I care for this country. Now, we have to really create the necessary awareness especially in the health sector. Nigerians really need to come together to address this issues and redress the problems for the good of all”.

    As a Commissioner, Coker is noted to have taken it upon herself to be of immense assistance to the common folk. She also runs an open door system that makes it easier for people to have access to her. For Akpapunam, the idea of the film is to let the world see the symbiotic nature of migration. He said “I have passion for human situations. As it is now, it is like migration in Nigeria has become a pandemic. This is part of what drove me into the production…. Government has to recreate the society for people to be able to operate very well”. Reactions came from some guests who were equally piqued by the sentiments expressed in the film. Overall, the consensus opinion is that governments at all levels are not doing enough to provide social amenities for the poor to breathe. Consequently, hardship is increasing while only a few have access to the national coffers.

  • The looming film revolution

    OVER the next few years, the Nigerian and, of course, the continent’s creative industries, will witness significant changes sufficient to bring about an appreciable leap in every facet. The catalyst is the recently launched MultiChoice Talent Factory (MTF), a continent-wide initiative conceived groom and nurture talents in the creative sector.

    It is difficult, impossible even, to argue that the Nigerian film industry AKA Nollywood is not a monster hit around the continent and elsewhere despite its imperfections.

    Since coming to life in the 90s, Nollywood, given a fillip by MultiChoice’s AfricaMagic channels, has won the hearts of Africans and arrested the attention of peoples of other continents with its prodigious output. World Bank insights indicate that Nollywood creates up to 50 films a week, and up to 1,200 films a year. Hollywood and Bollywood can produce up to 800 and 1600 films respectively, with Hollywood leading the way in terms of global industry size followed by Bollywood and Nollywood.

    Nollywood production budget is light years behind that of Hollywood. An average Nollywood film budget can rise to $15,000, while that of Hollywood verges on $50million, with Bollywood averaging $1.5 million.

    Despite the leanness of its budget, Nollywood is a staple in almost every African household. Its progress has been astounding. The Wedding Party, the 2016 smash hit, is rated as the highest-grossing Nollywood film of all time. According to Quartz, it raked in just over N300 million (over $800,000) in Nigeria alone.

    Its 2017 sequel brought in over N70 million (about $200, 000) on the opening weekend.

    Compared to figures for Hollywood and Bollywood hit films, the earnings are not in any way eye-watering. But by Nigerian standards, they certainly are.

    The Wedding Party’s success proved that Nollywood can compete with the Hollywood films on the big screen. The film also set a new standard for the industry, showing that authentic storytelling and high quality production are crucial to making a film capable of filling local and continental cinema seats.

    But films on the same pedestal with The Wedding Party are not as commonplace as they should be. This is indicative of gaps in technical skills of among many Nigerian filmmakers and one which the MTF is conceived to effectively bridge.

    Nollywood, however, stands head and shoulders above other film industries in Africa is that its storylines are a depiction of everyday life. This has made its output the rage across the continent and elsewhere. Much of Nollywood’s success is down to the work of accomplished film industry leaders such as Femi Odugbemi, who arrived on the filmmaking scene through photography.

    Odugbemi has been chosen as the West Africa academy director for the MTF, a role that will see him transfer his vast range of skills acquired from decades of working in Nollywood to the next generation of Nigerian filmmakers, many of whom require a strong basis of film training.  His track record of consistency makes him a leading figure in Nollywood and recently earned him voting membership of the United States Academy of Motion Picture Arts and Sciences.

    “We must consciously build capacity so that our next generation film makers and producers can also create wealth and create employment by being entrepreneurs as well,” explained Odugbemi.

    Odugbemi grew up on a diet of Indian and Chinese films, which were the rage in 1960s in Lagos. They developed his affection for storytelling and led him into filmmaking, rising to become one of West Africa’s most prolific film and television industry professionals.

    He is minded to ensure that the next crop of film professionals is guided by high craft and authenticity.

    “Nigerian cinema 10 to 15 years ago was challenging. It’s better in lighting, audio even in production design. It’s getting better. Proficiency and efficiency is good, [but] excellence is really ideal, and to be excellent in a consistent form. That is the goal of every winning industry,” he said.

    He is famous for involvement in top shows such as Tinsel and Gidi Blues.  Tinsel, which aired in 2008, was the first daily soap opera on the M-Net network in Nigeria at the time. More testament of his devotion to quality content, both on-screen and behind the camera, could be seen in Battleground.

    For two young Nigerian filmmakers, Femi Alabede and Cyriacus Ibekwe, functioning in Nollywood requires unlearning a bit of what they learnt in film school. Both had formal training abroad before returning to Nigeria. They were steeped in the Hollywood way, but the situation that awaited them back home was radically different. They discovered that certain roles within the film reel they expected to find back home did not exist here and had to adapt their Hollywood knowledge to fit Nigerian storytelling and film style to ensure balance in their works. Alabede and Ibekwe are happy that they have had the benefit of formal training, but believe that the technical skills deficiency in the industry will be difficult to fill without learning from the experts. A big opportunity to learn, they said, is the MTF, which will have regional academies in Nigeria, Kenya and Zambia.

    The MTF initiative will deliver three touch points: the MTF academies, Masterclasses and the MTF Portal.

    The MTF Academy is a 12-month educational programme designed for 60 (20 per academy) young and talented people who aspire to become film and television professionals. During the course of the programme, MTF students would be expected to produce television and film content that will be aired on MultiChoice platform.

    –Sebanjo, a film critic, writes from Lagos

  • Sahara advocates girl-child awareness through film

    Sahara advocates girl-child awareness through film

    The need for stories of the girl child has been given a boost as Sahara Group presented Asharami Speaks gathered stakeholders in the movement for giving voice to the girl child in Lagos last Wednesday.

    The event which held at Four Points by Sheraton, Lagos had as topic for discussion, ‘Enhancing Girl Child Empowerment Through the Medium of Film.’ The partnership being implemented under Sahara Group’s Grooming Film Extrapreneurs initiative targets empowering 90 girls aged 13 and 19 in three African countries – Nigeria, Ghana and Cote D’Ivoire – in the art of film making.

    Among discussants at the session include young filmmaker and girl-child activist, Zuriel Oduwole, Toyosi Akerele-Ogunsiji, Social Entrepreneur, Dakore Akande, Screen Actress and Amnesty International Ambassador and Rita Dominic, Screen actor and producer. Others are Ramsey Nouah, Screen actor, producer and director, Bodunrin Sasore, film director and screenwriter, Stephanie Busari, a producer and journalist with CNN Africa and Jade Osiberu, film director and screenwriter

    Also present was Sahara Group’s Executive Director, Tonye Cole.

    The programme, which started on January 8 ended on Wednesday, January 17.

    Speaking on the event, Oduwole said she was hopeful of the project’s success.

    “I like the fact that Sahara Group sees some value in what I am doing with Girls’ Education across the world, and just like the African proverb, if you want to go fast, go alone, and if you want to go far, go together,” Oduwole said.

    “I think I have gone very fast in the last five years, since I started my project at age 10.

    Head, Corporate Communications, Sahara Group, Bethel Obioma, explained that the project is expected to drive the advocacy message for girls’ rights, highlight key issues affecting girls across the three African countries and equip the girls with the foundational skills required to become film makers.

    “Our hope is that the initiative would inspire and replicate Zuriel’s success amongst other girls her age in Africa,” he said.

    “Above all, Sahara Group is particularly passionate about the fact that the project would give traction to ongoing conversations and interventions geared towards the pursuit of Gender Equality and Quality Education, being Goals 4 and 5 of the Sustainable Development Goals.”

     

  • I ‘m home to produce another film  – Bandele

    I ‘m home to produce another film – Bandele

    Biyi Bandele is a world-acclaimed filmmaker.  A Nigerian resident in the United Kingdom, he turned Chimamanda Ngozi Adichie’s Half of a Yellow sun into a film a few years ago.  He is in Nigeria at the moment to produce yet another remarkable film titled Nigerian Prince.  He speaks to Edozie Udeze on this and more

    Biyi Bandele is an internationally-acclaimed filmmaker.  He is known all over the world as one of Africa’s best film producers, directors and researchers.  A Nigerian by birth, Bandele also produced the film, Half of a Yellow sun, Chimamanda Ngozi Adichie’s award-winning novel which is basically on the Nigerian civil war of 1967 – 1970.  In fact, Bandele is known to have eyes for any script that has a lot to say about the history or social issues that concern Nigeria.

    Concerning Half of a Yellow Sun, a film that made a lot of waves when it was produced in 2013, he said, “Ah, it was a big production.  Yes, it took us six years or so to finally package it.  It took a long time to raise the money and the logistics to put together such a big film.  It was daunting but when it was finally produced it became a big hit.  It is out there now; the world has seen it, people everywhere have seen it”.

    To get the actors and actresses together to make the film the hit it turned out to be, Bandele said, “Oh it was a blessing in disguise that it took that long to gather the resources for the film.  It was during this period that we assembled the characters from different locations.  Onyeka Onwenu came later in the day.  Before she appeared on the scene I was looking for an actress to play that part of a rural woman (a mother) which she played.  I auditioned dozens and dozens of people and nobody fitted into that character.  And then one day I just woke up and thought that Onyeka could be the one to use for that role.  But then I only knew her as a musician in the 1980s.  I was one of her big fans.  I never knew that she is also an actress.  But I remembered that many years before then I’d had a conversation with Chimamanda who kept saying that Onyeka could play that role quite well.  That role of mama, oh, Onyeka could be great”.

    While he struggled to get the person to play this role, one day it occurred to him to get in touch with Onyeka.  “At that point I told some of our cast to get in touch with her.  Then she was a federal director in Abuja.  But when she was contacted she sounded willing to do that bit.  The very next morning she came and she was dressed in character.  She was mama.  It was awesome.  She was amazing to see that moment.  It was indeed a privilege working with her.  I mean, I am really, really proud of her because I worked with a lot of actors I never dreamt of working with.  I am proud of a lot of them.  It was really good”.

    He also recalled some of the remarkable moments while he worked on the project.  “Oh, I mean everything about it was quite remarkable indeed.  Working in Calabar, Creek Town, some other difficult terrains and locations, under very, very tough conditions; it was amazing.  I think I was also very naïve, because a lot of the issues there were on Biafra.  That was one of the things that really drew me to it.  I said since we’ve been talking about it this was the time for me to get into it.  I mean, I am not a separatist, but here is the history of a people, of a nation and we needed to handle it.  We needed to gather more information.  In fact, if we needed to move on as a nation, we shouldn’t forget the history of the past and what it entails.  You can’t feel the present by simply ignoring the past.  That was how it was.  But also I think I was naïve in some other aspects of it.  My understanding of the intensity of the feelings of the people concerning that story and what it portends was also part of the naivety.  I was really naïve in this aspect.  But sometimes naivety is a great thing.  It is there, you know”, he proffered, grimacing.

    For Bandele, scripts that have profound stories to tell, appeal to him most.  Wherever he sees one and it is time to go to work, he does not hesitate to do so.  “You know, I feel there are many Nigerian stories out there.  I live in London, I spend most of my time out there, yet I know that there are plenty of stories about this nation.  I move more between London and New York, but the stories that are always, always, pushing at my imagination are Nigerian stories, African stories with deep historical sense appeal to me all the time.  Now, I am producing a film called Nigerian Prince which is being directed by Friday Okoro who is a Nigerian-American.  He was born in America.  Both parents are from the South-East.  The story is mainly autobiographical.  He is 30 years old and a graduate student in New York.  It is about a Nigerian American kid who is brought home by his parents.  He thought he is home on holidays.  But they brought him back to Nigeria for good.  They kept him here, took his passport because he has been misbehaving over there in the States.  They thought the best way to save him is to bring him home to show him where he comes from.  He is angry; he is dejected, he falls into trouble often and on with 419ners.  It is right of passage, a good story to do into a film.  When Friday sent the story to me last year I didn’t know him.  He got in touch with me through facebook.  Most people get in touch with me through facebook, saying I have a script, I have this, I have that.  Sometimes there is nothing to it; they just talk.  But when I read Friday’s script I really liked it.  Then he didn’t know Lagos at all.  And I know Lagos quite well.  So, I am producing the film as someone who put together the entire infrastructure, taking care of the accommodation, all the logistics and so on”.

    Beyond Nigerian Prince which is his primary concern now, he is also involved in two other projects.  Bandele loves to be busy with projects that are remarkable and awesome.  He said “I have other projects that I am directing at the moment.  But I cannot talk about them yet.  There are issues there now that if you talk, it may not be in the interest of the project”.

    He however gave kudos to the Nigerian home video genre for the way they’ve been doing the job.  Yet he said, “I do not consider myself a Nigerian home video maker, I am a Nigerian filmmaker.  I say this because not every American Hollywood filmmaker is an American filmmaker.  Same with Bollywood and so on.  Nollywood has a marketing label which is interesting.  Nigerian market is indeed enough for me”, he said as he chuckled with laughter.  “Nollywood is quite active in doing what it is doing and that is good enough as it is.  The industry is growing and this is good indeed”, he surmised, smiling.

    Bandele is also a novelist, playwright and the most versatile and prolific of the UK-based Nigerian writers.  His novels include The man who came in from the back of beyond, The Street, Burma Boy and many others.  In 2013, Half of a Yellow sun was selected for screening in the special presentation section of Toronto International Film Festival.  Even then, the film has received a wide range of critical attention and reviews from different parts of the world.

    He has, in addition worked with so many stage theatres in the UK.  Some of them are the Royal Court Theatre, The Royal Shakespeare Company and more where he has either directed plays or performed on stage.  A seasoned theatre/film guru, he has also won several international awards in recognition of his professional acumen and dexterity.

  • How we select film students for scholarship,  by AFRIFF Founder,  Chioma Ude

    How we select film students for scholarship, by AFRIFF Founder, Chioma Ude

    Founder/ CEO of the popular Africa International Film Festival (AFRIFF), Ms Chioma Ude has shed light on the process of selecting film students as beneficiaries of the festival’s annual scholarship scheme overseas.

    Ude, while addressing a press conference at the new AFRIFF office at CBC Building, Lekki, Lagos on Wednesday said the segments of the festival are run by experts  from different fields, making the selection of 20 students from the 200 who attend the annual Talent Development Workshop a thorough and professional exercise.

    “AFRIFF is not a one-man show. We have different people and organizations handling different segments of the festival. For the training segment, the teachers handling the courses are involved in the selection. Last year, we had about three thousand entries and we had to select two hundred for thye training.”

    To underscore the democratic nature of the selection, Ude said, “The selection of the 20 students who get further training abroad is done by the different lecturers, some of them provided by Ford Foundation, some provided by other sponsors like African Magic. The lecturers choose a student based on their own professional criteria. That way, the festival team has nothing to do with the selection. However, because this is my brainchild, they always leave three spots for me. So, I come, watch these students on the last day of their training, interact with them, ask some questions and then pick three of them that I find exceptionally brilliant. Most of the times, I ended up picking students that the lecturers already selected. For example, last year, the three names I chose had been chosen by the lecturers.”

    Ude disclosed that while some of the teachers came from abroad, some are Nigerians with proven record of achievements in their fields. They include Script Writer Tunde Babalola and actor Segun Arinze. “For script writing, I know there is a template internationally, but the students connect better with the Nigerian teachers. So, we had to find one with very good repute and we stuck with Tunde Babalola. For the acting class, we started off with Segun Arinze and later paired him with a foreign teacher. Then, last year, popular actress, Hilda Dokubo, who has a training and vocational school in Port Harcourt took over the Acting class from Segun Arinze. For the Cinematography class, last year, we had Cannon bring in their experts to handle the classes.”

    On her staying power despite the challenges of organising the festival and seeking sponsorship yearly, Ude said, “For AFRIFF generally, my staying power has been the training. And the training, for me, is just knowing that a complete package for the ecosystem is here. We train them in different aspects of filmmaking. It’s important we do this because we need our films to improve, we need our stories told well. When we were coming out with the plan, we hoped that we will impact on the industry and the society at large and move from that to actually seeing them make such impact.”

    Out of the 20 film students on scholarship at CineF’ Abrique, a film school in Lyon, France, Ford Foundation will cater for 10. How does the festival make up for the remaining 10.

    “AFRIFF has other sponsors. We have other people and institutions backing us. They include Access Bank, Air France that will be flying the students, Alliance Francaise that will be offering the requisite intensive tutorial in French language before they travel, and several others. It is important to know that this French lesson is pertinent to the students even though they will be taught in English language when they get to Lyon. The French are very big in art and culture, so for them it goes beyond just training in the classroom. They’ve created a two-week program for them. They will also go on a tour of Paris and its beautiful sites,” she explained.