This article is part of the new guide to Lagos from FT Globetrotter
Nollywood has now become recognized as a shorthand for Nigeria’s bustling, rapidly expanding mainstream film industry. In terms of production volume, it competes favorably with Hollywood and Bollywood in India. However, there is a significant delay in economic value. The average Nollywood film is modestly budgeted, tells simple, often moral stories of good and evil that are ingrained in local culture and incorporate indigenous languages.
The origins of the Hollywood-derived moniker are controversial. There is no consensus on what Nollywood means or how much evidence it should cover. Nollywood can refer to a specific genre. Economically produced melodramatic type of film has long been recognized as an industrial staple. It is also helpful to understand Nollywood as a medium-driven based on a specific style of production style that is more rooted in television than celluloid filmmaking. Is Nollywood restricted to mainstream English speaking or does it cater to a wide range of Indigenous speaking communities? It all depends on who you ask.
Filmmaking activities in Nigeria date back to British colonial projects. Post-independence celluloid works such as Ola Balogun, Eddie Ugbomah and Ade Love have guided us through what is often considered the golden age of Nigerian cinema. The oil boom of the 1970s led to increased purchasing power among citizens. This was key to maintaining a thriving film industry.
By the late 1980s, Nigeria’s economic wealth had been declining due to political instability and declining resource management. Cinemas were forced to shut down, and for almost 20 years television became a central medium of entertainment. VHS has become increasingly attractive as a cost-effective alternative.
The first Nigerian films produced in video format were released in 1988, but the birth of Nollywood, recognized today, arrived almost by chance in 1992. According to established lore, artistically sloping businessman Kenneth Nunevu imported excess empty video cassettes from Taiwan. His past experience in making films made Nnebue was convinced that he could sell more cassettes if the actual content was recorded. He co-written the script for Lagos, about a hopeless man who kills his beloved wife in exchange for quick wealth, but is troubled by the ghost of her revenge.
Life at Bondage became a runaway success despite being primarily in Igbo, one of Nigeria’s three main languages. The film was more influenced by television than the film, but people responded to the novelty of seeing characters like them on screen. Video allows audiences to have more control over their viewing habits, unlike television shows. “I saw him tied up with adoration and I felt like I saw it!” said superstar actress Rita Dominique.
Living in Bondage made it possible to create production hubs and employment opportunities out of nowhere, and on my own the whole industry was revitalized. As Nigerians migrated, these films discovered an increase in audiences in the diasporic communities of the Caribbean, Europe and America. Nigerian filmmaker Kenneth Gian said: This is really important. Because there are over a billion black people in the world and they need to feel that they are being expressed on screen. ”
The film was ambitious and modest, made on a small budget, and producers often favored quantity over quality. What they lacked in technical details was made up for the fun of storytelling. A star system for actors was quickly developed, and distributors assumed the role of gatekeepers and decided who was bankable. The system, weakened by copyright infringement, is broken at the turn of the century as Nigeria returns to democracy after decades of military dictatorship. Encouraged by a revitalized economy, cinemas have long been absent in cultural life – reviving, and filmmakers have begun to age to move into this medium. Critical and commercial success of the doll in 2009: Kunle Afolayan’s supernatural thriller, Araromire, marks a shift point as the mainstream industry moved properly from video to cinemas. The local language video production hub continued to work, but was taking shelter in a side job. Nollywood’s core centre has become mainstream English-speaking language based in Lagos.
Seeing these recent development opportunities, graduates from both their own film schools have begun to enter more industries with the ambition to compete favorably with global standards. Nigeria’s more artistically leaning filmmakers were looking for a film festival for exposure. Characterized by improved production values, larger budgets and stronger narrative discipline, this wave of filmmaking is described as the “new Nollywood.”
Nollywood has always struggled to fund proper film development and low-efficiency distribution backbone. Video, television and cinemas have not been able to deliver films to consumers in ways that are economically meaningful for producers as well. Marketers in the VHS era have found a way to reach the farthest corner, but cinemas are not sufficient and are only available in large cities. After that, there is an exorbitant cost to buy tickets. Streaming companies that are looking to increase subscription numbers have been attracted recently, and Amazon Prime has abandoned the ship, but Netflix continues to operate with limited capacity, and filmmakers continue to experiment with YouTube. The challenge continues, but Norrywood’s appeal is endured. The film directly speaks of desire for expression, provides simple and relevant stories that reflect local values and resonate culturally.
Below are six films that track not only the best of Nollywood, but also the evolution from an accident to a cultural giant.
“Glamour Girls” (Chika Onukwufor, 1994)
The Glamour Girls (produced and written by Kenneth Nubue) which was billed as the first English Nollywood film, were poised to become an instant cultural phenomenon. The warning tales of single women empowered to exchange sex in big cities emerged as a response to social anxiety about the evolving role of women at the time. Lagos here is just a background, as the film consists primarily of conversation scenes shot in the interior location by director Chika Onukhufo. Due to the highly quotable lines and wardrobe, the Glamour Girls launched a film career for a new generation of actors. The sequel that continues two years later continued like a disastrous reboot of Netflix in 2022. Where to watch: YouTube
“Wedding Party” (Kemi Adetiba, 2016)
There’s nothing to spell Lagos like a wedding party. In Mad Cap’s romantic comedy The Wedding Party, director Kemi Adetiba can also confiscate this classic Lagosian trope, celebrating and rampaging millions of Naira Nigerian wedding industrial facilities. It was a huge success at the local box office, and its impact surpasses the sequel to the mid-Dubai set, which arrived two years later. The film inspired countless copycats and created the Nollywood subgenre of today’s popular big event films: thought, burial, birthday. Where to see: Amazon Prime
“Lion Heart” (Genevieve Nnaji, 2018)
The Lionheart looks like a strange addition, considering that it was set further east in Enugu State. But it makes sense to include it here. Because Nollywood as an industry consists of several active production hubs, many of which are far from Lagos. Lionheart, Nollywood’s lover Genevieve Nnaji’s directorial debut represents the Oriental axis. This traditional family drama about a young woman (played by Nnaji) who appears in herself while she inherits from her impressive father also serves as a bridge between the industry of the crude VHS era and the more advanced systems that evolved. Nnaji is also the best conduit for this as he cuts his teeth as an actor during his VHS era and becomes the brightest star that emerges from that system. Where to watch: Netflix
‘eyimofe (This is my desire)’ (Arie and Chuko Esiri, 2020)
The protagonist of Aimov, a great debut feature by twin brothers Aly and Chuko Esiri who live in Europe. But physically, these characters find themselves connected to the average streets of Lagos by crippling the lack of opportunity. Avoiding Nollywood’s melodramatic beats, Esiris derives influence from the work of new Taiwanese cinemas and Indian Master Satyazit Lei. Shot gorgeously on 16mm film, Eyimofe is a clear breakdown of immigrants that speaks to Japa’s trends. Filled with wisdom and sympathy for the character, Amov ensures he finds a note of grace in the face of a merciless tragedy. Where to see: Amazon Prime, Hulu
“Every color in the world is between black and white” (Babatonde Aparowo, 2023)
Films based on Lagos tend to focus on wealthy neighborhoods on the island where the top 1 percent live. Rekkikoilink Bridge is essentially a character from a Nollywood movie at this point. All colours do something different by staying on the mainland. Director Babatunde Apalowo’s melancholic drama approaches the taboo subject of Nigerian society: homosexuality. The film starts with an understanding of the unique character and ruggedness of the city, but also recognizes the constant threat of violence just below the surface. Where to watch: Max (Europe) and Apple TV+ (Denmark)
“Gang Obragoth” (Jade Osiberu, 2023)
When it comes to mapping the visual energy of modern Lagos on screen, the Nigerian filmmakers working today are not close to Jade Osivel. This appeal to Lagos began with the web series Gidi Up and appeared in independent films such as Isoken and The Trade before her ambitious action-thriller gangster Lagos. Amazon Prime Video’s first original African film, “This,” is a dark horn of Isale Eko, one of the most iconic regions of Lagos Island. Stylish in portrayal of violence, Lagos gangs link overlapping political classes with street-level thugs who carry out the status quo. Where to see: Amazon Prime
Wilfred Oxyche is a writer and cultural critic
What is your favorite Nigerian movie? Please let me know in the comments below. Follow FT Globetrotter on Instagram at @ftglobetrotter
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