“Okon Lagos” - produced by Uduak Oguamanam and directed by Desmond Elliot, tells the story of Okon, a down-on-his luck hunter from the backwoods of Akwa Ibom, who comes to Lagos in search of glory and wealth. Soon, he finds that his crude ways have no place in the city. Will Okon, like a true hunter, survive in the concrete jungle that Lagos is or be lost in the wilds forever?
I just watched the super cute Nollywood film 'The Wedding Party' on Netflix. It's directed by Kemi Adetiba and is the biggest cinema-grossing Nigerian film in Nigeria. If any of your followers feel like adding a light-hearted film to their women-directed to-watch lists, I would recommend
Thanks for the recommendation! I remember it premiered at TIFF but I lost track of it since then.
The cinema of Nigeria, often referred to as Nollywood, grew quickly in the 1990s and 2000s and became the second largest film industry in the world in number of annual film productions, placing it ahead of the United States and behind only India. In 2013, it was rated as the third most valuable film industry in the world after generating a total revenue of NG₦1.72 trillion (US$10 billion) in 2013 alone, placing it behind India and the United States.
The Nigerian film industry is worth NG₦853.9 billion (US$5.1 billion) as at 2014 and produces hundreds of home videos and films per annum. Nigerian cinema is Africa’s largest movie industry in terms of value and the number of movies produced per year. Although Nigerian films have been produced since the 1960s, the rise of affordable digital filming and editing technologies has stimulated the country’s film and video industry.
Mother of George (2013) - dir. Andrew Dosunmu // Nigeria
Acclaimed photographer-turned-director Andrew Dosunmu’s film opens with a heady rush of the sights and sounds of a vibrant, traditional Yoruba wedding. Ayodele and Adenike are being married, and only after the ceremony is it apparent that the event is taking place not in Nigeria, but in Brooklyn. A recent immigrant, Adenike soon discovers her new life, like her wedding, is still dictated by the ways of her homeland, where wives are expected to conceive children, specifically boys, without delay. Months pass, and, much to the chagrin of her domineering mother-in-law, Adenike doesn’t get pregnant. As the pressure mounts, she makes a desperate decision, one that might save her marriage or tear it apart.