It all started when I needed something to watch…

In early 2017, I was tired of scrolling through Netflix just to find more annoyingly mainstream movies and shows riddled with the same plots and token fillers. I was adamant about watching stories concerning people who look like me and who did not first have to reconcile with their race.

To my surprise, Netflix already had the humble beginnings of an ever-growing Nollywood (Nigerian Hollywood) catalogue. I randomly discovered the first film mentioned below and subsequently tried out a few other suggested titles. My initial curiosity has become a full-fledged obsession with modern-day African television and film.

Nollywood has a reputation for churning out low-budget productions; however, quite a few can stand alongside multimillion-dollar movies in terms of production quality.

A handful of actors appear in a large portion of the Nigerian works that I have seen, which I attribute to the relatively small, localized scale of the industry as compared to highly globalized Hollywood.  

If you are newly interested to see what the industry has to offer, see a list of my favorite Nollywood titles below. They are currently available on Netflix.

The Wedding Party

This acclaimed comedy is the second highest box-office-grossing Nollywood film to date, surpassed only by its sequel. The story revolves around modestly chaste bride-to-be, Dunni, and reformed playboy groom-to-be, Dozie, on the day of their wedding. The couple must contend with their warring families, meddlesome friends, mischievous exes, and shameless gatecrashers who all threaten to spoil their big day. The writing and acting make for a hilarious and heartwarming film.

Award-winning actress Adesua Etomi stars as Dunni. She stuck out to me because she wore her natural hair throughout the film. As I watched more Nollywood productions I soon realized how distinctive this choice was, as actresses in many of the films I have seen wear straightened wigs and weaves, and less frequently braided styles. (Sidebar: Black women can and should wear their hair however they want; I am certainly not contributing to the unsolicited rhetoric that looks to police Black women’s hair. I simply like to see a variety of hairstyles celebrated through onscreen representation.)

I have since seen Etomi in three other cinematic works and her incredible acting ability has become apparent. She is easily my favorite Nollywood actress; I can almost bet from experience that any title she’s in will be a good one.

I actually caught the sequel to this film, The Wedding Party 2: Destination Dubai, on a Virgin Atlantic flight to South Africa. To my dismay, it lived up to its cliché as a sequel – it was not at all compelling. The storyline struggles to keep afloat and the new actors leave much to be desired. Stick with the original and you’ll be happy you did.

Fifty

This film is intriguing for many reasons, the foremost of which is that it delves into the lives of four women approaching their mid-life markers. Ageism is alive and well, particularly in the entertainment industry, which emphasizes visualizations of youthful, singular beauty. Even more so interestingly rare is the exploration of modern African women’s lives.

The plot unfolds over the course of a week, during which all of the characters are met with significant challenges as their stories intersect.  We are introduced to the four main characters – Tola, Dr. Elizabeth, Kate, and Maria – at the onset of a typical day.

This was definitely a higher budget film. The cinematography, symbolism, and use of time are unparalleled. Executive Producer Mo Abudu spoke of her primary role to find the funding for the film, stating that, “We decided that it was important for us to get ‘Fifty’ to a particular standard. There are no two standards globally. It’s either there is one international, global standard or there’s others that compromise…I believe we can take every single box, with regards to the storytelling, with regards to the quality, the post-production, every single aspect has been taken care of.”

The movie was spun off into a series created by EbonyLifeTV, with season 1 premiering in July 2017.

The role of Elizabeth is interpreted by Iretiola “Ireti” Doyle, an actress who also appears in The Wedding Party. I have now seen her in a total of three films and she has solidified her place as my second favorite actress. Her sharp wit never fails to come through in a performance, whilst she stays true to the interpretation of each specific character.  

With that said, all of the actresses in Fifty do a phenomenal job of creating a poignant story.

Road to Yesterday

This drama was conceptualized and produced by Genevieve Nnaji, who also stars in the film. It tells the story of Victoria and Izu, a married couple who try to repair their tenuous relationship during a road trip. The movie utilizes flashbacks to show a once amicable relationship and the past events that have led them to their sordid state of affairs.

Co-star Oris Erhuero, who interpreted the role of Izu, divulges that the film presented him with a unique opportunity to face himself, and to acknowledge his treatment of the women in his life.

Izu delivers one of my favorite lines in the movie when his friend tries to make a distinction between the way men and women act romantically; Izu asserts, “There is no difference. We are humans. We are flawed. Man, woman. We lie. We cheat. We betray one another. We hurt each other even when we are in love. Especially when we are in love. There’s no difference.”

It is a beautiful story about love, resentment and misunderstanding. Be prepared to cry, as it is a tearjerker!

The Arbitration

This is an excellent movie examining the nuances of a topic not oft explored in cinema. In this piece, director Niyi Akinmolayan tackles sexual harassment and coercion in the workplace.

Dara is a bold, intelligent businesswoman who must face Gbenga, her former boss. Adesua Etomi stars opposite O.C. Ekeje. We see three additional alums from The Wedding Party – Ireti Doyle, Somkele Idhalama and Beverly Naya – reunite to round out a powerhouse cast.

Like Road to Yesterday, this flick alternates between the arbitration meeting room and the events leading up to the dispute. The scene transitions occur by shuttling across walls until viewers land in the midst of a particular past situation. 

Intimidation is a theme that transcends Dara and Gbenga, as it is also used amongst the lawyers presiding over the case.

The overall message is women’s empowerment and the final sentiment is, “See who you are when you aren’t stuck behind a man.”

Lionheart

This history-making film by actress-writer-producer-director Genevieve Nnaji tells the story of an ambitious woman, Adaeze, who must helm the family business alongside her uncle, after her father falls ill. The film marks Nnaji’s directorial debut.

Lionheart is set in Enugu, Nigeria; I believe this is the first Nollywood film I have seen that is not meant to take place in Lagos. It is also the first time I was introduced to a Nigerian ethnic group (Hausa) other than the Igbo and the Yoruba. I love to learn about world cultures, so this was a pleasant surprise and I give compliments to Nnaji for showcasing more aspects of her homeland.

The film also stays low-to-the-ground in terms of illustrating important parts of Nigerian culture, i.e. an Igbo family having dinner together and the banter that ensues, and what working class people might experience on a typical workday.

What stuck out to me the most was how gentle and respectful the men in Adaeze’s life were. Her father and uncle held her in a very high regard, which apparently challenges stereotypes about African men.

As far as distribution goes, Lionheart arguably revolutionized the trajectory of Nigerian cinema. The film was received with critical acclaim and screened at multiple film festivals worldwide before premiering on Netflix earlier this month. News broke soon after that the global streaming giant had purchased the rights to the original film for $3.8 million USD (approximately N1,385,100,000), making Genevieve Nnaji the first billionaire in Nollywood.  

I have a tremendous amount of respect for Nnaji not just for this incredible feat, but also because she has grafted for twenty years, wearing so many hats in the industry and remaining dedicated to producing quality "movies for us, by us.” She is driven by the desire to positively influence people via filmmaking, and she always champions pride in her country and the progression of African film in her work.  

In terms of Nnaji’s decision to underscore a woman’s experience in a male-dominated field in Lionheart, I cannot help but see this as a cinematic mirror of what she must face as a formidable force within Nollywood, who has now taken the crown as its highest paid professional. Perhaps I am mistaken as I have seen a fair share of female directors and producers in Nollywood; are the gender dynamics different than those of Hollywood? 

In any case, the purchase of the film signifies a turn in the tide for how Nigerian films are viewed and distributed worldwide, allowing the Nigerian industry to take its rightful place as a contender in the global entertainment sphere.