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Cinema lovers are still drooling over the fantasy of a boy band member who fell in love with a 40-year-old mum in the latest Hollywood film, The Idea of You, which began trending on May 4, 2024. If Nollywood decides to execute this storyline, these actors should get the scripts first and be on set without question.
Genevieve Nnaji as Solène
Can you believe THE Anna Hathaway is now playing a mummy role? If there’s someone Nollywood should cast that’ll give us similar cause for alarm, it’s Genevieve. She’s in her 40s too, but iconic for her youthful female lead roles of the past.
Gbemi Akinlade as Izzy
Gbemi (Battle on Buka Street, Clinically Speaking and The Aside) will be perfect to play Genevieve’s daughter in this film. Her “mummy’s girl” style will nail this character.
Susan Pwajok as Georgia
Georgia is the shy girl who’s Izzy’s inseparable friend, and coming-of-age roles come natural to Susan. Just watch The Johnsons and It Blooms in June to confirm.
Emeka Nwagbaraocha as Zeke
A friendly, teenage schoolboy character? Emeka will eat up it like creamy pasta.
Rita Dominic as Tracy
Solène’s friend could be Rita Dominic. They have similar comedic timing with a “good friend” and “big aunty” vibe.
Wale Ojo as Dan
Their lanky stature, grey beard and mannerisms are just too similar. Dan can be nice, but he’s an old and arrogant rich asshole. Sounds exactly like most of Wale Ojo’s characters.
Sharon Ooja as Eve
The role of a beautiful lady who can get her boss to fuck up his marriage and marry her while maintaining innocent vibes goes to Sharon Ooja. No one else.
Kanaga Jnr. as Hayes
Kanaga Jnr is a fine boy and a dancer. And in his Big Brother Naija days, he even had enough rizz to date an older housemate. So, he has the experience. A little acting class and he can be a popstar rizzing up our Queen Genevieve.
Chuks Joseph as Oliver
No Nigerian actor has been as much of a young and annoying asshole as Chuks Joseph in releases like the Madam Koi-Koi series and Afamefuna in a long time. He’ll easily pass as the annoying Oliver, in The Idea of You.
Eronini Osinachi as Simon
Eronini shares a similar look with Viktor White, the actor who plays Simon, with the jerry-curls. All he has to do is play the band boy role, stay at the back and make cute faces.
Tyler Perry has returned with another reactionary film. This one’s called “Mea Culpa”, and it’s supposed to be a legal thriller, but all it brings to the table is stressful drama and these confusion-induced questions.
Why isn’t Zyair scared of consequences?
The artist guy is on trial for murder. So why is he painting and frolicking around instead of crying in a corner and acting like there’s real life consequences.
But really, what’s wrong with the guy?
What sane person grabs his lawyer from behind in front of her husband? Where’s the shame and respect?
Image Source: ScreenRant
Zyair wants to sleep with every woman he meets?
“How can you represent me if you won’t say you’re attracted to me.” That’s what he told his lawyer at some point. From where to where, please?
Who calls the shots here?
How the hell is Zyair dictating that his lawyer should meet him at his house? He even came to her office (where the meeting should’ve happened) to demand it. What audacity.
What in the “bad sex hygiene”?
Zyair was in the heat of sex with a white babe when Mea walked in on them. He didn’t clean up before he went on a bike ride with Mea. They got back to his loft, and he still didn’t wash his body before they went right into doing the do — with paint and everything. Maybe I know nothing about fine art sex, but no fear of infections? First thing after sex, they jumped in bed… with their unwashed coloured bodies?
Why did Mea follow Zyair everywhere?
How come this prudent lawyer thought it was a good idea to follow her allegedly criminal client everywhere? Even into a dark dungeon cosplaying as a swingers club.
Was Mea broke or not?
Kal was jobless, and Mea took on the Zyair case to cover a few months’ expenses. So, how come she suddenly had money for a vacay after everything went bust?
So the dead ex was… not dead?
How convenient was it that Hydie worked in the hotel Mea was vacationing at? Was she spying on Mea or something? Also, how did Zyair get convicted if they never saw a body? Is it that easy to fake a death, without any suspicions, in the Western world?
Why did Charlise have to stab Mea?
That whole climactic, plot twist scene was one big mess. When Ray told Charlise (his wife) to stab Mea (her friend and sister-in-law), was it the family’s plan to get Charlise jailed as punishment for infidelity?
Mea still trusted Kal after everything?
I want to know why Mea thought for one second that her husband wasn’t in on his mother and brother’s plot. Also, how the hell did they survive that car crash? Did Kal die?
No legal drama?
The whole movie is about a court case, but we never see a court scene. Not even once.
But also, why did Kelly have to eat so bad?
Our girl ate too well in those fits for this particular movie. Was she trying to go one-on-one with Jessica Pearson’s fashion game?
Will Tyler Perry ever give us something new?
“Mea Culpa” is classic Tyler Perry. When will black women stop being the victims of his art?
How much did he pay Kelly to partake in this mess?!
This is by far our biggest question, and it’s probably for Kelly Ro herself to answer.
For the people who don’t know, Madam Koi Koi is an African urban legend. If you like, you can also call her an imaginary ghost who comes out at night to terrorise hallways and dormitories in boarding schools. It’s said that her brand is unmistakable: she wears a pair of red shoes or just one heel.
This year, Nollywood is bringing back this feared ghost of the past, but in a cinematic way. Although some people will find out about Madam Koi Koi for the first time, this picture might provide answers to the scary narratives that have circulated for years.
So far, this is everything to know about Nollywood’s Madam Koi Koi project.
The Origin: Madam Koi Koi
From the title of this picture, The Origin: Madam Koi Koi, we’ll likely see how Koi Koi came to be what she is. We have no doubt this is a horror flick though.
It is produced by Display Universal and Marturion Media
Display Universal is under the leadership of Nigerian filmmaker and author Jay Franklyn Jituboh.
While Display Universal may not be a popular name yet, they’re the production team behind the new African Magic original, Direct Message. Moreover, the company’s sound department handled the sound design of the Nigerian TV show, Blood Sister.
Marturion Media is an entertainment content production company headed by Nigerian filmmaker Michael. W. Ndiomu.
Also, The Origin: Madam Koi Koi will be distributed by FilmOne Entertainment.
Franklyn and Boladale
The story of The Origin: Madam Koi Koi was written (and also directed) by Jay Franklyn Jituboh (Keeping Up, Caught), and Boladale Falola (She, Mr. and Mrs. A), the head writer at Display Universal.
Set in the 1990s
From the images Display Universal posted on their IG page, The Origin: Madam Koi Koi is set sometime in the 1990s. If we take the cue and go by the hashtag, #Malomo1991, that follows all the Madam Koi Koi film posts on Display Universal and Jay Franklyn’s IG pages — the events likely happened in the year 1991. We don’t know if “Malomo” is a person or town’s name, but we shall find out when the film comes out.
Cast members
This film will feature known faces like Ireti Doyle (playing the catholic school principal) and Deyemi Okanlawon (murder inspector). The Origin: Madam Koi Koi also boasts of more professionals like Kevin T. Solomon (Cloud Nine), Omowunmi Dada (Ayinla), Ejiro Onojaife (Brotherhood) and Martha Ehinome (The Pretty Ones Are the Loneliest).
This is a solid cast. Don’t play.
Production is wrapped
The filming of The Origin: Madam Koi Koi began on May 15th, 2022 and also ended in the same year. The filming was handled by Amarachukwu ‘Maara’ Udoezika (Alone, The Perfect Arrangement, Badboys and Bridesmaid) and Idowu Adedapo (Road to Yesterday, King of Thieves, King of Boys).
Release date
This film’s first teaser came out on October 17th, 2023. Also, the full movie will debut and start showing on Netflix on October 31st.
Please, do quick and drop release date, Uncle Jay Franklyn.
A dark spirit has been awakened. One forgotten for decades, but now it seeks vengeance. . >> Watch The Official Teaser Trailer for "The Origin: Madam Koikoi" Directed by Jay Franklyn Jituboh
Zambia made their official debut on the global streaming platform with Can You See Us? in August 2023, and this is everything we know about it.
It’s about albinism
In it, Joseph goes through a hard childhood — living with an unloving father and getting bullied because of his albinism — and finds comfort in music. This movie tells a common African story that’s rarely told on the big screens. Representation matters; stigmatisation must die.
Originally released in 2022
It was shot in 2021 and released in 2022, but most people didn’t know about Can You See Us? until Netflix picked it up. Truly, all good things get their time in the sun.
The move to Netflix
On August 27, Can You See Us? became available for viewing on Netflix. It offers a genuine storyline, clean photography and showcases young talents. Go watch, and let’s celebrate Zambia like a good neighbour.
Inspired by a true story
“Inspired by the true life of Mr John Chiti” appears at the opening of the film. John Chiti is a popular Zambia musician known for hits like Ifindingile and Ngoleya. He’s also an albino who was bullied as a kid because of his skin condition. Chiti is still alive, pushing awareness and support for albinism through his foundation. He’s credited at a co-writer on this project.
A child actor with a similar real-life story
Thambo Kaamba, who plays the younger version of Joseph in Can You See Us? is actually female. She was also born with albinism and rejected by her dad when she was small. You might’ve seen Thambo in the second season of South Africa’s Ubuntu.
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Many newcomers
The cast list is full of actors who’ve just arrived in the Zambian film industry. There are some OG names like Ruth Jule and Kondwani Elliot too, but we’re rooting for these new guys.
A self-taught director
Kenny Roc Mumba is a Zambian filmmaker who majorly directs brand commercials and documentaries. Now, his film debut is Zambia’s Netflix debut.
Hold several handkerchieves
Since it started streaming, word on the street is Can You See Us? is capable of making grown people cry.
Well, Nollywood has done it again, and it’s called Orah.
The plot
At just 15, Orah Dokubo killed someone but escaped justice by hightailing it out of Africa, her newborn baby in tow. Fast forward 17 years, and she finally lands in Canada, the land of moose and maple syrup. However, she does this illegally.
Yet another crime thriller
Orah becomes a cabbie, shuttling a fancy attorney and his big-shot Nigerian pal, Bami Hazar — who are both into international money laundering — around Sudbury. Drama and murder comes in when Hazar puts out a hit on Orah’s son, forcing her on a one-woman mission to serve up a side of justice, extra spicy.
One-man writer and director
Orah is written and directed by Nigerian-Canadian filmmaker, Lonzo Nzekwe, the brain behind the indie gem, Anchor Baby (2010).
11 years in the making
Lonzo Nzekwe revealed in a chat with Hollywood Reporter in November 2022, that he’d been brewing this movie since 2011. The producers, Floyd Kane (Diggstown) and Amos Adetuyi (The Boathouse), joined the team in 2017. Apparently, if you’re not the patient type, filmmaking isn’t for you.
Shot in Canada and Lagos
Sudbury, Ontario, took the spotlight in 2022. Then Lagos joined the party for additional touches. Real recognises real.
Badass cast
It’s not every day you see Somkele Iyamah-Idhalama (93 Days, Gidi Up), Tina Mba (The Set Up, Battle on Buka Street), O.C. Ukeje (The Arbitration, Brotherhood), Femi Lawson (Because We Are), Lucky Ejim (Render to Casear, The Tenant), Oyin Oladejo (Star Trek: Discovery, Endlings) and Emeka Nwagbaraocha (Far From Home) in a single picture. This movie is giving the best of both worlds — diaspora and motherland.
Screening at TIFF
Orah has snagged an invitation to the 2023 Toronto International Film Festival (TIFF), where it will mingle with other Nollywood gems like Black Harvest and I Do Not Come To You By Chance, as well as Death of a Whistleblower (South Africa), Banel & Adama (Senegal) and Sira (Burkina Faso).
Looks like the spotlight will twirl around various corners of the continent this season.
These days, no week passes without news from Nollywood, and August 25, 2023, was no different. Over the Bridge, an upcoming picture, returned to the news as The Garden Theatre unveils the movie’s poster. Here’s all we gleaned from their announcement.
Cast members
In Over the Bridge, we’ll see famous faces like Joke Silva, Akin Lewis, Deyemi Okanlawon and Ozzy Agu (lead actor). We can’t wait to see the zest they bring to our screens and to romance Mummy Joke’s King’s English.
It’s about mental health
Capitalism is the devil’s tool. In Over the Bridge, you’ll see how the pressure of the corporate world makes Folarin (Ozzy Agu) lose his mind. 9-5ers may or may not love this one.
Celebrity writer and producer
Over The Bridge is written by Bose Oshin, best known for her work on The CEO (2016), Nigerian Prince (2018) and MTV Shuga Season 5. Tosin Otudeko is the film’s co-producer and co-writer, the brain behind Heartbeat (2014) and The Wedding Party (2016).
Directed by Tolu Ajayi
Tolu Ajayi, popularly known for his directorial work on Oga John (2019), is back again. Over the Bridge shares a similar topic — mental health and personal battles.
A range of set locations
The crew filmed at the peak of the tallest corporations in central Lagos and in the state’s local areas like Akodo, Iruoyin.
Principal photography is done
The movie officially completed filming in June 2022, with K.C. Obiajulu (Lockdown, Wizkid’s Essence) behind the big cameras. It’s about to get lit.
The poster is here
On August 25, 2023, Tolu Ajayi took to his Twitter account to share the official film poster. A lot seems to be going on in Folarin’s life, to be honest. Are those the waves of an ocean surrounding him?
Since her first appearance on the Nigerian sitcom, I Need To Know (1997 to 2002), Funke Akindele has grown in leaps and bounds from Yoruba Nollywood actress to director and executive producer of the highest grossing films in Nigeria.
Funke Akindele has shown her diversity and dexterity as an actress and filmmaker too many times to count, but these works deserve more attention.
Aiye Olomo Kan (2009)
Funke acts as a young and spoiled Demilade. An only child and uni student brought up by a single mum, she falls in love with a traditional man who loves women who know their way around the kitchen. She displayed her strength as both an actress and a film producer, featuring alongside actors like Richardo Agbor, Ayo Mogaji and Remi Oshodi.
Apaadi (2009)
In this 2009 epic about a promiscuous crown prince (Femi Adebayo) who’s also a bully, Funke Akindele plays his cousin. When this movie came out, it was a breath of fresh air in the film scene. Behind-the-scene videos showed how they built the impressive movie set design from scratch. The African Movie Academy Awards (AMAA) nominated it for Best Film in African Language, Best Costume and Best Supporting Actor (Femi Adebayo).
Agbefo (2006)
Funke Akindele joined forces with Segun Arinze, Taiwo Hassan and Ireti Osayemi to bring this action-packed movie to life. You’ll see Funke’s character and her gang terrorising people and escaping arrests because of a potent charm that can make them disappear. Police and thief Nollywood >>>>
Industreet (2017)
In 2017, she kicked off production of her TV series about the entertainment industry and budding artists trying to break into the mainstream. Industreet is a combination of industry experience and street lifestyle. It starred Niniola, Funsho Adeolu, Daddy Freeze and Linda Ejiofor.
Maami (2011)
“Maami” is a Yoruba word that translates to “my mother” in English. In this movie, Funke stars alongside Wale Ojo as lead actors, exploring the story of a footballer while touching on a mother’s love, single parenting and poverty. Tunde Kelani directed this drama.
Your Excellency (2019)
This was Funke Akindele’s directorial debut, a movie that follows the story of a rich businessman and politician who’s obsessed with Donald Trump. She also acted in it, alongside Falz, Shaffy Bello, Osas Ighodaro and Alexx Ekubo.
Maku (2007)
This film focuses on a spoilt child called Maku who has his family worried over his bad character. Funke Akindele, plays a … Femi Branch and Sola Kosoko were also in it.
It’s hard to watch movies for leisure these days. But the internet people’s noise over Jagun Jagun couldn’t be ignored. If I didn’t leave X (FKA Twitter) and run to press play, the memes would’ve ruined the experience for me.
Anyway, let’s get into it.
Once I heard the traditional drums and chants, and saw the wide drone shot of a thick forest, I knew I was in for an interesting one. Next thing, there’s a strangely artistic mud house sitting on a rock.
The narrator describes a powerful warrior and jazzman called Ogundiji (Femi Adebayo), and we see him swagger to his throne in a dark fur garment that drags after him. A king looks at him like he’s glaring at God. According to the narrator, Ogundiji is “the messenger of the powerful people.” But this king, who’s supposed to be a powerful client, looks more like an Ogundiji groupie.
An unnamed warrior (Odunlade Adekola) raids a kingdom called Keto, holds the royal family hostage, kills the prince and steals the crown. He draws his sword in the air one last time, but before he can take the king’s head, a weapon comes of from nowhere and butchers his hand off. Blood springs everywhere, Quentin Tarantino style.
Everyone’s shook, including the new amputee himself. It’s Ogundiji in the building. Bully pass bully.
Far away from all the chaos, a young man walks through the forest when he’s suddenly waylaid by a huge tree. He composes himself and talks to the fallen tree, commanding it to let him pass. Lo and behold, the tree stands and gives him the way.
Thankfully, there’s a narrator to read this tree commander’s profile, so I didn’t have to wonder who he is. Gbotija (meaning “Only answer to fights”) is the son of Lagbayi, from a long line of wood carvers. So naturally, he has the power to talk to trees. He’s on his way to enroll in Ogundiji’s School of Warriors, to learn the art of war.
After some training, the time finally comes for the student warriors to go on their first mission — to wage war on a small settlement called Ota Efon. If you’re looking for dark magic that turns day into night and produces cannons of fire, you find it here. You’ll get flying kicks, sword fights and acrobatic moves too. Despite it all, Ogundiji’s trained warriors are met with resistance.
While the war is ongoing, and Ogundiji’s men are suffering defeat, his top generals make merry somewhere in the bush, waiting for their juniors to finish business and come back to them. Ogundiji’s deities notify him of this at home. Sharp-sharp, he goes into his control room to command his killing machine, the demon assassin, Agemo, to win the war for him.
Agemo appears on the battle ground and puts everyone on pause. Then breezes through the warriors to slice and murder the soldiers on the other side. After the war, Ogundiji throws the merry-making generals into prison.
Night falls, and it’s time for dinner — akara and pap. But Gbotija, the tree commander, isn’t having it. Rightfully. After trekking to another town to fight war, and trekking back, why should two people share one akara and pap? Even the agbado era isn’t this heartless (but who knows? God, abeg).
Iroyinogunkitan (meaning “News of war never ends”), Ogundiji’s daughter, makes a scapegoat of Gbotija. They tie him to a tree and beat him black and blue like the Inter Milan jersey. The man has the pain bandwidth of Kunta Kinte, because why did they beat him to a pulp of paper maché, and he still won’t keep his mouth shut?
After the cruel show of supremacy, Iroyinogunkitan asks him to be her friend, giving him these “come and fuck me” eyes.
While Ogundiji’s wife (Fathia Balogun) begs him to forgive the imprisoned generals, one of the junior soldiers, Weyinwo, is busy passing akara and pap to them inside the prison.
Ogundiji catches them red-handed but spares the generals and sentences the junior soldier to burn on a stake. Then he sends his burnt corpse back to his town.
On one side, the kings of the surrounding villages gather to plan their contribution to Ogundiji’s upcoming party. They troll each other about their undeserved thrones, a scene that felt too much like watching Nigerian politicians merry over the national cake.
On the other side, the burnt soldier’s girlfriend seeks a spiritual eye-for-an-eye by sending three ghost gunmen to kill Ogundiji’s wife. Gbotija talks to the dane guns made of wood and the gunmen eventually disappear.
Gbogunmi (meaning “Swallow war”), an alumnus of Ogundiji’s war school, comes to tell Ogundiji he can’t carry out an evil assignment to raid his own wife’s town. Angered, Ogundiji promises to punish him.
Everyone has heard that Gbotija saved Ogundiji’s wife. Gbogunmi befriends him and promises to gift him some charms. As Gbotija’s popularity rises, so does Ogundiji’s hatred for his student. He gives Gbotija a death sentence disguised as promotion tests. First, he tells him to fight Gbogunmi to the death.
Gbotija is victorious and qualifies for the second stage of the test — a seven-day dry fast while locked in a coffin.
Kitan and Gbotija bump genitals in preparation. After seven days, and even though Ogundiji ordered for the coffin to be thrown into a river — in a scene that gave the movie’s CGI budget a run for its money — Gbotija survives. Of course, the coffin is made of wood, and he’s a wood whisperer.
For his last test, Ogundiji sends him to annihilate a town during a Yemoja festival. Gbotija ends up turning their white clothes to blood red.
On his way back to the war school, Agemo attacks him. But why is Ogundiji trying to kill his own apprentice? After asking these questions and playing hide-and-seek in the trees with Agemo, the latter falls hard on a tree branch. Gbotija takes off the demon’s mask, and it’s his babe, Iroyinogunkitan.
As she dies, she reveals how she’s just a kid Ogundiji stole from a village he came to raid. Devastated, Gbojita enters Ogundiji’s compound with her corpse and reveals the cause of her death to Ogundiji’s wife. Their back and forth further reveals that Ogundiji has a son with a regent king in another town. Omo, there’s no greater betrayal than this. But the bombshell is that Ogundiji’s wife actually sacrificed her womb for him to gain powers.
Yet, this OG Yoruba demon has the audacity to ask what she’ll do about it. Ogundiji goes on to brag about his evil powers, and all the towns he’s conquered, when Gbotija realises he destroyed his own town. Ogundiji is the reason why his father had to sacrifice himself for Gbotija to live.
After realising he’s been fighting and killing for his father’s killer, he calls for support. The army divides into two, choosing sides to fight one last battle. During the ensuing chaos, Ogundiji’s wife stabs her husband with Agemo’s knife, demystifying his jazz and allowing Gbotija to finish him off.
It turns out “Jagun Jagun” isn’t about war, but love, betrayal and unchecked power. Gbotija only became a warrior to avenge his father’s death. Ogundiji didn’t value his wife or soldiers, all of whom sacrificed greatly for him.
But it didn’t really end there. Ogundiji’s son (Ibrahim Chatta) hears the bad news and comes running home.
Now that Ogundiji is dead, will his son inherit his fine fur capes and hats, or will they collect dust on a hanger somewhere?
Creator Spotlight is a weekly series celebrating young Nigerians in the creative industry doing unique things. Everyone has a story, and Zikoko wants to tell it.
I’m a person of many names. Some know me as Sasha, Nosa, Saz or Zemi/Zemee, and I might add another one to spice things up a bit. But I haven’t really thought it through yet. I’m a filmmaker, writer, digital collager, photographer, explorer and lover of food and films.
Oh, I do. The first ones that come to mind are anything by Celine Sciamma. She’s a French filmmaker. She made Portrait of a Lady on Fire, Tom Boy and Girlhood. I like Persona by Ingmar Bergman, one of my newer favourite movies. I love Jennifer’s Body and Kajillionaire.
Dying because I only know three of those. How did you fall in love with films?
I was surrounded by books because my mum loved reading. She was an English professor. We were also surrounded by movies in the same way. My siblings and I were also raised by an older relative, and she liked films. We used to go across the street to rent them. I remember borrowing Little Mermaid, Sound of Music and many others.
Films became an escape for me, and I think, for my siblings too. Because we moved around a lot, it became our one constant thing. Wherever you go, you see the same thing on TV. It was nice to have that locus of control. My siblings and I used to critique movies a lot. We’d talk about how their accents were too forced, things they could’ve done differently and all. But I didn’t really know it was something I’d make. There was even a time I wanted to be an actress, something I’m still hoping to explore in the future.
I saw your cameo in your movie, Ixora. Was that your acting debut?
That wasn’t supposed to happen. We needed more extras, and my co-director, Nengi, was like, “Go in there, Saz.” My best friend, Lotanna, gave me clothes, and I was just like, “You know what? Maybe it’s meant to be”. I did a little dancing in the club scene. And that was it.
Did you study something related to what you’re doing now?
I studied sociology in school, and I was planning to be a lawyer. I honestly think everything I’ve studied and experienced helps me to be a filmmaker. Sometimes when I go through certain things, I’m like, you know what? It’s good for the cinematic experience. So yeah, sociology helped me understand how human beings create structures, what these structures mean to them, how it affects them, and how they control the structures. And with film, it’s kind of the same thing, because you are trying to replicate different structures, and just experimenting with what these structures can do. It was definitely helpful.
What was your first moviemaking experience like?
My first film was for a cultural club I was part of in university. I was the communications coordinator, and we needed to promote an event. So I decided to make a series of three short films. It didn’t require money. It was just my phone, my friends and then uploading on social media.
The first planned film I made and released is Anwuli, which means “joy”. That was when I really started to realise that making films is not a solitary experience. You need to reach out to people and push boundaries. I used to do everything myself: record, direct, sound. But then I just realised I needed other people. Someone showed me how I could connect with people on Facebook.
For instance, a director wants to make a movie but doesn’t know how to write, and a writer doesn’t know how to direct but wants to be involved in making movies. Everybody just tries to work together to create something and grow their careers. It’s a community of people who just want to create work with little to no money involved. So the budget for my first film was maybe $300. I was working a 9-5 around that time. I just asked my friends to act, and I worked with a community of people just looking to make work.
Afterwards, I was like, “I had to pay people”, so I decided to increase my budget a bit. The more I create things, the more I realise filmmaking is very expensive. Financing is the hardest part of filmmaking.
In Ixora’s end credits, I noticed you were the writer, co-director and co-producer. Was it exhausting?
I like writing. I like being able to bring to life the vision I have when I’m writing, so directing comes naturally. While I’m writing, I’m already thinking about who would fit which role. Even if it’s hard, I don’t consider giving up filmmaking. It doesn’t feel like it’s taking anything away from me. It feels like an extension of me.
Some of the cast and crew of Ixora
You’re a writer who likes to write? Wow
Of all three — writing, producing and directing — writing can be the hardest. I’ve come to understand my process, so that makes it look easy. I can do it, but it’s not easy. When someone hears you’re a writer, they feel you can just wake up one morning and write a book. I wish I could do that. But it requires a process. And the process is not just writing; it’s everything from experience to reading to watching things. Playing is part of the process. All of them are the ingredients that produce writing.
Does writing your own movies make it easy for you to bring your vision to life?
Definitely. I’ve directed other people’s work before, and it’s harder because you’re not in that person’s head. Yet when I produce what I direct and wrote, it doesn’t come out 100% the way I want it because I still have actors who can bring a different (sometimes better) vision.
This happened in Ixora. I had a vision of what I wanted out of the characters, but our main character, played by Dafna, brought a different quality to Izi’s character. It felt like she was reintroducing me to this character I made up. So yes, it’s easier to direct my own work, but it doesn’t necessarily mean my vision will come out the way I want it. It’s like, this is what you want, but keep an open mind that I might come out differently, better even.
How many films have you created so far?
I’d say roughly 10, including music videos. I’m still writing new ones and some are in production.
Do you have any favourites?
My first film, Anwuli, is a fave. It’s so beautiful. The production process was easy. The only thing I don’t like about it is the sound quality. I wish the volume was a bit lower, and some of the audio parts were crisper. But I love the music. It was an original composition by a Ukrainian composer I met online — Myroslav Melymuk.
Carmilla is another favourite. It was just a fun thing to make. Another one I really like is Baby, This Is How You Break Open. When I feel down sometimes, I go back to watch it. If I want to process an experience or emotion, an efficient way for me to do it is to make a film.
Oh, it shows. Ixora had me in my feelings. What was the process like?
It was shot in two days, but it was supposed to be three. If you come with that “It will work” mentality, sometimes, it means giving yourself extra room for surplus. If we had another day, there was a scene I wish we could’ve added, but we were constricted for time.
My friend wanted us to make a film, so I brought a draft, but they did not feel it. It wasn’t clear enough. I wrote another one two months later, based on a conversation I had with myself about women’s bodies and how they present them. I wanted answers, and somehow, I translated this dialogue into characters That was it.
The next thing was casting. I already knew who would play the two main characters. Next was financing. We tried to apply for grants. But we didn’t get any, so we put filming off for a bit. Later, we were just like, “Let’s do what we can with what we have”. Me alongside my co-proucer and friend contributed money, and everyone else was briefed on how much we were working with. We practised a lot. Shout out to everybody for putting in the work.
And are you getting paid to make films yet?
I’m getting paid now.
When I made Ixora, I wasn’t. Baby, This is How You Break Open costs zero naira to make. We didn’t spend much on Carmilla. We had to pay for a ₦3k location and bought a few costumes like the dress and scarf — it only had one character after all. I think we spent under ₦5k. Although we paid to host it on a website at one time, but it wasn’t expensive. Ixora is the most expensive movie my friends and I funded. I don’t remember how much it was.
How much are your movies making now?
They haven’t made any money yet. When Ixora gets on a streaming platform, the team will benefit. But for now, it hasn’t made money. That’s another misconception people have about filmmakers. They assume you’re balling. Depending on your background, filmmaking requires a lot of work that might not be financially reciprocated, and you have to be patient with that.
Do you think you’ll ever do a mainstream movie?
Yes, it’s something I’d like to do. I’m working on two documentaries now. I’ve written romance and done music videos. I’m openminded when it comes to filmmaking and storytelling. The content interests me even more than the genre.
You’ve mentioned a French director. Are there other people or things that influence you?
Life itself influences me a lot. I’ve had a lot of interesting experiences, and that alone makes creating fun and easier. I like exploring films in different genres because they open my mind to questions I want to answer, and I can answer them in my own work. One of my latest unreleased films is a response to Persona by Ingmar Bergman. I’m influenced by music, quotes from poetry books, experiences, experiences, experiences.
Most filmmakers have a signature thing they do in their movies. Do you have that yet?
According to people, yes. I like to have pidgin in my work. And I like a level of playfulness. I don’t do this intentionally, but there’s always some emotion that’s highlighted when you watch something I make, whether it’s happiness, empathy or curiosity.
I’m not even sure I want a pattern. The films I make are a reflection of where or who I am, and people evolve. What I make will also evolve.
What fun things do you do when you’re not busy making films in your head and in real life?
I really like to experience where I am. When I’m in Lagos, I like to experience Lagos. Recently, a friend of mine wanted to visit someone in a convent, and because I’d never been to one, I went with him. I just like to experience different aspects of life. I like eating, watching films and digital collaging — putting together fragments of images to create something different.
Are there some skills you feel filmmakers and writers should have to be able to create quality work?
Emotional intelligence is very important. Being able to tell a story in a way that’s respectful to characters and the people they represent. Patience is important, but a lack of patience is also important. It’s okay to wait for something, but sometimes, you have to actively go after it too. For methods? I’m not a stickler. I enjoy seeing different methods at work. Compatibility is also important in filmmaking.
You make the process sound like smooth sailing. Have you never had a clash with people you work with?
I haven’t had issues on set. Communication is important. As sets get bigger, you get to deal with more complications. You just have to figure it out. It’s good to work with people you’re compatible with on set.
Do you have any favourite career moments so far?
I like hearing people tell me they like my work, explaining perspectives even I who wrote it never saw. The story has gone beyond me. It’s out there, and other people are sharing it. In terms of milestones, it was nice to have Ixora and Carmilla show at S16, and just see people connect with it and talk about it. It was nice to see everybody involved getting celebrated. Having my films shown at several festivals last year was nice.
Are there projects you’re working on that we should be expecting?
The next project I’ll release is an experimental film. Beside that, I made a music video for an artist, it’ll be out soon. Longterm, I want to make feature films. I’d love to work with Celine Sciamma, Love and Basketball star, Sanaa Lathan, and Genevieve Nnaji. There are some people I want to work with but I also don’t want to work with them because I just want to watch them. In a way that I appreciate filmmakers’ capacity to create and my ability to experience their creations.
At some point, my goal was to create films with an optimistic narrative for queer people, and I still want to do that, but I also want to tell stories that experiment with what can be. This involves a level of absurdism. I want to continue to create things that make people feel something.
Have you watched any film and wished you were the one who made it?
Love and Basketball I was 13 or 14 when I watched it. I still think with film it’s not impossible. I don’t think it’s an industry where you can only wish you could create something. You always have the space to do that. I can decide to make a film based on Love and Basketball. My character could be queer and find love. I’m not sure if what she had with Quincy was love or not; I would explore her relationship with Gabrielle Union’s character or Sidra instead of him.
I’d have liked to make Nneka, the Pretty Serpent and Suicide Mission. I’d have made them more playful but scary still.
After making audiences wait 13 whole years, James Cameron has finally graced cinemas with his presence with the sequel to his 2009 hit, Avatar.
Avatar: The Way of Water picks up over a decade after the events of the first film as we head back to the alien planet of Pandora to catch up with Jake Sully (Sam Worthington), Neytiri (Zoe Saldana) and their children, Kiri, Neteyam, Lo’ak, Tuk and Spider.
While Avatar: The Way of Water was incredible to see, you can’t help but have some deep thoughts while watching it in glorious 3D.
The moment you realise the film is over three hours long
Why is anyone making a film over three hours long in the year of our lord 2023? Bollywood is the only industry granted this right, and even Kuch Kuch Hota Hai was shorter than Avatar: The Way of Water.
Time is money, James Cameron. Don’t try this again.
The moment you realise you really should’ve rewatched part one first
Yes, I made the same mistake of thinking I’d remember everything that happened in a film I saw only once, way back in 2009. I was wrong. While it’s possible to watch Avatar: The Way of Water without seeing the original blockbuster, having a refreshed memory of what happened on Pandora before makes the entire movie experience so much better. Trust me.
The moment you realise it’s about what it’s makers did to Nigerians
White men killing natives and mining their resources for selfish reasons — can somebody grab the mic and shout “colonisation”? While the first Avatar disguised itself as a film about environmentalism, a large part of Avatar: The Way of Water’s story actually focuses on colonialism. It’s hard to watch the film and not feel a certain way about the evil white men perpetrate daily. We see you, colonisers.
The moment you realise this isn’t the Avatar: The Last Airbender remake we’ve been praying for
I believe everyone who went in expecting to see a bald boy with an arrow on his head was grossly disappointed. Next time, watch the trailer or read about a movie before you buy tickets and end up confused.
The moment you realise Avatar: The Way of Water is just Wakanda Forever but with taller blue people
Blue people who can breathe underwater, colonisers trying to mine a sacred substance for capitalism and a tribe hidden from the rest of the world. Please, tell me it doesn’t sound a lot like the premise of Black Panther: Wakanda Foreverwith Namor, the Talocans and vibranium? The big whale-like animals in Avatar: The Way of Water are called Tulkuns. Fascinating coincidence if you ask me.
The moment you realise Avatar: The Way of Water is just Titanic,but with blue people
Am I the only one who felt a weird sense of déja vu when the ship started to sink in Avatar: The Way of Water? That entire sequence, and the Sully family trying to escape, gave serious Jack and Rose vibes. Maybe I’m reading into it too much because it’s the same director, but oh well.
The moment you realise there’ll be a third Avatar film
It seems affliction will rise again next year with another possibly three-hour-long Avatar film. As a matter of fact, we still have three more Avatar movies on the way, so we’ll be visiting Pandora until the fifth one, scheduled to drop in December 2028.
The moment you realise unlike Marvel, Avatar doesn’t have an end credits scene
Did you sit through the end credits hoping another scene would pop up? Well, you’re not alone. I sat there like a fool, and honestly, I blame Marvel for spoiling us with end-credit scenes so much that we now expect them from every franchise.
The moment you realise Zoe Saldana has spent the whole of 2022 crying hot tears
After crying over her husband in From Scratch, Zoe Saldana painted herself blue and flew into the Avatar: The Way of Water world to continue wailing. When will my good sis catch a break? I’m worried.
The moment you realise maybe you don’t want kids anymore
The entire plot of Avatar: The Way of Water revolves around Jake and Neyteri’s quest to save their children from all the wahala they willingly strolled into. I couldn’t help but think of how much simpler our faves’ lives would’ve been if they had chosen to use birth control and avoid tiny blue alien babies.
Olatunde Olaolorun “O.T” Fagbenle is an English actor, writer, and director. He has appeared in several films, stage, and television productions. He currently plays the role of Luke Bankole in Hulu’s TV adaption of Margaret Atwood’s novel, The Handmaid’s Tale. He also recently starred as the character (Rick Mason) in Marvel Studio’s Black Widow. O.T has been nominated for and won multiple awards for his work.
In his special guest appearance on the InkBlot Meet & Greet podcast, O.T explains his acting process and, in the process, drops some lessons about the film industry. Here are some of those lessons.
1. There’s so much to be said without saying anything
O.T talked about his acting method, the Stanislavski Method, which places emphasis on a character’s wants within a play. The character should always want to achieve a goal by the end of the play. To that end, as the actor, every decision you make while playing a character should lead towards that character’s higher goal.
2. Do not try to fill up all the spaces in your story.
Allow them to exist. They add up to the development of the bigger picture.
3. Before playing a character, figure out what their body movements are going to be.
When interpreting a character, assigning an inner animal to the character can help you to be more specific about the character’s physicality.
4. In film, it is not all about you.
No matter what role you’re playing in a movie’s production, you’re part of a very large team working on a production that requires multiple factors (lighting, sound etc) to align. Learn to exercise patience.
5. Improvising can be a good thing.
Though frowned upon in some acting circles, improvising can be used to your advantage. OT said it works for him when directing because he mostly has to edit scripts in real-time as they’re being filmed. The important thing to note when improvising is to drive your improvisation by characters and the story in the most linear way possible.
Watch the full episode of the Inkblot meet & Greet episode starring OT Fagbenle here:
Every week, Zikoko seeks to understand how people move the Naira in and out of their lives. Some stories will be struggle-ish, others will be bougie. All the time, it’ll be revealing.
The actress in this #NairaLife has 99 problems. The biggest one? Not knowing her next payday and figuring out how best to manage this situation.
What’s your oldest memory of money?
It was walking in on my mum and her salesgirl counting money when I was 11. Out of curiosity, I asked my mum what bank she was keeping her money in. And she was like: “This is everything I have. I don’t have money in the bank.”
I looked at her and the wads of cash on the floor, wondering how that was all the money she had. For context, I have four siblings and that money didn’t look like it was enough to take care of all of us. I was in so much shock. Ask me what I did the following day.
What did you do the following day?
I went to look for a job.
Wait, but you were 11.
I felt the onus was on me to help my mum get more money to take care of me and my siblings. So, I got into a bus and went to the busiest part of town. I entered the first shop I saw and told them I’d like to work for them. The boss liked me the moment she saw me and offered me a job as a salesgirl. The pay was ₦3,000 per month. But I only spent a few hours there.
What happened?
My parents had been looking for me the whole day. The next thing was that a car parked in front of the shop and my mum and a neighbour came out. They bundled me into the car. As we were leaving, the boss was like, “Aww, you would have made a good salesgirl.” She gave me ₦2,500 for my troubles. My mum was livid. I don’t remember if I got a beating, but I probably did.
This is an interesting first work experience. Did you have any idea your parents were, maybe, struggling before this event?
Not really. I knew my dad had fallen on tough times, but my mum took over as the breadwinner. We went to private schools, although I was on a scholarship. We never ran out of food. Our Christmas clothes came in August or September. In my head, there was no way the money I saw on the floor could be everything we had. But my mum doesn’t lie.
I began to understand the toll carrying the weight of the family must be having on her, so I tried not to be a burden. It developed into a lingering desire to help her save money.
Is there a memory of this that particularly stuck?
My plan was to go to uni in the US, and I actually got a partially-funded scholarship. When I realised how much I would still have to pay, I decided that I wasn’t going to put her through it. So, I opted for a Nigerian university.
Oof.
Another time, I had run out of my allowance — ₦10,000 per semester — and food in school. But it didn’t cross my mind to call my mum. I was like, “Who knows if she even has money? I should be able to bear this drought.” I was hungry for a week, and it culminated into a stomach ulcer I’m still treating today.
Eish. I’m sorry. But how far did ₦10,000 take you per semester?
Well, not far. But I was making money on the side. In my second year, I saved up and bought a computer for ₦20,000 or ₦30,000. I started typing projects and assignments for students in my school at ₦30 to ₦50 per page. I made an extra ₦10,000 – ₦15,000 per month from this.
Lit.
I was also writing movie scripts. I loved watching movies when I was a kid. My plan was to study Theatre Arts, but my folks wanted me in science.
Marketers held sway in Nollywood at the time, so I would get their numbers from movie jackets and pitch a script to them. Then I would travel to Lagos to give them a copy of the script and get my money. I got ₦16,000 from the first script I sold. I only sold a couple more because of the stress and risks involved. The last one I wrote in school sold for ₦60,000, but I don’t remember if I received full payment.
Nigerians, man. What did you do after?
A few weeks after I wrote my final exams in 2007, I travelled to Lagos to audition for a movie role. Unfortunately, I got the wrong info and the audition had been done days before I showed up. But the producer liked how I spoke and asked if I would be interested in coming on another show as a resource person of sorts — to do some of the heavy weightlifting behind the scenes. I was supposed to be paid ₦15,000 every month, but I wasn’t paid a dime during the four months I spent with them.
Ah!
A week after I quit, they sent me an offer letter stating that they would pay me what they owed and increase my salary to ₦30,000 in addition to some other benefits if I came back. I was done with them. I didn’t go back.
Energy!
They had no respect for the value I brought to them, so I kept it moving. I auditioned for a couple more roles until I landed a part in a TV show. This one was ₦6,000 per episode, and I appeared in six episodes. They didn’t want to pay either until I went back to fight them.
LMAO. Run me my coins.
Right? Oh, between the first job and the TV show, I did two stage plays in quick succession. Both were ₦50,000 gigs. I was paid in full for one and got half payment for the other.
I did theatre for three years after that. The show paid me ₦3,000 per week when I started. It increased to ₦5,000, then ₦15,000 by the time I left. But also, I was working 6 days a week and there were tons of rehearsals.
When did you leave the theatre company?
2010 or thereabout. In 2011, I applied to a film school in the US but pulled out at the last minute. You’re going to ask me why, aren’t you?
I am.
I couldn’t raise the money I needed on time. About ₦1.5m. By the time I had the money, the school had resumed for like a week or two. I applied for an express interview at the embassy. The woman who interviewed me was like, “I can approve this thing. But I promise you, the immigration officers at the airport will wonder why you’re coming two weeks after school has resumed. And they won’t let you in because they won’t believe that’s what you came for.”
Omo, I looked at the risks and was like “Nah.” I worked hard for that money. I wasn’t going to lose it.
Fair enough
I went back to vigorously auditioning for roles. A movie here. A TV show there. Each job was between ₦30,000 and ₦50,000. Later in 2012, I did this stage play for a month and got ₦70,000 from it. A week after it wrapped up, I got a call from someone high up in the industry. They had seen my performance and liked it. They were in the organising committee of a festival in the UK and wanted to know if I would be interested in being one of the entertainers representing the country.
That sounds huge.
It was. It was a big festival. I could hardly contain my excitement. I got the contract and found out that I was going to be paid ₦750,000 to travel out of the country. That wasn’t all.
Oh?
I also won a £3000 grant to fund a project I was working on. This was an entirely different thing. It just happened at the same time. Also, I made extra cash in the UK.
How?
I travelled with some food supplies. Fortunately, I found a Nigerian lady near our hotel who allowed me to cook at her house. When the Nigerians I travelled with saw what I was doing, they were interested and everyone started paying me £3- £5 to cook for them. I made an extra £5000 from that alone. I returned to Nigeria with about ₦2.5m in my account.
Mad oh. I wonder how this income affected your relationship with money?
It didn’t. You have to know that earning is not a constant in this line of work, so you need to plan around whatever you get. I came back from the UK, and two weeks later, I was doing a ₦15,000 job.
Brutal.
Also, most of the ₦2.5m went into funding projects and paying black tax. And then, I was back to regular programming. By the time I got married later in 2012, I’d done a few more projects — indie films, stage plays, TV shows. Our first child came in 2015.
Did anything change?
My husband is a filmmaker. I’m an actress. Both of us don’t have a regular stream of income. I was better with money, so I started taking care of our finances.
We also started working together, building our production company. But the thing was, with a child in the mix, I had to become stricter with how money moved in our relationship and work, and it was tricky. As a filmmaker, he would think about the creative bits of work. I was the producer, so I always thought about how to squeeze out more money from whatever we were working on. We had lots of clashes.
Phew. You were still acting in other projects, right?
Yes, but those gigs had become even more irregular. Because of my husband and our company, people thought I was sorted. Whatever came in had to be planned in a way that it would last until something else came up.
Intense. Tell me, how do you build a production company in Nollywood?
You have to be creative, which is more difficult than it sounds. You need funds to actualise whatever you’re creating. So I’m constantly sourcing for funds.
In 2015, we thought of this big project and started working on it. I made calls to a couple of friends I made at film festivals I attended over the years. I got one of them to co-produce the movie with us. The budget was ₦15m, and each company brought 50%. The movie went to the cinema and was well-received. It did more than ₦20M at the box office.
How does money move in that space?
The producer gets a distributor to take the film to the cinemas. When a cinema accepts the film, you get date and time slots. The cinema takes 50% of whatever the film makes in the first week. But as it stays longer, the more percentage the people involved in the production and distribution get. At the end, the producers get 1/3 of what remains after tax and after everyone involved has taken their cuts. With that film, we got ₦7.5m.
This is only the box office, though. When the movie leaves the cinema, you sell to channels, flight, and other avenues. Over the years, it’s turned in a profit.
Interesting. What’s happened since that time?
We’ve done about three cinema films. We made a loss of about ₦7m on one because there was no money for ads.
My thought process shifted after that. I had to decide if I wanted to keep funding films that may likely not make money or become a content producer for TV stations. I got the first TV commission in 2016, and they gave us ₦4m to produce a show for them.
Sweet. And your earnings, how has it changed between 2015 and now?
Let’s say I make between ₦500k and ₦1m in a month where everything works. But it’s still irregular. What has been consistent is the inconsistency of my income. And what hasn’t changed is the way I budget.
Tell me about that.
When our second child came in 2018, I realised that things had become more real. I started making a two-month budget instead of a one-month budget. We try to limit our expenses to ₦800k within a two-month period. But it’s not set in stone.
There’s a separate plan for rent. We pay about ₦8m in rent for the house and other properties we run business in. I find out that by the second quarter of each year, I’ve saved up rent for the following year.
This is actually refreshing. Do you know how much you have in savings?
About ₦8-₦9m. I know it won’t be liquid for long; we’re always putting money into funding projects.
Ah, I see. What about investments?
We bought some real estate two years ago. 5 plots of land, and each one cost ₦1.2m. There is a sixth plot that we got for ₦2.5m. We’ve always heavily invested in our work. We’re also in the money markets, but we don’t have a lot in it — about $5000 in stocks. Then there’s one ₦700k in mutual funds.
Most of our investment is tied to work, and that’s not very helpful if I really want to work around our irregular income. It sounds better to invest in something outside the scope of work.
What’s stopping you from doing that?
Finding someone to trust or understanding the business I’m going into. With the film business, no one can bullshit me. It’s smarter to invest in what I know.
Fair enough. How would you say that your experiences have shaped your perspective about money?
I have a lot of respect for money. And I have a lot of anxiety about it. I’m always planning stuff around money and making budgets even when I don’t have to. One of my goals this year is to work on the anxiety bit. I just want to relax.
How much do you think you’d need to earn to get rid of the anxiety?
The thing is, it’s not about the amount. It’s about how often they come. If the income is as regular as I’d like, then I won’t have to worry so much about money.
I’m curious, do you have a retirement plan?
It’s funny, I don’t. I should definitely start working on that this year.
What’s something you want right now but can’t afford?
A holiday. I will have to go with my family, and it will run into a couple of millions, which I don’t have right now.
What about something you bought recently that kinda improved the quality of your life?
I was going to say the new production office we opened, but it didn’t really improve the quality of my lifet. It just gave me more things to worry about. Apart from that, nothing. Such a shame.
Lmao. That’s all right. On a scale of 1-10, how would you rate your financial happiness?
5. It’s neither here nor there. Income is still not regular even after all the years in the industry — I probably won’t hack this. But if I get this major gig I’m expecting soon, this number can move to a 7 or an 8.
What does it mean to be a man? Surely, it’s not one thing. It’s a series of little moments that add up.
“Man Like” is a weekly Zikoko series documenting these moments to see how it adds up. It’s a series for men by men, talking about men’s issues. We try to understand what it means to ‘be a man’ from the perspective of the subject of the week.
The subject for today is Ozzy Agu, an actor, MC and all-round entertainment legend. His definition of being a man revolves around family, brotherhood, and the occasional tears after losing a game of FIFA.
When did you get your first “you’re a man now” moment?
I remember being a struggling artist and one of my side jobs was tutoring high school students. It was an after school program called Tutors on Wheels where tutors travelled to the homes of student’s to teach them in the comfort of their homes. I’d just gotten paid one weekend and was out celebrating with my artist friends and after food and drinks, I paid for everyone. My friend Vallen who was seated next to me just muttered: “Damn Ozzy…that’s a man move.”
Even when we all were walking home, she’d just stop, look at me and say: “That was a man move”, and I couldn’t help but smile. It was a compliment. The gesture had made an impression because it was unexpected. Truth is I’d been working double shifts that month, so I could afford a stunt like that but it was a one-time thing. The moment just took over me.
Interesting. I think every man has a version of this story.
It’s funny how masculinity is tied to money and sacrifice. I also remember when I was 22 and working as a bank teller to help raise my university fees. At some point, something was off at home, so I gave my dad the money to cover for it. You know that moment when your father gives you a double-take? I didn’t want my action to be perceived as an insult but I also wanted to show that I could contribute now that I was working a bit. My father took notice.
There’s something about manliness that is external, that is, it has to be conferred on you by other men. In ancient tribes, young boys had to go through initiation rituals. For example, young men have to prove manliness through acts of bravery like vine bungee jumping in Pentecost Island.
In other cases, you had to do something that affected the life of the community – a sort of graduation from the community taking care of you to you taking care of the community. That’s one aspect of manhood I like.
Hmmm. One aspect I’m interested in is dealing with heartbreak: What do you remember about your first?
In my teenage years, I experienced one heartbreak I thought was the worst because I didn’t know sharper pain was to come. I was leaving the country and our lives were going in two different separations. However, the most devastating heartbreak was in my 20s. I was involved with an older woman and this one hit me gboa!
I got hives all over my chest; My immune system went completely haywire. I remember walking around aimlessly like a mad man and just moping. One day, I was doing my laundry at the laundromat and I just zoned out. I was sad from thinking about the person and the situation. A stranger had to ask if I was okay to snap me back to my senses. But the height was when I ran 22 laps for no reason.
For context, I used to run laps for exercise every morning or evening. On a regular run, I would go 4 laps for the day. On this particular day, the heartbreak hit me so much while running that I kept on telling myself to do one more lap. Then, I’d do it. A voice would tell me – “Do one more lap” – I’d do it. It was like something was chasing me until I ran around a circle 22 times.
What?!
E shock me. That’s when I realised the power of emotions. Only my closest friends knew about it; When it comes to pain for me, I retreat and heal in private. I try to make sense of what’s happening and regulate my emotions. Some people will say “Boys don’t cry” or “Men don’t cry.” I’m like “yeah, yeah, we do cry, just not in your presence. Don’t worry.”
We know who we cry to. A man in pain goes to a safe space he trusts.
True. Does this affect how you approach relationships – What are your red flags?
Well, for one when I make a mistake, I make it three more times to be sure. I had that phase where red flags were intriguing because I’d wonder what’s behind the behaviour. But those days are gone. These days, one of my deal breakers would have to be someone that I can’t negotiate with. If something happens and you guys are in a tough spot or something is on the line and she demands absoluteness from you — that is, they have to have their way all the time — ọmọ, run oh.
One funny one was one night like that, I was out at a live-music show with my then-girlfriend and her best friend. There had been tension between them for a while and it bubbled over that night with an argument. Since we were all friends and I knew how long their friendship was, I tried to play peacemaker by appealing to both parties. Omo, later that night, my babe was not happy with me. At all. She was upset I did not take her side. She wanted me to ride or die regardless of whether she was right or wrong.
It would have been a no brainer if we were dealing with an outsider, but this was her best friend; Who was also my friend. Complication upon complication.
I’m for the negotiation that challenges you to be a better person. Not the type where you cover up for each other by turning a blind eye. If someone deftly brings up aspects of your character that are lacking and genuinely wants you to improve, I like that.
You sound stress averse, how do you relax after a long day?
I first lie down for a good 30 mins to decompress. The next thing is a glass of wine or a cup of tea. Then Netflix and chill. Basically, it’s TV, wine and sleep. Maybe read a few pages of a book and play background music.
What’s the perfect drink?
The perfect drink depends on the mood. If you’re with a girl on a beach with the sun and sand, something with coconut rum might do the trick. But, the drink that made an impression on me and I mean hit me gboa is called Old Fashioned.
It was in a lowball glass and it had a perfectly circular ice cube; Liquid gold with a sliver of an orange peel. I took a sip and was like damn – what is this I am drinking? This is a man’s drink.[laughs]
Dead. What gives you joy?
Joy is scarce these days but when I connect with an audience as an artist – with their humanity – it brings a level of joy.
Also, the family brings me joy. My mum is retired so we take morning walks together. We have a lot of talks during our walks and it makes me happy. I had been travelling and moving around a lot and now that everything is grounded we talk more. I’m getting to see a deeper side to her. I’m learning about her childhood in Enugu so that bonding time brings me joy. Zoom calls with the siblings also excite me – We try to keep in touch.
Does anything scare you?
A lot of things scare me. Top of the list is unfulfilled potential. That pressure is why I sometimes have to break myself out of the negative self-talk. It ties again to pressure in this modern world because there are things you want to do but there are obstacles. Sometimes, you’re your own obstacle because you are distracted. Not reaching my full potential scares me.
Me too. How do you get through a bad day?
I have used this hack all my life and it hardly fails me. When I’m having a bad day, as it’s happening, I pull back and take deep breaths: like 10 -15 deep breaths where you can pull away from the stressors.
In addition to this, I also do positive self-talk. You don’t realize how much that voice playing and replaying in your head is doing to you. I only realized its power after a traumatic event. It’s like a broken record that just keeps repeating itself so you need to break the cycle in your head.
Sometimes I can’t do it by myself and I need a friend or family member to remind me that some of these things are not true and I’m just going through a tough time. I use positive self-talk to call myself to order and to remind myself to pay attention to the situation. An isolated incident doesn’t mean I’m a bad person completely or I am screwed up or I’m an idiot. There’s a difference between saying “This is the first time and I am a novice” and “I can’t do this.” One is giving up, the other is being patient with yourself and giving yourself time. I also add physical exertion like going for a run to clear my head; I just don’t run 22 laps anymore[laughs].
LMAO. What’s something people expect you to like but you don’t like?
Back in the 53 extra days, I used to go out a lot covering cool events in Lagos for Television. I’m highly extroverted and I love meeting people but I LOVE being a homebody. Maybe it’s because I’m in my 30s, but I like my bed and blanket and doing my little routines around the house. Somehow, people will be surprised that I can stay at home alone and be perfectly happy.
What do you think of the concept of the bro code?
The bro code gets a lot of bad rep and in certain instances, it’s well deserved. Sometimes, guys misbehave and they should be called out on their bad behaviour or called to order. Those are the negative aspects of the bro code. However, there are some positive aspects of the bro code that don’t harm other people.
That unshakeable sense of camaraderie between bros that confirms that these are your goons to the end is enough ginger to feel less alone in a cruel world. Especially when faced with complex difficulties that surprise you on a Tuesday morning.
You have to be able to call on your bros. Hopefully, you’ve surrounded yourself with a brotherhood of wise warriors that have your best interest. Brothers that will tell you this is where you were wrong, this is how you can remedy it, and we still got you. It’s a support system.
Bro code is not smashing all the girls, staying drunk, cheating this person, bullying that person. That’s not bro code; That’s debauchery. We don’t cover that kind of behaviour.
When was the last time you cried?
I lost 5 – 0 in FIFA.[laughs]
Editor’s note: Ozzy recently starred in the movie Lost Okoroshi which is streaming on Netflix. You should absolutely watch it!
Check back every Sunday by 12 pm for new stories in the “Man Like” series. If you’d like to be featured or you know anyone that would be perfect for this, kindly send an email.
1. Abba T. Makama is mostly known as a filmmaker and founder of Osiris; a creative group that creates magical ideas for digital and traditional media.
But personally he considers himself an artist and prefers the label ‘creator’. Born and raised in Jos Plateau State. He went to Hillcrest School Jos and St. Joseph’s College before graduating from SUNY Fredonia N.Y. He also studied film at N.Y.U. Ventures Africa listed him as one of the 15 African creatives to watch for in 2016.
2. While growing up in Jos he attend Hillcrest school and was classmates with Tejumola Komolafe (NaijaBoyz).
They were both the best art students in their class and also best friends. Teju left Nigeria in the early 90’s. The two reconnected in 2006 via Myspace and discovered they both where on the path to becoming filmmakers.
3. His company Osiris has worked with numerous brands.
Directing commercials, digital marketing skits and documentaries for companies like Google, Blackberry, Gtbank Nigerian Breweries etc.
4. In 2010, he and friend/colleague Bolaji Kekere Ekun ( 37th State) created AMEBO at FOUR.
5. In 2010 he wrote, produced and directed the comedy satire on the Nigerian film industry called Direc-toh.
Direc-toh screened at Eko International Film Festival 2010 and won Best Actor at InShort Film Festival 2010.
6. In 2012 he collaborated with fashion designer and close friend Niyi Okuboyejo, to create Party of Minister.
Party of Minister is a satire short film about corrupt African dictators. It screened at the 2016 Black Star Film Festival in Philadelphia.
That same year he also directed a fashion film for acclaimed fashion designer Maki Oh.
7. In 2013 he released QUACKS a sequel to Party of Ministers.
Party of Minister and Quacks were selected for the first Iroko TV online short film festival.
8. In 2014 he was commissioned by Al Jazeera to direct a documentary on the Nigeria Film Industry.
It aired in July 2015 on Al Jazeera world and was well received by key figures in the industry.
9. In 2015 he released a comedy reality TV show, CITY BISHOP, about a journalist from the village of Isoko who explores Lagos city life.
Season 1 aired on SilverBird TV.
10. 2016 will be the release of his first feature length film ‘Green White Green’.
Green White Green is a comedy satire and coming of age story about 3 young boys from the 3 major ethnic group on an adventure to shoot a short film inspired by Nigeria’s history.
11. Abba Makama the painter.
His first solo art exhibition is on February 28th 2016 at the IAMSIGO showroom. Waking hallucinations and sleep paralysis are the inspiration behind the art show.