NOLLYWOOD FOCUS MAGAZINE

Aug1411 Ikhide Ikheloa

2011-08-16T21:04:00.000-07:00

Mirror for the resurgence of Nollywood

2011-07-03T21:39:00.000-07:00

Obi Emelonye talks to Next
Mirror for the resurgence of Nollywood

The Mirror Boy opens in UK Cinemas

2011-06-10T02:35:00.001-07:00

Over the past two years, from auditions through production news and the groundbreaking premiere at London’s Empire Leicester Square, Nollywood Focus has reported on the new film by Obi Emelonye starring Genevieve Nnaji, Osita Iheme, Edward Kagatuzi and Fatima Jabbe. Made by The Nollywood Factory in association with OHFilms UK.

From today the 10th of June, 2011, The Mirror Boy will open in 10 Selected Odeon screens in the United Kingdom. Obi Emelonye, the director of the film has called on the black and African communities in the UK to go out en masse to support this film. He points out that the success of this film will be a door opener for future African films.

For details of the screenings, go to http://www.mirrorboythemovie.com

SHOWCASE YOUR FILM AT THE LEGACY FILM FESTIVAL

2011-03-11T07:47:00.001-08:00

Now in its second year and with a committee of 6 (from a variety of backgrounds) Legacy Film Festival 2011 which will run from 21-23 October and 29-30th October 2011, in Brighton.

The objectives of the festival include giving a positive representation and providing platforms for Black and Minority Ethnic people involved in film, both in front and behind the camera and largely that of the African Diaspora to showcase their films.

The theme of this year’s festival is 'Identity' and will screen films from Africa, the UK and Asia. As part of the festival there is a film shorts section that people can submit their films shorts to, full details are currently on the front page of the website www.legacyfilmfestival.org.uk

Submissions are welcome from people anywhere in the world. It is an opportunity for people to have their work screened who may not always get the opportunity to show their work.

The organisers will be looking to programme a variety of feature film this year and including some Nollywood content. Preferably with some kind of Q&A afterwards to add weight to things.

Submission deadlines for short films is 31st July 2011.

For further information contact Paul Jackson at info@legacyfilmfestival.org.uk

THE MIRROR BOY PREMIERE AND AFTER-PARTY FEEDBACK

2011-02-25T15:01:00.000-08:00

Photo: 2011 by Nnorom Azuonye

In the past two months, London was held captive with the impending world premiere of The Mirror Boy - an Obi Emelonye film produced by The Nollywood Factory and OH Films.

Finally on the 24th of February the premiere was held at the Empire Leicester Square in what has been described as a historical first for Nollywood; the first time a Nollywood film has received its premiere in the world famous cinema. It was an amazing show with over 1300 people in attendance. A sell-out show by any standards.

The questions now are:

(1) Were you there?

(2) Did you see the film, if so let's have a short review from you. Tell us exactly what you thought of the movie. Feedback is the only catalyst to growth and improvement.

(3) What was your overall view of the organisation of the premiere and after-party? We want to serve you better, so please tell us what we could have done better, and by all means praise what we did good.

Thank you all for supporting The Mirror Boy.

Nnorom Azuonye

Publisher, Nollywood Focus

+44 7723 904 913

office@nollywoodfocus.com

Nollywood, the molue has hit a pole

2011-02-21T19:22:00.000-08:00

Interview with CHARLES NOVIA by NNOROM AZUONYE

In June 2010, this interview with Charles Novia, one of Nollywood's really creative directors was published in Next on Sunday in Nigeria. The likening of the state of affairs in Nollywood as a crashed molue was grim, yet he managed to offer a glimmer of hope to those who would like to see Nollywood succeed. In the light of the premiere of Obi Emelonye's The Mirror Boy on Thursday, February 24th, 2010 at Empire Leicester Square, a friend asked me if Obi Emelonye is leading the pack of the crash survivors Novia speaks about in this interview. I will answer that question after I have seen The Mirror Boy. In the meantime, I would like to share this interview with you - if you have not read it before. NA.

Prior to studying Dramatic Arts at the University of Nigeria, Nsukka, did you have any training or experience in the Performing Arts?

Yes, I was sort of a child actor in Benin. I grew up in Benin. At an early age of about seven, my talent was discovered by a school teacher, Mr. Dickson. He realised I was good in acting. One day, he gave me ‘The Wizard of Law’ by Zulu Sofola, and asked me study the part of the lawyer. We performed the play during school assembly. That kind of fired up my zeal. At the age of ten I began acting in the NTA Benin Children’s Time. I did a couple of adult plays with the Bendel Playhouse. My acting was honed by the environment around me. Bendel State had a lot of artistic and creative energy flowing.

That early start motivated you to take a degree in Dramatic Arts?

I had grandiose dreams about going into the arts. At the time, if you were not a lawyer, accountant, or doctor you were not regarded as anything. So, I was very thrilled when a reverend father who just came back from the United States, came visiting us. I asked him what he read in America and he said he did a Masters in Theatre Arts. That sort of triggered something in me. Theatre Arts? Is there something called Theatre Arts? He said, ‘yeah.’ I said, ‘you mean you can actually go to school to study acting?’ and he said ‘yeah.’ I decided right there and then that’s what I was going to study. My mother laughed it off, but it stuck in my head.

Good thing your parents did not interfere with your career choice then?

Not that they didn’t try! My father, particularly, was initially against it. He really wanted me to go into Law. Along the line, when he discovered I could write very well, he then wanted me to study Mass Communications, to become a journalist. When I got my admission from UNN, he was like, ‘Law?’ I said, ‘no, Theatre Arts’. His face was a big mask of disappointment. Anyway, after one year, I came home with reports of what I had done. You remember, Nnorom, I did your play, ‘A Tasty Taboo.’ I also played Yekini in Esiaba Irobi’s ‘Hangmen Also Die’ and Senator Arikpo in ‘Nwokedi’. I played Elesin in ‘Death and the King’s Horseman.’ I was also in Godfrey Okoro’s ‘Fruits in the Wind’ - the first play to highlight the problem of cults in universities. My father was happy. Unfortunately, he died before he could see the fruits of his investment. I think I was born for this.

Upon graduation, did you know, even then, that you would go into film production?

I was at crossroads. I thought I would stick with the theatre. There was this guy, Greg Mbajiorgu, he actually did a one-man show, ‘The Prime Minister’s Son,’ and I saw that and I was like ‘wow, I could be doing this.’ But in 1998, I decided to go into films.

Nollywood at the time was at the cusp of becoming something big, so I decided to show my stuff. Just before then, I played Tasso in Goethe’s ‘Torquato Tasso’ at the Goethe Institute, Lagos. It was amazing, but as I took the curtain call, it was sort of sad, my spirit told me I wasn’t coming on stage anymore. That was it. I crossed over to Nollywood.

Why have you challenged yourself to make successful films without Nollywood’s superstars?

I did not use Nollywood’s well-known stars for my first two movies. The marketers kept calling me to say, ‘your movies are good o, but they no dey sell because you no dey use faces.’ So, I started to use some of the known faces, and I tried to give them a new orientation; to follow my style. As time went on, they became larger than life in terms of discipline.

In 2003, I made ‘Missing Angel’ – my biggest-selling movie to date, over a million copies. I used an as yet unknown Desmond Elliot, and it became his breakthrough movie. There were no stars in that movie. Then four years ago, I said, enough is enough. The high of a director is the believability of his movie. I don’t get that when I use a Genevieve or a Ramsay. The story might be good, but people always say, ‘ah, na acting’ because they have seen those same people in five hundred other films.

So, I thought I just have to use new faces. The suspension of disbelief must be paramount. A Brad Pitt would go through the rigours and motions of characterisation because he respects the director. I mean, here I am working with a star and he has fifteen other scripts waiting for him. He will be on set and other producers will come there, clapping their hands saying ‘hurry up, you have to finish tomorrow and start on my film.’ So you are not getting the right commitment. There is a lot of arrogance. Moreover, you can read the mood of the buying audience. They want change, to see new talent and value for their money.

Describe the state of Nollywood today.

Nollywood started as ‘molue’( commercial bus). In the rickety molue, Fela said sixty-nine standing, twenty-nine sitting. At the initial, experimental stage, a few people got in; the twenty-nine sitting. When it started making money, sixty-nine got in and it became overcrowded. A lot of crazy ideas! Mediocrity and professionalism clashed, and mediocrity sort of became the order of the day. The bus veered off the road and hit a pole. The survivors are coming out of the bus. Professionalism will now take its own bus, and mediocrity will enter its own bus.

The whole world has been saying Nollywood is a phenomenon, but hey, it’s more quantity than quality. It’s more Onitsha market literature at its lowest level, than cinematic artistry at its highest level. It is more of ‘let me do twenty movies a year and make ten million’, rather than make one movie and make a hundred million.

So, Nollywood is at crossroads, but there is hope. I see hope because in the past year or so, I have seen a brain gain, I call it a brain gain from abroad. People have gone to film schools abroad and they are coming back to explore the terrain. They are bringing new ideas. They are bringing a measure of professionalism. Some of my colleagues are sort of antagonistic towards these ideas, but I always say, when the time comes, you can’t stop the movement.

We are moving to a new direction where we can have professionalism at the highest level and mediocrity going to its graveyard.

Have you considered turning any of Nigeria’s novels or plays into a movie?

In 2006, I met with the late Cyprian Ekwensi and obtained the rights to turn one of his books into a film: ‘The Passport of Mallam Ilia.’ I am going to shoot that later this year.

Given Nigeria’s rich folklore with colourful animal characters, is anyone doing animations in Nollywood at all?

None that I know of, at least not cinematically. There was a guy though who made animations for TV commercials. Animated movies are lacking in Nigeria. Children’s films and family movies are lacking. Besides, animations cost a lot of money to make and the average Nigerian film-maker will not put his money into something with long-term benefits. They want things that will yield profits quickly, within three months or so.

What will be the next big thing in Nollywood?

We are seeing investment in infrastructure. In cinemas. ‘Figurine’ made about forty million naira in one month, playing in just five cinema houses. To make that kind of money through our traditional DVDs is very difficult. I think cinema is the future.

Are you working on any movie at the moment?

I am working on a biopic of Majek Fashek. ‘Majek’ will tell the story of Majek Fashek from his rise to his stardom to his decline and his struggle now. I’ve just got a venture capital firm to invest in it. I have been working on it for three years. At the risk of being immodest, it is going to be the next big movie Nollywood will see. I have done one other biopic before – on Pastor Adeboye. It was called Covenant Church. It was huge. ‘Majek’ is due for realease in December 2010.

FREE "THE MIRROR BOY" PREMIERE TICKETS SENSATION!

2011-02-09T10:40:00.000-08:00

This offer is now closed.

The winner of 2 FREE tickets is: PATRICK KOLA of

Enfield.

A pair of VIP Tickets must be given away on Monday 14th February, 2011

Buy 2 or more VIP The Mirror Boy World Premiere (Reserved Seating) Tickets, or 2 or more VIP Premiere Screening and After-Party tickets between Wednesday 9th of February and Sunday 13th February 2011 and you could win 2 Tickets to the premiere.

- Buy 2 Premiere Tickets @ £20.00 per ticket
- Or buy 2 Premiere and After-Party Tickets @ £50.00 per ticket
- No Booking Fee. (We pay your booking fee for you, a saving of up to £3.80)
- You will be automatically entered into the Prize Draw.
- If you win, but had bought the £20.00 tickets, you will be refunded the full £40.00 you paid for 2 tickets. If however you bought £50.00 tickets, you will receive a rebate of £40.00 only being the value of 2 VIP Premiere Tickets.

- One winner will be picked at random from those who buy 2 tickets at a time between 9th - 13th February.
- Whether you win the free tickets or not, you will still be in the running to receive either a free Echoes of War DVD or a copy of For The Love of God Anthology.

BUY YOUR TICKETS NOW, AND BEST OF LUCK.

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The Mirror Boy Premiere Partners

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- makers of The Mirror Boy

‘I am content with Nollywood’

2011-02-06T23:10:00.000-08:00

An interview with Ramsey Nouah by Jayne Usen

In 1991, a young Ramsey Nouah walked into the Surulere, Lagos audition venue of Ralph Nwadike’s now rested soap ‘Fortunes’ and after reading a few lines, got Nwadike screaming ‘This is the guy I’m looking for. This is the guy I’ve been waiting for.” And so began his journey to stardom.

He made his debut in the Nigerian home video industry shortly afterwards. 21 years later and still going strong, Nouah's performances in movies like ‘Dangerous Twins’ and ‘The Private Storm’, continue to wow his teeming fans. ‘The Figurine’ earned him the Best Actor in a Leading Role award at the 2010 African Movie Academy Academy Awards (AMAA).

Born to a Lebanese-Israeli father and Nigerian mother, the actor has starred in over a hundred movies and still has his eyes on the big picture. In a rare interview, Ramsey Nouah opens up to NEXT on matters close to his heart.

You have not been granting interviews and you’ve been out of the public radar lately. Any reasons?

It is for my absolute peace of mind. The media makes life for everyone in the fame line very unbearable. Just because you are an actor, people feel you have to live your life like Jesus Christ with no blemish and when you do make a mistake the people who are quick to point accusing fingers at you have far more sins than you. I try as much as I can not to do wrong, and when it happens and gets out there, everyone wants to crucify me.

You know bad news fly around like wild fire, so that was why I refused to grant interviews for years because everything that came out at the end of the day was all speculation. My peace of mind means spending quality time with my kids and family and not having to bother about what next I’m doing or where I am.

What was growing up like for you and did you want to be an actor?

No. I wanted to be an aeronautic engineer or pilot but God has a way of changing your destiny. I have no regrets whatsoever. My mum took very good care of me. At age 10, I realised that I had two bikes to myself and then I will fly my kite. Back in the days when boys were using newspapers and ‘eba’ to make kites, my kites were as big as a mini house.

Then at some point everything went down, so I kind of like tasted both sides of the coin. I am happy with where I am today, that God allowed me go through that phase. It gives me room to become very good and versatile, hence I can comfortably play a prince or a pauper.

Lately you have been quite selective about roles and taken parts that have deep characters. Is this deliberate?

I have had my fair share of doing movies, and God knows I can’t count the number of movies I have starred in. It has come to the stage now where you have a lot of Nigerians becoming a lot more aware and interested in Nollywood.

Our movies are now cutting across the middle and higher class and these are the kind of people who are more interested in your capabilities as an actor, producer or director. So it’s high time we started making movies that can cut across all strata of the population.

Any plans to go into movie production?

Yes indeed, some time soon. I will want to leave the front stage when the applause is still high and go [behind the scenes]. I may still keep acting till I am old and gray, but at the same time, I want to leave a good legacy behind in Nollywood so that it doesn’t remain just an ordinary industry without base or quality.

In the near future, I want a situation where parents will encourage their children to be a part of it.

Your performance in ‘The Figurine’ has been hailed as one of your best. Was it your most challenging role?

My most challenging role is yet to come. I have quite a few but for now I will say one of my most challenging roles was ‘Dangerous Twins’; and I liked ‘The Figurine’ a lot. You need to internalise every character before you can play it properly. I have been acting in Nollywood for over 20 years now, so I think you have to give room as an artist to paint the scenario you want to play out as an actor.

I tend to look at roles which various artists around the world have played that are truly captivating and try to internalise it. If it’s a [regular] character like a lover boy, you internalise the love like as though you truly feel it. This is what I do with all my characters.

At some point you were dubbed ‘Nollywood lover boy’, do you still take up such roles?

It was because I was about the only one around; but now we have the likes of Majid Michael, Van Vicker, John Dumelo, Nonso Diobi, and Mike Ezerounye, so it gives room for variety.

What do you look out for in a script?

I like a situation where I cannot predict a script. I have seen a lot of scripts which have thrilled me such that you are caught unawares by the twist. What we have in Nollywood is simple drama, but it is a good thing because we talk about real life drama while Hollywood [has] almost unrealistic stories. Drama is like real life but with all the boring elements taken out.

Are there any roles you can’t take?

I doubt it. I like a situation where I can play all kinds of roles. In my latest movie, ‘Perfect Church’, I was a homosexual pastor. I didn’t like the role at first but I said, ‘Come on Ramsey, don’t be stupid!’ I did not have any homosexual contact in the movie, but it was evident in the dialogue and mannerism. What I did was psyche myself to see my partner as a guy.

What do you love best about being an actor?

I hate watching myself, it’s so hard because I think I don’t get it right. Whenever I dramatise something I feel it so deeply, as though it happened to me in real life.

Which actors inspire you?

Al Pacino. I like him a lot because I use two of his movies to prove versatility. In ‘Scarface’ - he was street tout who became a don but was still a street tout at heart. Then there was a total contrast in ‘The Godfather’ where he was a totally composed Don; and then in ‘Scent of a Woman’, he played a blind guy.

Here in Nigeria, I see Aunty Joke Silva as a very good actor. I never looked up to a lot of Nigerian actors because many of them did not play the character that sort of groomed me. Fadeyi Oloro - Ojo Arowosafe in ‘Arelu’ - was one actor I used to like a lot.

What happened to your music career?

I only sing in my bathroom and I am content with that. I also want to add that I am not on Facebook. My so-called Facebook page is being run by those boys who scam my fans. I have never been on Facebook and up till now I don’t have a record. My wife knows that about me and anyone who is close to me knows that.

It became an issue last year when some magazine said some girl called them from Europe and complained about giving me money on Facebook to do something about an NGO and then I scammed her. The same journalist who called to confirm went back and wrote that I claimed I was not on Facebook. Now everyone knows that ‘claim’ in legal terms can mean denial.

I am also not on twitter but my names are there because some people are using my name and picture. When I come on Facebook, I will post a video there and on YouTube to let people know my true identity and account.

Any plans to feature in any Hollywood/Nollywood movie?

I am content with Nollywood. Truthfully, I feel we have created a niche so much Nollywood is now on the lips of people around the world, so I don’t think I need an American actor or support to blow.

Source: Next > ‘I am content with Nollywood’

-----------------------------------------------

Attend the London Empire Leicester Square Premiere of The Mirror Boy

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WIN “ECHOES OF WAR” DVD OR “FOR THE LOVE OF GOD” ANTHOLOGY

2011-01-23T09:47:00.001-08:00

Buy your tickets to THE MIRROR BOY WORLD PREMIERE AND AFTER -PARTY scheduled for the 24th of February, 2011 at 8:00pm, Empire Leicester Square, London, for a chance to win either a DVD of the award-winning Obi Emelonye film; Echoes of War (Starring Judi Shekoni, Anthony Akposheri and Anthony Beselle) or a copy of the For the Love of God – a not-for-sale anthology of poetry by over 30 international contributors including Rita Dove, Nnorom Azuonye, Arundhati Roy, Peter Gabriel and Sandra Alcosser (edited by Desmond Kon et al.) For the Love of God was exhibited at the 1st Prague International Poetry Festival in 2004.

Choose from any of the 4 ticket options ranging from £15.00 to £50.00

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Pay Securely and Safely by PayPal or send a Cheque/Postal Order.

1 Winner will be chosen at Random for the Echoes of War DVD.

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The 2 Winners will pick up their gifts at the Empire Leicester Square on February 24th, 2011.

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THE MIRROR BOY PREMIERE FACEBOOK EVENT PAGE

2011-01-20T02:40:00.000-08:00

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OBI EMELONYE

2011-01-15T14:40:00.001-08:00

One of a new generation of Nigerian film Directors taking the magic of ‘Nollywood’ to the wider world. With his multi-disciplinary approach to film-making, his relentless creative drive and an uncanny sense of artistic style, Obi has also marked himself out as one of UK's contemporary directors.

He was at the final stages of being enrolled as a Solicitor of the Supreme Court of England and Wales when he abandoned legal practice to pursue his first love: film. However, he brings his stature as a lawyer and the attendant pragmatism to the chaotic world of film and productions.

Obi's debut novel, 'The Mirror Boy' is being published.

He lives in Notting Hill, London with his wife Amaka and their three children; D'Kachy, D'Richy and Da’Luchy.

Films directed by Obi Emelonye

The Asylum (2008)

Sweet Betrayal (2007)

Lucky Joe (2006)

London Successor (2006)

Echoes of War (2003)

Who's Next? (2001)

Good Friends (2000)

Read interview with Obi Emelonye by Nnorom Azuonye: Jack of all trades, master of all >

CHUCKS MORDI

2011-01-15T07:50:00.001-08:00

Chucks Mordi is a film screenwriter, director and producer in the Nigerian film industry popularly known as Nollywood. He originally earned a bachelor degree in Fine and Applied Arts and Education, but found himself gravitating towards a career in film soon after completing his studies in 1992.

He started training as an analogue editor and computer graphic artist in 1994, but branched off into script writing where he found his most challenging career interest in the craft of directing, working as assistant director on a number of features in Nigeria.

Having gone into the industry at its early stage in Nigeria he was drawn towards contributing to the professional development of the industry. He became involved in a number of production guilds, among these the Directors Guild of Nigeria.

In 2000 he relocated to London from where he has been operating as an independent filmmaker and has directed three features to date.

Chucks has been involved in numerous initiatives to promote Nollywood filmmaking in the UK and considers himself as a self-appointed ambassador of Nollywood in the UK.

Films directed by Chucks Mordi

Bleeding Rose (2008)

BEFORE OGBUIDE OF OGUTA LAKE

2011-01-14T21:37:00.001-08:00

By Onyeka Nwelue

I travelled to Oguta, in Imo State, recently with a 6-member crew, to hunt for locations for my debut film, The Distant Light, a story that has been described by German anthropologist, Sabine Jell-Bahlsen, as an ‘Avatar-in-Nigeria thriller.’ Sabine is an authority on Oguta/Oru-Igbo cultures and traditions and has written one of the most extensive and deeply researched works on the cosmology of the Igbo gods and goddesses. She spent close to 26 years there, living with the people and learning everything about them. That came to culminate into the groundbreaking work of anthropology, “The Water Goddess in Igbo Cosmology: Ogbuide of Oguta Lake,” published by Africa World Press, Inc.

Our paths crossed last year at a women’s conference, where she was speaking on Igbo traditions and I was giving a speech on why people need to study other people’s cultures. I found her quite intriguing (for she could speak Oguta Igbo, always sports Nigerian fabrics and holds a Chieftaincy title in Oguta) and when I finally bought her book, which she autographed, I saw names of my maternal family members in there, where she had acknowledged the help they had offered to her during her stay in Oguta.

At the beginning of this year, after getting nominated in the Creative Artist of the Year of the Future Awards, and Adekunle Samuel Owolabi beat me in that category, we agreed to work together, at least, to ‘cool me down,’ for bruising my ego. I agreed to produce a script and he will produce a camera. And we will do a film together.

I went into solitude at Bonny Island, and believe me; I finished the first draft within three days. I worked with a self-imposed deadline. On the fourth day, I left Bonny Island, with a broken heart, a broken pair of glasses and a completed script, that kept me happy.

This was just after the 2010 AMAA Awards, which I had attended in Bayelsa. For a lot, the AMAA was motivational and inspirational. For some, it was an avenue where anyone could face intimidation. Of course, watching Kunle Afolayan walk up to that stage, smiling and raising his plaques to thank the world, I felt I could come close. I just didn’t sleep well that night, as I kept thinking of how many heads he has! “The Figurine”, from every angle, came close to a perfect work of art.

Onyeka Onwenu has accepted a role in it, as well as AMAA-winning OC Ukeje.

A friend recently said that critics are like eunuchs in a harem: they know how it’s done, they have seen how it’s done, but they can’t do it. I agree. I’ve always being very passionate about the cinema and decided to enroll into a film school abroad, where I was trained as a scriptwriter and got to understand that it is easier said than done. So, as a harsh critic of Nollywood, I take back whatever harsh criticism I made in the past about its directors and actors. However we want to summarise it, making a film is never a child’s play. It is a battlefield. People die. People live.

For choosing Oguta as our location to shoot, we have been asked by the Chief Priestess, Akuzzor Anozia, after making incantations and consulting Ogbuide Lake Goddess, that we will perform rituals. Oh, yes, we have a long list of things to buy after which we will proceed to the Shrine of Ogbuide to appease her. The Consort of the Priestess will guide us throughout the whole period we will spend in Oguta.

For last time I updated my Facebook about Oguta, a friend commented: “I lost a close friend of mine to the Lake recently. He got drowned and the native couldn’t let his people take his corpse.” It was no surprise as my mother used to tell me similar things. When I asked the Chief Priestess, she said that if the dead person’s family had performed rituals, they would have gone with the corpse. I went back to the friend who had commented and she said, “Yes, they were asked to perform ritual. But it was expensive.”

“The Distant Light” is my take on arrogance and belief. Is belief necessary for a people? Does arrogance pay? It is my own way of contributing to Nigerian cinema, with a cast and crew from different parts of the world. It is my way of saying that we the young people are quick at condemning the works of the older generation and still cannot do anything to make changes. This is my way of saying, “Thank you to Tunde Kelani and Kunle Afolayan” for refining Nigerian cinema, for inspiring a new generation.

Onyeka Nwelue is author of The Abyssinian Boy (DADA Books, 2009). “The Distant Light” will be produced by DADA Films, Lagos and KStunts Media, Johannesburg.

THE MIRROR BOY WORLD PREMIERE AND AFTER-PARTY TICKETS

2011-01-14T07:44:00.001-08:00

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3. The Company will never disclose other information provided by buyers such as e-mail addresses, mailing addresses or telephone numbers to any third party not directly involved in the delivery of the service paid for - The Mirror Boy Movie Premiere and After-Party. All information provided by a ticket buyer are covered by the Data Protection Act 1998.

NEXT GENERATION OF FILM MAKERS

2011-01-06T07:05:00.000-08:00

Next generation film makers

The Mirror Boy update

2010-11-15T05:06:00.000-08:00

The Mirror Boy - a new film by Obi Emelonye produced in a collaboration between OHTV and The Nollywood Factory is marching confidently towards a cinema premiere in London's Leicester Square.

Nollywood Focus has learnt that the makers of The Mirror Boy have high expectations of a successful cinema run in the UK, and in Nigeria. The Mirror Boy has also been tipped to be a favourite for film festivals across the globe and should enjoy long big screen showings in the first quarter of 2011 before appearing on DVD later in the year.

The Mirror Boy is a movie that has been over 4 years in the making. Starring Genevieve Nnaji, if the final cut matches the hype, this film will set a new benchmark for Nollywood films.

Speaking to Obi Emelonye, the director of the film today, following his interview on CNN's Inside Africa programme on New Nigeria Cinema, he says that "after the successful work I did with films like Who's Next?, The London Successor and Echoes of War, I have come of age truly as a film director, and The Mirror Boy which achieves really high standards has now become a standard I must exceed with my future projects."

Obi Emelonye of course always manages to come across a little. We don't see any reason why not. He does good work.

Two things:

1. Go to The Nollywood Factory website, www.thenollywoodfactory.com view the trailer of The Mirror Boy and join their Mailing List for updates on the movie.

2. Read Obi Emelonye: Jack of all trades, master of all.

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Let down by the story

2010-08-07T21:50:00.000-07:00

by Cheta Nwanze

After a marketing blitz, it was with a lot of anticipation that I went to watch the much hyped Ijé, featuring Genevieve Nnaji, Omotola Jalade-Ekeinde and Ulrich Que.

Warning: spoiler content

The movie begins with Chioma (Nnaji) arriving in Los Angeles to a hostile immigration reception. After battling her way through, she gets to her pre-booked hotel and encounters her first disappointment: the hoteliers have increased their price without notifying her, in a classic hustle. She has to pay $50 a week more than budgeted.

The next scene introduces Anya (Jalade-Ekeinde), Chioma's sister, who is awaiting trial for a triple homicide. She's the reason why Chioma, who works in a Nigerian bank, has come to the US. In that first and rather touching scene, Chioma uses the ruse of freedom of religion to get to see her sister sans the glass partition. In that scene, we are told Anya's side of the story, that she did not kill her husband. She also informs Chioma that her lawyer had asked her to plea-bargain.

The next day, Chioma goes to the lawyer's office to speak about her sister's case. Anya's lawyer, Patricia Barone (Anne Carey) has made up her mind that there is no other way for the matter to progress except by plea-bargain. She comes across as believing that Anya was actually guilty. Meanwhile, a chance meeting outside the courtroom with another lawyer shows Chioma that not all American lawyers are cold blooded. Jalen (Que) has just been fired for refusing to plea-bargain on behalf of a client, thus losing a murder trial. His demeanour persuades Chioma to approach him about becoming her sister's lawyer.

The build-up to the trial follows with the usual American legal rigmarole: a prosecution lawyer who sees cases like this as mere statistics to add to his already bulging belt of convictions, some visits by Chioma to Anya's residence, and an introduction to Anya's neighbour.

As time goes on, it becomes clear that Anya is not exactly telling the truth about what happened on the night that she killed at least two men (she admitted to killing two, but not her husband), and the onus is now on Chioma to find the sixth person that was in the house on that fateful night.

In between all this, there are flashbacks to the sisters' childhood which, from the background, is somewhere in a village in the north-central region of Nigeria. Their childhood had all the ingredients of a Cinderella story: poor girls who were eventually transported to some form of success, but not before passing through some rough times, most notably a pogrom in the village that they lived in.

Full review in Next> Let down by the story

Goodluck at last for Nollywood

2010-08-06T04:31:00.000-07:00

We are pleased to bring you the promise of Nigeria's President Goodluck Ebele Jonathan to Nollywood:

"The other day I talked about stimulating production of goods and services in all sectors so that our Naira earned in Nigeria can be spent on products made in Nigeria so that our expenditure feeds our economic expansion. However another goal of this stimulation is to boost exports. And in boosting exports we do not have to stick to the... traditional export oriented industries. We have to use what we have to get what we want. There are many untapped avenues for generating exports in Nigeria and we need to put these opportunities to good use. For instance, I have travelled on official visits to a number of countries and have been amazed by the response I get from people of various racial back grounds to Nollywood movies. Africans and Americans; Caribbean and other island nations; Europeans as well as Asians tell me how much they love Nollywood movies. This interest alerted me to the fact that there is a market for Nigerian home videos the world over and I have directed the Minister of Foreign Affairs to ask our envoys to work with leading lights of Nollywood to help them break into the market of their host country. If Hollywood and Bollywood can generate several hundreds of billions of US dollars for their country's economy then we must support our own home grown movie industry to do likewise. Not stopping there, I have directed the Ministers of Information and Communications and Culture to remove any impediment in the way of the industry so that the intellectual property rights of producers, directors, actors and studios are protected and they enjoy the fruits of their labor which will give them the incentive to make more and better movies. In growing Nigeria's economy we must be creative and look into all possibilities.

"- GEJ

All of us at Nollywood Focus are holding our breaths and believing, yes, believing, that the promise of goodluck shall finally bear fruits for Nollywood. On our own part, we will continue to engage with Nollywood producers, directors and actors through discussions, seminars, interviews, reviews, and publicity for Nollywood movies (our prices are from FREE) so there is no excuse not to get exposed here.

Want us to shout about your movie from FREE? email nollywoodfocus@easternlightepm.com

Dewitching Time

2010-08-05T01:19:00.001-07:00

A review of “The Fake Prophet”

By Nnorom Azuonye

Over the last few years, many people have been dismissive about Nollywood with such statements as; “What’s the point of watching Nollywood movies? To watch juju?” Such people have not been successfully swayed by the fact that not all Nollywood movies are about juju, or have juju content. They have also failed to contend with the fact that the portrayal of people killing each other, trapping lovers, or robbing innocent victims with juju is fuelled by a national state of mind. If a man falls in love with a girl his mother does not like, his mother will most certainly say he has been a victim of juju. If a young man goes to Lagos, Abuja or Europe and fails to make the big money his mates make, there must be a cousin or uncle responsible. If a man swans through the city having unprotected sex and gets the HIV virus, then the enemies must be working overtime.

Against a backdrop of such scenarios that are commonplace in Nigerian movies, Stepping Stones Nigeria takes the view that such portrayals in a powerful medium such as film makes it easier for crooked men and women of God to convince spiritually fragile families that all their problems stem from evil works of child witches. The Fake Prophet, a new Nollywood movie produced by Stepping Stones Nigeria in association with TFP Global Network and directed by Teco Benson, the czar of the action genre in the Nigerian film industry, attempts to counter the status quo. The new movie which received its London premiere at the Amnesty International Centre on July 24th 2010, is raised on the premise that false accusations against, and destruction of, children can only further impoverish and ruin the ignorant. Whereas two decades of Nollywood movies have sold the story that every misfortune is a result of juju, The Fake Prophet argues, not that there are no principalities and powers, but that not every misfortune is caused by the supernatural.

James Udofia (Charles Okafor) is a courier in a human trafficking racket run by Honourable Igbinosa (Big Fred Ezimmadu). Between Udofia and Igbinosa they ship off girls in rotten situations from Nigeria to Europe, where they are thrown into prostitution. When a run fails and Udofia loses Igbinosa’s cargo, Udofia flees to his village in Akwa Ibom State to hide from Igbinosa’s wrath. Without any known talents, without any education, without any marketable skills, Udofia’s life soon becomes pure drudgery, until his eureka moment, when he gets the idea to start a church. Soon enough he begins to perform miracles with hired actors, and begins to accuse children of witchcraft, taking huge sums of money from their parents in order to deliver them. Despite his inability to successfully deliver any child from witchcraft, he establishes a powerful base on a platform of terror and blackmail. Prophet Udofia is soon responsible for several deaths of children and exile of others, notably Ekaette (Grace Amah) and Inyang (Samuel Ajibola) – the duo accused of killing Ekaette’s father and banished from the village.

It is easy to misunderstand The Fake Prophet as an anti-Pentecostal church or anti-Pentecostal Pastors rhetoric. The film is not as simple as that. The church and its pastor are only a vehicle by which the film-makers anchor their tale. There are, inevitably, some allusions to the norm in Pentecostal churches that for anyone to receive blessings or deliverance from God, he or she must give large sums of money to God, meaning the church, but that’s not what this film is about. The theme of greed runs through the film like a haunting soundtrack epitomised in the lives of James Udofia through his fraudulent ministry and Honourable Igbinosa through his human trafficking and prostitution racket. The film also explores an unfaltering friendship in the face of adversity as exemplified by Inyang and Ekaette, and the capitulation of principles on the account of self-preservation in their school principal. The makers of this film in fact tackle so many important issues as sub-themes in just under two hours, but the most fundamental question it raises is, do parents not know their children? If a father or mother knows his or her child, has raised the child, has played with the child, has eaten with the child, if there is something unnatural about the child, that parent will know. The ease with which parents are turned against their children in the environment that feeds this film is shocking. The wickedness that the parents deal out on their own children is even more mind-numbing. Prophet Udofia and others like him only survive for as long as they do because many parents are busy trying to preserve their own lives or their businesses, that they fail to do their primary duty which is parenting – and parenting involves trusting one’s child, loving one’s child unconditionally, and protecting that child. Parents in The Fake Prophet simply don’t know their job description and that’s why evil triumphs for as long as it does.

Right then, The Fake Prophet has a lot to say and says it eloquently. But is it any good? Teco Benson achieves a nice pace and suspense, and thankfully, the movie achieves a resolution of the conflicts it raises without that intestine-chopping ‘watch out for part 2’ or ‘To God be the Glory’. This is a complete film and audiences will be pleased with that. The picture quality is good, and the sound is perfect. There is never that Nollywood annoyance of background music becoming foreground music which drowns the voices of the actors. With The Fake Prophet, one can see the film without being forced to become a lip reader. There are however some editing issues. Several scenes don’t get resolved before others are cut to. This may be down to the multi-layered story, and trying to do so much in one movie. It may also be that the director does not wish to spoon-feed the audience, giving them room to fill in the blank spaces. That is not such a bad intention, but it is not clear if that is what he intended. The screenwriter does not particularly have a good ear for dialogue, but that is only evident because the film being what it is; a social information, social education vehicle that cuts it fine between entertainment and moral instruction, it tends to get preachy in parts, over-explaining things as if the audience won’t get it just by the message conveyed by actions. Again this is forgivable because the only way this film will achieve its objective is to be comprehensible to the ordinary folks, especially the semi-literate or illiterate citizens who hang on to every word of their religious leaders without question.

On the performances, Charles Okafor sparkles as James Udofia. His energy, charisma and screen presence is what essentially keeps the heart of the film pumping. Big Fred Ezimmadu as Honourable Igbinosa has his moments and his diction impeccable. Grace Amah’s Ekaette and Samuel Ajibola’s Inyang as pawns of pathos are just too sweet and their roles over-contrived towards achieving the film’s objectives. It is not in the film’s interest that these two central characters are so under-developed and just so docile. Unfortunately too much is packed into passing the message that the characters have no room to breathe properly.

Overall, The Fake Prophet proves more entertaining than it promises. The treatment of the topic of witch children is sensitively handled. There is never a dull moment, which is a clear evidence of Benson’s skills in dealing with suspense and drama. The intense passions expressed in the post-mortem after the premiere attests to the power of the film. The Fake Prophet scores 4 out of 5 stars, and anyone who pays money to see it in a cinema or buys the DVD will get value for money and take away a lot to think about. This is a film that will ultimately save many lives. It will surely raise the controversy surrounding child witches and the roles of spiritually-bankrupt pastors in the murders and ostracism of innocent children. The Fake Prophet is well worth supporting. Well done.

Nollywood Focus rating: 4 Stars

The Mirror Boy on it's way

2010-08-03T14:58:00.000-07:00

Nollywood director, Obi Emelonye is having serious birth pangs as he puts finishing touches on his new movie, The Mirror Boy.

From script to screen, The Mirror Boy has been a creative burden for Emelonye over the last four years. Nollywood Focus is looking forward to this collaboration between Emelonye's The Nollywood Factory and OH Films. The Mirror Boy stars Genevieve Nnaji and Jude Iheme among others. The film was shot in London and Gambia where the production received massive logistic support from the Gambian president.

Nollywood Focus will bring you all the juice about this film in due course. For now, here is the trailer:

“To God be the Glory” – a Bridging Sin in Nollywood

2010-07-27T00:01:00.000-07:00

by Nnorom Azuonye

I have seen quite a bit of Nollywood films in my lifetime; from the excitement-inducing trailblazers such as "Living in Bondage", "Rattlesnake" and "Violated", through such titles as "A Christmas Passion", "Eziza, 3 days and 3 nights", to "Mama G in the USA", "Osuofia in London", "Blood of an Orphan", "Lucky Joe" and lots more. In all honesty, over the years I have been greatly entertained, amused, irritated and sometimes offended by the films - the offence coming from the unbelievable levels of some productions' shoddiness.

Like every other film industry in the world, the Nigerian one offers good films and bad films. And in the true fashion everything else given to mass production, whilst one or two gems could be found in Nollywood, the bulk of the productions are outrageously horrible and marred by what Zeb Ejiro summed up in an interview I read a while ago with one word: mediocrity.

Most of the time, the story lines in Nollywood films are so far-fetched that it is surprising anyone could even contemplate them. There are only a handful of Nollywood films in which any effort has been made to develop a character three-dimensionally. The screenwriters generally have no ears for dialogue, logic of setting often does not exist, and there is no depth in the plot. Some directors are to blame too; those directors that simply get actors and actresses to hang around their sets dragging their masses through the scenes that cannot even be called scenes, completely wasting film time. The pace or lack of pace in the films is probably the most painful aspect of the films because even the die-hard Nollywood fan now recognises that it is a ploy to drag out the story to make sure it ends up either a bipartite or tripartite production, meaning more money to be spent by the fan to get the whole story.

Like many fans of Nollywood, I don’t have the luxury of the time to go through six hours trying to get to the end of one movie. I have been forced to say in discussions that the majority of what is coming out of Nollywood are not movies, they are more like mini-series because there is hardly any film coming out of the industry that is complete that is with a beginning, a middle and an end. The concept of a sequel has been completely misunderstood by Nollywood. A sequel is a literary work, movie, or performance that is COMPLETE IN ITSELF but continues the narrative of a preceding work. The important phrase here being ‘complete in itself’. This cannot be said of maybe 90 percent of any part Nollywood films.

Every time I sit down to watch a Nigerian film on Nollywood Channel, AIT or Nigeria Movies, if the film is half-decent and makes me want to sit through it, I become anxious as I get more into the story because of the high likelihood of the film cutting out in the middle of a scene or idea with the inevitable words ‘To God be the Glory’, followed by credits and an invitation to watch out for part two or part three as the case may be. Many times, I either don’t know when the other parts are broadcast, or they are not broadcast at all. So I feel cheated, frustrated and angry.

Is it too much to ask that Nollywood film-makers set out to make complete films with every outing? It would be refreshing to see a new film out of Nollywood that is complete in itself - a film in which the conflicts that are raised reach a satisfying dénouement. Then a year or two down the line, if at all it is necessary, a sequel may be made that is also complete in itself. A further five years down the line, the producers might even be forgiven to do a George Lucas and produce a bunch of prequels as in the Star Wars franchise.

It is my fervent prayer that Nollywood film-makers begin to wean themselves off the ‘To God be the Glory’ state of practice - a most unfortunate bridging sin between segments of overlong, lax tales. They can do this by identifying more pungent points of attack in their screenplays, editing off unnecessary scenes, encouraging sharper dialogue and knowing when the story actually ends or should end instead of the current overuse of Deux Ex Machina either in the form of a Christian miracle, a prayer answered rather too quickly, a voodoo help out or implausibly efficient Nigerian police force. It is my belief that if a film-maker sets out to make a complete movie that will fit into 90 minutes to 120 minutes, and plots the through line of his action properly, he will work with a taut script, his Thespian talents will work with a sense of purpose and the final work will be dramatically and technically satisfying and should stand the test of time. NF

Ghana Slams $1,000 Fee On Nigerian Actors

2010-07-06T11:17:00.000-07:00

There are indications that the cordial relationship between the Nigerian movie industry, Nollywood and its counterpart, Ghana's Ghollywood, has hit the rocks as authorities of the Ghanaian movie industry have said that Nigerian actors will no longer be allowed to work in their country unless they pay a fee.

In a statement sent to the Actors Guild of Nigeria [AGN] Board of Trustees, said henceforth, any Nigerian actor participating in any of their productions will be compelled to pay $1, 000 (One Thousand dollars) or risk losing the job.

This development, according to the Ghanaians, is to give ample opportunities to their local actors, and as a result, develop their movie industry to an enviable height.

They are of the opinion that their Nigerian counterparts seem to be dictating the pace in the Ghanaian movie scene, and they want to address the issue before it gets out of hand.

Confirming this information to P.M NEWS on phone yesterday morning, the Chairman, Board of Trustees of the Actors' Guild of Nigeria, Prince Ifeanyi Dike, said he and his executives are already addressing the issue.

He said that he was shocked when he received the information “because I never believed such decision could come from the Ghanaians. Nollywood has done a lot to improve their movie industry and what they have done now is a clear indication that they are ingrates. How could the Ghanaians insist that Nigerian actors must be paying $1, 000 before participating in their productions?

“A lot of our popular artistes have been calling me on this issue and I have assured them that we are going to make the necessary moves. It was Nollywood that made Ghanaian actors like Van Vicker, so it is absurd for them to be creating hurdles for our own actors now.”

Prince Dike, however, stated that part of the resolutions made by his board is that if at all, any Ghanaian actor must act in Nigeria, such actor will also be compelled to pay $2,000,(two thousand dollars).

Meanwhile, as the number of foreign actors plying their trade in Nigeria's Nollywood continues to increase, the Actors Guild of Nigeria, AGN, has called on the Nigerian Film and Video Marketers to curb the excesses of these foreign actors.

The authorities of AGN reiterated that movie marketers, producers, directors and other stakeholders should avoid giving prominence to foreign actors at the expense of their local counterparts.

Star actor and National President of AGN, Segun Arinze, said he is not opposed to the use of foreign actors in Nigerian movies, but it should not be at the expense of the local talents.

According to Arinze, Nigerian movie producers should be cautious of the influx of foreign actors, especially the Ghanaians, who seem to be getting more roles and better remuneration in Nigerian films.He however urged the producers to “embrace an 80 percent local talent and 20 percent foreign in our films.”

He said “the current situation is worrisome to AGN as our talents are left wasting away. More disturbing is the situation where our own actors are not engaged in jobs outside the country, making our efforts not reciprocal.

“AGN appreciates the contributions of our foreign colleagues to Nollywood but when the home grown talents are wasting away, we should have a re-think because we are equally talented.”

—Bayo Adetu/PM News, Nigeria

Nigerian Film Corporation Film Essay Competition

2010-06-28T19:51:00.000-07:00

The Nigerian Film Corporation (NFC) has called for entries for its 2010/2011 annual film essay competition. Submission of entries for the competition with ‘Film: A Tool for Socio-Cultural Integration and Tourism Promotion’ as its topic, will open on July 1 and close on August 31, 2010.

The prizes on offer are as follows:

First Prize: N100,000.00

Second Prize: N75,000.00

Third Prize: N50,000.00

A statement by Brian Etuk, head, public affairs of the NFC explained that the topic was chosen to promote Nigeria’s tourism potentials to the world.

The competition, Etuk disclosed, is open to people aged 18 and above only. He added that staff of the corporation and members of their family, are exempted.

Essays to be considered, Etuk noted further, must have a minimum of 10 pages and a maximum of 15 pages. They should be typed double space with Calibri font type, 14 point size and on A4 paper.

Hard copies of entries can be submitted to the headquarters of the NFC at 213T, Liberty Dam Road, Jos, Plateau State or its offices in Lagos, Abuja and Kano. The NFC’s Lagos office is located at the National Theatre Annex while its Abuja office is on the First Floor, Shippers Plaza, Wuse Zone 5, Abuja. NFC is within the State secretariat in Kano. Entries can also be sent by e-mail to md_nfc@hotmail.com

The Power of Nollywood to Save Children’s Lives

2010-06-28T12:30:00.000-07:00

By Justine Atkinson

Over the past two decades, Nollywood has become a cultural phenomenon attracting millions of viewers across Africa and the African Diaspora. Nollywood films have redefined the parameters of African cinema and are distinguished by their popularity and ability to cut through every social stratum and ethnic divide, thus powerfully influencing African culture.

The fact that they are internationally dismissed for their low production quality is irrelevant; Nollywood films embody what it means to be African, reflecting ethnicity, historical traditions, customs, and heritage- something that foreign films struggle to achieve. These films hold a very prominent place in the minds of Africans, captivating curiosity and imagination.

The UK-based charity Stepping Stones Nigeria (SSN) has used this cultural connection and produced ‘The Fake Prophet’ in an attempt to stimulate debate and pioneer positive change by challenging issues such as child trafficking and the labelling of children.

SSN has collaborated with the renowned Nollywood film director, Teco Benson to produce this unique film. Teco is well- known throughout the world and particularly within Nollywood for his timely and influential productions. He also believes in the power of film to instigate positive social change. He says: “Film, with its subtle messaging approach remains the best medium for encouraging change in behaviour within society and Nollywood has an important role to play in this. I believe that ‘The Fake Prophet’ is the first truly socially responsible Nollywood film to be made and I am delighted that we have been able to set the benchmark for future productions’’.

As well as having a positive impact on society, Nollywood’s ability to reach out into the hearts and minds of the masses has also had negative consequences, particularly on the lives of vulnerable people. Some of the most common themes in Nollywood films are witchcraft and the supernatural and these have had a profound influence upon Nigerian culture and belief. Popular films such as ‘End of the Wicked’ depict children as being possessed by witchcraft, capable of eating human flesh and responsible for disease, death, environmental disaster, and poverty.

Research by Stepping Stones Nigeria has shown that these films have had a significant and damaging impact on children by promoting the belief in witchcraft which in turn leads to torture, violence, abuse and abandonment, often perpetrated by exploitative Pastors and other influential community members.

‘The Fake Prophet’ aims to counter-balance these films and expose the truth behind the so-called men and women of God who have made their wealth from branding children as witches. It also highlights the legal consequences of carrying out child witchcraft accusations and abuse.

Produced for the purpose of generating lasting social change, this film is a first of its kind, combining the work of an NGO and the Nollywood film industry. It addresses difficult issues in an entertaining way, thus reaching out and enlightening communities and individuals through story and drama. ‘The Fake Prophet’ follows the story of two young children who are accused of witchcraft by a fraudulent pastor who makes money by identifying ‘child witches’ and charging large sums of money to perform ‘deliverance’ ceremonies. It powerfully encapsulates many major social and political issues that affect Nigerian society today, including the dangers faced by children following witchcraft accusations, the problem of child trafficking and the vulnerability of children living on the streets.

Gary Foxcroft, Stepping Stones Nigeria’s Programme Director states that, ‘Given the projected reach of ‘The Fake Prophet’ and the power of the Nollywood film industry we anticipate that this film will go a long way to help challenge deeply held attitudes, values and beliefs and will ultimately prevent the further abuse of children. As such we are enormously excited about the film. Using the medium of film to shed light on these issues will provide a different way of empowering parents, families and communities to think about the rights of their children and the key role they play in Nigeria’s and Africa’s future.

The inexpensive production of Nigerian video film means that the masses are easily reached with films exported to most African countries including, Ghana, Zambia, South Africa and the Democratic Republic of the Congo. This therefore creates an ideal platform to raise awareness about the horrific human rights violations facing many children today

Nollywood’s ability to resonate with the beliefs and values of its audience makes it an integral part of Nigeria’s cultural identity today. Nigerian cultures, religions and beliefs which frame and inspire the plots of video film need to be chosen in a responsible way. More films are needed which challenge political and social issues in a new and pioneering manner. Films must tell innovative and cutting-edge stories, as demonstrated by ‘The Fake Prophet’.

‘The Fake Prophet’ is due to premiere in London on the 24th July, in Lagos in August and New York in September. Following this it will be broadcast on television stations throughout Africa, Europe and the USA. It will be screened at various International Film Festivals and will be released globally on DVD in September. Stepping Stones Nigeria and Teco Benson are delighted by the possibilities of this film and its potential to transform lives. The high standard of film- making achieved in ‘The Fake Prophet’, together with its capacity to be used as an advocacy tool, means that this film is well-positioned to set the Nollywood industry alight and inspire a new wave of innovative and creative film making.

For more information about this film or the work of Stepping Stones Nigeria please visit: www.steppingstonesnigeria.org or www.makeapact.org

Viewing Nigerian women through the eyes of Nollywood

2010-06-05T22:26:00.000-07:00

Viewing Nigerian women through the eyes of Nollywood

By Ikhide R. Ikheloa

The African Women’s Development Fund (AWDF) is sponsoring the first ever “Women in Film Forum” in Lagos on June 16 and 17, 2010. The AWDF should be deeply troubled by the treatment of women in Nigeria. But then, I am afraid, Nollywood merely mirrors how society views and treats women. It is a scandal that had been previously ignored in the reams of work by (mostly male) Nigerian writers, and the pretend-art of the wretched offerings of the Nigerian Television Authority (NTA). Why are Nigerian women treated so poorly and what should we do about it? The AWDF is not advocating the censorship of Nollywood, but there is an opportunity to collaboratively combat a problem. The answer is to begin to attack the root of the problem until the mirror that is put to the disease begins to reflect meaningful progress.

I have a love-hate relationship with Nollywood videos. The several dozens I have watched are usually crappy productions featuring awful cinematography and overwrought acting. But you have to give it to the brains and brawns behind the industry. Nollywood is a huge triumph for innovation, can-do energy and entrepreneurship. Nollywood is a juicy slap in the faces of those who stole the money that was promised for the arts. Without Nollywood, we would have state sponsored monstrosities like the NTA and her hapless offshoots. Dysfunction abhors a vacuum. Nollywood has tapped into a hunger for real everyday entertainment and it has hit the jackpot.

My wife loves Nollywood videos. From the comfort of the lawns of America she views the videos as a damning mirror of all that is wrong with our country. You have to respect the multibillion naira industry that is Nollywood. Say hello to Nigerian ingenuity and industry, as it reaps gold from the trash dump of dysfunction

Nollywood mostly celebrates patriarchy at its basest and most obscene. This is not a call for faux feminism to rain opprobrium on Nollywood’s head. Nollywood did not make up the violence, condescension and second class status accorded women in Nigeria.

Art imitates society’s ways. Indeed, the sense that a visitor gets upon spending a few weeks in Nigeria is that Nigeria plods along on the strong backs of women and children. In return, most of them are treated very poorly by the patriarchy. In general, most women are taken for granted as if it is the law. This message is reinforced quite robustly by Nollywood.

It takes getting used to when you are visiting from a Western nation. Nigeria is a patriarchy. What is wrong with that? There is plenty wrong with it as it is currently practised. It is the past tense layered on the present. This ought to change.

Nollywood is a mean, brutally honest, crude mirror to Nigeria’s insides. And it is ugly. In some respects even when it tries to rise above the seamy murk that passes for life in Nigeria, it is even more revealing.

There is not just a gap; there is a yawning chasm in the power equation between men and women in Nigeria. The women who have escaped that gulag owe it to the less fortunate women to push for change. I am not talking about Eurocentric prattle about women empowerment, the one that attracts dollars to NGOs with mission statements written to the test of dollars. I am talking of a Nigerian centred strategy for treating women and children with respect.

There is a huge role here for our writers and Nigerian women who occupy leadership roles in circumstances that are totally under their control. Anecdotally, a high percentage of them use the new social networking media alongside presumably their spouses and partners. Visit Facebook and you will be impressed by the leadership role Nigerian women play in facilitating online dialogue. The literary scene is also heavily influenced by female writers. Under these conditions, Nollywood does have a role to play that goes beyond merely mirroring what the society looks like. We should collaborate more.

When it comes to the welfare of women, Nigeria can be bipolar; what one sees is not always the experience. As we speak, traditional relationships are under attack.

Nollywood blurs the lines between stereotype, misogyny and reality. In these videos, the women are portrayed as needy, aggressive, sometimes not too bright and Machiavellian. They are dressed for the kill, ready to be hunted down and killed, literally and figuratively. The man is the sometimes benevolent giver; he also has the power to take back what he has offered. Physical and emotional violence are used to maintain control. And sometimes the demand on the woman is beyond her powers: A male child is highly prized. Why are civil servants prizing male offspring over females in the 21st century? Nollywood won’t, can’t tell you. Their scripts lack any depth, spiritual or intellectual. It is not Nollywood’s problem, the misogyny. Nigeria has to fix how it views and treats her women. And then perhaps, Nollywood will run out of material. And start really entertaining us.

Source www.234next.com

Charles Novia in London

2010-06-02T09:23:00.000-07:00

Nollywood Focus Publisher/Editor, Nnorom Azuonye caught up with Nollywood Screenwriter, Director and Actor, Charles Novia today June 2, 2010 at Thamesmead, London for an interview on his work and the current state of Nollywood.

The interview is billed to appear first in the Art & Culture pages of "Next on Sunday". Details and link will appear here.

Small Boy with big problems

2010-05-28T08:55:00.000-07:00

Aderinsola Ajao (Next)

Many adults can imagine the horrible lifestyle of a Lagos street kid, but would hardly want to live it. The impact of this hits home harder after you‘ve seen Michelle Bello’s ‘Small Boy,’ a film about 10-year-old Sunny Agaga who finds himself struggling to survive on the Lagos streets.

Set in a Lagos slum, ‘Small Boy’ is, however, not another ‘Slumdog Millonaire’ yarn. Sunny’s journey begins after a dispute between his mother, Aina (Najite Dede) and father Sunmi (Akin Lewis). It is the final act of spousal abuse that opens his mother’s eyes to the need to flee for her life. At their borrowed lodgings, Aina transfers her aggression to young Sunny (AMAA-winning child actor, Richard Chukwuma) and accuses him of theft. He runs endlessly into the night. So begins life on the streets.

What ensues is a depiction of the lad’s picaresque existence, echoing scenes from ‘Les Miserables’, ‘August Rush’ and ‘Oliver Twist’.

Sunny makes friends with Deola, played by Agbolade Gbolahan, who nearly steals the show from Chukwuma. Deola and his gang of urchins – one of whom is named Dragon - all fall within Sunny’s age-range and work under the supervision of the Fagin-like Oyi, played by Toyin Oshinaike.

Nobert Young in a cameo role as the drug peddling ‘Presido’ unwittingly sets Sunny on the journey to finding himself. Some might be surprised to find out the kind of job these boys do when they are on the run. For the uninitiated, it is at this point that you might feel concerned that ‘Small Boy’ is actually based on a true story.

The film does not go into the politics of this, but it becomes obvious that society is not handling the problem of juvenile delinquency effectively. Especially when elected lawmakers break all laws, including those that should protect children.

‘Small Boy,’ however succeeds at not being preachy or excessively didactic. The script by Makinde Adeniran, who also handled the casting, is an original in the realm of Nollywood scriptwriting. Using the power of imagery and few words, Michelle Bello’s style and approach to directing is forward-looking in terms of storytelling. Acquiring the viewer’s eye, Bello showed more than she told.

A carving on the wall in the Agaga household ironically reads “One love keeps us together” when that is not the case in the family. As Sunny’s mother and brother embark on a frantic search for him, a road sign points out ‘Murtala Mohammed Way’ and ‘Herbert Macaulay Way.’ Sunny could have gone anywhere in a million and one places. Their search has only just begun.

Note: there’s hardly any romance when you consider many characters in this film are brutes of some sort. But what little romance there is, is key to the unfolding of ‘Small Boy’s plot; a very effective type of cause and effect.

Aiding imagination

It is however unfortunate that we neither get to see Sunmi again nor does a love affair bloom between Aina and Ade (played by Wale Macaulay also in a cameo role). Maybe it works better that we get to imagine.

Also aiding imagination was the use of sound. Like all good film scores should, the ‘Small Boy’ score heralded the ominous and the joyous, pre-empting the audience’s emotions and reactions.

Thankfully, the music in this film is not distractive. The music by Robb Williamson and Justin Horsford is a lesson in film music for Nollywood practitioners who are usually content with slamming hits straight off the charts into their hastily-done movies.

Through Bello’s deft use of almost every angle available to a director, we see Sunny’s sorry sojourn side by side his mother’s torment at losing him. This is not the repetitive, melodramatic dross served up in Nollywood. It’s not all serious, heavy stuff though. A few comic spots light up our faces especially when the young ones make good their threat to ‘show’ a man for parking his rickety car at their meeting point.

Getting the best of child actors has never been easy, especially in a film studded with older stars. But the young ones get a grip of the screen minutes into this work and the viewer is the happier for it because these kids really can act. If all we see of Sunny is the wacky goal-scoring celebration he does at the start of the movie, that’s enough proof.

‘Small Boy’ has gone on to make its mark in Nigeria and beyond, winning two AMAA awards in 2009, including one for Best Art Direction; and garnering nominations at the 2008 American Black Film Festival.

Anyone who sees ‘Small Boy’ – a gripping tale of child abuse - is likely to end up taking a new look at all those other Sunny-like small boys who roam the streets, especially in Lagos: they might not just be beggars or windscreen cleaners. When ‘Small Boy’ comes to town you don’t want to miss it.

‘Small Boy’ premieres at the Silverbird Cinemas, Lagos, on May 27.

Source: Next | www.234next.com

See New York City Tainted.

2010-03-06T13:18:00.000-08:00

“Tainted” A story of love, lust and betrayal. When Steve decides to bring his wife to the United States from Nigeria, he finds himself in a chilling moment of revenge, that reveals a mistaken heart.

"Tainted" one of the growing 'Nollywood-in-the-Diaspora' films will be screened on the 19th of March 2010 at Hellen Mills Theater located in the heart of New York City. 137W. 26th street NY, NY 10001 (bet 6th and 7th avenue).

Showing starts at 7:30 pm with a $10.00 donation (soft drinks incl.). And there's after party ...with no cover charge, down the block at Tilman's Bar and Lounge.

Special Guest Appearance by KOLEURZ (singer/songwriter) for Movie Sound Track

www.koleurzmusic.com

For more information go to halfandhalfpro.com

Nollywood Focus will carry Nollywood Press Releases, Announcements, News and Events items for free. We will also attend your event, cover and report on the event on a Media Partnership basis. Send e-mails to nollywoodfocus@easternlightepm.com
Nollywood Focus - Spotlighting milestones and people in the Nigerian film industry.

MIRROR BOY AUDITIONS

2010-03-04T05:12:00.000-08:00

FOR IMMEDIATE RELEASE

Young actor wanted for Emelonye's new movie

OHTV (Sky Channel 199) in association with The Nollywood Factory (www.thenollywoodfactory.com) are set to produce an excting new film by Obi Emelonye. Emelonye's film credits include "Who's Next?", "Asylum", "Echoes of War", "Lucky Joe" and "The Quiet Storm".

The producers are looking for an experienced 9-11 year old actor to play the lead in The Mirror Boy - a film shooting over the Easter period in Nigeria and London.
The auditions will take place on Saturday, March 14th, 2010.
Venue information to be sent to serious enquirers who send in required actor's information as stated out below.

INFORMATION ABOUT THE MIRROR BOY

FILM TITLE: THE MIRROR BOY
GENRE: Children’s fantasy adventure
FORMAT: RED Digital camera (Convertible to 35mm)
WRITER/DIRECTOR: Obi Emelonye
PRODUCER: Patrick Campbell
EXECUTIVE PRODUCER: Akin Salami
CHARACTER NAME: TASIE
AGE: 10 years (Or older but small and looking 10 years)
CHARACTER TYPE: LEAD
LOCATIONS: London, The Gambia / Nigeria
NUMBER OF SCENES: 50 plus scenes
FEE: Negotiable, depending on skill and experience
LINES: Mainly one-liner dialogues (including an internal monologue for his neurosis)
STUNTS & DIFFICULT SCENES: Street fight sequence, village wrestling sequence, falling from a tree, jumping off a waterfall plus lots of running in the forest.
CHARACTER ATTRIBUTES: Likeable, cheeky, fun-loving, bubbly, vulnerable, emotional, courageous, fit and energetic.
PRINCIPAL PHOTOGRAPHY DATES: 5th April till 24th April
DURATION OF SHOOT: 3 weeks
PREMIERE: Leicester Square, London Sept 2010, as part of Nigeria @ 50 festivities. Plus premieres in Nigeria and Gambia.
DISTRIBUTION: Cinema (UK, Africa, USA) plus DVD and TV Rights
CO-PRODUCTION: Between OH TV and The Nollywood Factory

STAR CAST
This impressive line up of Nigerian and international stars needs no further introduction:
Sophie Okonedo; Omotola Jalade-Ekeinde; Osita Iheme; Bob-Manuel Udokwu; Okey Bakasi; Bruno Iwuoha.
SYNOPSIS
The Mirror Boy is an enthralling journey through the picturesque terrains of Nigeria, as seen through the eyes of a London-born 12 year old boy, TASIE.
On the 13th of June and wholly out of character, TASIE gets involved in a street fight in which a boy is hurt. Convinced that TASIE needs discipline, TINA, his mum decides to take him to Nigeria to live with her sister.
In the power blackout that greets their arrival in Lagos, TASIE encounters what he considers to be a simple apparition- a boy smiling at him in a mirror and vanishing afterwards.

However, seeing the same boy in a crowded street market the next day sets in motion a chain of events that culminates in him getting lost.

While the panic-stricken MARIA struggles with the inept Nigeria Police Force to find her son in an intriguing game of survival brinkmanship, TASIE is left alone in the company of the enigmatic MIRROR BOY who is only visible to him.
As a bruising spiritual rite of passage, the MIRROR BOY takes TASIE on a magical journey through the dark belly of the forest.

After a series of edge-of-the-seat adventures in the forest, TASIE emerges the next day, a bewildered boy; for whom the lines between reality and fantasy; between the physical and the spiritual have been forever blurred.

His arrival at a time of mourning for a small kingdom in Eastern Nigeria upsets the evil machinations of a desperate Queen who literally takes him to the edge.

A cathartic climax helps TASIE to unravel the mystery of the MIRROR BOY. It also provides him with a rather mystical explanation for the way his life has cascaded from the 13th of June towards this inter-twined fate with a father he has never met.

MODE OF RESPONSE

Email photo and short profile of boy to obiemelonye@yahoo.com or call 07737688462 for more information. Auditions holding Sat. 14th March in Central London. Address to be communicated. Entry closes Wed. 10th March 2010.

Nollywood Focus will carry Nollywood Press Releases, Announcements, News and Events items for free. We will also attend your event, cover and report on the event on a Media Partnership basis. Send e-mails to nollywoodfocus@easternlightepm.com
Nollywood Focus - Spotlighting milestones and people in the Nigerian film industry.

Lola Aloa in the UK

2010-03-03T14:19:00.000-08:00

A NIGHT WITH THE STAR ACTRESS LOLA ALAO IN THE UK. Venue is THE PLANET NOLLYWOOD, 319 CAMBERWELL ROAD, LONDON SE5 0HQ on Friday 12th March, 2010.

Featuring: The Lunching and Premièring of her blockbuster movie, OMO AJANAKU (fully subtitled in English)

Starring: Jide Kosoko, Lola Alao, Yomi Fash-Lanso, Olumide Bakare, Foluke Daramola, Remi Surutu, Ayo Badmus, Saidi Balogun, Toyin Adewale, Kanmi Omobolanle, Toyin Aimakhu and Others. Introducing Biodun Alao..

***A FASHION SHOW by Princess Cynthia
***Celebration of her Achievements in the Movie Industry
***Comedy Show and Other side attractions...

Tickets are selling fast! But I have got good news for you!

ONLINE: £13 - Click on the link below to pay online

http://afrikkreations.com/catalog/product_info.php?products_id=783

TICKETS: £15.00 (At the door & other outlets)

24HR TICKET HOTLINES: 07940500045; 07878202481; 07957366072

After Party at the same venue afterwards with a LIVE BAND on the ground floor and DISCO on the first floor.

SUPPORTED BY:
-----------------------
CITY PEOPLE MAGAZINE, NIGERIA
BEN TELEVISION UK
HITV UK
AFRIKAN KREATIONS UK
FEMTEJ CONSULTING UK
NOLLYWOOD TV, UK
ONDBOX NETWORK, UK
NAIJA FM RADIO UK
NAIJA LIFESTYLE MAGAZINE
EFFECT MAGAZINE
TRUMPET NEWSPAPER UK
FACEQUIZITE PROFESSIONAL MAKEUP ARTIST & STYLIST
DE NOLLYWOOD RESTAURANT AND BAR UK
PRINCESS CYNTHIA FASHIONS, NIGERIA
PRINCESS OF ARIZE!
SAJET ENTERTAINMENT
WHISPAZ EMAGAZINE UK
BABS INT'L CARGO LTD UK
________________________________________

OMO AJANAKU - PRODUCTION CREW:

PRODUCED & WRITTEN BY: Lola Alao
DIRECTED BY: Yomi Fash-Lanso
CAMERA/TECHNICAL TEAM: Mainframe Films and TV Productions
COSTUMIER:
PRODUCTION MANAGER:

NOLLYWOOD FOCUS WILL BE HAPPY TO PUBLISH INFORMATION ON ANY NOLLYWOOD-RELATED EVENT ON OUR SITE FOR FREE. To get your event listed just send an e-mail to nollywoodfocus@easternlightepm.com

Acting and the Nigerian mentality

2010-02-28T00:51:00.000-08:00

Tunji Lucas Talks to Next

Tunji Lucas, a Nigerian-born British actor, is the narrator in 11 and 12, a new play at the Barbican directed by Peter Brook. Born in 1987, Lucas trained at the Anna Scher Theatre School before attending the Mountview Academy of Theatre Arts and the National Youth Theatre. His last play appearance was in Bola Agbaje’s Gone Too Far!, which won and Olivier Award in 2008. Here, he talks to NEXT about his love of acting and why he can’t wait to go back to Nigeria.

In what ways does acting suit your personality? Does it come naturally to you?

I think it’s quite natural. If I had to be honest, I’m a quiet person but in the right environment or [with] the right people I’m not so quiet. I’ve got a lot of personality inside of me and so much to show, so much to say and so much that I want people to feel.

What do you like most and least about acting?

I like to just be in the moment, to bring to life something just for that moment. It’s always nice to be able to tell a story. What I don’t like about it - I haven’t come across that yet.

Did your parents encourage your acting ambitions?

I have a different kind of Nigerian family. My mum is a clothes designer and she also acts and sings. My mum took me round a lot. When I was younger, she let me see a lot of things, took me to different countries. So she was prepared when I said I’m going to be an actor. She probably lanned it.

Acting and the Nigerian mentality

Sabar

2009-10-04T03:06:00.000-07:00

Sabar is a new film by Chike Nwoffiah that has been receiving massive promotion through viral e-mail. Written by University of Nigeria, Nsukka Dramatic Arts graduate Cash Nwachukwu, whose screenplay credits include the epic 1999 King Jaja of Opobo, and directed by Chike Nwoffiah director of such films as A Jewel in History (2003), A Killing in Choctaw (2004) and A Prayer for the Inauguration (2009).

According to information on the movie's offical website, it is about an African American hip-hop girl who resists the ancestral call of the Senegalese dance "Sabar". But when she finally gives in to the call, "she discovers more than a dance - she finds herself." Such discoveries are common whenever a child of Africa in the diaspora embraces an African artform be it song, dance, wrestling, or poetry where the expressions often transcend the physical senses and blur the lines between worlds. When Nollywood Focus actually gets a hold of this film, we shall see how the Nwachukwu/Nwoffiah partnership handles it.

An appealing but undemanding tale

2009-09-09T01:03:00.001-07:00

Review of Behind a Smile
By Obidike Okafor (Next, Nigeria)

Behind a Smile is a simmering cauldron of emotion, deceit and romantic intrigue. Fred loves Stacy, but that’s only until he meets and falls for Mara. As for Mara, her attention quickly shifts to Fred’s best friend, Majid. The characters are soon embroiled in a love triangle, or is it a square?

Successful businessman Fred (played Majid Michel) works for Pyramid Industries, thanks largely to his relationship with Stacy (Omoni Oboli)—her parents own the company.

While escaping the thieves, sent by purported friend Majid (Jim Iyke), Fred meets and is sheltered by Mara (Nadia Buari). He eventually falls in love with her and, predictably, incurs the wrath of Stacy’s parents, who take everything from him. Fred forges ahead with Mara, selflessly donating a kidney to save her life.

Ironically, he is later involved in a near-fatal car crash and is badly injured. Majid seizes the opportunity to court Mara while Fred recuperates; Stacy leaves the country, pregnant with Fred’s child.

Despite its occasional dips in quality, director Frank Rajah Arasee’s passionate melodrama remains compelling entertainment. Jim Iyke appears in his now familiar role of the “bad boy” while, as is common in Nollywood nowadays, popular Ghanaian performers are adroitly incorporated into the cast.

Read the full article here: An appealing but undemanding tale

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The Figurine raises the bar of Nigerian filmmaking

2009-09-09T01:01:00.001-07:00

The Figurine raises the bar of Nigerian filmmaking

Shared via AddThis

I Will not Work with Snakes and Dogs

2009-09-07T13:51:00.000-07:00

Interview with

Remy Ohajianya

By

NNOROM AZUONYE

Chief Dr. Remy Ohajianya’s first acting role in Nollywood was as Papa Peter in Rattlesnake in 1994. Since then he has gone on to work as an actor in such films as “Last Warning”, “Ifeonye Metalu”, “Sleeping with the Enemy”, “Gods of Liberation” and “My Kingdom Come” among others. He was a two-term Executive Chairman of the Actors Guild of Nigeria (Lagos Chapter), and a founding member of the Congress for the Advancement of Creative Arts (CASA).

Nnorom: I understand you were once a teacher. Where and what did you teach?

Remy: I was a teacher at the Federal Polytechnic Staff School in Bauchi State. I taught General Studies to primary five and six pupils.

Nnorom: A good teacher is associated with vision, discipline, patience and a sense of organisation. Could you confidently attribute these to yourself? How have these been reflected in your working life and associations?

Remy: The virtues of a good teacher as mentioned in your question are already part and parcel of me, hence it has helped me in other endeavours of my professional life, as a good organizer, a good counsellor, a good leader and so on.

Nnorom: You also had a stint as a motor spare parts dealer. Why would that have any attraction to a teacher?

Remy: There is an adage that you leave one thing for another hence the quest for want and greater fortune. There is the attraction that you can leave what is not earning you much money for that which will meet the demand of your family to a reasonable extent.

Nnorom: Kindly tell me how you made the transition from motor spare parts dealer to acting.

Remy: I was a talent untapped until the advert publication of NEK VIDEO link came up after “Living in Bondage”. I followed it up and during the audition, I was shortlisted for a role and that was it. I took up acting and left the former business.

Nnorom: In an interview on the Internet, speaking about landing roles in movies you said; “…if your luck shines better than the other people, they will give you a role.” Is it your belief that luck rather than talent, skill, and work ethic is what you need to land a film role?

Remy: It is rather not my belief that luck plays a bigger role in getting a role in a movie than talent, skill and ethics, but the same luck will not be ruled out because when you have all other good qualities what follows is luck, especially when people competing are many.

Nnorom: When a director offers you a role in his film, what are the factors you will consider before accepting it?

Remy: If a director offers me a role to play I will consider the story line, the money that will follow and the things I would not want to play with in my role.

Nnorom: What kind of role you will refuse to accept and why?

Remy: I will not play a role that has to do with snakes, dog and climbing high heights.

Nnorom: Why not?

Remy: Naturally I don’t like dogs. If I visit a home where dogs are not chained, I will not go there again. I feel the same way about snakes. I hate seeing snakes, and would not touch one dead or alive. I also have a phobia for heights although this phobia does not extend to travelling in aeroplanes.

Nnorom: It is 2009. Do you believe that the Nigerian film-viewing public is fully capable of separating the roles actors play in films from their real lives?

Remy: In Nigeria viewers will not be capable of separating the roles actors play in films from their real live because here in Nigeria the moment they see you playing a bad character they conclude that, that is your way of life. When they see you on the street they will hoot at you or they see you ride in an expensive car in a movie and probably you don’t have a car they ask you of the one in the movie and why you ‘re trekking.

Nnorom: You have been in some Igbo language films including of course “Rattlesnake” and “Ifeonye Metalu”. What is the reason people are no longer bothering to make Igbo Language films?

Remy: The reason why people are not making Igbo films is that they want to make more money. If they make it, it will be restricted to Igbo buyers alone.

Nnorom: But certainly the films could be subtitled like Edo and Yoruba film-makers constantly do.

Remy: The issue of subtitling is generally diminishes the profit margin of the producer or marketer as the case may be. All I know is that many people tried it and did not find it profitable, so they dropped the idea.

Nnorom: Do you share the belief that actors are generally better when the play roles in their indigenous languages?

Remy: I don’t believe that people do better in their language films than they do in English language films. My belief is that if you are good, you are good no doubt about that. At the same time I will like to see more films in Nollywood made in local dialects and English.

Nnorom: How do you see Nollywood performing in 2009 and beyond?

Remy: I pray things get better in Nollywood this 2009. Things are not where they need to be. There has been crisis in Nollywood, especially in making of films. The industry has died a natural death. We are only praying for restoration of the industry. Our major investors, the marketers did not invest any money in the industry last year because that of 2007 did not pay them. To me I look forward to the government initiative and proposed improvements to the distribution framework. If it can indeed make the changes that will certainly put smiles on people’s faces.

Nnorom: Nigerian films are going international more and more every day. In your opinion what must Nigerian actors contribute to their films to make them more marketable beyond African shores?

Remy: It is not ACTORS that will make their films to sell beyond Africa. It is the work of the marketer, distributors of the producers and the government as the case may be. An actor is on contract. After acting he has no business with the films except where royalty sets in.

Nnorom: I was secretly expecting you to tell me that actors must raise the bar in their performances, be more articulate, improve their image and brand values, as their names will be used in marketing the films. Don't you agree?

Remy: All over the world, nobody would like to work without getting paid. If the actors would raise the bar as brands on the contracts of the film owner, that will be fine. But where nobody bothers, here in Nigeria what is in vogue is massive ego. I have the money, I employed you to act in or direct a film for me, after that all is over. When Producers, Directors and Marketers understand that film production is team work we will grow more than we are today.

Nnorom: You have observed elsewhere that there are too many people chasing few jobs in Nollywood. What do actors in Nollywood need to know, and what qualities do they need to possess to keep the roles coming?

Remy: The law of economics comes along. Too many people chasing a few jobs spells out inflation in a country. For an actor to make it and to continue to work, he has to work harder. To improve on the things you have done before, be able to accept correction when given. The actor must now assume that he knows everything. He must be willing to take to retraining when he has the opportunity.

Nnorom: A ThisdayOnline article November 2004 by Eyitayo Aloh quotes an anonymous actor who suggests some actresses in Nollywood would sleep with a director for a role. Is this a talkdown on women or is it the practice in Nollywood?

Remy: When I was the Commander-in–Chief of Actors Guild of Nigeria, Lagos State Chapter for many years, there was never a time anybody came to me reporting that a certain director or producer wanted to sleep with her before giving her a role to play. To me, I don’t think that such things happen, but if it does may be in the secret and never made public. Eyitayo Aloh of ThisDay having not quoted the person’s name we will not believe him. It is a shameful talkdown on women. In most cases when a man fails to get the attention of a lady he will call her names.

Nnorom: Is it your opinion that the Actors Guild of Nigeria has improved the welfare of actors in Nigeria?

Remy: When I was the Chairman, Commander-in-Chief of Actors Guild of Nigeria, Lagos State and the Chairman, Conference of Actors Guild of Nigeria, I was able to give a name to the Guild, relocating them to the befitting environment of the National Theatre as office or contact point. I gave the budding ones trying to improve their standard some guidance. We organized workshops and seminars for them on how to expand to other businesses in case acting fails. We stand in between them and producers.

Nnorom: In 2006, you were at the centre of the Ejike Asiegbu impeachment drive saga. Word out there is that he is a rather good and dependable National President of the AGN. Do you stand by the action you and the other AGN State Chairmen took against Asiegbu?

Remy: I don’t want to talk about Ejike Asiegbu! I still stand by my actions in the past, whether he is dependable or not, let’s wait and see his end for those he stand for. Posterity is the best judge. We can only manage bad characters not bad reputation. We will talk about him separately on full column.

Nnorom: Would you say that the problem you had with Ejike Asiegbu is a perfect example of the disunity you have spoken about in Nollywood? What can be done to create harmony among key players in Nollywood?

Remy: You are right to say that my problem with Ejike is a perfect example of disunity we have in Nollywood. A place were one single person stood to dissolve a democratically elected government and nobody challenged him. A place where one was alleged to have embezzled money without proof and every body believed him. Before harmony, love and unity will exist among the key players, they must realize who they are, what they are, and where they are going and as well as knowing what belongs to them collectively. Up till now most of them don’t belong to any department of Nollywood as long as they make their money and go away.

Nnorom: Apart from disunity, what other problems are impeding the growth of the film industry in Nigeria?

Remy: The major problem that is impeding the growth of movie industry is finance. Let the multinationals cooperate with film-makers for better growth.

Nnorom: Tell me a little about the Congress for the Advancement of Creative Arts?

Remy: Congress for the Advancement of Creative Arts is an organisation formed to promote creative Arts, to support creativity, to explore talents and market to the creative community all over the world. The strong man behind this idea is Dr Chris Nwaokobia Jnr.

Nnorom: Have you worked in any other capacity in Nollywood apart from acting and the political side of things?

Remy: Apart from acting and administration in Nollywood I have also worked as a producer.

Nnorom: What films have you produced?

Remy: I have produced films like “Gift from the Grave”, “Bleeding Rose”, “Red Neck Cartel” and “Unimaginable”

Nnorom: In the fifteen years or so that you have been a part of the Nollywood story what have been the high points and the low points for you. If you could change anything in the period, what would it be?

Remy: My high point in Nollywood was in 2003, 2004, when there was enough work and I made money and in 2005 I had my Doctorate degree Award in communication as a public administrator from the Institute of Journalism and Management Education Enugu listed by America. My low point was when I was embarrassed out of office by Ejike Asiegbu, but that was not my end. If I am to make any change, it will be to bring back the lost glory of the Actors Guild of Nigeria.

Nnorom: If the history of Nollywood is visited in a hundred years time, how would you like to be remembered?

Remy: I thank God for enabling me to do the things I have done. I will say so far so good. It is not only in a hundred years to come that I will be remembered for the good or little contributions I have made to Nollywood and what I am yet to do. Right now people who planned evil against me during my tenure in office as Executive Chairman of the Actors Guild, Lagos, are confessing that I actually did nothing wrong. There is a clear difference between my regime and the present one. In all I would like to be remembered for the good things I have done.

Nnorom: Thank you for your time Chief Ohajianya.

Remy: Thank you very much I remain yours Chief Dr. Remy Ohajianya, the National President of Dominion Players Club of Nigeria.

©2008-2009 Nnorom Azuonye. All rights reserved.

about us

2009-09-04T02:58:00.000-07:00

Nollywood Focus (NF) - is an online magazine from the stable of Eastern Light Publishers, a division of Eastern Light EPM International.

Nollywood Focus is envisioned to spotlight milestones and people in the African film production environments but with particular emphasis on Nollywood - the Nigerian Film Industry, which is largely referred to as the third largest in the world. This magazine features interviews with key players in Nollywood, and publishes reviews of films, industry news and events, and profiles the people that make Nollywood work.

Nollywood Focus is a free-to-read magazine.

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Thelma Mbomi

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Uloma Ibegbulam

Jack of All Trades and Master of All

2009-09-02T15:29:00.000-07:00

An interview with Obi Emelonye

By NNOROM AZUONYE

Obi Emelonye is one of a new generation of Nigerian film Directors taking the magic of ‘Nollywood’ to the wider world. He originally trained as a Dramatic Artist at the University of Nigeria Nsukka, graduating in 1990. As a student, his play “Moon’s Death at Dawn” was University of Nigeria’s entry at the Nigerian Universities Theatre Arts Festival in 1989. He went on to direct several stage plays before turning to film-making with his multi-disciplinary approach, his relentless creative drive and an uncanny sense of artistic style. Obi has also marked himself out as one of UK's contemporary directors. He was at the final stages of being enrolled as a Solicitor of the Supreme Court of England and Wales when he abandoned legal practice to pursue his first love: film. However, he brings his stature as a lawyer and the attendant pragmatism to the chaotic world of film and productions. Obi's debut novel, 'The Mirror Boy' is being published. He lives in Notting Hill, London with his wife Amaka and their three children; D'Kachy, D'Richy and Da'Luchy.

Nnorom: Is it true you originally came to England hoping for premiership football glory?

Obi: Dont remind me of the pain...the disappointment of not actualising my footballing dreams. Well, it is true. I played football for Rangers International of Enugu, and Julius Berger of Lagos after I left University. The plan when I was coming to the UK was to progress my football career. But it wasn’t to be... not for want of trying. I had trials with West ham and Charlton Athletics. However, my biggest stumbling block was international clearance which was pegged by the NFA at 40,000 USD, then. So the dream died. Thank God that I am blessed with other skills. But it still intrigues me...what could have been had I had better luck with football.

Nnorom: You then went on to study law. What attracted you to the legal profession?

Obi: When football did not work, I looked for a career that will allow my family and I a certain standard of living, while I chased the recognition I needed to practice my art. Law was that profession. It increased my pedigree, made me a more strategic and analytic thinker and paid my bills.

Nnorom: But you abandoned legal practice to concentrate on film-making. What was the trigger for this refocusing so to say of your professional life?

Obi: During my study of law and the few years of practice, I had maintained an almost parallel career in film. It was during that time that I shot some of my flagship films like “Echoes of War” and “Who’s Next?” I was almost like a jack of all trades and a master of all...pardon the arrogance. That was until just before my 40th birthday when I decided to do what I love and love what I do...settling and focusing on Directing films and productions. I could say that studying law had aided my understanding of business side of things and I am much happier and contented professionally.

Nnorom: You are described as one of the “new breed of Nollywood directors taking Nollywood films to a wider audience.” How are you doing that?

Obi: If you understand the history of Nollywood, you would then begin to appreciate what miracle the Nigerian film maker, trained and untrained has performed by getting Nollywood this far. But from here, Nollywood demands more than the entrepreneurial spirit that has characterised it thus far. To be taken seriously, we need to raise the bar in terms of quality and then we have to package it for the international market without loosing that 'N' factor that makes it quintessentially Nigerian. That is what myself and some visionary practitioners in the industry are doing. So far, four of my personal films have had commercial runs in UK cinemas and we have cracked mainstream DVD distribution...baby steps yet but we have to dream big, act big and plan even bigger.

Nnorom: Can films made outside the shores of Nigeria be truly described as Nollywood films? What defines a Nollywood film for you?

Obi: Nollywood is one of those almost intangible qualities that identify a set of films made in a particular way by people with Nigerian ties. It does not even have to be a Nigerian story....so long as the main cast or crew have Nigerian citizenship. So Nollywood films can be shot anywhere, UK, America, South Africa. Some people have said that the melodramatic storylines and flambouyant acting style is a feature of Nollywood but I will beg to differ. There are Nollywood films with controlled storylines and exquisite acting...I know I have made a few of those myself.

Nnorom: You are crossing boundaries though as a black British film-maker, is that correct?

Obi: When I arrived in the UK in 1993, I had the misguided impression that there was a Black UK film industry. So I foolishly amied my film 'echoes of war' at such phantom industry. The reality is that nothing of the sort exists. I had to rethink my philosophy, realising that I can only be Nigerian despite my acquired British citizenship. And that if I do the right projects with cosmopolitan appeal, then I will be seen as a Nigerian international film-maker...that will make me happier than being labelled black British film-maker.

Nnorom: Your films have always received their World Premieres in UK Cinemas. But you don’t seem to have followed that up with an aggressive marketing of the DVDs, especially in Nigeria. Is this some kind of style or is there a problem with marketing the DVDs?

Obi: I have about 5 films that have made UK cinemas that are yet to be released on DVD in Nigeria. The reason for that is myriad. Firstly, there was an element of luck or lack of it with the timing of the films. Some have been made at certain times in the evolution of the industry when releasing them into a chaotic market would be commercial suicide and we'd had to wait. Some have suffered from the penchant of Nigeria’s viewing public for 'faces' in films. Since some of the films were shot in the UK where these faces are not resident, we have used artistes who have done a professional job without necessarily being 'faces' in the Nigerian sense. One of those films is “Echoes of War.” So I am waiting until I build my reputation to the level that it can compensate for the lack of these faces. Films have no expiry dates, when the time is right, I will unleash them on the Nigerian public and they will be shocked...pleasantly shocked.

Nnorom: You wrote, directed and edited most of the films you have made. But you have also directed films written by other people such as “The Asylum.” What part of your work offers you the most challenge?

Obi: Every aspect of film-making is a challenge...in its own way. I did not set out to be a one-man riot squad for productions. However, as a Director, you need to understand certain aspects of the production to articulate the vision of the film. When you find that there is a scarcity of trustworthy talents in certain areas, e.g. editing; you are forced to edit your own works. It means that your creative input in the production is great and you would need to be a good listener, otherwise it becomes a creative ego trip. I have mastered the art of delivering multiple roles in productions. It has helped to streamline my works and vary my experience and skill base...not to mention saving me money.

Nnorom: In these interview series with Nollywood players, I aim among other things to tell the story of Nollywood. As far as you are concerned, what was the take-off point of Nollywood?

Obi: Everybody ascribes the emergence of Nollywood to Living in Bondage in 1992. There was a vestigial colonial film Industry dominated by Yoruba films before that. But what we know as Nollywood today came from that vernacular experiment with Kenneth Okonkwo and Bob-Manuel Udokwu.

Nnorom: Name some films that, for you, have broken new grounds and set benchmarks for Nollywood films, Say what is special about them.

Obi: “Living in Bondage” for opening the floodgates. “Osuofia in London” by Kingsley Ogoro for daring to be different. “Across the Niger” by Izu Ojukwu for its technical detail and exquisite photography. “Who's Next?” which I shot in 2001 for using on-set stunts and rigging for the first time in the industry. “Letters to a Stranger” by fred Amata for the wonderful plot and acting. Jetta Amata's “Amazing Grace” for its bold strides in Celluloid and 35mm photography. Should I name more?

Nnorom: No sir! O.K, Nollywood is widely referred to as the third largest producer of feature films in terms of quantity of the films made. Is practice leading to anywhere near perfection?

Obi: Honestly, the answer now is no. This industry is only about 15 years old. It needs time. Whatever strides there have been have been insignificant but the industry is waiting for its own 'Tootsie' that will unleash it on the international market, raise interest and investment in the industry that would result in increased production values.

Nnorom: I am worried about murder by juju, or the gun as solutions to most human problems raised in Nollywood movies. I mean, never mind juju, but is it that easy for everybody from house girl to business tycoon to get hold of guns in Nigeria as depicted in the films? What is the impact of such depictions on audiences, and should Nollywood film-makers not take a position of responsibility against gun crimes?

Obi: The depiction of Nigerian life in films can not be further from the truth. In an industry with very limited creativity and technical know-how, the easiest way to raise interest in one’s film is 'over-sensationalisation'. You can achieve this through the storyline or the use of accessible but high-impact props like guns. There is a complete abdication of responsibility on the part of the Nigerian film maker about the messages of their film. The Nigerian Video and Film censors Board whose remit it is to categorise films have their work cut out because in spite of the certification on the films, even babies are made to watch them. What is needed is not to only blame the film-makers. There needs to be a re-education of Nigerians on the media smartness. It might surprise you but certain people think that Patience Ozokwor is a wicked woman and curse her on the streets because she plays wicked roles in films

Nnorom: Offer an assessment of the Nigerian film industry today and how it can contribute to substantial financial compensation for both artists and the nation whilst yielding cultural profit for the people.

Obi: The industry has stagnated at we speak. With the proliferation of TV stations showing Nigerian films, the demand for DVDs have declined and because the industry is strictly DVD-based the impact is deep and lasting. Consequently producers are reducing costs in the face of dwindling profits and quality is affected. The industry is just awaiting a great production that would restore confidence in investors...international investors particularly. Together with the streamlining and reorganisation of present international DVD networks, this will kick-start the industry again and consolidate its positions variously as Nigeria's most effective public relations tool and her biggest cultural export

Nnorom: One other thing. Why are you not into the habit of chopping your films into several parts as per Nollywood tradition?

Obi: I completely sympathize with the Nollywood film-maker and understand why they 'chop' films into parts. I have resisted the temptation to do that in my own production not because I am smart. But because I can afford to, by His grace. Other producers don’t have the luxury I have of being my own boss and the patience which comes from a passion that transcends business. It is one of the things that the censor board is combating but it will be a while yet before the fight is won.

Nnorom: You have been around Nollywood now for over a decade. What has kept you going?

Obi: Passion...commitment and Love. Especially since I don’t have the desperation of most people in the industry. I could relax into the practice of law, being a fully qualified Solicitor in the UK...but I have made a deliberate choice to practice this art and it is not a commercial consideration. I will be around for a very long time... watch this space, a few great things are coming out of my stable.

Nnorom: What is The Nollywood factory all about?

Obi: TNF is a pan African film company registered in Nigeria and the UK. We make films, TV programmes, TV adverts, Corporate event management, Music videos and media consultancy.

Nnorom: You have been whispering about a Nollywood Factory project: “Nollywood Star”. Is it now at a stage you can now talk about it?

Obi: Not yet. Discussions are at advanced stages with the biggest names in Nigerian show business and Hollywood. Next year...next year will be the year...we pray for health and life...fingers crossed.

Nnorom: In your opinion, who are the people making positive contributions to the development of Nollywood?

Obi: Any person who is working in the industry...from production assistants, script writers, directors, actors to financiers and marketers. It is an ensemble industry and every body is important.

Nnorom: What are the major things you have done to move Nollywood forward and what are your plans for the future?

Obi: The past is gone and I will let people in the know recount what meagre contributions I have made. My plans for the future remain secret...but be it known that Obi Emelonye is plotting some huge creative coups and when they succeed, I would have etched my name in bronze.

Nnorom: What is your favourite Obi Emelonye film?

Obi: I love all the films I have made, even the not so successful ones. However “Echoes of War” holds a special place in my heart. It announced me on the international stage and has opened numerous doors for me. It is the first Nigerian film to be released commercially in the UK, It is the first and only Nigerian film to be distributed mainstream on DVD through Virgin, Blockbusters, HMV etc.

Nnorom: Is there one film you have made that you wish you hadn’t?

Obi: “Picture of a General” was a film I shot just before I returned to the UK, frustrated by the workings of Nollywood in 2002. Looking back, maybe, I should have passed the chance. My spirit wasn’t there when I made the film and it sincerely speaking lacked soul.

Nnorom: Thanks Obi. It has been a pleasure talking to you.

Obi: You don tire? No more questions?

Nnorom: I don tire. Go make that great production to kick-start Nollywood. No more questions.

Note: Since the time this interview was conducted, Obi Emelonye has written and directed The Quiet Storm which stars Zack Orji and was premiered in Odeon, Surrey Quays, London UK. The Quiet Storm is due for DVD release soon. Nollywood Focus will announce it when the DVDs are released.

Nnenda Premieres September 12

2009-09-02T06:08:00.000-07:00

NOLLYWOOD A-LIST STARS STORM PH AS TONYE PRINCEWILL HOSTS THE FIRST NIGERIAN MOVIE PREMIERE (NNENDA) IN PH AND LAUNCHES AN ORPHANAGES AWARENESS CAMPAIGN

By CHIEF EZE CHUKWUEMEKA EZE

Learn more>>

Taking Nollywood to the next level

2009-08-31T02:46:00.001-07:00

Taking Nollywood to the next level

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submissions

2009-08-30T14:16:00.000-07:00

We welcome submissions of articles on any aspect of the Nigerian film industry; film reviews, interviews with key players in Nollywood, biographies of actors, actresses, directors, producers. Let us know about new releases, premieres, and other events.
Submissions by e-mail only to: nollywoodfocus@easternlightepm.com

Men Fought Beasts to Build Up Nollywood

2009-08-29T17:27:00.000-07:00

An interview with Chucks Mordi

By NNOROM AZUONYE

Chucks Mordi is one of the leading names in Nollywood, one of the trail-blazing film-makers that raised the storm with the Nigerian film in the period after “Living in Bondage” got the fire going. He has worked in various capacities from an Extra, to a screenwriter, director and producer. A founding member of the Directors Guild of Nigeria, his movie “Bleeding Rose” won the Best Film Award at the Lagos International Film Festival 2007. Mordi is the Chairman, UK Chapter of the Association of Movie Producers Nigeria.

Nnorom: You hold a degree in Fine and Applied Arts and Education. Interesting combination. What were you planning to do in life with that kind of degree?

Chucks: Quite a lot, and I am yet to explore all my avenues. However, I kicked off running a sculpture studio in Lagos for some time, while trying the waters of the emerging film industry. By 1997, it had become difficult to hide any creative talents I had, so I landed my first successful job in what we now know as Nollywood; to design and construct the cult set for the blockbuster film “Rituals”. I also created the majority of the human part props used in the film. So you can see, when Nollywood gets to where we want it to be, I will still be having great fun, because there will be a lot of professional props, and sets to be created. In that sense my degree will come in handy, at least if I don't do things directly, I will have a good idea of what I want done as a director by other professionals. - No knowledge is lost.

Nnorom: What made you choose a career in film-making? How did it all start for you?

Chucks: Well I have loved film since I was a little boy - from the days Clint Eastwood filled our screens with the gun-slinging action-packed films of the good old cowboy era. I had my first stint at performance at age six, though it was just a small Christmas carol production at Abraka, in Delta State, but it sure did kick-start a passion in me, as I later discovered in school, where I had the privilege of running jungle theatre for my fellowship arm at Delta State University. I was able to take the production to a number of shows in other schools, so I literally schooled myself along side my degrees.

Nnorom: Why did you choose to work as a Screenwriter and Director instead of a set Designer, or Special Effects Designer, or even as a designer and producer of masks and make-up? These are areas even less convincing in Nigerian movies than the acting.

Chucks: At the time I needed to acquire more practical experience in as many aspects of filmmaking as possible, and I soon discovered that the greatest challenge lies with being a director; the man who takes all the blame for anything that goes wrong, so I settled in there because I love challenges and always want to get better. However, I am still open for supervisory roles in handling props and special effects, these I did a lot with my friend Dagogo Deminas before he left for South Africa.

Nnorom: Tell me how you trained enroute to becoming a screen professional in the Nigerian film industry.

Chucks: I was not privileged to take advantage of any formal training in film production, but it did not stop me training myself privately. What do you think of a double honours degree holder? You can learn anything - maybe without the paper to show, but the practice will definitely speak for itself. I spent a lot of quality time in script writing, building on my love for Wole Soyinka's writing styles, Chinua Achebe's works, and the writings of William Shakespeare, Charles Dickens, Fredrick Forsyth just to mention a few. I literally read tons of materials including Amaka Igwe’s script lectures in some magazines back in Nigeria. You see, once you have gone through the academia, knowledge is the only thing that gives you joy, you just find yourself going on and on and on, and these things sure reflect in the way you carry yourself, and in your deliveries, on whatever platform you find yourself. For your information, I am still learning and studying hard.

Nnorom: What do you consider the role of film in society? Specifically, what role does film play in Nigeria?

Chucks: I see three major roles. The first being that it reflects the society; that is what is happening in the society or the way society is. Secondly role is that film points the way in a society; it is capable of creating awareness of what better things there could be, and finally, it could also serve as a correctional medium where good is rewarded as examples to the watching public. In all, film is a very strong informative, educative and influential tool while balancing the need to provide entertainment and relaxation. It needs to be appreciated and handled as such.

Nnorom: Name some era-defining films in Nigeria you have been honoured to work in – in any capacity. Kindly say what innovations or benchmarking features the films brought to Nollywood.

Chucks: I will just mention three: “Nneka the Pretty Serpent” I saw as the one that opened the door for the love concept in Nollywood, while “Ritual” set the pace for huge projects with more daring features. “Mama Sunday” was more of a radical picture as it went the other way by taking the brave step of using unknown faces to make great films, and it did not fail, as a number of notable Nollywood Stars today got their first or breakthrough jobs in “Mama Sunday.”

Nnorom: Guilds such as Directors Guild of Nigeria are not really much more than a trade union looking out for interests of members, are they?. Are any of the myriad of guilds in Nigeria doing anything to enhance industry knowledge, training and professional ethics in Nollywood?

Chucks: I beg to disagree, all what you see today started from the Directors Guild of Nigeria. I served as a one time Secretary-General to the guild in 1999. We went through a lot of hard work to push the frontiers of the then emerging industry to strategic positions until it became a talk of the town. Nollywood if you ask me is still evolving, but unfortunately a lot of corruption has crept into the evolution system, so it tends to diminish the good efforts and honest activities of great men who gave their time and sacrificed chances of stardom to the charting of a course for Nollywood; men like Madu C. Chikwendu, Fidelis Duker, Ejike Asiegbu, Mathias Obaghiagbon, myself and many others who time will not permit me in this interview to mention. Most of these men spent their lives in Nollywood not pursuing stardom and fame but cracking out their grey matter on how to bring to life the necessary structures that an evolving industry like ours should have in place to thrive. These fights have gone on for over a decade without anyone noticing. Men have fought beasts to get Nollywood to where it is today - but the truth remains that the good fight to build Nollywood will continue, even if some people prefer to wait for the building to be completed and then jump in to occupy, to such people I say a big shame to them - they are the criminals killing Nollywood.

Nnorom: I just watched your film; Bleeding Rose. In one of the opening screens, you indicate that the film is not for rental, why such stipulation?

Chucks: One tree cannot make a forest but it can at least represent. There are still no built up structures for proper marketing our films, otherwise, our films will not be selling for peanuts, for little or nothing. Then on top of the that, there are the occupiers of where they have not built, reaping where they have not sown; a people who will never amount to anything good in their lives, shameless faces will still go out and rip-off the investors and producers by stealing our films and selling them 3 for 50p. What do you expect when you steal something in which you have no investment interest? You can as well do whatever you like with it, and most of these idiots call themselves Nigerians. Please check again, they must have equally pirated their own identities, because it is a huge disgrace to that name Nigeria - So I had to at least make an attempt to discourage those criminals if that will put them off, well if it does not and they are caught, trust me I will make sure they face the law.

Nnorom: Actually, I once asked a proprietor of a shop renting Nigerian films for £1 per day what percentage of that amount went to the film producers and the reply I got was ‘Nothing.’ When I asked if he thought it was not wrong and inimical to the struggling filmmakers in Nollywood, he said, ‘Go call police now.’ How widespread is this monkey works baboon eats attitude in the Nollywood film rental arena within and outside Nigeria and what legal efforts are the key players in Nollywood making to curtail it?

Chucks: The producers are yet to take the bull by the horn, a producer needs to learn to transact business in a professional manner, as that takes care of all legal sides of business. AMP UK is at the moment doing something about the situation, but a lot still lies in the hands of the producers, as there needs to be established representation rights from the producers for their products to receive protection in countries like the UK where no one is above the law.

Nnorom: I recently interviewed Obi Emelonye, and he hinted on some of the marketing problems facing Nollywood, including the proliferation of free-to-view cable and satellite stations showing Nigerian films such as AIT and Nigeria Movies. Is this to suggest the film-makers are not compensated in any way by these TV stations for showing their films?

Chucks: I would not want to say much about the TV stations, because it is a simple matter: if a TV station shows “Bleeding Rose” without a written agreement on terms and conditions, duly signed by the appropriate authorities, it will be for the law courts to decide. You do not need to speak to a professional producer on his rights, he should research and know his or her rights, let them challenge the TV stations, but they will not of course, because there may have been some unprofessional transaction somewhere along the line, which they may be ashamed of telling. The TV stations will quite frankly be very happy to show any film for free if you give them one. So let the producers check themselves.

Nnorom: When I spoke to you last weekend, you said you were done making ‘Nollywood’ films. You said that your next film will be a ‘proper’ film. Would you kindly explain to me what you mean by that?

Chucks: Quite simple. I was talking about not having to stress myself to fund another movie, let the fund come from somewhere else, then I will do another movie, good movies cost money, and I can not raise the kind of budget I am looking at for my next movie.

Nnorom: In your opinion, has Nollywood grown too fast for its own good?

Chucks: Not at all, I would rather say it need more boost and need to grow quicker.

Nnorom: If you were given the job to straighten out Nollywood and make it stand shoulder to shoulder beside other film industries the world, what would be your top initiatives?

Chucks: The job is simple just put the right structures in place and things will be alright. There is no need to start mentioning the structures, as this will be taken care off when the job comes, the best way to do this to challenge me by giving me the job with a right pay, as you know money na hand back na ground! I am open for consultation, and ready to continue serving the industry but I think I now deserve a reward.

Nnorom: So much has been made about the need to invest in Nollywood. But don’t you think that first an investor has to be convinced there is a veritable marketing channel within the industry first, so that his money does not go down the drain?

Chucks: You are right, but that job is not the producers job, it is that of the marketers and distributors under the supervision of the authorities under which they operate, and I believe Emeka Mba of the National Film and Video Censors Board is doing a good job of putting the right structures in place.

Nnorom: We need our own E.T., Rambo, Rocky, Batman, Spiderman, etc. Nobody is going to invest a million dollars in a story about a girl who goes to a babalawo to get a charm to steal her best friend’s boyfriend or other lame tales like that. Do you agree with me that we need to make character-led movies in Nollywood, films with capacities to change lives and with stories that lend themselves to merchandising opportunities?

Chucks: Absolutely, again the investors not the producers need to believe in what you are saying and put their money to it. If an investor wants a Nigerian Rambo film, then he should cough out the money, and stop expecting to spend £10,000:00 for a movie, which does not pay a PA in UK, so how do we really compare?

Nnorom: I would have thought it worked the other way round; you package a good film production proposal and it will attract investors with deep pockets. Anyway, just before I let you go, kindly offer a very short message to a young aspiring Nollywood filmmaker.

Chucks: Always have on a learning attitude, be focused on being a credible character, and pursue excellence, then great things will follow.

Nnorom: Thanks a lot for your time Chucks, and good luck with your future endeavours.

Chucks: Thank you and God bless Nollywood.

News and Events

2009-08-29T15:45:00.000-07:00

NOLLYWOOD A-LIST STARS STORM PH AS TONYE PRINCEWILL HOSTS THE FIRST NIGERIAN MOVIE PREMIERE (NNENDA) IN PH AND LAUNCHES AN ORPHANAGES AWARENESS CAMPAIGN

By Chief Eze Chukwuemeka Eze

Come September 12th, 2009 at 2.00pm, the Silver Bird Cinemas in Port Harcourt will play host to some top Nollywood stars at the screening of the Adonijah Owiriwa produced movie “Nnenda”. The force behind this Event Prince Tonye Princewill, the Rivers State AC and FOOPP Leader will be in attendance at the Premiere aimed at creating awareness of the plight of orphans in Rivers State.

Leading the pack of Nollywood stars at this epoch making event are top billed stars of the movie like screen queen Stephanie Okereke -who plays the lead character for whom the film is named-, Ramsey Noah Nigeria's leading man and lead male role in the movie, foremost Nollywood Director and Director for the movie Izu Ojukwu who has to his credit various award winning films including highly acclaimed “Sitanda”, “Across the Niger” and “White Waters”.

Also in attendance will be Van Vicker from Ghana, Lady Memry Savanhu from Zimbabwe, Uti Nwachukwu of the Big Brother Africa fame and leading Nigerian actor Francis Duru.

Full Story>>

reviews

2009-08-29T15:18:00.000-07:00

Nollywood Film Reviews

"Behind a Smile" by Obidike Okafor

"Dangerous Friends" by Uloma Ibegbulam

Interviews

2009-08-29T13:42:00.000-07:00

Interview with:

Remy Ohajianya

Obi Emelonye

Chucks Mordi

Don Pedro Obaseki

Don Pedro Obaseki in conversation with Nnorom Azuonye

2009-08-29T04:16:00.000-07:00

What we do is mere commerce, not business

Nollywood Director, DON PEDRO OBASEKI interviewed by NNOROM AZUONYE

Nnorom: You are one of the key players in Nollywood trained as a theatre artist. How does this training affect your film-making processes?

Don Pedro: The truth of the matter is that I always believe that as a trained artist, there is the know-how; the technical know-how and the know-what. The know-how is that which cannot be taught. What I think is that my experience and tutelage as a theatre artist has done is that it has given structure to the way I think as an artist. Being used to ensemble play where if one person goes out of tandem the whole structure of the production crumbles. As a director, I am a disciplinarian. I have no room for posers. If you want to pose, you go somewhere else. I am not interested in the star, I am interested in the artist. I am interested in the person who will do the job. I don’t think people should want to buy my film just because of the multiplex of names I put in the film, but because I append my name to it. Also, I have come to a point where I don’t see film-making as an assembly line. I don’t do subsistence film-making which a lot of them in Nollywood do. If I am privileged, I shoot a film a year, maybe a film in two years. For instance I wrote “Igodo” in 1996, but did not get to shoot it until 1998, and it was clearly not run of the mill, or to use the lingo ‘kpa kpa kpa’ films you see out there.

Nnorom: What do you consider to be the purpose of film?

Don Pedro: As someone now very much in the business of film from the age of 10, it is a different ball game. I see film as business. There is a difference between Don Pedro the impresario and Don Pedro Obaseki the person. Don Pedro Obaseki the person sees film as an opinion moulder, a huge opinionator, an integral part of the society that gives birth to it. I see film not art as a mirror of the society. Art as a mirror of the society is useless. I’d rather watch CNN or Sky.

Nnorom: Of course as a 10-year-old kid you presented “Children’s Time” for NTA Benin in 1977. What else, together with that experience led you to study theatre arts?

Don Pedro: You know, sometime in 1979-1980, there was this essay competition for kids in Secondary School. I wrote a story; “Days of Rage” which won the National Essay Competition. It was later picked up by Evans, Macmillan and Longman, and they took me to Togo where I met Kalu Okpi. And by the time I was 14, I became the youngest published Pacesetter writer with “Days of Rage” which was later turned into a TV series. By the time “Tales by Moonlight” started, I became a little story-teller will Mrs Elizabeth Okaro. Later on, when “Things Fall Apart” was being shot, I became the smallest and youngest member of the crew. I actually fell from the helicopter when they were shooting Amalinze the Cat climbing a palm tree. So, I knew where I was going.

Nnorom: I had lunch with friend in London, and mentioned to him that I was hoping to meet you later that day to interview you. He spoke about you as ‘that guy once obsessed with demolishing people’s homes to build his big cinema houses’ That’s not true is it?

Don Pedro: People are crazy! Crazy! (Long pause) Without the cinemas, the truth of the matter; the entire thing is a joke. So what I thought was try and revive cinema culture, not the way Silverbird and New Metro are doing, because what they are doing, I think, is what led to the death of the old Nigerian film industry of the Hubert Ogundes and the Ola Baloguns. What they do is screen Hollywood blockbusters without a look-in on the local scene. Yet everybody in Ajegunle, Idi Araba, Idi Oroko, Ariaria in Aba, they are hooked on the Nigerian Home Video. I thought, why don’t I get these videos to their neighbourhoods, create the same uppity feeling you get when you walk into a multiplex like the Odeon – create a community centre of attraction in the neighbourhood, and people use the cinema as a way peace. Let me give you an example. There were areas in Ikeja in those days if you walked at 10pm somebody will pull a gun on you. But when Lagbaja started his Open Air Motherland people packed the streets and nobody till date has ever reported that armed robbers came to motherland, and it has been six to seven years now.

So I said where there is entertainment, there is no room for that kind of violence. I did not demolish people’s homes what I did was get people to buy some of the old cinema structures which had been converted into churches or eateries, or some that were run-down. When we couldn’t get certain places in Surulere, it was in Surulere that we tried to buy other types of structures.

We don’t have government support. Everything was via people buying equity in Filmex. It is called Filmex. We were able to get Odeon, when Kene Mkparu was still there, as Technical Partners, before we moved to Israel. So the technical partnership is coming from a firm in Israel. We are still not launched yet. We are hoping to launch in middle of 2009. Filmex is a model we hope to work, so if we can’t make money on the film, we will from the popcorn.

That question was a blow!

Nnorom: You are a campaigner for better earnings for workers in Nollywood, apparently you see a correlation between that and better outputs. What are the factors in your opinion limiting incomes in the Nigerian film industry?

Don Pedro: I am not one of those who believe piracy is the first problem. Piracy is one of the things that happen when you don’t have structures in place. It is a global problem. But there are certain very very very Nigerian problems affecting Nollywood. First a few of my colleagues under-rated our brothers from the South East. That was the end of the old Nollywood that seemed to have high earnings. We used to release films that sold 300,000 copies or more. “Igodo” sold close to a million. By that time, those of us involved in “Igodo”, we go buy car for morning, by afternoon we dey ask, ‘this car fine so, or make I change am’? The money was available. You can’t afford to do that anymore. We were releasing five to ten films per month and because they were successful, people turned the thing from art into an assembly line. Simple economics. When a product is supply-driven, the only place it can go is down. But if it is demand-driven, you can up the price. So in Nigeria where everything has gone up in price except pure water, the only commodity the price has gone down a downward spiral is the Home Video product. The wholesale price of a film used to be 350 Naira. But now, it is about 80 Naira, that is 75 cents.

The only way to control this is to create an enabling environment for people to invest, and I cannot invest in a situation where na everybody dey. Although we have guilds that are very functional, they are not looking at the market end.

Let me ask you a question. Can you imagine what will happen if we released just 5 films a month and those people at Dusting Road Market have to queue for two weeks to get one copy. What do you think they will do? What do you think will happen if we asked for prepayment? You see, we must reduce the number of people who have access to their films being censored.

Nnorom: In Hollywood and the British Film Industry, movies premiere and run in cinemas before appearing on DVD. Although this does not prevent piracy, it does however mean that if the film is not a turkey, it can generate huge box office returns and loads of cash from film merchandise. Do you envisage Nollywood going in that direction?

Don Pedro: It is the only direction. It is the ability to aggregate these global value chains, as we cannot do anything in isolation, that’s when we will see the tomorrow. However it has to be tweaked to suit our peculiar economic circumstances. I do not believe that the movie necessarily has to move from the can to the cinema to pay-tv to DVD. Those structures do not exist in Nigeria. We are a product of direct to home video which we turned into a global phenomenon. We are a product of the digital age. We Nigerians taught the world that digital film-making can actually be mainstream.

Nnorom: The figure for a ‘successful’ Nollywood film of 50,000 copies or thereabouts is not particularly near enough what it should be.

Don Pedro: Fifty Thousand? I cannot say that. What I can tell you is that most people suggest these figures, I don’t. I own a shop in Alaba so I know. A normal film now in the last one and half years, if it hits 20,000, I tell you the guy who made the film will go and meet arusi. I am serious. So you really have to plan for it to hit fifty.

Nnorom: How does your Video Kiosk improve the distribution of Nigerian films?

Don Pedro: I got sixty million Naira from Diamond Bank and launched Video Kiosk which is a door-to-door video rental service whereby you can place orders for videos and we deliver to your doorstep. I got tricycles equipped with DVD Players, Television sets and huge loudspeakers mounted on them, so they are also mobile advertising tools. I spread it all over Lagos and took 2 or 3 to Abuja. So there is no need for that big madam who hides in the sanctuary of her home to watch our films to go to a video club. I am your video club, don’t come to me, I come to you. It has been hugely successful.

Before I release a film on my network, I send text messages and tell people, if you dial the video kiosk number you can pre-book. You can pay me with your credit or debit card. So we have created a new vista for this funny-looking, simple, for poor people business, because if I can see the end of an equation, it is easier for me to aggregate the processes to get to that equation.

But beyond the Video Kiosk, I have tried to move film distribution along in my own way. I tried for some time. I got the Igbo boys together. But I could not settle the Idumota, Upper Iweka, Pound Road, so I broke away and built a film market in Surulere that caused them pulling out guns and all that. But the Igbo guy will trust me because he does not trust the Yorubas. Zeb Ejiro will want me to be leader because he knows I can deal with the Igbos. You know my mum is Igbo. My wife is Igbo. I speak Warri, and Urhobo. So I became a confluence of sorts and decided to use that as platform for either cementing the industry or scattering it and then rebuild it. You know I am a student of Soyinka, so the Ogunian essence always pervades. Things happen for things to be built properly. Many people are going to be whisked away as you know right now, many filmmakers in Nigeria are going critically broke. But the few who have been able to work out the arithmetic of the distribution process, they are not going broke. Rather they are living large. Forget the artist. Artist will come and artist will go depending on how the man in the open market feels.

Nnorom: Is it just your own films that Video Kiosk distributes?

Don Pedro: No no no. You know, what God has done now, because of the advent of Movistar, I am now, maybe the largest single owner of entertainment content in Nigeria. So what we have done is, four companies I have interest in, we formed a consortium; The African Entertainment Content Company, we sell everything from Video CDs from anybody, to music CDs because I own a music label. I won a lot of Igbo gospel. A lot. People like Nkem Chijioke. You know that gospel is a lot more enduring in terms of market value. An Igbo man travelling from Onitsha to Lagos is not going to be playing ‘P Square’ in his car stereo. I don’t see myself as mainstream. Video Kiosk cannot be mainstream. We serve as an alternative marketing outlet. We achieve high retail volumes because with 50 Video Kiosks selling a hundred films a week, we sell five thousand.

The next step we have taken. The government has a drive against piracy. They are arresting those boys selling videos on the street. The boy you are arresting, he is going to be a thief again. So I put out an advert “You dey sell video for street, call this number” and they call me. I register them with Censors Board for five thousand naira. The guy does not have five thousand Naira. So I thought, if I register one hundred boys, it will cost me Five Hundred Thousand Naira. But to take a shop at Adeniran Ogunsanya, it is going to cost me Nine Hundred Thousand – for one shop. With that kind of money, I can have 180 boys wearing Video Kiosk T-shirts selling my products. By God’s grace, by the first week or second week of January 2009, I will unleash them on Lagos. I have a motto: Every door on every floor, a face in every place.

Nnorom: What is the relationship between Don Pedro Media and Movistar?

Don Pedro: Don Pedro Media in the real sense does not have any relationship with Movistar. Don Pedro Media is contracted by DP and T Media Company Nigeria Ltd, of which me Don Pedro, na me be the DP wey dey inside. Five years ago we took the idea to Chief Dokpesi and everybody thought I was a mad man. But when Daar Communications decided to go PLC, he put aside some money for some of my pet projects, of which Movistar was one. Movistar is an independent channel owned over seventy percent by Chief Dokpesi as a person not as Daar Communications. AIT owns the satellite segment on Sky, DP and T and Don Pedro Media own what you see on air and the Movistar broadcast license. So what you actually have is, AIT Movistar does not exist. AIT Movistar only exists as a name Sky created on their decoder. Movistar Ltd is equity owned by Daar Communications, DP&T, and Chief Raymond Dokpesi with me as Chief Executive Officer.

Nnorom: Offer an assessment of the Nigerian film industry today and how it can contribute to substantial financial compensation for both artists and the nation whilst yielding cultural profit for the people.

Don Pedro: I think right now, the culture quotient is a lot higher. The Nigerian home video scene has turned into a mild culture colonialist tool for the Nigerian nation. Because they have colonised the African mindset. You see the Igbo sub-culture within the national culture has been sacrificed by the Igbo filmmaker such that in the last seven years, only three Igbo language films have been shot, against 950 Yoruba films, because the Igbo filmmaker and the Igbo actor has now become the generic face of Nollywood. I think that film as a culture exporter, a culture carrier has succeeded in serving as a major attention getter for the Nigerian nation. I cannot forget the Washington Post headline; “Step aside Hollywood, Bollywood Here comes Nollywood” but in terms of economics, all the economic benefits that have been coming to the Nigerian filmmaker and the Nigerian filmscape has been limited to a very tiny few.

Nnorom: In your opinion, who are the people making positive contributions to the development of Nollywood?

Don Pedro: She might not know it, but I think Peace Anyiam-Osigwe, the Chief Executive of AMAA – the African Movie Academy Awards, is doing a great deal. Without the weight of politics, and she is involved in it directly or indirectly, Amaka Igwe. In terms of structure, not the art of film, Chief Raymond Dokpesi who is building a huge film village right now. Also Toyin Subai, Emeka Mba who has been demonised and called names. I think he is doing a fantastic job. He may not be the Apostle Paul, but I think he can be John the Baptist. Also there is this woman in Akure, Biodun Ibitola of Remdel Productions. She maybe owns the largest network for Yoruba films. Then this guy of O.J Productions; Ojiofor Ezeanyaeche. That man, if you are working on his film and he says he will pay you two Naira, if he dies, your two Naira will be there for you. Then of course Kingsley Ogoro and Tade Ogidan.

Nnorom: What is your favourite Don Pedro Obaseki film?

Don Pedro: Eziza. Without a doubt. Eziza.

Nnorom: Is there one film you have made that you wish you hadn’t made?

Don Pedro: Yes. Definitely “Love”. Have you seen it? I no know wetin enter my head. The film made a lot of noise for the wrong reasons. That’s not what film-making is about.

Nnorom: Is there one movie in the world today that you did not, but wish that you had made?

Don Pedro: Pink Panther. Inspector Clouseau. My father got it in the old Betamax format. I watched it so much the tape cut, I carry cellotape join am.

Nnorom: Finally, Don, kindly summarise your take on Nollywood: what is wrong, what is good, what needs to change, and how that change can happen.

Don Pedro: What is wrong is very clear. First the structures are either decadent or non-existent. Structures in terms of the art of film and structures in terms of the business of film. I believe that if we can get the business of film right with enough returns on investment, the average Nigerian film will be a better product and everybody involved will get adequate remuneration. But as long as it continues to be a garbage in garbage out kpa kpa kpa phenomenon, it won’t work.

Another thing I think is crucial is that there are little or no training facilities put in place that enables them, filmmakers, to progress in terms of know-how, and skills acquisition. Because it is terrible when you think you know, and then you don’t want to learn more. Many filmmakers in Nigeria are intellectually lazy. I mean, for instance you are making a film about the Nigerian Army and you don’t realise that in the Nigerian Army, except for medical reasons, you don’t wear a beard. Even the police. You see Pete Edochie and he has not shaved and he is playing a Policeman. I cannot see the policeman in him.

Also we want to go international and we have not got the paradigms right. There has to be a seismic paradigm shift in the way we do the film for it to be international. For instance our themes must leave the mundane. Our themes continue to be regional, but they need to be as universal as possible. But if you look at up to 90 percent of the basic Nigerian film, they are strictly Nigerian and perhaps to a lesser extent, African. But you see, the basic sensibility of the modern day African is closer to the basic sensibility of the Caucasian than it is to the rural African, to the extent that we now demonise things that were normal and everyday to our fathers.

Finally, unless we create structures, right processes, it won’t work. Until that happens, we won’t get the respect of financial institutions. We need that for the business to become business. As it is we are making out of pocket expenses. We are trading. That is mere commerce, but business. We are selling, not marketing. The average Nigerian filmmaker is so popular, yet he has no branding. He has no brand equity and no brand value. It is only when we translate our popularity into brand equities that what we are doing will go from a multimillion Naira business to a Multimillion Dollar business. We need to think in that currency to aggregate our real value.

Nnorom: Thank you for your time, Don.

Don Pedro: Thank you Nnorom. I have to confess. I am having fun.

Lagos International Film Festival opens amidst drama

2009-08-17T18:06:00.001-07:00

Lagos International Film Festival opens amidst drama

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Pete Edochie Freed

2009-08-17T17:27:00.000-07:00

Actor Pete Edochie has now been re-united with his family after being released by the kidnappers. Edochie's son, Uche has confirmed.

Uche Edochie, a studio artist in Lagos posted the good news on his Facebook wall; "My father has been released by his kidnappers after the ransom exchange. I am so relieved that I can sleep for a week. Thank you God and thank you to all our supportive friends, family and well wishers all over the world."

He did not state whether the family came up with the full N10 million Naira the kidnappers wanted in such a short time.

Edochie fans across the world are relieved with the news, and everyone's prayers are with his family who must have passed through a most traumatic 24 hours.

At the same time, many watchers of the kidnapping industry in Nigeria, obviously a growth market, must be thinking today how such success stories for kidnappers in getting quick responses and ransom payments will do nothing to dissuade them from future abductions of innocent hardworking people. It is even more irritating that the Enugu police have insinuated that he had not actually been kidnapped, but was a victim of a carjerking episode who was taken along as hostage and getaway leverage. Even that sounds like kidnapping on its own. But more importantly, the ransom demand and eventual exchange makes the police position unacceptable.

Kidnapping has truly become a disease in Nigeria that needs a cure quickly. The viral joke in Nigeria that kidnapping has now become a status badge - an indication of success, is a joke that has now gone too far.

Dangerous Friends

2008-11-08T00:49:00.000-08:00

Nollywood Focus Review

Film Title: Dangerous Friends

Starring: Mike Ezuronye, Onyeka Onwenu, Steph Nora Falana, Ernest Obi,Yemi Blaq

Director: Ernest Obi

Screenplay: Steph Nora Falana

Studio: Hallmark Studios

Genre: Drama

Time: 2hrs 32min.

Reviewer: Uloma Ibegbulam

Dangerous Friends is a film about friendship, betrayal and Love in which two friends; Steve (Yemi Blaq), and Martin (Mike Ezuronye) are thrown into enmity over the affections of Annette (Steph Nora falana). What began as a simple bet between friends on which one of them could win Annette’s love degenerates into a feud that lasts throughout and beyond their days at university. Steve ends up marrying the well-off Annette, and gets his teeth into her money - enriching himself in the process. Martin however, is not so lucky and has had it rough since graduation from university until fate brings him together again with Steve, who has eschewed their bitter past. Steve lends a helping hand to Martin, offering him the job he so badly needs. But unknown to Steve, Martin has not buried the hatchet. Steve is soon on the receiving end of a bitter revenge campaign from Martin who recruits Steve’s ex-girlfriend Esther, and a few other dubious characters, all in the bid to destroy his friend. This leads to the major conflict that plays out in the film.

Cutting deeper into the real substance of the film, Dangerous Friends attempts to show how simple but complicated the average human mind can be when it is tested; How we all perceive things and ultimately how we react to them.

Love was sweetly exhibited for a while, by Annette and Steve, but was not forgiving. Consequently, the revelations made by Martin at the end of the film, was too painful for Annette to bear.

The story is interesting, captivating and has a decent dose of suspense. And although the film raises many conflicts, some of which are not fully resolved, it is able to engage my interest through to the end. The characters in the film are under-developed and are simply not challenging. It always takes a good deal of acting skills and experience to carry or interpret ordinarily boring characters into engaging and captivating ones. This is the task the actors and actresses in Dangerous Friends face.

Thumbs up to Ufuoma Ejenobone (Esther), for an excellent interpretation and execution of her role. She is spontaneous with her emotions, and is convincing in her role. She also has the looks that suit the part.

Mike Ezuronye (Martin) also does credit to his role. He is known to use his facial expressions very well, and Martin’s “viciousness”, come across perfectly.

The costume requirements are not particularly challenging, but are sensibly executed.

As for the make up, it is important to note that the two lead male actors are not properly prepared; it was a recurrent sight to see them sweating in scenes that they were supposed to appear as cool as cucumbers .We also see Annette all made up in her night dress, ready to go to bed; this does not portray the real world.

The director (Ernest Obi) is able to convey the story as simply as possible. He sustains the suspense with the timely infusion of the flash back at the end of the film.

However, a good film transforms into a very good film when the director explores and effectively employs all his artistic devices; the film must be visually pleasing and engaging; and this is most often achieved through the creative use of the camera, setting and scenery, engaging dialogue and excellent sound. We do not see all these elements fully employed in the film. The camera shots are too flat and a bit clumsy at times. However , I applaud the director for keeping it real by choosing realistic locations as home and office scenes; contrary to the extra-large and over furnished locations Nollywood is known for.

Further, for a film with two parts, I do not believe the director achieves the desired closure; viewers are left wondering what becomes of Annette and Steve’s “love”. Or maybe there is a part three?

On the positive side, the dialogue is simple and suits the mood of the film; and would not task your concentration. Dangerous Friends is well worth the time.

Nollywood Focus Rating: *** Good.

The trouble with Nollywood

2008-11-06T16:00:00.001-08:00

The Nigerian film industry is far from where it needs to be. There is enormous talent and spirit in Nollywood to raise the industry to a level that will truly astonish the world. Yet, even as the films have moved from old analogue systems to HD, and the distribution of films have moved beyond Idumota, Pound Road and Upper Iweka, we have also witnessed premieres in European and American cinemas, and our films are constantly aired on Western cable and satelite channels. Video shops also rent these films without a great deal of control. Everyone of us knows something or feels something that ought to be done to not only improve Nollywood films but help the industry grow. In this thread, Nollywood Focus invites opinions on the trouble with Nollywood - i.e. What do you think is the main problem facing Nollywood and how can it be addressed? NF

Nollywood Focus Congratulates Mr Obama

2008-11-05T18:18:00.000-08:00

Nollywood Focus magazine joins the world in congratulating Mr Barack Obama on his election as the 44th president of the United States of America. Like so many people have said, what Mr Obama has achieved is a testament that everything is possible. His slogan Yes We Can will continue to pound in the hearts of many people for years to come and should indeed inspire them to say in the face of every challenge "Yes we can".

It is a great story. An almost unbelievable story. Forty years ago, if a writer of fiction had written a short story locating a black man in the White House come January 2009, the writer most certainly would have been dismissed as incompetent. His story would need to be returned to his muse for a complete reimagination. Yet it has happened and many people only half-believe and are still expecting to wake of from some kind of dream.

But it is not a dream. Long live Barack Obama. May God keep him shielded everyday of his life from the dangers of his office and may God give him the wisdom to lead the American people to a place of peace and happiness and prosperity. At Nollywood Focus, we pray that the Obama presidency shall take the tears of many Americans such as good old Rev Jesse Jackson and wash away all the bigotries and shame that the days of evil and segregation stained America with. This is a new beginning, not just for America, but for the whole world.

The world can get better. Yes it can.

Nnorom Azuonye

Welcome to Nollywood Focus blog

2008-10-11T16:42:00.000-07:00

You are welcome to the Nollywood Focus blog. We expect to hold some exciting conversations and debates here that will help to grow the Nigerian film. Subscribe to the blog and be part of everything we do.

Nnorom Azuonye

NOLLYWOOD FOCUS MAGAZINE

Aug1411 Ikhide Ikheloa

Mirror for the resurgence of Nollywood

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‘I am content with Nollywood’

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BEFORE OGBUIDE OF OGUTA LAKE

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NEXT GENERATION OF FILM MAKERS

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Let down by the story

Goodluck at last for Nollywood

Dewitching Time

The Mirror Boy on it's way

“To God be the Glory” – a Bridging Sin in Nollywood

Ghana Slams $1,000 Fee On Nigerian Actors

Nigerian Film Corporation Film Essay Competition

The Power of Nollywood to Save Children’s Lives

Viewing Nigerian women through the eyes of Nollywood

Charles Novia in London

Small Boy with big problems

See New York City Tainted.

MIRROR BOY AUDITIONS

Lola Aloa in the UK

Acting and the Nigerian mentality

Sabar

An appealing but undemanding tale

The Figurine raises the bar of Nigerian filmmaking

I Will not Work with Snakes and Dogs

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Men Fought Beasts to Build Up Nollywood

News and Events

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Interviews

Don Pedro Obaseki in conversation with Nnorom Azuonye

Lagos International Film Festival opens amidst drama

Pete Edochie Freed

Dangerous Friends

The trouble with Nollywood

Nollywood Focus Congratulates Mr Obama

Welcome to Nollywood Focus blog

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