During the 76th Cannes Film Festival, R: Ed had the opportunity to sit down with Enyinna Nwigwe, a Nigerian Film Producer, to delve into the state of African cinema and Nollywood’s contributions. Enyinna, a Nigerian actor, producer, and entrepreneur, is widely recognized for his roles as Nonso in The Wedding Party 2 and Tamuno in Black November.
R: Ed: In your opinion, what is the current state of African Cinema?
Enyinna: I believe African Cinema has finally discovered its voice. It has been brewing beneath the surface for quite some time, serving as a means for creating films that cater to our own community, both at home and abroad. However, it has now rightfully taken its place on the global stage.
This significant shift is largely due to the emergence of platforms that act as hubs for global connection, allowing our films to transcend borders. During the lockdown period, I received numerous emails from Americans and the rest of the world who had stumbled upon our exceptional work while seeking solace through Netflix, the primary source of entertainment during those trying times. The exposure to new content opened doors for conversations and connections. Europeans, for instance, were introduced to the Nigerian film catalogue on Netflix, and many who watched The Wedding Party 2 reached out to express their admiration and commendation. It’s a slow but noticeable transformation where people are developing a renewed appreciation for diverse content. Consequently, the types of films being produced now are reflective of this evolving taste.
As an actor who has worked across the globe and produced Caribbean and South African movies for Netflix, I am frequently approached by producers who admire our work. The world is now hungry for fresh, exotic content that complements what they are already accustomed to, and they are more open to embracing it. Our movies are beginning to gain acceptance and generate conversations about diversity and inclusion, as evidenced by the discussions held during this year’s Cannes Festival. Even Hollywood is now making a conscious effort towards inclusion.
In the past, a non-transgender actor would portray a transgender character, but now, there is a deliberate shift towards casting actors who genuinely represent the characters they portray, such as transgender individuals for transgender roles, Africans for African roles, and so forth. This shift extends beyond cultural boundaries, as the industry aims to diversify in various aspects. There has never been a more opportune time to be involved in African cinema than now. We are witnessing a surge in collaborations and conversations, with people actively seeking to produce films that emphasise diversity.
It is imperative for us, as creatives and content creators, to leverage our power and influence to reshape perceptions, particularly in this era of a global village where we all access content through platforms like YouTube, Facebook, Netflix, and other online mediums. The internet has turned the world into an interconnected web, eradicating the need for physical presence at the cinema or waiting for DVDs. R: Ed: Do you think African content is now appealing to audiences beyond those with a direct connection or investment in Africa?
Enyinna: Oh, absolutely! The change is happening rapidly. We can even witness the influence of African culture on the red carpet in the UK, with African prints becoming more prominent. This transformation extends beyond the realm of film; everything is evolving simultaneously. Africans are winning Grammy Awards, showcasing the interconnectedness of different artistic mediums such as film, music, food, and fashion. Speaking of food, it has also become an essential part of cultural exchange. Just mention “Jollof” to five non-Africans, and at least three of them will be familiar with the dish.
Here at Cannes, when I stroll through the streets, I hear French boys playing Afrobeats, particularly music from Nigeria. So it’s not just about global collaboration; African collaboration is equally important. I have personally represented this concept for some time, which is why I engage in film productions in countries like Cameroon, South Africa, Kenya, and beyond, recognizing that Nigeria alone has a thriving industry. While the Nigerian industry is strong on its own, I look beyond its borders because I believe in the power of numbers. With our vast diversity, encompassing over 250 languages and 500+ dialects in Nigeria alone, we have an opportunity to merge various flavours, accents, cultures, and expressions, forging a united front to the world.
R: Ed: Do you think the connections between Nollywood, Hollywood, and other major film markets are strengthening?
Enyinna: Yes, the connections are deepening, although not as rapidly as we might hope. However, that’s perfectly fine; we don’t need to rush the process and force collaboration. It takes time, and the more we work together, the more we realise the possibilities. During a panel discussion, I had the chance to hear from an Indian producer who worked on “Bend it like Beckham.” Initially, nobody believed in her project, questioning why anyone would care about an Indian girl who loves soccer. But eventually, it became a sensation, becoming the first film to be released in cinemas worldwide, including South Korea. It’s an inspiring leap, and she now collaborates with major studios in LA.
Naturally, things will come together, but it’s crucial to maintain a strong position rooted in authenticity during negotiations. Nobody wants to compromise their authenticity, yet we also strive to connect with a broader audience. Nigeria possesses the strength in numbers to influence the rest of the continent through our projects. Wherever we go, we leave an impact. While India has a substantial population, they don’t migrate as Nigerians do, and they are fiercely protective of their culture, which is commendable. However, it’s interesting to note that many Nigerians watch Indian films in their homes, with channels like Zee World being one of the largest in Nigeria. This illustrates how far-reaching their influence is, even without physical presence.
R:Ed : We spoke to Moses Babtope, who emphasised two key points for the development of African cinema. Firstly, he highlighted the importance of building closer ties with both African and international filmmakers. Secondly, he stressed the need to strengthen Nollywood, ensuring it remains true to its unique identity by showcasing untapped stories, such as traditional tales. What are your thoughts on these points?
Enyinna: I think he is spot on. Each of us sees the world through our own lens, shaped by our experiences and associations. While different actors from Nigeria may have different journeys and viewpoints, my own journey has involved grounding myself at home while working globally. Therefore, I always strive to be authentic in my Nigerian identity, even when filming non-Nigerian movies. I make sure to incorporate elements of my Nigerian heritage, such as wearing Nigerian attire.
Filmmaking is a free game, allowing everyone to approach it in their own way. However, the most crucial aspect to keep in mind is that we are shaping culture and influencing the direction of the world, alongside social media. Films hold incredible power and encompass various elements of human nature, including love and pain. When watching a film, viewers often see themselves through the characters’ journeys and can relate to them. For me, it’s about changing the world through film.
Nigeria is poised to be the epicentre, as Moses mentioned, since we have a presence worldwide and have transcended the negative perception associated with corruption. Nigeria now represents Africa through our music, film, fashion, food, and more. Any success we achieve has an impact on the entire continent. It’s worth noting that South Africa is also making great strides, with many Hollywood films being shot in Cape Town.
The key is to focus on authenticity, bridging gaps, and fostering collaboration. We can facilitate this through policy changes, such as facilitating treaties that allow film producers to collaborate across borders and take advantage of incentives. This enables easier collaboration between countries and enhances the perception of unity on screen. When two people are seen together on screen frequently, they become one in the eyes of the audience. So, when I receive feedback on a series I’ve made in South Africa, it’s because I worked with their actors, which makes me familiar to their audience. Similarly, if a South African actor is introduced in a Nigerian film, they receive contracts from Nigerian producers. Therefore, the more we co-produce and collaborate, the stronger our hub becomes, enabling us to accomplish even greater things.
R: Ed: What is the essence of the African story that has yet to be fully explored by the world?
Enyinna: In Nigeria, our storytelling has evolved over time. We became commercially relevant in 1991-1992 when actors and producers came together, created their own movies, and sold them on DVDs. This opened up a new avenue for epic stories set in times before ours, often revolving around rituals and a young man’s struggle to make ends meet, getting influenced by friends to get into the game to make money, as seen in the movie “Living in Bondage” which set Nollywood on its commercial path. These themes influenced subsequent films. Our journey of evolution has taken us from drama to glamour and then to comedy. Even during times of unrest, people find joy in our comedy films, which have played a significant role. Nigeria is now venturing into Afro-futuristic films.
Comedy has always been a defining element of Nigerian cinema. Producers are adapting their content to suit different platforms like Netflix, catering to diverse audiences without losing our home-grown essence. It’s important to strike a balance between creating new content and honouring our existing film tradition.
R: Ed: Do you believe that untold African traditional stories have the potential to revitalise the industry?
Enyinna: Absolutely. There is always room for fresh content, and we’ve seen the impact that films like “Black Panther” have had.
Afro-futurism, as showcased in “Black Panther,” has been a source of inspiration. I produced a film called “American King,” which also has futuristic elements, envisioning a united Africa known as the United States of Africa. By creating more works like this, we can reach a larger audience and expand our influence.
Africa will always remain unique, and although we are still striving for acceptance, we must take advantage of opportunities like attending festivals such as Cannes. European filmmakers express a desire to penetrate the African market, and as gatekeepers, it is our responsibility to create structures that allow them to operate and generate returns.
Ultimately, no matter what we create, producers will always seek a return on their investment. Establishing these frameworks will position us better in the industry. As I mentioned before, authenticity will always be the most sustainable approach.
R: Ed: Considering the resources that the average person has in Nollywood, what advice would you give them in terms of the types of films to create, content to focus on, and how to promote their work?
Enyinna: I believe it’s not my place to dictate what stories someone should make. As I mentioned earlier, everyone sees the world through their own unique lens. Our goal is to change the world through our stories, and the human element should always be at the forefront. We can go beyond mere entertainment and strive for more. Whether you want to create big-budget films or shoot cheaper films on phones, go for it.
What matters is that your voice is heard and people can see what you’re doing. You never know how two people watching your short film might spread the word. However, it’s important to note that success may not come quickly. Start your journey by telling your own story and making your voice heard. Every story finds its place and resonates with someone. There is no template for success, and even the most esteemed individuals and panellists in the industry today admit that “no one knows.” Some of the biggest stories in the world were initially rejected at the idea stage. Through small steps, they eventually became industry giants. It’s all about taking one step at a time.
R: Ed: What is the reality of working in the corporate film industry?
Enyinna: Working in the corporate film industry is an experience rooted in human nature. We constantly seek growth and evolution. Personally, I strive to be present in various places, to learn from them and bring that knowledge back to Nollywood. It’s an interesting environment to be in, as it has the potential to shape you into a better person rather than a beast. It’s a choice whether to use your influence to effect positive change or simply pursue your personal desires.
R: Ed: What advice do you have for young filmmakers?
Enyinna: Always approach your craft from an authentic position. No one knows what the future holds, so just be yourself, and everything else will follow.
