NOLLYWOOD FOCUS MAGAZINE

Last Flight to Abuja movie premiere

noreply@blogger.com (Nollywood Focus) — Mon, 13 Feb 2012 13:06:00 +0000

Aug1411 Ikhide Ikheloa

noreply@blogger.com (Nollywood Focus) — Wed, 17 Aug 2011 04:04:00 +0000

Aug1411 Ikhide Ikheloa

Mirror for the resurgence of Nollywood

noreply@blogger.com (Nollywood Focus) — Mon, 04 Jul 2011 04:39:00 +0000

Obi Emelonye talks to Next
Mirror for the resurgence of Nollywood

The Mirror Boy opens in UK Cinemas

noreply@blogger.com (Nollywood Focus) — Fri, 10 Jun 2011 09:35:00 +0000

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

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

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

SHOWCASE YOUR FILM AT THE LEGACY FILM FESTIVAL

noreply@blogger.com (Nollywood Focus) — Fri, 11 Mar 2011 15:47:00 +0000

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

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

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

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

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

Submission deadlines for short films is 31st July 2011.

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

THE MIRROR BOY PREMIERE AND AFTER-PARTY FEEDBACK

noreply@blogger.com (Nollywood Focus) — Fri, 25 Feb 2011 23:01:00 +0000

Photo: 2011 by Nnorom Azuonye

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

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

The questions now are:

(1) Were you there?

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

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

Thank you all for supporting The Mirror Boy.

Nnorom Azuonye

Publisher, Nollywood Focus

+44 7723 904 913

office@nollywoodfocus.com

Nollywood, the molue has hit a pole

noreply@blogger.com (Nollywood Focus) — Tue, 22 Feb 2011 03:22:00 +0000

Interview with CHARLES NOVIA by NNOROM AZUONYE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Describe the state of Nollywood today.

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

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

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

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

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

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

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

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

What will be the next big thing in Nollywood?

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

Are you working on any movie at the moment?

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

FREE "THE MIRROR BOY" PREMIERE TICKETS SENSATION!

noreply@blogger.com (Nollywood Focus) — Wed, 09 Feb 2011 18:40:00 +0000

This offer is now closed.

The winner of 2 FREE tickets is: PATRICK KOLA of

Enfield.

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

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

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

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

BUY YOUR TICKETS NOW, AND BEST OF LUCK.

Sold by Nollywood Focus - a publishing style of Eastern Light EPM International.

The Mirror Boy Premiere Partners

These promotions are brought to you in association with The Nollywood Factory & OH Films

- makers of The Mirror Boy

‘I am content with Nollywood’

noreply@blogger.com (Nollywood Focus) — Mon, 07 Feb 2011 07:10:00 +0000

An interview with Ramsey Nouah by Jayne Usen

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

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

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

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

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

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

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

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

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

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

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

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

Any plans to go into movie production?

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

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

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

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

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

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

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

What do you look out for in a script?

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

Are there any roles you can’t take?

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

What do you love best about being an actor?

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

Which actors inspire you?

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

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

What happened to your music career?

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

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

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

Any plans to feature in any Hollywood/Nollywood movie?

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

Source: Next > ‘I am content with Nollywood’

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

Attend the London Empire Leicester Square Premiere of The Mirror Boy

Tickets here: http://www.nollywoodfocus.com/2011/01/mirror-boy-world-premiere-and-after.html

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

noreply@blogger.com (Nollywood Focus) — Sun, 23 Jan 2011 17:47:00 +0000

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

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

NO BOOKING FEES (WE WILL PAY YOUR BOOKING FEE FOR YOU)

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

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

1 Winner will be chosen at Random for the For the Love of God anthology.

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

Follow The Mirror Boy Premiere on Facebook HERE >

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THE MIRROR BOY PREMIERE FACEBOOK EVENT PAGE

noreply@blogger.com (Nollywood Focus) — Thu, 20 Jan 2011 10:40:00 +0000

We have now created a Facebook event page for The Mirror Boy World Premiere and After-Party.

Please share the link with your friends

http://www.facebook.com/event.php?eid=193342810681930

OBI EMELONYE

noreply@blogger.com (Nollywood Focus) — Sat, 15 Jan 2011 22:40:00 +0000

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

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

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

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

Films directed by Obi Emelonye

The Asylum (2008)

Sweet Betrayal (2007)

Lucky Joe (2006)

London Successor (2006)

Echoes of War (2003)

Who's Next? (2001)

Good Friends (2000)

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

CHUCKS MORDI

noreply@blogger.com (Nollywood Focus) — Sat, 15 Jan 2011 15:50:00 +0000

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

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

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

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

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

Films directed by Chucks Mordi

Bleeding Rose (2008)

BEFORE OGBUIDE OF OGUTA LAKE

noreply@blogger.com (Nollywood Focus) — Sat, 15 Jan 2011 05:37:00 +0000

By Onyeka Nwelue

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

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

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

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

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

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

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

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

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

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

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

THE MIRROR BOY WORLD PREMIERE AND AFTER-PARTY TICKETS

noreply@blogger.com (Nollywood Focus) — Fri, 14 Jan 2011 15:44:00 +0000

OUR ALLOCATION OF TICKETS FOR THIS EVENT IS NOW COMPLETELY SOLD OUT

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NEXT GENERATION OF FILM MAKERS

noreply@blogger.com (Nollywood Focus) — Thu, 06 Jan 2011 15:05:00 +0000

Next generation film makers

The Mirror Boy update

noreply@blogger.com (Nollywood Focus) — Mon, 15 Nov 2010 13:06:00 +0000

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

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

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

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

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

Two things:

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

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

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Let down by the story

noreply@blogger.com (Nollywood Focus) — Sun, 08 Aug 2010 04:50:00 +0000

by Cheta Nwanze

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

Warning: spoiler content

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

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

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

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

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

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

Full review in Next> Let down by the story

Goodluck at last for Nollywood

noreply@blogger.com (Nollywood Focus) — Fri, 06 Aug 2010 11:31:00 +0000

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

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

"- GEJ

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

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

Dewitching Time

noreply@blogger.com (Nollywood Focus) — Thu, 05 Aug 2010 08:19:00 +0000

A review of “The Fake Prophet”

By Nnorom Azuonye

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

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

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

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

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

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

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

Nollywood Focus rating: 4 Stars

The Mirror Boy on it's way

noreply@blogger.com (Nollywood Focus) — Tue, 03 Aug 2010 21:58:00 +0000

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

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

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

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

noreply@blogger.com (Nollywood Focus) — Tue, 27 Jul 2010 07:01:00 +0000

by Nnorom Azuonye

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

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

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

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

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

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

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

Ghana Slams $1,000 Fee On Nigerian Actors

noreply@blogger.com (Nollywood Focus) — Tue, 06 Jul 2010 18:17:00 +0000

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—Bayo Adetu/PM News, Nigeria

Nigerian Film Corporation Film Essay Competition

noreply@blogger.com (Nollywood Focus) — Tue, 29 Jun 2010 02:51:00 +0000

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

The prizes on offer are as follows:

First Prize: N100,000.00

Second Prize: N75,000.00

Third Prize: N50,000.00

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

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

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

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

The Power of Nollywood to Save Children’s Lives

noreply@blogger.com (Nollywood Focus) — Mon, 28 Jun 2010 19:30:00 +0000

By Justine Atkinson

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

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

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

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

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

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

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

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

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

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

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

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

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

NOLLYWOOD FOCUS MAGAZINE

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FREE "THE MIRROR BOY" PREMIERE TICKETS SENSATION!

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NEXT GENERATION OF FILM MAKERS

The Mirror Boy update

Let down by the story

Goodluck at last for Nollywood

Dewitching Time

The Mirror Boy on it's way

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

Ghana Slams $1,000 Fee On Nigerian Actors

Nigerian Film Corporation Film Essay Competition

The Power of Nollywood to Save Children’s Lives

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