Tayo Folorunsho Expands Nollywood’s Frontiers with KAP Film and Television Institute Graduation

Tayo Folorunsho Expands Nollywood’s Frontiers with KAP Film and Television Institute Graduation

 

Nollywood, Africa’s largest film industry, is witnessing a new wave of transformation as industry professionals seek to refine their expertise and elevate the sector to global standards. In a major development, Tayo Folorunsho, a renowned edutainment entrepreneur and filmmaker, has successfully completed a professional program at the prestigious KAP Film and Television Institute in Lagos.

As the Founder of The Big Break Moment Africa. Folorunsho has been instrumental in bridging education and entertainment, empowering young creatives, and shaping the future of Nollywood. His latest academic pursuit signals a shift towards business-driven filmmaking, which is crucial for Nollywood’s sustainability and competitiveness on the global stage.

Speaking on his motivation for enrolling at KAP, Folorunsho emphasized the need for filmmakers to go beyond creativity and embrace the business aspects of filmmaking.

“I was desirous of knowing the rudimentary part of the business aspect of filmmaking, beyond just creativity. Nollywood is expanding, and for it to remain competitive globally, we need to understand the financial and structural backbone of the industry. I got that knowledge here at KAP, and I am thoroughly impressed,” he stated.

With Nollywood ranking as the second-largest film industry in the world by output, industry stakeholders are increasingly focusing on enhancing production quality, securing better distribution models, and maximizing revenue streams. Folorunsho’s training at KAP has provided him with the tools to navigate the evolving landscape of global entertainment, positioning him as a key player in Nollywood’s next growth phase.

“This is a milestone for me. It has prepared me to be an all-around movie executive, not just a filmmaker. The experience at KAP has provided me with an A-to-Z understanding of movie-making, positioning me to contribute meaningfully to Nollywood’s future,” he added.

Folorunsho’s graduation reflects a growing trend in Nollywood, where professionals are seeking formal education to refine their craft and improve the industry’s global reputation. With streaming platforms like Netflix and Amazon Prime increasing their investment in Nollywood content, there is a greater demand for well-structured, high-quality productions that meet international standards.

As Nollywood expands its influence beyond Africa, the industry must adopt sound business models, better intellectual property protection, and strategic partnerships to maximize its potential. Folorunsho, through his works, The Big Break Moment Africa, is at the forefront of this new movement, inspiring and mentoring emerging creatives.

With his newfound expertise, Folorunsho is expected to spearhead innovative film projects, edutainment initiatives, and strategic collaborations that will shape Nollywood’s future. His approach to filmmaking—one that blends creativity with business intelligence—sets a new standard for how Nollywood professionals should position themselves in a rapidly evolving industry.

As the Nigerian film industry continues to gain recognition on the global stage, leaders like Tayo Folorunsho are proving that education, innovation, and strategic business knowledge are essential to Nollywood’s long-term success. His recent achievement is not just a personal milestone but a testament to Nollywood’s ongoing transformation into a world-class entertainment powerhouse.

 

Omoni Oboli’s “Love In Every Word”: A Misrepresentation of Igbo Men and Their Culture

Omoni Oboli’s “Love In Every Word”: A Misrepresentation of Igbo Men and Their Culture

Opinion Post by Chukwuma Ndioguluo:

Omoni Oboli, a talented movie producer from Edo State, recently released a film titled “Love In Every Word, which attempts to portray the romantic dynamics of an Igbo man. However, the movie falls short of accurately representing Igbo culture and the traditional values of an Igbo man, particularly the concept of an *Odogwu* (a respected, wealthy, and influential man in Igbo society).

In the movie, the Igbo male lead, played by Uzor Arukwe, closes his bank account to win the heart of a woman he loves. This portrayal is not only inaccurate but also a misrepresentation of how an *Odogwu* from Igboland approaches love and relationships. In Igbo culture, an *Odogwu* is a man of substance, wisdom, and pride. He does not diminish himself or his wealth to win a woman’s affection. Instead, he often disguises his true status, presenting himself as a modest individual—perhaps a single shop owner in Onitsha Main Market—while secretly owning multiple businesses.

The intention behind this approach is to test the woman’s character and ensure she is not motivated by his wealth. An *Odogwu* seeks an *Odozi Aku*—a woman who is wise, resourceful, and capable of managing his wealth and household. Only when she proves her genuine love and loyalty does he reveal his true status and introduce her to his family as the woman he intends to marry. This is the Igbo way, and it reflects the depth of cultural values that prioritize character over materialism.

It is disappointing to see how Omoni Oboli imported a Benin man’s lifestyle into a movie that was supposed to showcase Igbo culture. The portrayal of the Igbo man in *Love In Every Word* is far from the reality of how an *Odogwu* loves and respects his woman. The only plausible explanation for this misrepresentation is that the character is an Igbo man who has lived outside Igboland for too long and has been influenced by the cultures of his host community.

Another glaring inaccuracy in the movie is the use of the term *“Onye Nwem”* (meaning “the one who owns me”) by the male lead to address his love interest. This is a complete distortion of Igbo cultural norms. In Igbo tradition, *“Onye Nwem”* is a term of endearment used by a wife to address her husband, not the other way around. It signifies the man’s role as the head of the household and the woman’s respect and submission to him. When a wife calls her husband *“Onye Nwem”* and shows him respect, he is compelled to love her genuinely and entrust her with the management of his wealth, earning her the title *“Ori Aku”* (the one who enjoys his wealth).

The fact that Uzor Arukwe, an Igbo actor, addressed Bambam, a Yoruba actress, as *“Onye Nwem”* in the movie is a clear indication that Omoni Oboli knew exactly what she was doing. If Bambam were an Igbo actress, I believe she would have rejected such a term, no matter how sweet it sounded, because it goes against the cultural norms passed down by our foremothers.

Omoni Oboli may have had good intentions with *Love In Every Word*, but the execution missed the mark. The movie fails to tell the true story of how Igbo men love their women and instead presents a distorted version of Igbo culture. I hope that an Igbo movie producer will one day rewrite and reproduce this story, showcasing the authentic and dignified way an *Odogwu* from Igboland loves and respects his woman.

Igbo culture is rich, profound, and deeply rooted in values that deserve accurate representation in Nollywood. Let us tell our stories the right way, preserving the integrity of our traditions for future generations.

#ChukwumaNdioguluOfficial
#Chucappella
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#BamBam
#UzorArukwe
#NollywoodMovies
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#IgboCulture
#Odogwu
#OdoziAku
#OriAku

Is Netflix Exiting Nigeria? Analyzing the Streaming Giant’s Position in Nollywood

Is Netflix Exiting Nigeria? Analyzing the Streaming Giant’s Position in Nollywood

By Anthony Emeka Nwosu

The Nigerian entertainment industry, particularly Nollywood, has grown into one of the largest and most influential movie industries globally. Since Kenneth Nnebue’s pioneering film Living in Bondage, Nollywood has attracted significant international investments, including from Netflix, the global streaming giant. However, recent rumors about Netflix pulling out of Nigeria have raised concerns and sparked debates about the sustainability and challenges of doing business in the Nigerian film industry.

Netflix’s Impact on Nollywood

Netflix’s entry into Nigeria began on a high note, marked by its acquisition of Genevieve Nnaji’s Lionheart, the first Nigerian film to stream on the platform. This milestone opened doors for several collaborations, enabling top producers to showcase compelling Nigerian stories to a global audience. Netflix not only streamed these movies but also invested millions in their production.

However, insiders allege that these investments were mismanaged. According to filmmaker Daddy Dabz, “Netflix funded projects upfront, but some producers diverted funds, allocating only a fraction to actual production, which led to substandard movies with poor storytelling and quality.” These issues reportedly affected Netflix’s ratings and led the company to revise its operating model in Nigeria.

Shifting Strategies and Terms

In response to these challenges, Netflix has reportedly stopped directly funding movie productions in Nigeria. Instead, filmmakers must now independently fund their projects, which Netflix will only purchase if they meet the platform’s standards. This new model emphasizes accountability and aims to enhance content quality.

Nollywood comedian Basketmouth shed light on the issue, claiming, “Many producers misused funds, prioritizing personal luxury over movie quality. Netflix is tired of this and has decided to let filmmakers prove themselves before investing.”

Is Netflix Truly Leaving Nigeria?

Contrary to circulating rumors, Netflix has not entirely exited the Nigerian market. Users can still access their accounts and stream movies. What has changed is the company’s investment strategy. While some critics view this shift as an indirect exit, others argue it is a necessary step to hold the industry accountable.

Comparisons have been drawn to companies like GSK, which maintained product availability in Nigeria despite halting direct operations. Similarly, Netflix’s new terms mean the platform remains active but will no longer fund local projects upfront.

Industry Reactions

Nollywood stakeholders have expressed mixed reactions. Filmmaker ‘Nosa of Nollywood’ attributed Netflix’s reduced involvement to “greed and dishonesty” among Nigerian producers. “Netflix left because funds meant for production were often misappropriated, leaving crew members and actors underpaid,” she lamented.

Murtala Muhammed Balogun added, “Netflix’s decision isn’t a problem. It’s about ensuring filmmakers produce quality content before selling it to the platform.”

Meanwhile, Ndubueze Odum humorously noted the public’s reaction, saying, “Netflix leaving Nigeria means no more ‘Netflix and Chill.’ But seriously, their reduced investment will hurt Nollywood’s global exposure and job creation.”

The Way Forward for Nollywood

Netflix has reaffirmed its commitment to telling Nigerian stories, but the onus now lies on Nollywood producers to adapt to the new terms. As alternative platforms like Amazon Prime Video gain traction, Nigerian filmmakers must improve transparency and production quality to attract international partnerships.

The rumored Netflix “exit” highlights deeper systemic issues within Nollywood that must be addressed to ensure the industry’s sustainability and global competitiveness.

Final Thoughts

For now, Netflix remains a key player in Nigeria, albeit with a revised operational approach. This Christmas, Nigerian audiences can still expect blockbuster releases on the platform, but the broader industry must embrace accountability to thrive in this new era of filmmaking.

 

 

Nigerian Film Industry in Focus: Ishanqueen’s Perspective on Ramsey Nouah’s Performance

Nigerian Film Industry in Focus: Ishanqueen’s Perspective on Ramsey Nouah’s Performance

 

Recently, Ramsey Nouah,a popular legengary thespian/actor celebrated his birthday but as a popular individual, lots are being said about hus acting prowess and Mavis took this to a new level. In a thought-provoking commentary on the acting talents within the Nigerian film industry, Mavis Ishanqueen has ignited discussions surrounding the performances of renowned actor Ramsey Nouah.

In her recent piece reflecting on the achievements of Majid Michel, Ishanqueen candidly discussed what she perceives as a potential limitation in Nouah’s acting repertoire – his accent. She highlighted how this aspect may have constrained his ability to fully immerse himself in certain roles, thus sparking accusations of shading from some quarters.

Clarifying her stance, Ishanqueen emphasized that her intention was not to cast aspersions but to provide constructive criticism. She emphasized the importance of offering feedback that fosters growth and improvement, a sentiment often overlooked in artistic evaluations.

Drawing from Nouah’s background, Ishanqueen shed light on his upbringing in Lagos, where despite being born to a Lebanese father and Nigerian mother, but Contrary to prevailing opinions, Ishanqueen challenged the notion that Nouah was superior to Michel in terms of acting prowess. She argued that true mastery of the craft lies in the ability to convincingly embody a diverse range of characters, a feat she believes Nouah fell short of achieving due to typecasting.

Expressing concern over the Nigerian film industry’s tendency to prioritize commercial success over artistic merit, Ishanqueen cautioned against perpetuating stagnant storylines and applauding mediocrity. She called for a reevaluation of standards and a commitment to nurturing talent that pushes boundaries and challenges conventions.

In closing, Ishanqueen reaffirmed her commitment to promoting excellence within the industry, despite the controversy her analysis may have sparked. She urged stakeholders to embrace constructive criticism as a catalyst for positive change and innovation, ensuring that Nigerian cinema continues to evolve and captivate audiences worldwide.

 

Anthony Emeka Nwosu

 

 

Drawing from Nouah’s background, Ishanqueen shed light on his upbringing in Lagos, where despite being born to a Lebanese father and Nigerian mother, but Contrary to prevailing opinions, Ishanqueen challenged the notion that Nouah was superior to Michel in terms of acting prowess. She argued that true mastery of the craft lies in the ability to convincingly embody a diverse range of characters, a feat she believes Nouah fell short of achieving due to typecasting.

A Comparative Analysis: Zubby  vs. Timini in Nigerian Cinema

A Comparative Analysis: Zubby  vs. Timini in Nigerian Cinema

When it comes to the world of Nigerian cinema, the names Zubby Micheal and Timini Egbuson often spark debates among enthusiasts. As someone who doesn’t necessarily consider themselves a movie buff, especially in the realm of Nigerian films, it’s important to acknowledge and respect the opinions of passionate movie lovers and critics. However, my preferences tend to lean towards lighter, comedic undertones rather than serious dramas.

Zubby Micheal embodies the essence of comedic relief with a hint of hardliner and machismo. His performances resonate with audiences seeking entertainment laced with humor and a touch of street-smart charm. For someone like me who enjoys films with a lighter tone, Zubby’s portrayal fits the bill perfectly.

On the other hand, Timini Egbuson delivers performances that are equally captivating. His talent shines through in various roles, showcasing his versatility and depth as an actor. While Zubby may cater more to the unrefined and street-oriented demographic, Timini appeals to a broader audience with his nuanced portrayals.

Both actors boast a loyal fan base, each attracting different demographics. Zubby’s fanbase tends to skew towards a more masculine audience, drawn to his rugged charm and comedic flair. In contrast, Timini’s appeal extends to a wider spectrum, garnering admiration from both male and female viewers alike.

Drawing a comparison between Zubby Micheal and Timini Egbuson is akin to offering a football and a teddy bear to male and female twins. Just as natural instincts would dictate their preferences, audiences gravitate towards the actor whose persona resonates with them on a deeper level.

In this analogy, Zubby Micheal embodies the football – bold, energetic, and appealing to a more masculine audience. Meanwhile, Timini Egbuson represents the teddy bear – charming, versatile, and embraced by a broader demographic, particularly the female audience.

Ultimately, the choice between Zubby Micheal and Timini Egbuson boils down to personal preferences and natural instincts. While both actors bring their unique flair to the screen, it’s their ability to connect with audiences on an emotional level that sets them apart in the realm of Nigerian cinema.

Kelly Hassino

Shanty Town Showing in Over Hundred Countries, Tops in Eleven

Shanty Town Showing in Over Hundred Countries, Tops in Eleven

 

 

Shanty Town Movie is a testament that the Nigerian movie industry is the biggest coming out of Africa and also has cemented Nollywood (pet name for local movie industry ) as one of the top 5 movie industries globally. Shanty Town movie came out depicting the slum of Nigeria, telling the story of cartels running prostitution, drug and extortionist rackets in some of the biggest slums in the country.

Speaking during an interview with Yaw, an online personality with WAZOBIA FM a local radio station in Lagos. Produced by Uche Jombo the Associate producer,Chichi Nworah the  Executive producer and Charles Okonkwo ,Executive producer. During the media  interview, Chi said that “ We have been in this movie since 2019, it was written in 2019, while Covid 19 paused it and we commenced shooting after the pandemic. “

“The movie is showing in over hundred  countries of the world and running top in eleven  countries of the world. The government is being aware of the movie industry. Producing the movie is a herculean event, we suffered many challenges “Review of Shanty Town, a Netflix Limited Series:

With the finest acts in the country such as Richard Mofe-Damijo, Ini Edo, Chidi Mokeme, Nse Ekpe-Etim, Shola Shobowale, Shaffy Bello, Ali Nuhu, Uche Jombo, Zubby Michael, Nancy Isime, Ini Edo.Produced by Uche Jombo the Associate producer, Chichi Nworah the Executive producer and Charles Okonkwo ,Executive producer with cameo appearance from Mercy of Big Brother Africa

“Shanty Town is an ode to blood, gore, violence, and very little sex, and it shows that Nollywood is truly pushing the envelope. The production focuses on a theme that we have seen quite a bit. A powerful politician is the real brain behind the drugs and prostitution rings in the slums, but 3 episodes in and I was still struggling to understand what the plot is. The use of suspense and mystery is over flogged, and I almost got bored with the build-up”, Ọmọ́níkẹ̀ẹ́ Adéòtí of NollyRated.

 

Anthony Emeka Nwosu