Nolly Silver Screen ISSUE 06 JULY 2014
out on DVD The business of cinema
Brands supporting Nollywood
- IRETIOLA DOYLE - O.C. UKEJE - ADEJOKE LAOYE - SERGE NOUKOUE - DEYEMI OKANLAWON
CINEMA TICKETS, NOLLYWOOD DVDS AND MORE
returns in book form
Ojuju Behind the scenes pictures
Film Festivals in Nigeria
Tinsel’s sweetheart on living the dream...
Nolly Silver Screen
ISSUE 06 JULY 2014
8 Top 10 brands that have supported Nollywood through the years 11 The business of cinema 16 Emem Isong on distribution and other challenges of a film producer 27A Day in the life of... Bayray McNwizu 30 Funke Akindele: Promoting values through film 30 Don’t be mere copycats 32 5 film festivals in Nigeria 36 Kunle Afolayan’s Figurine returns in book form
14 On the cover: Linda Ejiofor 22 Q & A with Adejoke 26 Laoye 23 Up close and personal with Iretiola Doyle 26 Talent on the rise: Deyemi Okanlawon 27 O.C. Ukeje on Dowry, marriage and the World Cup 31 Serge Noukoue on Nollywood Week Paris film festival
4 Editor’s Note 5 Readers’ Corner 23 6 Contributors’ Bio 9 Vox Pop 10 Nolly Toons 10 Celebrations this month 12 On Set 19 News 20 Photo News 23 Nolly Pop Quiz 24 Reviews 28 Red carpet 33 Festival News 34 Listings 35 Events 37 Award News
This edition’s theme is on the business of cinema. Wilfred Okiche gets approaches the topic by looking at the life cycle of a Nollywood movie (p. 11). What is the most expensive Nollywood movie? Take a wild guess and find out what others think in our Vox Pop section (p. 9). Our new cartoon strip – Nolly Toons is about the Economics of a Naija Date (p. 10). Things get smoking hot on the red carpet of Mbong Amata’s DVD launch (p. 24 ) and Ivie Okujaiye’s movie premiere (p. 25). It is great to see these women make their debut as producers.
Nolly Silver Screen was proud to partner with the Nollywood Studies Centre of the Pan Atlantic University during their annual international conference. Check out pictures from the event (p. 20).
PHOTO: EMMANUEL PAUL
You probably know her as Bimpe in Tinsel, our TV sweetheart Linda Ejiofor dishes on her acting journey, her ideal man and Nollywood (p. 14).
HANGE IS CONSTANT.
This rings so true for us here at Nolly Silver Screen. We have had new additions to the team, added more pages to the magazine and welcomed new advertising partners. For our sixth edition, we decided to take our time and come up with a new and improved magazine – from the design to the content. It has been a lot of hard work, constant back and forth and a lot of long hours. Anyone who tells you magazine publishing is glamorous is only telling you half of the story. While the finished product which you are reading today looks like a piece of cake (it does right?), putting it together is no sweet dessert. So, here is a big shout out to everybody who has stood by us with
words of encouragement and advice and has pushed us to come up with nothing but the best. This is for you!
Get the scoop on what Nollywood movies will be premiering this month and those that will be released on DVD (p. 34). For the filmmakers, there are a number of opportunities to submit your works for awards and festivals. Fingers crossed, we just might get one of our movies in next year’s Oscars. Get all the details and see if your film is eligible (p. 37). I am always proud to see young talents on display – they are the future of Nollywood.This was one of the reasons we started the magazine in the first place. In the homegrown edition of Open Mic Theatre, we were wonderfully entertained and the pictures tell the story (p. 21). Coming up this July is the book launch of Autering Nollywood: Critical perspectives on The Figurine by Adesina Afolayan (p. 36 ). Enjoy!
Isabella Akinseye @iakinseye
5 Write ‘n’ win
t you have Write to us about wha and stand a enjoyed in this edition lous prizes. chance of winning fabu giving out 2 This month, we will be ime Suites DVD. copies of Murder at Pr ema tickets to Also up for grabs are cin in Nigeria and see a Nollywood movie a gift hamper. rscreen.com Email: info@nollysilve media Get in touch via social lysilverscreen www.facebook .com/nol llysilverscreen www.google.com/+no rscreen www.twitter.com/nsilve ollysilverscreen www.instagram.com/n
VIA EMAIL Great press release and the cover looks awesome :) Elizabeth Ayoola, Connect Nigeria This issue of the magazine looks great. I will certainly share the link. Dr Ikechukwu Obiaya, Nollywood Centre, Pan Atlantic University
VIA FACEBOOK Nice. Well done! Joy Isi Bewaji, The Magazine Club This is great. A must read at www.nollysilverscreen.com Shaibu Husseini, The Guardian Newspaper
You can now read your favourite magazine Nolly Silver Screen on issuu.com/nollysilverscreen
NOLLY SILVER SCREEN EDITOR
GRAPHICS & LAYOUT Isabella Akinseye
Quill and Scroll Creatives
Temitayo Amogunla Bola Atta Bola Audu Toni Kan
Temitayo Amogunla Akinwande Ayodeji Steve Ayorinde Stronghold Ekine Ikechukwu Obiaya Wilfred Okiche Oluwaponmile Orija
Temitayo Amogunla is an alumnus of Obafemi Awolowo University, Ile Ife and works in Ibadan, Nigeria as a freelance writer and editor. She is the Creative Director of Wordsmithy Media, a company that brings her passions – writing, editing and public relations – together. She is also an award winning essayist.
Akinwande Ayodeji is a self taught digital artist, graphic designer and illustrator. He graduated with an MSc Pharm. Chem from UNILAG but creativity is what drives him. He intends to make good use of it. He works for CKDigital as a graphics designer.
Innocent Ekejiuba is an alumnus of Obafemi Awolowo University. He is the Deputy Editor of Nolly Silver Screen (the website and the magazine). He is also an avid blogger and budding graphics designer.
She reviews The Meeting (p. 25).
He reviews Artist Hustler and My Delusion (p. 24). His cartoon strip Nolly Check out his Nolly Pop Toons is on The Econom- Quiz (p. 23) and his proics of a Naija Movie Date file of 5 film festivals in (p. 10). Nigeria (p. 32).
She thinks the amount a Nollywood filmmaker should spend on a movie...will depend on the story.
He thinks the amount a Nollywood filmmaker should spend on a movie...will depend on the script.
He thinks the amount a Nollywood filmmaker should spend on a movie...will depend on the vision and scale of the production.
Ikechukwu Obiaya lectures at the School of Media and Communication of the Pan-Atlantic University and is the director of the Nollywood Studies Centre. His research work is centred on the Nigerian film industry.
Wilfred Okiche believes in God, medicine, music and movies. A medical doctor, occasional writer, columnist and profiler.
Oluwaponmile Orija is studying Food Science and Technology at the Federal University of Agriculture, Abeokuta. She loves writing and has published several works in the newspapers.
Nolly Silver Screen is a monthly online magazine of www.nollysilverscreen.com. Reproduction in whole or in part without permission is strictly prohibited.
He compiles a top 10 list of Nigerian brands that have supported Nollywood through the years (p. 8) and writes about He writes on the monthly the business of cinema forum organised by the (p. 11). Nollywood Studies CenHe thinks the amount tre (p. 16 and p. 30). a Nollywood filmmakHe thinks the amount a er should spend on a Nollywood filmmaker movie...will depend on should spend on a the market and the profmovie...will depend on itability. his/her business plan.
She finds out what people think is the most expensive Nollywood movie for the Vox Pop section (p. 9). She thinks the amount a Nollywood filmmaker should spend on a movie...should not be less than 10million naira.
Want to contribute?
Send an email to firstname.lastname@example.org
Top 10 Brands that have supported Nollywood through the years BY WILFRED OKICHE
Film business is big business. But with a scarcity of major studios available to bankroll ambitious projects, Nollywood has had to turn to other means to scrape budgets together. We present the top 10 brands that have held out a helping hand and ensured that the films are steadily churned out.
With a lot of movies shot in the Centre of Excel-
The deal may have gone bust now, but Ecobank
The telecoms giant is quite incapable of play-
Mike Adenuga’s Globacom has become one of
Diamond bank has taken a good bite of the Nol-
lence, almost nothing can be done without the total support of the Fashola-led state government. Cinematographer/ director Tunde Kelani and his Mainframe productions have benefitted from the state government’s largesse with his 2011 film Maami as well as the upcoming feature Dazzling Mirage.
walked the talk and partnered with some top flight producers like Charles Novia and Chico Ejiro in the short lived Project Nollywood. While the productive romance lasted, Ecobank’s partnership spawned results like Fred Amata’s Letters to a Stranger, Novia’s Caught in the Middle and Fidelis Duker’s Senseless.
ing in the small leagues so when MTN arrived in Nollywood, it was with a splash heard around the world. The unmistakable yellow colour of the brand was prominent in Mahmood Ali Balogun’s Tango With Me. Stephanie Linus muttered the most famous line in last year’s Doctor Bello when she promised to get Isaiah Washington’s character an MTN sim card.
the biggest supporters of Nollywood. Globacom has anointed dozens of film stars as ambassadors, paying them mouth-watering sums in the process and has supported fully, the film projects of these ambassadors. Funke Akindele and Kunle Afolayan are filmmakers who have enjoyed the Globacom touch in their various projects.
lywood apple with its obvious presence in the production and promotion of Obi Emelonye’s award winning film Last Flight to Abuja. The finance powerhouse also was highly visible in the creation of theatre maven, Bolanle Austen-Peters’ Broadway style musical Saro which premiered last year.
With the Africa Magic stations, multiple 24 hour channels dedicated to airing Nollywood content back to back, perhaps no other brand has been as visible in its support for growing local television content. Apart from acquiring copyrights for a fee, DSTV’s parent company Multichoice hosts the annual AMVCAs which will enter its 3rd season next year and only recently, the company called for entries for original film ideas.
The Nigerian Export-Import Bank has been actively supporting the film industry for a while now, focusing more on the distribution end of movie making. Under its ‘Export of Services’ mandate, the bank has spent over N460 million Naira as seen in the investment in Kene Mkparu’s Filmouse group of cinemas which has outlets in Lagos, Ibadan and Calabar.
Amstel Malta backed the reality talent hunt show AMBO Box Office for a couple of years and the show went on to discover fresh talents like Tonto Dikeh, O.C. Ukeje and Ivie Okujaiye. Amstel Malta is a big sponsor of the Africa Magic Viewers Choice Awards and this year, the brand sponsored the short film/advert, The Search, a mini biopic on the lives of Genevieve Nnaji and footballer Mikel Obi.
Say what you will about Jason Njoku and his methods of doing business but none can deny that his iROKOtv has been good for Nollywood. From exposing the films to a wider audience, especially in the Diaspora to making them available at the touch of a button, hence bypassing some of the tragic effects of piracy, the iROKOtv project is a welcome development.
What would the ‘New Nollywood’ be without Silverbird cinemas? The Murray-Bruce family enterprise re-revolutionised the viewing of local movies with the arrival of the Silverbird cinemas. The numerous film premieres hosted at the Silverbird Galleria in recent times is proof that when it comes to supporting Nollywood talent – and profiting from it – nobody does it better.
What is the most expensive Nollywood movie?? Oluwaponmile Orija finds out..
Half of a Yellow Sun 27 billion Naira Fakomaya Ayomide
Ije (The Journey) 40 million Naira Tolulope Elemo
Snare 270 million Naira Kevin Emina
Last Flight to Abuja 40 million Naira Segun Aminu
Half of a Yellow Sun 8 million Dollars Samuel Tomoloju
Last Flight to Abuja 20 million Naira Jimi Adesesan
Two Brides and A Baby 20 million Naira Lade Taylor
Lekki Wives Millions of Naira Ada Uwalaka
Shuga 9 -15 million Naira Benjamin Edegbai
JULY CELEBRATIONS 11 Olu
17 16 Ramsey Nonso Nouah
The business of cinema
The allure of Nollywood – and Hollywood – has always been the glamour, glitz, red carpets and film premieres. Movie stars that move from photo shoot sets to interview studios. But there is a reason the industry is associated with the word showbusiness. The show and the business; both of them, opposite ends of a spectrum that are not always mutually exclusive.
With the re-emergence of the cinema culture, industry practitioners have had to contemplate newer mays of getting income from their intellectual property. Distribution, which used to be the exclusive rights of the marketers at Idumota and Upper Iweka, opened up to accommodate players like the Silverbird Group, Kene Mkparu’s Filmhouse and the Genesis Deluxe Cinema franchises. New wave as well as old school producers have begun to navigate interesting options to yielding revenue for their moves. One of the very first steps to a potentially successful film in today’s Nollywood is securing endorsement. Now this may come in the form of telecom companies looking for a shout out in the film or state governments contemplating tourism avenues. In some cases, a windfall of cash is made available up front which the producer is able to plough into actual production. More often than not, such boosts arrive when the shoot is done and are directed to marketing and publicity efforts. In cases where actual cash does not change hands, the filmmaker benefits from the products and services the sponsoring brand has to offer as required in the screenplay and in the process, helping to keep costs low. A-list stars who enjoy endorsement deals and chummy relationships with the major brands are sometimes cast in strategic roles in a film so as to convince these players to invest in their projects. Funke Akindele, Kate Henshaw and Kunle Afolayan are some thespians who have benefitted from this arrangement. When a film is ready to be screened, producers make the cinema calls and enter into negotiations with the management of the privately owned picture houses. The type of deal the Chioma Akpotha, Ali Nuhu and Funke Akindele unveiled filmmaker scores varies from one cinema house to the other as OMO Brand Ambassadors and is dependent on a number of factors which may include clout, genre of film and proper negotiating skills. Most houses adopt the standard sharing of profits with the filmmaker keeping up to 30% of the film’s revenue. A particular cinema is fond of insisting on the option of hosting the film premiere as part of the deal, thus, forcing producers to add it to their publicity budget. After the cinema rounds come the DVD/video sales. This could be the make it or mar it stage of the film’s cycle as it is the part most likely to be pirated and made available for a token. Chineze Anyaene who wrote and directed the future classic Ije: The Journey adopted strict precautions during her film’s roll out plan to prevent losing ground to the pirates. Some of them included recording the film in non-rewritable discs and making sure the market was flooded with the reasonably priced original copies of the film nationwide. Other emerging alternatives for film distribution are online and on television where producers give away the rights (at ridiculous prices sometimes) to behemoths like DSTV’s Africa Magic and Jason Njoku’s iROKOtv.
While these methods are still being tested, it has become imperative that filmmakers make an effort to research and study about the film business. Structure is as important as talent and to avoid a doomsday scenario where producers sign away their rights to greedy businessmen and mortgage the industry’s future in the process.
PICTURES FROM THE SET OF NOSA IGBINEDION’S OYA: RISE OF ORISHA
PICTURES FROM THE SET OF C.J. OBASI’S OJUJU
Tinsel’s sweetheart on living the dream... BY ISABELLA AKINSEYE
How did you start your career in TV?
Purely by chance. While waiting for NYSC, I got involved in modeling on a part time basis, and then one fateful day, my friend hits me up telling me about the Tinsel audition. I was reluctant at first but then I gave it a shot and was very surprised that I got a role. That’s how I got cast to play Bimpe. The rest, as they say, is history.
Has it been financially rewarding or do you have a side hustle to foot the bills?
I’ve been so blessed being in the Nigerian film industry. Let’s just say I am able to pay my bills. If by side hustle you mean other projects I get involved in, then that would be movies and commercial modeling.
Tell us about your character in Dowry?
Nike is a bully! She is not scared of anyone and is way too opinionated (she just wouldn’t let anyone take her for a fool). I suspect it had something to do with her past which my dear writer-director Victor Sanchez Aghahowa is (frustratingly) keeping a secret. Let’s not forget she’s also best friend and self appointed bodyguard to the bride.
Was it stretch for you or did you feel right at home playing her?
Initially, I had thought it was going to be easy to play Nike but was I wrong! I realised that underneath all that hard exterior, Nike really had a soft and vulnerable side which she tried very hard to conceal. That mix made it a really interesting but still very tasking role to play. After numerous conversations with Victor, we were able to build the character and strike the right balance.
What is your secret in remaining consistent in your craft? YouTube! I watch a lot of acting tutorials online and read books on acting. I also watch quite a lot of movies to study my favourite actors.
Who are your role models in the industry? I have so many, if I start I may not finish.
Which do you prefer TV or film and why?
Well, for me, working on TV isn’t so much different from being in a movie set. I love both and find them equally tasking but for different reasons. For TV, I have been playing the Bimpe character for years and most of the acting is technical. However, when I am on a film project, I find myself having to go so much deeper artistically to build a character and intensely maintain that character for the period of the shoot. At the end of the day, whether TV or film, the point is I get to do what I enjoy the most - act!
What next can we expect from you this year? I have set goals for the year that I am
working hard towards. I am scheduled to shoot a few very exciting movies which unfortunately, I am not at liberty to discuss at the moment.
Describe a typical day in your shoes?
If I am scheduled to shoot, I usually wake up by 5:30 am, get to work by 7:30 am and I am on set the whole day. During shoot breaks, I try to catch up on some movie/series, play pranks on my colleagues and catch some sleep. During my off days, I either have strategy meetings with my management and PR team or I simply stay home and watch more movies. My friends know the only thing that can bring me out of the house is a new movie in the cinema (smiles).
Beyond acting, what other areas of filmmaking will you like to try your hands on? I am currently working on co-producing, co-directing and co-acting a short film with Deyemi Okanlawon and will let you know how that goes (fingers crossed). I also plan to go to film school soon.
If you were not acting, what will you be doing?
What is your favourite Nollywood movie of all time?
That would be Violated by the late Amaka Igwe (may her soul rest in peace).
How do you spend your free time?
I love my sleep so I’m almost always home or hanging out with friends.
What does family mean to you?
Family means the whole world to me, I don’t joke with my family. Love them to the moon and back and I’m forever grateful for their support.
Any plans to settle down soon?
Of course! Once the Lord sends Mr. Right my way...keep watching this space (laughs).
What qualities does Mr. Right need to possess?
He has to have a deep relationship with God and have a clear vision first for his life and then for his family. Should have a great sense of humour, has to smell good, be a good listener and most importantly respect and accept me for me.
The only thing I’ve ever wanted to do outside of acting was to be a creative executive in the advertising industry.
In three words, you are?
“He has to have a deep relationship with God and have a clear vision first for his life and then for his family. Should have a great sense of humour, has to smell good, be a good listener and most importantly respect and accept me for me.”
What advice do you have for people wanting to join the industry?
What are your hopes for Nigeria’s motion picture industry in the next five years? I can see clearly that with the massive influx of investment, talented filmmakers, writers and actors as well as skilled technicians, the next five years will see Nollywood crossing from acceptance by the black race to gaining global acceptance.
Blunt, funny, and sexy (laughs). Told you I was funny.
Network with other actors so you get information on upcoming auditions. Work on your acting skills. Go see some stage plays, read books and watch a lot of movies, series, reality shows. One day, it shall be you answering these questions (smiles).
Emem Isong on distribution and other challenges of a film producer BY IKECHUKWU OBIAYA FOR THE NOLLYWOOD STUDIES CENTRE Online platforms for the distribution of Nigerian films are a welcome development. The producer/scriptwriter, Ms. Emem Isong, stated this while speaking at the May edition of the Filmmakers’ Forum organised by the Nollywood Studies Centre of the School of Media and Communication. Ms. Isong spoke on the topic, ‘Overcoming the Odds in Nollywood: A Producer’s Challenges, Solutions and Successes.’
“I try to let the investor know that this business is quite risky. I’m not going to promise that I’ll give your money back within [a particular fixed period]. I won‘t give you a timeline. I’d rather say, give it at least a year… It could take a year for you to get your money back” Ms. Isong acknowledged that some of her colleagues might not agree with her as to the opportune entrance of the online platforms. But she went ahead to state that “It saves me the trouble I used to have of fighting the marketers in North America and in Europe. I am not selling to those people anymore. They used to owe too much. Now, I’d rather just sell my films to Iroko or Ibaka that will cater to the people in the diaspora.” The profitability of the platform for the filmmaker, however, depends, among other things, on his/her negotiation skills. “It depends on your bargaining power and how much you can get from these people for your work; how many years you can negotiate for them to have the rights. I usually negotiate for, at the very least, two years.” Ms. Isong added that she always restricted such agreements to just the internet rights since she prefers to handle the other rights herself. In response to a question on the nature of her overall distribution strategy, Ms. Isong noted that it depended on whether the film was a straight-to-DVD film or if it was one made for the cinema. “A lot of the time, I make straight-to-DVD movies. Sometimes, I try the cinema – with the advent of the cinema, it’s been quite encouraging.” Given that the numbers are important in the cinema, a publicity campaign is carried out to get as many people as possible to watch the film there. “After going to the cinema, we then go to the [online platform]. We
release through those ones first before we go on DVD, which is the final stage.” Ms. Isong revealed that she depended on her own distribution network to carry out the work at this final stage. “My own distribution that I have [focuses mainly on] DVD. I have outlets in Onitsha, Aba, Akwa Ibom, Abuja and mainly Lagos.” Earlier, Ms. Isong shared with the audience how she entered the film industry. According to her, she got into filmmaking during “the golden age of Nollywood, when the home video phenomenon was still a phenomenon. The market was crowded; audiences were insatiable, and people were jumping on the film bandwagon from other industries…” She resigned from her job as a banker and entered the industry. Her first film, Jezebel, was an Igbo language film that she wrote and co-produced with Francis Agu, in 1994. Her first solo effort came in 1996 with Breaking Point, which she funded and produced. The funding came from her parents in the form of a sixty thousand Naira loan. She also got some assistance from Tunde Kelani, who hired out equipment to her on credit. Ms. Isong recognised that she meets with various challenges in the course of her journey through the industry. The first of these, she said, is creative. “Being a movie producer, our job is to find and tell stories that will stand with the many, many stories released everyday and sell enough to make money so as to make new stories. Where do we find these stories?” She went on to add that these stories had to be mined from one’s life and the experiences of others. Funding continues to be a major challenge for the filmmaker. In response to a question as to how she is able to reassure investors of a timely return of their investment if they fund her film, Ms. Isong had this to say: “I am very hesitant when it comes to getting money from investors. If I do, I try to let the investor know that this business is quite risky. I’m not going to promise that I’ll give your money back within [a particular fixed period]. I won‘t give you a timeline. I’d rather say, give it at least a year… It could take a year for you to get your money back, not to even talk of your getting profit.” Making the money back, she stressed, is the climax of the filmmaking process, and this is where the challenges of distribution come in. The Forum ended with a cocktail during which the members of the audience had further opportunities to interact with Ms. Isong. The Filmmakers’ Forum is a monthly activity of the SMC’s Nollywood Studies Centre.
Read every edition on www.nollysilverscreen.com
JUMP AND PASS NOW ON THE BIG SCREEN
N E W S
Jump and Pass is a new comedy produced by Uduak Oguamanam (Desperate House Girls and Okon Goes to School). Directed by Desmond Elliot, the movie features Ime ‘Bishop’ Umoh, Alexx Ekubo, Belinda Effah, May Owen, Emem Ufot, David Azeez, Whoba Ogo and Odot Ekanem. Edem (Bishop Umoh) plagued with diarrhoea leaves his gate unmanned in search of tissue paper. There’s a robbery in the neighbourhood and two strangers run in through the open gate for safety. Ikenna (Whoba Ogo) is forced to open his door to his neighbours, the strangers and Edem. Jump and Pass is screening at Silverbird cinema, Uyo.
HALF OF A YELLOW SUN SET TO DEBUT IN NIGERIAN CINEMAS THIS JULY
Having met the conditions set by the Censors Board, FilmOne Distribution have been given the green light to release Half of a Yellow Sun in Nigerian cinemas. The movie has been given an “18” rating and is set for release this July. While no official date has been chosen, the distributor has hinted that the movie will be screened between 18th and 25th July.
IBINABO PRESENTS THE CERTIFICATE OF OWNERSHIP OF LAND IN ABUJA TO AGN
Her Excellency president of AGN, Ms. Ibinabo Fiberesima, once again has demonstrated her penchant for doing the impossible. The fair one that has in less than two years transformed the guild to become the envy of all other guilds. At the event to mark one year in office of the Lagos chapter chairman, Victor Osuagwu, Madam President made a pleasant surprise appearance. At the announcement of her coming, the atmosphere became positively charged in anticipation of the president whose achievement surpasses that of every other president the motion picture industry has ever had. Ms. Ibinabo Fiberesima left everyone dumbstruck when she announced that the president of the Federal Republic of Nigeria, His Excellency Dr. Goodluck Ebele Jonathan has once again demonstrated his love for the creative industry as he has delivered the land they asked for when they paid him a courtesy visit earlier this year.In her words she said “When I wanted to be president, they said I am a woman but dem no know say na woman sabi make things work pass. I chased this land like a lunatic because I didn’t want to hear that the certificate of ownership did not come when I was president. So today I am so happy to present this certificate to the board of trustees”. At the sight of the certificate of ownership held high in the air by the chairman of the board of trustees Mr. Ifeanyi Dike, her members burst into heavy celebrations and the ladies began singing and dancing in her honor. Mr. Ifeanyi Dike could not hold his excitement he said “Madam president I thank you for finally giving AGN a home. This is what we had in mind when we formed this guild”. He thanked the president Goodluck Ebele Jonathan for making true his promise to them. “Once again our president has shown that he is a man to be trusted. On behalf of AGN I say thank you”. Other notable board of trustee members and veteran actors present like Sonny Mcdon W, Okey Bakasi, Emma Ogugua and many others also lent their voice to eulogize the exceptional president. Ms. Ibinabo Fiberesima in a chat with the press to announce that she had finally given in to the calls of the congress and her members nationwide to run for a second term. This they said was due to her monumental achievements and it will be unfair to deprive the guild of such selfless service. Also it will give her the opportunity to consolidate her achievements. Also beneficiaries of the AGN’s benevolence fund like Prince James Uche, Maxwell e.t.c. made surprising entrances to share their experience and encouraged other members to register for the health scheme. Prince James Uche said “in 2008 I lost my family and I lost all hope but madam Ibinabo has shown me that I have a bigger family”. Many veterans have benefitted from the benevolence fund. Mr. Larry Williams who the President rented an apartment for and is furnishing is the latest beneficiary. For a long time the veteran actor had been homeless, the matter recently got to the hearing of Madam president and she took swift action. TEXT AND PHOTOS: COURTESY OF STRONGHOLD EKINE FOR NOLLYTV
photo N E W S
Juan Manuel Elegido
Gab Onyi Okoye
2ND ANNUAL NOLLYWOOD STUDIES CENTRE INTERNATIONAL CONFERENCE PHOTOS: EMMANUEL PAUL & ISABELLA AKINSEYE
Winner of the raffle draw, Tony Abulu receiving a Nokia Lumia 1020
photo N E W S
Kemi ‘Lala’ Akindoju with some of the actors and guests
Linda Ejiofor spotted in the audience
OPEN MIC THEATRE: THE HOMEGROWN EDITIION PHOTOS: ISABELLA AKINSEYE O.C. Ukeje
Kemi ‘Lala’ Akindoju
and I enjoy it. What advice do you have for people who want to join the industry? Network a lot. That goes for any industry, not just entertainment. Do your research and find out who the key players are. Try to get to know the people who are doing something similar to what you would like to be doing. Some of them may even become mentors. Above all, be professional and leave a good impression.
e y o a L e k jo e d A h it Q and A w EYE
BY ISABELLA AKINS
From stage to TV to sitcom, how have you been enjoying your move back to Nigeria? My mantra has been “keep an open mind and don’t take things (including myself) too seriously”. To survive here, you have to be able to roll with the punches and take things as they come without feeling entitled. I am extremely grateful for the opportunities that I have been given and grateful for the hard work that has begun to pay off. Tell us about your character in Dowry. I play the character of Lola in Dowry. She is the groom’s younger sister, a free spirit who marches to the beat of her own drummer. Is this a role you have played before or is totally new for you? Certain elements are new, and certain elements are familiar.
Read every edition on www.nollysilverscreen.com
Which do you prefer - the stage or the camera and why? They are very different, but I would have to say I’m a stage girl at heart. There is something about performing live and feeding off of an audi-
ence’s energy that takes me to a different place. On stage, everything happens in that moment and once it’s gone, it’s gone. On stage, I’m bigger than my body, bigger than my voice, bigger than my limitations, bigger than myself - it’s magical. Describe your first audition. My first audition wa disastrous! I had just started university and I wasn’t sure what I wanted to study so I went to try out for the Musical Theatre program at my school. I had never auditioned before so I thought I could just show up and razzle dazzle them with my awesomeness. When I got there, it was clear I wasn’t prepared, and my nerves got the best of me. It was bad, it was very bad. What keeps you going as an actress and TV personality? They say “there’s no business like show business” and I totally believe that. The entertainment industry doesn’t typically function the way other traditional industries do. While it can be very rewarding, it can also be very unpredictable. I do what I do because I am talented
Who are some of your role models? I’m inspired by Chimamanda Ngozi-Adichie and Asa because they live according to their own rules. They’re young and fearless and are products of my generation. They use their creative talents to make a difference in their own way. What is your favourite line from a movie? I’m obsessed with Mean Girls and I love when Damian says: “That’s why her hair is so big, it’s full of secrets.” Beyond acting, what other area of filmmaking are you interested in? I have done a little bit of directing and would love to do that again someday. If you were not acting/presenting, what will you be doing? I’d probably be teaching. What was the last Nollywood movie you watched? Maami by Tunde Kelani. In one word, you are? [A] Dreamer. PHOTO: COURTESY OF ADEJOKE LAOYE
NOLLY POP BY INNOCENT EKEJIUBA
1. Which movie was first premiered this year? 2. Where was Darima’s Dilemma premiered?
Up Close and Personal with
3. How many Silverbird Cinemas do we have in Nigeria?
STARRING IN DOWRY
The producer/director Victor Sanchez is a colleague and good friend of mine and had spoken to me a long time ago about working together on a project. Besides belonging to my friend, the script was refreshing, different, the dialogue brilliant; an actors dream... Then my character - Jadesola Richards??? I wasn’t likely to pass up the opportunity to play her.
4. Who is the executive producer of Half of a Yellow Sun? 5. Who directed Mama Africa? 6. Where is FilmHouse Cinemas’ new cinema located?
ON JADESOLA RICHARDS...
Simply put: she’s a classy bitch who genuinely cares about her own, though she has an odd way of showing it. Plus, she’s not to be trifled with.
CAMERA VS STAGE Stage. Nothing beats the instant gratification.
IRETIOLA ON THE TELE Yes. At least two more TV productions
7. Who directed Make a Move?
Up by 4 am to get the kids up and ready for school, then I’m usually on set by 8 am. Depending on the day’s schedule, I’m back home at anything between 4 pm and 9 pm.
8. What edition of the Eko Internationmal Film Festival would be held this year? 9. Where was the last African International Film Festival Held? 10. On what day did Flower Girl screen at the Toronto Black Film Festival?
Our tenacity and ‘can-do’ spirit.
CHANGING THE INDUSTRY
I’d make make sure we had stronger and more enduring structures, which are backed by the law. I would also like to see better quality scripts and stronger female characters.
RUNNING SISI OGE
The competition is an offshoot of the fashion show Oge that I produced and presented for a decade. It was another way to strengthen the brand and further appeal to our core fan base which was made up mostly of young people.
There have been several, but the sum total is still being here plying my trade for close to two decades and still being relevant.
IN FIVE WORDS, YOU ARE... Easy-going, passionate,diligent, sexy yet subtle. INTERVIEW: ISABELLA AKINSEYE PHOTO: COURTESY OF IRETIOLA DOYLE
Title: Artist Hustler
Director: Desmond Elliot
Director: Taiwo Badejo
Artist Hustler takes a deep look into the world of a hustling artist. One not devoid of creativity but opportunity. The documentary is in Yoruba language but subtitled into English and carefully trails the artist from the point where the art is made through the frustrations of trying to sell and finally ends at the point of reflection after a day’s job. The soundtrack chosen for this documentary carefully complements the artist’s line of work (sculpting). This particular artist is inadvertently not just telling his story, but the story of art appreciation in Nigeria and also the challenges of surviving. - INNOCENT EKEJIUBA Title: My Delusion Genre: Short Film Director: Okuns Osanyade Year: 2013
In the less-than-two-minutes trailer of Unforgivable, what hits you immediately is drama! From the opening lines, you get this feeling that things will only get hotter and they do! From the hot steamy kissing scenes to the visible and very audible slap, it is obvious that something indeed must have really gone wrong. If you don’t understand Yoruba, I am sorry, because majority of the dialogue is in Yoruba and unfortunately, there are no translations. For me, Dayo Amusa really has no excuse except of course she wants a very limited audience. How much would it have cost to get a translator for the trailer? Generally, the trailer is well produced save for a scene where the lighting could have been improved. Also, less would have been more and a better selection of more toned down scenes would have made for entertaining viewing. There is far too much kissing, fighting and drama and not enough on the story line. It all seems like bits of interesting pieces all put together to get the maximum effect. The ending of which basically has a character speaking English saying, “I want to discuss with you” has no business being there and does nothing to further help me understand the movie. The biggest strength of this trailer is the stars it features: Dayo Amusa, Mike Ezuruonye, Bukky Wright, Desmond Elliot, Faithia Balogun, Bimbo Thomas, Iyabo Ojo, Niyi Johnson, Bidemi Kosoko, Lawal Aisha, and Titilayo Shobo. That alone would seal the fate of the movie and would make some people watch it irrespective of the glitches and that list includes me. Verdict – You would enjoy watching Unforgivable if you are a fan of Yoruba movies and do not mind the odd over acting here and there but leave the kids at home.
- ISABELLA AKINSEYE
My Delusion says a lot in just 4 minutes. It tells a tale of love, woe and addiction. Without dialogue but rather making use of props probably too small for some to notice, the director passes a lot of information to the viewers (for example, what Charles did for a living and why he was sacked). Further impressive in the tale of love lost due to the delusional interpretation of marital vows is the acting and the scene transition and the musical score. These three features compensated for the writer’s seemingly frail grasp of what the perfect anti-climax should be. - INNOCENT EKEJIUBA
Title: The Meeting
The more frustrated she was, the worse she looked. The main character had some flashes of good acting, especially towards the end of the movie when frustrated, he takes laws into his Genre: Feature Film hands; when frustrated, with no fear of “Code Red” he barges into the Minister’s Office, and into the car park. He eventually is able to Director: Mildred Okwo make his presentation with the minister on the move. That’s not the whole story, in Abuja, he gets the contract and also finds love. In Year: 2012 the arms of a younger girl. The creative way of connecting the main I just saw The Meeting; I am a late bloomer like that. Slow to catch plot and the sub-plot is inventive. The minor characters bringing on things when they trend. Maybe that is where The Meeting’s en- on their best as well. The scene with the Fantastic Yoghurt drinking during quality lies. For this one, I am about three years late. Howev- woman, sucking on an empty bottle. The sound: an allusion to what er, the movie is as relevant today, as it was three years ago, as it will is left when a runs-girls finishes sucking on Professor’s account. The be for many years to come. Let’s dig in. sexual imagery, straw in mouth, well served. The comedy: exact, The film starts in a small place—a man’s attempt to save his com- to douse the waiters’ tension. There is comedy in the irritating: a pany from recession. An appointment with the Minister of Lands: traditional leader’s entourage at the Minister’s Office, complete Monday Morning. Monday Evening, he should be back in Lagos. with drums and dance. The scene where Ejura tricks her ex-boyOn Friday, the single father of two also has to be at his daughter’s friend, Jolomi, a way to lift her curse off his head. The scenes flow convocation ceremony. There are a couple of bottlenecks. The into each other easily, the funny and the frustrating, side by side. civil service botThere was a tleneck. Tough to throw-in of pry open—with some tourism smiles, good manangles for ners and bribe. Lagos and Sometimes it takes Abuja there. force. The tightest Abuja being bottleneck—the the “peaceful Minister’s Secretary. and tranquil” He does not see city. Lagos the Minister until being the city Friday morning. of hustlers. What happened I am Mr. Mabetween Monkinde Esho, day and Friday? from TechThat is the movie. mas NigeWith some quesria Limited; tions—what can I have an happen in a man’s appointment life in a new city, in with the Min-
“The Meeting is one movie that stares you in the face with the big issues about Nigeria yet takes you to new places. Of laughter, at yourself, at the hilarious things you withstand as Nigerians.
Abuja as he tries to make an appointment? What can happen that can change his life forever? From that small place, the movie gets bigger, spreads like cancer, taking on bigger issues, it begins to hit in, eat into the viewer—corruption, bribery, nepotism, civil service bureaucracy, love are some of the murky issues it delves into. The well-told, well-acted story answers these “mundane” questions in a creative way. The story is one that everyone, that many Nigerians can relate to. The actors are compelling in their execution of the characters. They make the story easier to relate with, they make it easy to picture. The characters are revelatory of us, of the baggage we carry as Nigerians: Makinwa, the hustling worker, refuses to give a bribe (Femi Jacobs); Clara, the frustrated Secretary whose palms must be rubbed to get anything done (Rita Dominic); Ejura, the youth corper unsure of the future, but finds love along the way (Linda Ejiofor); Professor Akpan Udofia, the professor, full of big words, no actions (Basorge Tariah); the elusive Minister, so much protocol for doing so little; Bolarinwa, the runs babe, connected in high places (Nse Ikpe-Etim); Mrs. Ikomi, the citizen who gives in to pressures when integrity no longer works (Kate Henshaw). Each character has a purpose which they live up to. All these characters and more are really striking in their roles. They bring to fore something extra, that makes them memorable, that makes the movie unforgettable. Make-up equally complements characterisation. This is one Nigerian movie that makes effective use of make-up. Rita Dominic is transformed into a frustrated civil servant who easily rubs her frustration on others. Make-up lines her face with believable wrinkles. However, what stands out is how Rita Dominic plays out her frustration—her sheer lack of respect for visitors; the movement of her jaws as she chews the gum that is always in her mouth; the happiness that lights her face when her palm is whet by a visitor.
ister. This line was repeated many times. Repetition with a purpose. If the play were a stage play, one would call it an existential drama. There is a lot of repetition. Of setting, costume, dialogue and action. The main settings used are the waiting room of the Minister’s Office and the hotel, every other setting was just thrown in here and there. This, minimal use of everything is a stunt that is difficult to pull. Yet, it was well done. Comic relief was thrown in. Romance was thrown in. All these in, you have an exciting meeting in front of the screen watching the movie. The Meeting is one movie that stares you in the face with the big issues about Nigeria yet takes you to new places. Of laughter, at yourself, at the hilarious things you withstand as Nigerians. Of sadness, at how much this country need s good revolution. Of optimism, perhaps there is hope, for you, for Nigeria. Of probing, where do we go as a nation if the several issues raised by this movie are still present? Some things though. Rita Dominic would have been better with some more skills at pronouncing Yoruba names: Ijebu Remo. Also, the frustrated make-up looks as if it would soon peel off her face towards the end. Perhaps it was a way to heighten the frustration. Also, my copy of the CD started scratching after the first watch. Perhaps, the movie is meant to be watched once. Makinde’s wait to see the Minister was worth it in the end: brought him love and his company a contract. My wait for The Meeting was well worth it: it brought me laughter and introspection. The movie did not depreciate in value because I didn’t watch it on time; in fact, like fine wine, the longer the wait, the sweeter the taster.
- TEMITAYO AMOGUNLA
26Talent on the rise: Deyemi Okanlawon Describe your education background.
I have a Bachelor of Science degree in Chemical Engineering from the University of Lagos, an Acting for Film certificate from the NYFA as well as several work specific training certificates during the course of my eight year sales and marketing career. My most important learning however came from hustling on the streets of Lagos.
What made you go into acting?
I’ve always enjoyed stories and since about the age of 5, I’ve enjoyed acting. Growing up I realised two things; acting was the one thing I could possibly be the best in the world at and secondly, that drama and actors have in them power to change lives and cause social change. In the last few undergrad years, I got into a fellowship group, Harvesters company of HICC, and later led Xtreme Reaction, the drama, music and dance youth group of Covenant Christian Centre. I always found ways to express my passion even while I worked full time without it affecting my job. All the hard and mostly free work finally paid off when I posted a few short films I featured in online and they got quite a positive reviews. The calls from producers started coming in after (yes, yes I’m Nollywood’s version of Justin Beiber).
Has it been fulfilling and financially rewarding?
Making the career shift from sales and marketing to acting has been my best decision yet. For me the acting profession has been immensely fulfiling and much more rewarding than I thought possible.
What are some of the projects you have worked on in the past?
I’ve had the opportunity to play roles in some films ZR7, Journey to Self, A Few Good Men, Kpians Feast of Souls and A New You. I’ve also done some short films such as Blink, In Iredu, 6:30, Dependence, A Grain of Wheat, Lagos Lying Game and Badt Guy. I’ve also appearedn in some TV and web series like Gidi Up, Knock Knock and Kpians Premonition. I’ve also been in theatre productions including Itakun, Clogs and Diagnosis.
How did you hear about Dowry?
I had met Victor a couple of times and we had both talked about seeing each other’s work and wanting to work together. So when I got his call for Dowry, the decision was already 80% made.
What made you commit to the production? Victor! The story, and the manner in which it was told was one of the most innovative I had experienced as well as his passion for filmmaking and his skill (caveat - he paid for this promo).
Who are your role models?
Acting wise, Richard Mofe Damijo and spiritually Poju Oyemade. I have observed them prove that no matter the obstacles, clarity of purpose with depth of thought as well as determination with a sense of responsibilty will bring results that exceed expectation.
What does family mean to you?
A haven to go to when the world goes crazy (even when my family is crazier than the world at least it’s a craziness I am familiar with).
In one word, you are? Intense!
INTERVIEW: ISABELLA AKINSEYE PHOTO: COURTESY OF DEYEMI OKANLAWON
A day in the life of…
Bayray McNwizu A typical day for me is waking up at 5 am. Try to read up on my favourite book – the Bible. Then I set out to jog at 5.30 am. At 6.15 am, my son and adopted daughter leave for school. Then I begin to answer the first batch of mails, speak to my publicist while I eat a light breakfast and then set out to the film studio for work. At about 8 pm I’m kinda done at the studio. I may head to Shoprite for groceries and then head home. I do homework with the kids, jump into the shower and the day is almost gone. We prepare for the next day especially if it’s a weekday, have a couple of jokes, say our prayers and then it’s...bon nuit! STORY: ISABELLA AKINSEYE
O.C. UKEJE on Dowry, marriage
and the World Cup BY ISABELLA AKINSEYE
How did you hear about Dowry?
Well my good man Victor Aghahowa aka Sanchez has all these projects he’s always buzzing about. All really good scripts. All premium stuff. And he hollered at a brother when this was commissioned. Alas...
What did you enjoy most about playing your character?
I think I enjoyed the banter between my character and Nike as played by Ade Laoye. They were really great scenes together and I loved them. Outside that, just being the centrepiece for all characters to draw from in some way was a blast for me. A kind of centre-of-attention scenario.
Any memorable moments on set?
I particularly loved a scene Ade Laoye and I had to shoot that was about 8 to 12 pages long. And we weren’t aware we were doing that much of a scene. We were losing daylight. We needed to be offbook asap. Other scenes were pending. I cannot believe the magic we pulled on that scene. It was surreal. Other really amazing moments were when Victor would take a script and rip it apart in a matter of seconds, and he was simply doing this to filter off the unnecessary stuff either because of time or some other constraint. Pure, unadulterated magic.
In real life, will you be paying a dowry anytime soon?
Lol...soon is relative. As the popular song goes, ‘when will you marry, this year, next year, sometime or never...’ It’s one of those.
What next should we expect from you this year?
As far as releases go, I know Special Situations or it might be called The Department will be at the end of the year. I have no dates on other projects yet but there are films in August and September to be shot though.
Who do you think will win the world cup?
Uhm. I don’t even know the countries that qualified. But I shall go with my supposition that it will be the best team. Lol!!! PHOTO: COURTESY OF O.C. UKEJE
Mbong Amata releases Darima’s Dilemma on DVD Mbong Amata offered her producing debut Darima’s Dilemma on DVD to cinephiles celebrities 8 June 2014 at the Civic Centre, Victoria Island, Lagos. Those in attendance included event was well attended Susan Peters, Agatha Amata, Chico Ejiro, Uru Eke, Elvis Chucks, Ikay Ogbonna, Lancelot Oduwa Imasuen and Padita Agu among others. The movie in which she starred in alongside Ghollywood actor Majid Michel was produced under the supervision of Royal Arts Academy’s Emem Isong who also graced the occasion.
ROW 1 L - R) Mbong Amata; Frederick Leonard; Monalisa Chinda; Ikay Ogbonna; Susan Peters. ROW 2 (L -R) Nnamdi Oboli and Emem Isong; Ihuoma Nwigwe, Ikay Ogbonna, Padita Agu, Mbong Amata, Uru Eke and Moses ‘Sneeze’ Inwang. ROW 3 (L - R) Grace Johnson; Belinda Effah; Uche Iwuanyanwu; Bola Aduwo; Uru Eke. PHOTOS: COURTESY OF MBONG AMATA
Ivie Okujaiye premieres Make A Move at the cinema Award winning actress and screenwriter now turned producer, Ivie Okujaiye made premiered her debut production Make A Move to a packed audience at the Silverbird Galleria, Victoria Island, Lagos on 29 May 2014. The movie which stars two of Nigeriaâ€™s leading musical acts Tuface Idibia and Omawumi Megbele combines music, dance and drama. The star studded movie premiere was graced by Denrele Edun, Ibinabo Fiberisima, Norbert Young, Bimbo Manuel, Uti Nwachukwu, Tope Tedela and Adesuwa Etomi among others. Members of the cast and crew were also present to interract with fans. ROW 1 Uti Nwachukwu ROW 2 (L -R) Ayoola, guest and Denrele Edun; Ayoola, Norbert Young and Bimbo Manuel ROW 3 (L - R) Tina Mba, Ibinabo Fiberesima and Ivie Okujaiye; O.C. Ukeje; Adesuwa Etomi and Tope Tedela PHOTOS: COURTESY OF BIG SAM MEDIA
Funke Akindele: Promoting Values Through Film
BY IKECHUKWU OBIAYA FOR THE NOLLYWOOD CENTRE The desire to promote good values as well as the need to give back to the society and make a difference are the driving forces for Ms. Funke Akindele. Speaking at the April 2014 edition of the Filmmakers’ Forum of the Nollywood Studies Centre, Ms. Akindele stated, “Before I take up any role, I think about the message I’ll be passing.” She went on to add that her choices of roles as an actress were guided by the framework of the Nigerian culture and its value system. She emphasised the importance of promoting good values, especially with respect to the protection of children. This, in addition to the protection of her personal brand, has sometimes led her to request that certain aspects of a screenplay be toned down in order for her to accept the offered role. Earlier, at the start of the Forum, Ms. Akindele narrated how she began her acting career. She had always wanted to act, she said, and she had the full support of her mother. After obtaining an Ordinary National Diploma (OND) in Mass Communication from the Ogun State Polytechnic, in 1995, she decided to study Theatre Arts. However, her father insisted on her studying Law, and she got a place in the University of Lagos to do just that. But this did not stop her from attending auditions and seeking an entry point into the film industry. Her first role came in 1997 in Opa Williams’ Naked Wire, and she also got minor roles in a couple of other movies. Her big break, however, came with the television series, I Need to Know, which was directed by Lloyd Weaver and produced by his outfit, Swift Studios. It was a big break in more than one sense because she seized the opportunity to learn the ropes of production. But this still did not open the doors of the English filmmaking sector to her. She had better luck with Yoruba films, which she turned to on the advice of others. Ms. Akindele seized the opportunity to emphasise the importance of determination and self-confidence for the thespian. It will always be a tough struggle, she said, and encouraged budding actors to always hold on to their dreams. In 2004, she decided to bring into play all that she had learnt about production on the set of I Need to Know, and she made her first film, Ojoketala (The Thirteenth Day). Her delving into production, according to Ms. Akindele, was facilitated by her curiosity and interest in learning about the different aspects of filmmaking. “When I make films, I oversee every aspect closely such that a cinematographer once asked me with irritation whether I am a camerawoman.” Ojoketala was followed by other films such as Itanu and Taiwo Taiwo. But the film that has made her well known, and which provided one of her major roles, was Jenifa. The decision to make Jenifa arose from the desire to make an impact by passing a message on moral norms aimed at parents and their daughters. In this case, she was concerned about prostitution on the university campus. However, the realisation that similar stories had already been told in other films underlined the need to tell the story differently so as to make the message register, hence the use of humour. “Producing Jenifa was difficult,” Ms Akindele noted, due largely to the challenges faced in raising the funds. She had not intended to play the lead role but, after three days of fruitless auditioning, she was forced to take it on. She created the character around the idea of a “wannabe village girl” and imbued her with different mannerisms that she had observed in different persons. “I carried out a lot of research for the character and travelled as far as Oshogbo, Ilorin and Ibadan to get the dialect right.” Her efforts paid off, and the film was very successful. Following another success with the sequel, Jenifa Returns, she now plans to produce a television series based on the same character. Speaking passionately about the need to give back to society, Ms. Akindele said that the Jenifa Foundation had been set up to achieve this end. The Foundation aims to help people nurture their talent by training them. As such, workshops and other activities are organised on that platform. The areas of training include fashion design, make up, hairdressing, bead making and drama. The Scene One School of Drama has also been set up to contribute towards the needed manpower development in the film industry. The Forum ended with a question and answer session during which Ms. Akindele slipped into the Jenifa character in various moments to the pleasure of the audience.
Don’t be mere copycats BY IKECHUKWU OBIAYA FOR THE NOLLYWOOD CENTRE Nigerian filmmaking should not be reduced to merely copying foreign styles of shooting and editing. Rather, keeping in mind the cultural aspect of films, the Nigerian filmmaker should be able to produce films that are not only technically well-made but also reflect the cultural milieu in which they were made. These ideas were put forward by Mr. Mahmood Ali-Balogun while speaking as the guest at the February 2014 edition of the Filmmakers’ Forum of the GTBank Nollywood Studies Centre. Mr. Ali-Balogun, who spoke on the topic, “Enhancing the Cinematic and Production Values in our Movies,” stressed the importance for the filmmaker of being able to do something that works for his/her people. But, he noted, there is a need to know the rules before attempting to bend them to suit one’s purpose. Mr. Ali-Balogun went on to list what he termed “the fundamentals” that a good film should have. These fundamentals consist of a combination of quality technical materials and methods that are used in production. Speaking about the script, which was mentioned as the first critical requirement for a production, he noted that it was not enough to have a good story. The story must also be believable with appropriate casting and location. Still speaking about the script, he emphasised the importance of the script supervisor’s role. The script supervisor is responsible, above all, for monitoring and ensuring adherence to the script. Unfortunately, he noted, this role is largely neglected in the Nigerian film industry, and the consequent glitches are obvious in many films. The script supervisor works closely with the director and the editor, and the presence of such a person on set helps to prevent many mistakes. Mr. Ali-Balogun, the producer/director of Tango With Me, showed the audience clips from his film, which he used to illustrate some of the points he was making. He did not hesitate to draw attention to what he identified as flaws in the film. These were used as learning points from which members of the audience benefitted. The Tango With Me producer also spoke about the importance of cinematographic values as a prerequisite for getting one’s film accepted for exhibition in the cinema. For a film to be accepted in the cinema, he said, it must possess four key values: it must be interesting; it must be profound; it must be sublime; and it must possess visual appeal. Films that lack these qualities are hardly likely to be accepted by cinema owners. The Filmmakers’ Forum, which ended with a cocktail, was attended by a large audience that included Mr. C.Y. Okonkwo, the veteran documentary film producer.
Founder, Nollywood Paris Week film festival How and when did your love for Nollywood develop? It started in the early 2000’s. I started watching a lot Nigerian films (though it was not easy to access those films as I was not in Nigeria) and I was also eager to learn more about the dynamics behind that industry. I remember reading about the stories of people who would sell their cars or their houses in order to be able to fund their films for instance. I found those stories to be very inspirational. I quickly developed a personal relationship with Nollywood. I even met my wife while attending a Conference on Nollywood back in 2006.
What has the perception of Nollywood been like in France? The perception in France prior to the festival for those that heard of Nollywood was that all films are low quality, low budget and extremely fast productions. Now after two editions of Nollywood Week that perception is changing. But also keep in mind that it is only a small fraction of French people that even know what Nollywood is or where it comes from.
What made you start Nollywood Week Paris? I felt like it was needed due to the lack of awareness and access to quality Nollywood films. Especially in a city like Paris that has cinema in its DNA. The most dynamic African country when it comes to cinema had to have a window in the capital of cinema. It just made sense. It also helps change the discourse about African cinema. Until now, mainly films from francophone Africa would enjoy exposure in France and spectators started to believe that was all that was out there.
What were some of the challenges you faced along the way? The challenges are many for whoever wants to start something like this. Funding is probably the most important challenge. But you also have people who will tell you that your project doesn’t make sense or is not needed and you should do something else. If you are not 100% convinced of the importance of what you are doing then all these obstacles will eventually make you give up. In my case, I have been able to continue precisely because of my belief in this project and my will to contribute to the growth of Nollywood.
Tell us about the achievements of Nollywood Week Paris film festival. Nollywood Week Paris film festival has gathered thousands of people in Paris to watch Nigerian films in a cinema. That’s the main achievement. It shows that people are interested. It also means that Nigerian filmmakers now have a new market to cater for. Which means potentially more revenue for the filmmakers. Another important element to the festival is professional networking. Thanks to the festival, some of the directors have found collaborators for their future projects. To help with production needs, this year we partnered with Angenieux, a French company known for making top-of-the-line optic lenses, to lend a lense free of charge to the Director of the winning film of Nollywood Week 2014 for use in their next film. This is a value of about 15,000€. That’s the kind of added value that Nollywood Week is providing and we hope to do more in the future. This festival was conceived as a tool to contribute to the development of the Nollywood industry.
What next should we expect from you? We plan to continue growing and have other projects in the pipeline but will speak about them when the time is right.
“This year we partnered with Angenieux to lend a lens free of charge to the director of the winning film of Nollywood Week 2014 for use in their next film. This is a value of about €15,000.” How can people get involved in the next year’s event? Get in touch with us via email@example.com We are looking for more partners, more staff as well and we are open to new ideas so do not hesitate to reach out to us.
What was the last Nollywood movie you watched? I watch Nollywood movies all the time but the last one I watched in a cinema was Apaye at the premiere of the film in Lagos.
If you could change anything in Nollywood, what would it be and why? I wish there was a bit more of collaboration in the industry and mainly among the Directors. I think it would help the industry grow faster.
In three words, you are? A passionate cultural entrepreneur.
INTERVIEW: ISABELLA AKINSEYE PHOTO: COURTESY OF SERGE NOUKOUE
5 NIGERIAN FILM FESTIVALS BY INNOCENT EKEJIUBA
Africa International Film Festival The sheer number of participants at the Africa International Film Festival alone is breathtakingly amazing and deserves recognition. Since inception in 2010, AFRIFF has hosted more than 10,000 guests (international and domestic), more than 2000 industry guests, over 500 workshop participants and also, an excess of 500 entries from around the world has been received. This alone puts AFRIFF on top of this list. For a film festival that is barely four years old to pull such a weight, they must be doing something amazingly right. Having held the first edition in Rivers State and the next in Lagos state, AFRIFF has afforded more cities and persons the opportunity to witness the festival. I guess it is ok to say that they have anchored at Tinapa, Cross River state as the last edition was held there and so would the next edition.
Eko International Film Festival
Eko International Film Festival was founded and established by Supple Communications Limited in 2009 and since then, the journey have been somewhat straight forward and upward for the festival. This year EKOIFF promises to surpass previous editions as it gears up to host the 5th in the commercial heartbeat of Nigeria. You do not need to stray too far to discover what they are doing right. Consistency is the key, and the ability of the organisers to constantly push the bar higher ever year and while their patronage seems low now, there is always room for improvement.
iRep International Documentary Film Festival The most unique thing about the iRep Film Festival is that it is designed to promote awareness about the power of documentary. It is focused mainly on documentary on the conceptual framework of Africa in self-conversation. Obviously iRep is bringing something new to the table. Unlike other film festivals that threat documentaries as just a category, iRep has assumed the responsibility of deepening and sharing social and cultural education as well as encouraging participatory democracy in our societies by projecting documentaries.
Abuja international Film Festival It is not easy to keep a flag flying for a decade, and the organisers of Abuja International Film Festival has done just that. The mere fact that it was started in 2004 and is still running till now deserves respect and hence earns the festival a place on this list. Over the course of its existence, the Abuja International Film Festival has enjoyed good patronage and popularity in the circles of filmmakers and in the industry. But when it comes to recognition outside the industry and circle of filmmakers, the same cannot be said. It raises the legitimate question of who matters the most? The consumers or the in house persons?
Lights, Camera, Africa Film Festival
The first edition of Lights, Camera, Africa Film festival was held in 2011 and unlike conventional film festivals, it wasnâ€™t held at a location, but rather across various locations in Lagos. With the standing partnership with 20-year old African film festival New York (AFF), and new partnerships fostered with New Black London Film Heritage group and Nadia Denton of the United Kingdom it is easy to see how high LCA would soar in 10 years. LCA Film Festival has all the right indicators that point to a project of immense passion. The name is unconventional but strategic and the vision as conveyed in their concept note is engaging.
FESTIVAL NEWS AWARD WINNNG ACTOR/DIRECTOR FRED AMATA APPOINTED ACTING FESTIVAL DIRECTOR OF THE ABUJA INTERNATIONAL FILM FESTIVAL
The Board and Management of the 11th Abuja International Film Festival are pleased to announce the appointment of Mr. Fred Amata, a Nigerian-born film actor and director, media personality, and cultural icon as the acting festival director of the Abuja International Film Festival. Fred Amata is a 1986 graduate of theatre arts from the University of Jos. He was the second director of the longest running TV soap of the eighties Ripples. An award winning actor; for his heart rendering role in the 1996 sensational movie Mortal Inheritance with Omotola Jalade Ekeinde. He has worked with the several TV stations amongst them NTA, Clapperboard TV, and DBN Television. One of the most recognised screen figures in Africa, Fred Amata is a scion of the renowned Amata film dynasty that has produced some of the most recognised and celebrated names in African film. He made his debut as an actor in the award–winning TV series, Legacy in 1986. In a career spanning almost three decades, Fred has earned directorial, acting and performance credits in over 150 productions spanning almost the entire genre of film, theatre, and cinema. He has won the coveted Nigerian Best Actor Award (Mortal Inheritance, 1997), Best Director Award (Light and Darkness, 2002), and several other awards and recognitions including: The Afro-Hollywood Awards for Outstanding Performance, London (1999); Outstanding Performance and Contribution to the Nigeria Film Industry, Washington DC (April 2004) and Nollywood Ambassadors Award, Kenya (May 2010). Fred Amata has consulted for the UNFPA on the use of Nollywood (Film) Content for advocacy and was inducted into the Movie Makers Hall of Fame, USA in October 2009. When off set, Fred is an ardent football, scrabble and chess player who loves music and dancing, travelling and discovering peoples of the world and their culinary delights. He will be receiving the baton of leadership from Mr. Fidelis Duker who founded the film festival almost 11 years ago and whose role will be advisory capacity cum founder of the film festival. It must be noted that Duker has over the last 11 years developed the Abuja International Film Festival to an enviable height globally as the foremost and longest running independent film festival in West Africa. According to the Head, Media Communications of the Abuja International Film Festival, Mr. Louis Okpoto, Mr. Amata will be leading a team of creative individuals. The 11th edition of the festival is billed for the 23rd to 26th of September 2014 in Abuja. Source: Abuja International Film Festival website
THE MEETING SHINES AT 2ND NOLLYWOOD WEEK PARIS FILM FESTIVAL The Meeting, directed by Mildred Okwo Meeting and co-produced by actress Rita Dominic, won the Nollywood Week 2014 Audience Award. The other five films in competition were Confusion Na Wa, Flower Girl, Half of a Yellow Sun, Misfit and Journey to Self. The festival opened with Omoni Oboli’s directorial debut Being Mrs. Elliot. The festival trophy was awarded to actress/producer Rita Dominic who expressed her surprise and joy at the closing ceremony which was sold out, as was the case for several sessions of this second edition. The winner of the Audience Award will receive material supply from Angénieux ( a leading supplier of high-tech optical products for the audiovisual production industry) that can be used during the shooting of her next film, a special screening at the World Day of African Culture and an acquisition offer from Canal + Africa. The teams of the six selected films will also receive pre-production software published by the company Melusyn. The closing ceremony ended with Andrew Dosumu’s film, Mother of George. The Nigerian film festival brought together over 2000 spectators in Paris over 4 days. Nollywood Week Paris Film Festival is an annual Nigerian film festival based in France, whose objective is to bring the best of the New Nollywood Cinema to French audiences. Source: Nollywood Week Paris Film Festival website
11TH ABUJA INTERNATIONAL FILM FESTIVAL CALLS FOR ENTRIES The festival considers films completed between 2011 and 2013, and there is no charge for entry. All submissions must be entered via the filling of the entry form online at www.abujafilmfestng.org. The deadline for all entries, including receipt of samples, is 15th of July 2014 for all film entries. Entries are accepted in features, shorts, documentaries and experimental. The extensive seminar, panel discussions and master-class workshop programme featuring local and international filmmakers and industry professionals will hold simultaneously with the daily screening of films. The festival has a Competition and Non Competitive Category. The competitive category has awards for the winners. For more information visit: www.abujafilmfestng.org or email firstname.lastname@example.org Follow the festival on twitter: @AIFFest Send 2 DVD copies to: Festival Director, Abuja International Film Festival, 85 St. Finbarrs Road, Akoka, Yaba, P.O. Box 365 Sabo, Yaba, Lagos, Nigeria. The festival is supported by the Federal Capital Territory Authority Arts & Culture Council, National Film and Video Censors Board, Nigerian Film Corporation, Nigerian Television Authority, National Broadcasting Commission, Ministry of Culture and Tourism and Ministry of Information. Source: Abuja International Film Festival website
IN FILMHOUSE CINEMAS THIS JULY The Number One Fan (4th July 2014) One Night In Vegas (18th July 2014) Half of A Yellow Sun (Sometime between 18th of July and 25th of July) Dead Drop (25th July 2014)
MOVIE PREMIERES The Broken Bride will stages its world premiere at the Odeon Cinema Greenwich, London on the 4th of July, 2014. The multicultural Nollywood movie is directed by George Kelly and is produced by Theodora Ibekwe Oyebade. Starring in the movie are Julie Coker, Theodora Ibekwe Oyebade, Olivia Eze, Verona Rose, Preston Toghanro and others.
The much anticipated action drama The Voice produced by Nkiru Slyvanus is set to be premiered. Starring Nkiru, Kenneth Okolie, Betty Njoku-Olumowe and others the movie was directed by Afe Olumowe. The film will be premiered at the Oriental Hotel, Lekki Lagos on July 13th, 2014.
OUT ON DVD The Moses Inwang production Torn is finally out on DVD. The psychological thriller features Ireti Doyle, Monalisa Chinda, Joseph Benjamin, Bimbo Manuel, Julius Agwu. Torn depicts a psychological and emotional thriller of two friends Ovu and Nana, who both believe they are married to the same man.
Dayo Amusa has released Unforgivable on DVD. The movie features Dayo Amusa, Mike Ezuruonye, Bukky Wright, Desmond Elliot, Faithia Balogun, Bimbo Thomas, Iyabo Ojo, Niyi Johnson, Bidemi Kosoko, Lawal Aisha and Titilayo Shobo.Unforgivable is the story of a woman who sacrifices everything to make her home work to the detriment of her health with the hope of pleasing her husband who doesnâ€™t appreciate her love.
Daniel Ettim Effiong
Kemi Lala Akindoju
Faces at Gidi Up 2 Private Screening
Ndani TV hosted a private screening of the Gidi Up series yesterday, June 21, 2014. The premiere launch event was held at The Palms, Genesis Deluxe Cinema, Lekki, Lagos. This new season of the hit series Gidi Up, sees a more thrilling adventure centred on friends in pursuit of happiness, success and independence. It will premiere on Ndani TVâ€™s website, YouTube channel and national television on Monday June 23, 2014. The event featured the casts from the series; OC Ukeje, Titilope Sonuga, Deyemi Okanlawon, Adesua Etomi, Anthony Monjaro, Daniel Effiong and other celebrities made the exclusive screening guest list. TEXT AND PHOTOS: COURTESY OF RED MEDIA
Toolz and Onos
FEATURE 36 Kunle Afolayan’s Figurine returns in book form …set for launch at MUSON Centre Kunle Afolayan’s popular film, The Figurine (Araromire) is returning to the limelight five years after making waves, winning five awards including the best film category at the prestigious African Movie Academy Awards (AMAA) and travelling far and near at Film festival circuits. The film’s story is now being told in a scholarly book titled Auteuring Nollywood: Critical Perspectives on THE FIGURINE which will be unveiled at a major ceremony on Thursday July 31, 2014 at the MUSON Centre, Onikan, Lagos. According to a press release from Relentless Media, the outfit coordinating the book unveiling and launching in conjunction with Golden Effects Services, the ceremony will witness a rich array of Nollywood stars, allied film professionals, academics, top government functionaries, captains of industry and members of the diplomatic corps. “Former Minister of National Planning and a respected patriarch of the arts, Chief Rasheed Gbadamosi, OFR will chair the ceremony that is designed to be one of Nollywood’s greatest moments outside movie location.” The book, a collection of scholarly essays, is the first of its kind devoted to the work of a single Nigerian film director. It interrogates the thematic focus and cinematic style employed in The Figurine, while also using that singular work to engage the new trends in the new Nigerian cinema popularly referred to as Nollywood. Edited by Dr. Adeshina Afolayan of the Department of Philosophy, University of Ibadan, the book’s Foreword was written by Prof. Jonathan Haynes of the Long Island University, USA and a notably scholar on Nollywood. Contributors to the 455-page book include Dr. Sola Osofisan, Dr. Dele Layiwola, Dr. Chukwuma Okoye, Jane Thorburn, Matthew H. Brown, Gideon Tanimonure, A.G.A Bello, Foluke Ogunleye and Prof. Hyginus Ekwuazi. An ‘Afterword’ on “Neo-Nollywood and its Other” by the prolific Scholar, Dr. Onookome Okome, is also provided in the book in addition to series of interviews with key actors and technicians that featured in the film. “This is a novelty”, says Kunle Afolayan, who has since shot two other well-acclaimed films – Phone Swap and October 1 (whose premiere is slated for October 1, 2014 in Lagos). “We have always said we should tell our stories. But I believe it goes beyond mere rhetorics and images on the screen. Releasing one’s movie to scholarly interrogation like this is one of the next levels for our film industry to climb and I’m excited that this is already happening through my film”, he added. The book has been receiving critical acclaims already. According to Dr. Nduka Otiono, former Secretary General of Association of Nigerian Authors (ANA) and a lecturer at the Institute of African Studies, Carlton University, Ottawa, Canada “this book is seminal in its inauguration of a new chapter in the study of Nigeria’s phenomenal contribution to global film culture … it makes a strong case for a more in-depth artistic and critical approach to the study of Nollywood that triangulates around orality”. Similarly, Mr. Steve Ayorinde, renowned journalist/film Critic and helmsman of Relentless Media, applauds the arrival of Auteuring Nollywood “at a time that the Nigerian film industry is opening up to the Academy Awards and is also being duly acknowledged as a major contributor to the Nigerian economy”. The book, he added, fulfils two roles - championing a new and positive development in cinematic and literary studies in Nigeria by focusing exclusively on the work of a single cineaste while also expanding the narrative around a film industry that continues to announce its arrival on the global scene in a spectacular way. To Dr. Akin Adesokan of the Indiana University, Bloomington, USA, the book is “comprehensive and informed about its subject and in unexpected ways gives solidity to the characterization of Nollywood as ‘telling our own stories’”. The reviewers that will do justice to the intellectual content in the book are Mr. Emeka Mba, the Director General of the National Broadcasting Commission and Dr. Ikechukwu Obiaya, who is the Director of Nollywood Study Centre, Pan-Atlantic University, Lagos. TEXT AND PHOTO: COURTESY OF STEVE AYORINDE FOR RELENTLESS MEDIA
The Nigerian Oscars Selection Committee Calls for Entries The Nigerian Oscars Selection Committee is delighted to announce that it is now accepting submissions for its inaugural selection edition (from 16th June 2014 – 16th July 2014). In line with our commitment to screening the finest and boldest Nigerian cinema, the committee accepts films of all lengths and genres.
a. NOSC accepts motion pictures from Nigerian filmmakers living in Nigeria and Diaspora whose films relate to Nigeria. b. The recording of the original dialogue track as well as the completed picture must be predominantly in a language or languages other than English. Please note that Pidgin English is also considered as a foreign language. Accurate English subtitles are required. c. The motion picture must be first released in Nigeria no earlier than October 1, 2013 and no later than September 30, 2014
a. Films that have previously screened publicly in Nigeria, aired on television prior to the selection, are available for purchase on DVD in Nigeria, or are available for continuous online viewing in their entirety are NOT eligible. b. Films must be submitted on DVD and must be clearly watermarked with: Preview Copy. Do not send film prints, master tapes, or other originals. c. Entrant confirms and warrants required legal authority to submit the entry into the Festival and to use all music, images, and content in the entry. d. Entrant will allow usage of clips from the film for promotional use on television, radio, in print, and at live Festival events. e. Works in Progress: While entrants are permitted to submit films that are not fully complete (i.e., without final colour correction and sound mixing), please note that the programming committee will only consider the version submitted; subsequent cuts or replacement copies will only be accepted at the request of the programming committee. f. Only complete entries (including entry form, and preview DVD screener) will be processed. g. Please submit a typed or clearly printed entry form or a copy of the online form receipt along with the submission. The Nigerian Oscar Selection Committee is not responsible for incorrect wording in publications or on awards if the entry form is incorrect or illegible. h. Productions in the following exhibition formats are eligible for screening: 35mm, DCP, HDCAM, DigiBeta, and Blu-ray Disc.
Eligible entries must reach the office of the Nigerian Oscars Selection Committee on or before 16th July, 2014. Submissions can be done by post to the following address: House 2, Block 101, Plot 8, Furo Ezimora Street, Lekki Residential Scheme, Phase 1, Lagos, Nigeria.
4. SELECTION CRITERIA
The Nigerian Oscars Selection Committee (NOSC) focuses on choosing high quality films from Nigeria. All eligible submissions will be reviewed and selected based on the quality of the film’s narrative and its production values. Please note that, NOSC will only inform you if your film meets the criteria and is among the films in consideration by the committee. The Nigerian Oscars Selection Committee (NOSC) will endeavour to complete all selection procedures by 1 September, 2014 and Nigeria’s officially selected film for the Best Foreign Language Film at the Academy Awards will receive be announced on a gala night shortly after. For more information and enquiries, visit www.nigerianoscarselection.org or e-mail email@example.com Source: Nigeria Oscars Selection website
The 4th Lights, Camera, Africa Calls for Entries Submit films via post to LCA 2014 Film Festival, WSE Nigeria, 59 Ademola Street, Ikoyi, Lagos. Please note that films need to relate to or express the festival’s 2014 theme, LEGACY. The deadline is July 18th, 2014. You can contact LCA with your questions or inquiries by emailing firstname.lastname@example.org or visiting us at www.lightscameraafrica.com or calling us on +234 703 403 0683 or +234 703 417 0400. Source: The Lights, Camera, Africa website
AWARD NEWS NOLLYWOOD MOVIES AWARDS NOW OPEN FOR ENTRIES! The Nollywood Movies Award is now open for entries for the 2014 edition, which will be held on the 18th October 2014 at the Intercontinental Hotel, Victoria Island, Lagos. The deadline for all films submissions is the 15th July 2014 and nominations will be announced in August 2014. Only English and Nigerian indigenous language movies produced, released or premiered between 1st February 2013 and 31st April 2014 will be eligible for consideration. Submitted movies should not exceed 180 minutes and/ or should be in a maximum of four parts. Short movies should not exceed 40 minutes. Final decisions will be at the discretion of the nominations panel. Please ensure that your movies list the full credits to all concerned to enable the panel identify individuals eligible for nominations. reach Nollywood offices, SW1 MEDIA, 18 Esomo Close, Ikeja, Lagos by the deadline of the 15th July 2014. Deliver movies in hard drive or DVDs.
CATEGORY 1: THE BEST OF NOLLYWOOD These awards celebrate Nollywood’s: § Best Movie § Best Actress in a Leading Role § Best Actor in a Leading Role § Best Actress in a Supporting Role § Best Actor in a Supporting Role § Best Diaspora Movie
CATEGORY 2: CULTURE & HERITAGE
These awards recognise the key role of indigenous languages, culture and heritage: § Best Film in an Indigenous Nigerian Language § Best Lead Actor in an Indigenous Language § Best Lead Actress in an Indigenous Language
CATEGORY 3: PROFESSIONAL & INDUSTRY
These awards recognize the professionals that work behind the camera to make the films possible: § Best Editing § Best Sound Design § Best Original Screenplay § Best Cinematography § Best Director
CATEGORY 4: POPULAR CHOICE
These are awarded to the Nigerian actor and actress who receive the highest number of votes in a public online poll or the film that makes the biggest box office returns in Nigerian cinemas: § Most Popular Actress § Most Popular Actor § Top Box Office (Nigeria)
CATEGORY 5: ARTISTIC
These awards are in recognition of the artistic contribution of creative individuals and artisans within the Nollywood industry: § Best Make-up Design § Best Costume Design § Best Set Design § Best Music Soundtrack
CATEGORY 6: RISING STARS
These awards are in recognition of emerging new talent in the industry: § Best Rising Star, Male § Best Rising Star, Female § Best Child Actor
CATEGORY 7: SHORT FILM
This single award is in recognition of new filmmakers who have displayed exceptional talent in the production of a short movie. The duration of the movie should be a minimum of 12 minutes and a maximum of 40 minutes.
For full submission instructions visit www.nollywoodmovies.tv Source: Nollywood Movies Awards Website
Published on Jul 4, 2014
Nolly Silver Screen is a monthly online magazine of www.nollysilverscreen.com The 40 page monthly serves up a mix of articles, interviews, p...