Entertainment

Entertainment

Controversy trails the cinema screening of Genevieve Nnaji’s lionheart movie.

Nollywood actress and filmmaker, Genevieve Nnaji’s globally acclaimed movie, ‘Lionheart’’s cinematic debut may be put on hold over alleged distribution issues. The star actress had announced that the movie which was acquired by world’s foremost subscription-based streaming service, Netflix on the eve of its world premiere at the Toronto International Film Festival would be available in the cinemas from December 21st,but industry-related issues will not make that possible, her camp has alleged.

A statement released on her behalf by Ugoma Adegoke, the CEO of Life House, sheds more light on the fresh controversy.

“FilmOne, one of the major film cinema distributors, has categorically refused to distribute Lionheart, primarily because they have no stake in it. They are currently invested in a couple of movies showing in the cinemas and want to protect their assets at all cost. Monopolizing the market this season is their strategy to recouping their investment,” the statement reads.

She added, “It is clear to me that the interest of the consumers is not of utmost priority as advertised. These cinema chains are only here to make money off of struggling artists while protecting their investments in the films they are affiliated with…

“As for the ‘powersthat be’, this is not over. On the contrary, it is just the beginning. You aregoing to respect what I stand for which is art. You are going to respect whereI came from which is Nollywood. You are going to learn to respect the talent.”

FilmOne has explained their side of the story in a new statement.

“On 21st September 2018, it was announced that Netflix would fully acquire and release the film Lionheart via its online platform. This implied that the film would not be available for theatrical release.

However, to the shock anddispleasure of several filmmakers and production companies, Genevieve Nnajiannounced the release of her film, Lionheart, on 15th December 2018, viaInstagram. This came a day after the release of other competitive titles,including Up North, Smash, God Calling (Silverbird) and Knock Out Blessing(Genesis) and Chief Daddy. These films gave between 3 and 11 months’ notice of release.

Using Chief Daddy as an example, EbonyLife came to an agreement with us at FilmOne on 19th January 2018, to release the film on 14th December – a full 11 months’ notice. This manner of advance notice to its distributor, and the entire industry, is standard practice, and aimed at avoiding unnecessary ambush situations. All of these filmmakers commenced marketing of their films up to 6 months prior to release. Since then, they have expended considerable resources (both financial and human) towards the release strategies and marketing of their films.

In contrast, the haphazard release of a title such as Lionheart would put the success of scheduled competitive titles at stake and jeopardize the efforts made by the producers.

This unprecedented development has compromised our prestigious film industry in the following ways:

1. Firstly, it is important to consider that while we do operate in a free market, key stakeholders have come together to form an association, bound by by-laws and guidelines that regulate the standard principles of business engagement. One of these principles is the circulation of a weekly update of film release dates, known as the Competitive Positioning Release Schedule (CPRS). The CPRS gives all distributors and cinemas reasonable notice of upcoming releases and/or changes thereto. Permitting the release of Lionheart would perpetrate the very mischief, which the CPRS was designed to combat.

2. Secondly, the very essence of the Theatrical Distributors Association of Nigeria (TDAN) and Cinema Exhibitors Association Nigeria (CEAN) is to create an atmosphere of transparency and fairness within the industry, where all stakeholders are afforded a say in the conduct of the industry. The abrupt and unscheduled release of Lionheart is being forced by a small contingent of stakeholders and, if permitted, means that said highly destructive to the orderly running of the industry and the beginning of the chaos that afflicts so many aspects of Nigerian life. On addition, it would set a dangerous precedent, where power and influence trump accepted rules and render the majority of stakeholders powerless.

3. Considering the time and effort that has gone into providing structure and stability to the film industry, a move such as this has the potential to set in motion a devastatingly regressive tide. It should be remembered that we operate in a global industry with widely accepted norms and behaviours. Indeed, the producers of Lion Heart have been embraced by an international platform and should be keen to set an example for upcoming filmmakers.

4. Also, it is important to consider the disruptive impact of this unscheduled release on other filmmakers. As previously mentioned, the release of most films are dated well in advance in order to give ‘breathing space’ and maximum potential for box office success. This is due primarily to the limited screen space available for theatrical releases in Nigeria.

5. We must address the mischievous and potentially libelous rumours currently circulating on social media, regarding our purported ‘interest’ in a number of titles, hence our reluctance to release Lion Heart. Firstly, we have no interest in any film being released in December 2018. Our sole interest is in King of Boys, released in October, for which FilmOne provided a production consultancy service, and is currently completing a very successful run. In the course of our discussions with The Entertainment Network (TEN) on 3rd December 2018, we made it clear that the short notice of less than 2 weeks and the plethora of titles (14 in all) being released in December would preclude the release of Lion Heart in Filmhouse Cinemas. In addition, it is being suggested that FilmOne manipulates box office figures in order to give a false impression of titles we are vested in. We reject such accusations in the strongest possible terms and we are prepared to take legal action against any party to whom such statements are attributed.

We take our agreements with filmmakers quite seriously, as well as our commitment to other cinema owners, to properly schedule films and abide by our association’s (CEAN) rules. We have led from the front, to ensure that box office figures are reported industry-wide in a timely and transparent fashion. Indeed, we were the first to regularly publish box numbers for public consumption, understanding that this would have a positive effect on the professional image of our industry. Any interested stakeholder is more than welcome to see the weekly statements FilmOne issues on all films it distributes in all cinemas nationwide. How does one manipulate figures that so many stakeholders – cinema owners and filmmakers – have a financial stake in?

In conclusion, it is our deepest hope that we have successfully clarified our position in this most dissatisfying situation.

Patrick Lee, chairman of the Cinema Exhibitors Association of Nigeria (CEAN) said the Lionheart team did not adhere to the processes involved in exhibiting a film in cinemas in the country that’s why most of its members “rightly refused to take the movie.”

“We expect the movie to come from a licenced distributor, we expect the movie to be given adequate run time in the cinemas before it is officially released on other platforms.

“And also for our cinemas to be provided with adequate notice for the inclusion of the movie in an increasingly crowded calendar.

“It is clear from the approach taken by the Lionheart team that these processes were not adhered to and most of our members rightly refused to take the movie.

“It is also important to note that this movie had been signed up by Netflix months ago, thereby giving Genevieve’s team ample time to secure a spot on the calendar.

“An option they did not take until quite recently thereby ensuring the possibility of the movie not being shown by cinemas during their preferred date.

“Genevieve has starred and produced movies for cinema exhibition in the past so should be familiar with the way the industry works which is why this is a cause for concern for us in the cinema association.

“Finally it’s worth pointing out that other movies such as Chief Daddy, KOB and Merry men had all been slated from early March this year.

“Mo Abudu, AY and Kemi Adetiba who are industry compatriots of Genevieve’s followed the right approach by scheduling early for cinema release.

“It’s not fair that they may now possibly have their screen times reduced because of the rushed inclusion of Lionheart in the cinemas.

“We at the cinema association are also not pleased about the attacks in the statement on some of our members and the sweeping generalisations the statement makes,” Lee said.

 

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Femi Otedola promises to foot actor, Victor Olaotan’s medical bills.

Business mogul and philanthropist, Femi Otedola has promised to offset the medical bills of ailing Nollywood actor, Victor Olaotan known for his role as Fred Ade-Williams in the television series, Tinsel who is seeking financial assistance after a ghastly accident left him bed ridden for several months.

Few days ago, actress Ireti Doyle posted an update about his situation, and called for donations for her colleague. A Gofundme account was also opened on his behalf.
Well, the cheering news from his quarters is that the billionnaire has sprung to his help and is already in touch with his family members. The new development was announced on the instagram page of veteran actor, Richard Mofe-Damijo.

So, a few days ago, I reached out to @femiotedola asking for help for my friend and brother Victor and just this morning, Femi calls to tell me that he would take care of ALL of Victor’s bills.
He told me that he is already on it and that his people are already talking with Victor’s wife. Is God not awesome?? I can’t even contain my joy and gratitude. Thank you Femi
@femiotedola you are a man and a half and thank you to my young friend @gbenroajibade for championing this cause, they really don’t make them like you anymore, you are such an amazing “child” and I am proud to know you.
Thank you to everyone who has supported in one way or the other. It’s been a long time coming

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4 Years after release, Stephanie Linus takes ‘Dry’ to New Orleans

Award-winning Nollywood actress and producer Stephanie Linus will be a special guest at the Ray Charles Week taking place at Dillard University in New Orleans, Lousiana, USA from October 25-26, 2018. During her visit, she will give a lecture on “The Emergence of African Storytellers and Their New Narrative” and will also screen her latest film “Dry”.
This event organized by the Dillard University Ray Charles Program, Dillard Film and Dillard University African World Student Organization is a yearly one that brings together interested parties to research, document, disseminate, preserve, and celebrate African American culture and foodways in the South. Past speakers have included Denzel Washington, Tunde Wey and many more.
The lecture will hold on Thursday, October 25, 2018 from 11am-12pm in the Dillard University Chapel while the movie will be screened on Friday, October 26, 2018, in the Dillard University Student Union, 3rd floor movie theater from 6pm-9pm.
Dry is a 2014 Nigerian drama directed by and starring Stephanie Linus, in response to the child marriage controversy ongoing in Nigeria. The film’s theme focuses on the practice of fistula and under-age marriage among young women.
Following the screening, Linus will participate in a Q&A session with the audience. The lone screening is open to the public. The events are sponsored by the Dillard University Ray Charles Program, Dillard University Film and Dillard University African World Student Organization.
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Stella Damasus returns to the big screen with "Between"

Award-winning superstar, Stella Damasus has returned to the silver screen with the movie BETWEEN. Set in Atlanta, Georgia, Damasus plays the character of Chelsea Hollis, a very successful 36-year-old woman that has been married and divorced four times! She lives a double life as a white-collar worker by day and a party girl at night. She helps people fix their relationships but she has totally given up on love. A strong feminist who believes women should take control over their destinies and be 100% in control of their emotions and the choice of who to sleep with and when to do it.
She meets Scott Hamilton and a one-night stand blossoms into a romantic relationship until she finds out that the man who is about to change her perspective on love, may just be much more than what she expected. The movie also stars fast-rising stars Travis Grenier, Tatiana Zappardino, Lynne Jenson and Erin E. Feest.
BETWEEN is a cinematic masterpiece that takes you on an emotional roller coaster ride from the first shot to the very final frame. Award-winning filmmaker, Daniel Ademinokan, helms BETWEEN as the writer and Director. Ademinokan and Damasus are also credited as Producers and Executive Producers on this film under their production company Index Two Studios, LLC.
The movie has already secured a deal with Adler & Associates Entertainment, a sales agent in Los Angeles. The World Premiere for Between is happening on October 7th at the GlennFest Film Festival in Downey, California.  Between is the movie to close out the 7-day film festival. Tickets to the World Premiere are available here bit.ly/2CrDNrb and it promises to be a spectacle. The film has also been selected to screen at several film festivals across Europe and North America. 
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Netflix acquires rights to Genevieve Nnaji’s directorial debut “Lionheart.”

She’s low-key making Big things happen!

Netflix acquires rights to Genevieve Nnaji’s directorial debut “Lionheart.”

Netflix has announced that they’ve acquired worldwide rights to Lionheart, the directorial debut of legendary actress  – Genevieve Nnaji. The film  which premiered at the Toronto International Film Festival on Saturday is the first Netflix Original Film from Nigeria. It stars Nkem Owoh, Pete Edochie, Onyeka Onwenu, Jemima Osunde and a host of others

Genny plays a level-headed executive at her father’s bus company, but along with her rival (Kalu Egbui Ikeagwu) is passed over when her father hands the company over to her uncle.

  1. Kiva Reardon, a writer for TIFF, described the film as “sharply and comically observed, Nnaji’s film deals with the everyday sexism that saturates workplaces everywhere, and captures the delicate balance between honouring one’s family while finding the courage to strike out on one’s own.”

 

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Simi to feature in Kunle Afolayan’s new movie, Mokalik

Afropop/Soul singer is set to feature in Kunle Afolayan’s new movie titled Mokalik. The announcement was made by the award-winning actor, alongside a picture of himself and Simi, captioned:
“It is Official: Simi @symplysimi is featuring in “Mokalik” a Kunle Afolayan film. ‘Jamb Questiom’ crooner, Simisola Ogunleye, aka Simi, has accepted a role in Kunle Afolayan’s coming film, ‘Mokalik’ (Mechanic). The agreement was formalised on Sunday, at the filmmaker’s office, in Lagos.”
The film also stars the likes of Femi Adebayo, Ayo Adesanya, Faithia Williams, Lateef Oladimeji to mention a few.

‘Mokalik’ (Mechanic) follows the career of an 11-year-old boy, Jaiye, from the middle-class suburbs who spends the day as a lowly apprentice at a mechanic workshop in order to view life from the other side of the tracks. Simi will be playing the role of the daughter of a cafeteria owner.
Afolayan says ‘Mokalik’ is a slight departure from the flicks he had shot in the past, adding that there will be two versions of the film; one for the Nigerian market – the other for the international market.

Screen-played by Tunde Babalola, inspiration for the story, according to the filmmaker came during his constant visit to the mechanic workshop where he refurbished his much publicised Vintage car (Thunderbird Ford 1965) recently, while the film title, a Yoruba corrupt pronunciation of mechanic is from a scene in one of his late father (Ade Love)’s classic, ‘Taxi Driver’. Visiting the mechanic workshop after about 15 years opened my eyes to a lot of things that I believe the world should know about our local auto car repairs industry,” he said.
“@Kunleafo and a girl with a script she likes very much,” The JAMB Question crooner wrote on instagram.

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Davido leads Wizkid on social media rankings


Award-winning musical act, David Adeleke, fondly called Davido leads rival artiste, Wizkid as the most followed Nigerian entertainer on social media according to the African Social Media Power Report 2017: Top 50 Footballers and Entertainers compiled by Camps Bay Media; a sports communication and brand management company.

The artistes who put an end to their rivalry last year after performing at each other’s concerts  at the Eko Convention Convention Centre, Victoria Island, Lagos in December 2017 have a total of 12.26m and 9.71m followers on social media respectively.
Leading the Power 50 list of African footballers and entertainers, ranked based on data from Facebook, Instagram, Twitter is American singer, businessman and philanthropist, Akon. The 44-year-old might have taken a hiatus from the music scene but he is engaging in noteworthy projects.  Through his ‘Akon Lights Africa’ initiative, the ‘trouble’ singer is providing electricity to approximately 16 million Africans in 15 countries.

“In a world where social media continues to play a big role, the influence of African entertainers and footballers, the crème of popular culture on our continent, continues to fascinate and that is why we have compiled this list. We have tried as much as possible to gather the top African pop and sport stars into the list in order to show their influence across the three key social media platforms of Instagram, Facebook and Twitter. We hope that the Power Report will be an annual ranking to gauge their growing impact as well as enable market planners and researchers to see the possibilities inherent in their influence.” Lolade Adewuyi, chief strategist at Camps Bay Media maintained.

The Power 50 has a combined following of almost 400million, a figure that is twice the population of Nigeria, Africa’s most populated country. The 50 comprises of 13 actors/actresses, 14 singers, 9 rappers, 8 footballers, 4 comedians and 2 music producers.

Mohamed Salah is the most popular African footballer on social media channels. From an overlooked player to one of Europe’s deadliest attacking stars, the Egyptian’s story is that of strength, determination and tenacity.
The Liverpool forward had an incredible 2017 clinching the BBC Player of the Year award beating club teammate, Sadio Mane, Borussia Dortmund and Gabon attacker Pierre-Emerick Aubameyang, Nigeria and Chelsea’s wing-back Victor Moses and, RP Leipzig and Guinea’s midfielder Naby Keita as well as the 2017 CAF African Player of the Year edging out fellow finalists Sadio Mane and Pierre-Emerick Aubameyang. The Anfield king who just became the first Liverpool player to score 25 goals in all competitions this season is working towards his goal of becoming the best Egyptian ever.

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Movie Review: Wives On Strike 2: The Revolution

Movie Title: Wives On Strike 2: The Revolution
Genre: Romantic Comedy
Cast: Omoni Oboli, Toyin Abraham, Chioma Chukwuka Akpotha, Uche Jombo, Sola Sobowale, Ufuoma McDermott, Kenneth Okonkwo, Kalu Ikeagwu, Hafiz “Saka” Oyetoro, Julius Agwu, Chioma “Chigul” Omeruah, Odunlade Adekola
Director: Omoni Oboli
“Wives On Strike 2: The Revolution” begins with a different set of circumstances from where the previous instalment left off. After Mama Beatrice is murdered and her body hidden, a group of friends consisting of Ejiro/Mama Ngozi (Oboli), Jemima/Madam 12:30 (Jombo), Mama Bola (Abraham) and Mama Amina (McDermott) decide to enlist the help of a vigilante friend to uncover the cause of death. After being kidnapped and tortured, Mama Beatrice’s husband confesses to the murder, and is handed over to the police.
Elsewhere, Joy (Chigul) is at the receiving end of constant battering at the hands of her husband (Adekola), while Vera (Akpotha) is trying to get over the discovery of her husband’s cheating. The association of women, led by Iya Dami (Sobowale), gives the Lagos state government an ultimatum to look into their needs, or risk another “strike action”. The government calls their bluff, and the women nationwide “close up shop”, leaving their husbands with blue balls.
Also Read: Movie Review: My Wife And I
The movies explores various societal issues, including domestic violence, marital infidelity and abuse. The 95-minute clip also makes room to discuss leadership opportunities for women, girl child education, patriarchy and spousal support.
Toyin Abraham dazzles in her role as the less educated of the quartet, with her brand of unforced humour making for a lovable watch. Omoni Oboli has always attracted divided opinion about her acting prowess, but she does surprisingly well here, with her particularly ear-catching use of pidgin English. Uche Jombo does not have much to do but barely puts a foot wrong, Sola Sobowale takes on a more serious and less dramatic role but performs nonetheless, while Ufuoma McDermott gets lost in the scenes as she fails to own her space.
Also Read: 17 movies that caught our eyes at the Nigerian cinemas in 2017
The men in this movie bear little significance to the plot, and consequently, are treated as such. They offer virtually no bearing to the audience’s journey, and except for a few slapsticks moment from Saka, they could have as taken up non-speaking roles. Kenneth Okonkwo seems out of place as a mechanic husband, and it is unclear whether Julius Agwu is trying so hard to be serious.

The film itself generates genuine giggles and chuckles, but stumbles in trying to execute the plot. It feels a tad disjointed, and for a moment it feels that the director is so caught up in the story of Mama Ngozi and her friends, then suddenly remembers that the fate of Joy’s abuse and Mama Beatrice’s killer has not been resolved, and goes on to patch up the missing scenes. There is also undue emphasis on sponsors and brands, and somewhere in the middle, everything fades into drab speeches about worthy causes and social messages, before slowly picking up again.
“Wives On Strike 2: The Revolution” is bedeviled by clichés, but that does not make it any less watchable. It is a good, if not great, vehicle for conveying an all-important message on women’s rights, and while you don’t have to rush to the cinemas for it, you won’t necessarily be brooding and asking for a refund if you do.
Rating: 6/10

Jerry Chiemeke is a lawyer and freelance writer who lives in Lagos. An amateur photographer and sports enthusiast as well, Jerry’s works have appeared on Blanck Digital, Elsieisy, Oshodi.tv, The Kalahari Review and Brittle Paper. He is the author of ‘The Colours In These Leaves’. Get the book Here 
You can follow him on Twitter @J_Chiemeke, and also check out his craft on his blog at pensofchi.com

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Stephanie Linus Arrives Italy To Advocate Against Human Trafficking

In the wake of the increased rate of human trafficking being experienced by Nigerians trying to migrate to Europe via Libya, Actress and Producer Stephanie Linus has recently arrived in Italy to give support to rescued people and raise her voice against such human rights violations.

This timely intervention is in partnership with the world-renowned international medical humanitarian organisation “Doctors Without Borders” (MSF). Over the next few days, Mrs Linus will visit the rescue ship “Aquarius” to witness their activities and operations. Later she will have meetings with some of these vulnerable women;  participate in rehabilitation exercises for the rescued women, media parleys and stakeholder meetings with the aim of alleviating their sufferings and preventing more girls and women from falling prey.

 

Doctors Without Borders is one of the most impactful humanitarian organisation that rescues thousands of people who faced hazardous conditions trying to enter Europe through the sea yearly. In 2017, the Aquarius (a rescue ship)  has rescued 15,078 people.

Mrs Linus has been at the forefront of advocacy over sensitive issues that affect the rights of women and girls. She has done this through several channels such as her advocacy movie – DRY, her role as UNFPA Ambassador; her charity organisation Extended Hands Foundation and many more. 

 

An increasing number of women, mainly from Nigeria, are being trafficked to Europe for sexual exploitation. According to the International Organisation for Migration (IOM), there has been an almost 600% increase in the number of potential sex trafficking victims arriving in Italy by Sea since 2014. Many of these women were kidnapped against their will or lured with the promise of greener pastures.

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LOLADEVILLE BLOG EXCLUSIVE: 17 MOVIES THAT CAUGHT OUR EYES AT NIGERIAN CINEMAS IN 2017

Hi guys, it’s that time of the year again. Our annual list is out and we really can’t keep calm at the moment. We took a break from football and did something different this year.  We focused on movies. Movies that had us scampering to the cinemas, that received critical acclaim and that won’t just leave our lips because everything about them; casting, cinematography, story-line are just too lit. This year’s exclusive list was compiled and written by my wonderful friend and blog contributor, Jerry Chiemeke. Jerry is a lawyer, movie critic and so much more. You can check some of his reviews here, here and here
This year’s article is titled: 17 Nigerian movies that caught our eyes at the Nigerian cinemas in 2017. Enjoy!


The past few years in this decade have witnessed a shift in the direction of movie-making and film distribution in Nigeria. The cinema culture witnessed a revival, locations became more diverse, and a marked difference in the quality of cameras was noticed. New actors came up too, and in time, a demarcation of sorts between the low budget, Asaba side of things (“old Nollywood”) and the glossy, elite side of town (“new Nollywood”) with fresh faces and new equipment.
However, while cinematography and sound went up a notch, the movies in general were still lacking in watchability. The scripts were watery, the transition in scenes left much to be desired, and the role interpretation by the “new” actors was cringeworthy, with few exceptions like “October 1st” and “Phone Swap”. Time and again, cinema goers asked for refunds of their ticket, and for a moment, the old guard hanging around Idumota and Alaba had cause to mock and sneer.
All that began to change two years ago, with a marked improvement in screenplay (“76”, “Surulere”, “A Soldier’s Story”), and the year 2017 saw many screenwriters and directors come with their A-game. Movie critics and cynics had less to complain about, and cinema tickets sold out on some occasions (a movie reviewer once had to show up on a later date to see “My Wife And I” as Silverbird Cinemas Ikeja had run out of tickets on the day). It is not yet Uhuru for Nollywood, and indeed there is still a long way to go, but progress cannot be ignored.
This year treated us to the awesome, the average and the downright forgettable when it comes to cinematic Nollywood. We took notes, and so, in ascending order, here is a compilation of the 17 movies that appealed to us the most, beginning with:
Honourable Mention:
Mentally (Frank Donga, Toyin Abraham. Chris Okagbue, Erick Didie): A young man ditches his village for the busy streets of Lagos on his friend’s invitation. He gets a peculiar welcome from pickpockets and motor park preachers, and when he caves in to peer pressure and smokes marijuana, gets transported to an alternate universe. Could have been better delivered, but the message was clear enough.

    And now, the countdown proper.
17. Okafor’s Law (Omoni Oboli, Blossom Chukwujekwu): A movie based on the unwritten law of “perennial access” to a lady once    shagged. Involved some pre-release controversy with screenwriter Jude Idada as to intellectual property rights, leading to a postponement of its premiere date. Full marks for attempt, but not much by way of inspiration.
    16. Ten Days In Sun City (AY Makun, Adesua Etomi, Richard Mofe-Damijo, Miguel Nunez Jr., Thenjiwe Moseley): The third      installment in the “Adventures Of Akpos” franchise. In this one, Akpos’ girlfriend wins the Queen of Nigeria beauty pageant and earns  a 10-day vacation in Sun City, South Africa. While there, he is approached by a business mogul to let go of her, with a tempting offer of an international passports and millions of dollars, ultimately putting his integrity to task. Better than its predecessor “A Trip To Jamaica”, but as usual, creating divided opinion as to AY’s comic credentials.
15. Banana Island Ghost (Chioma “Chigurl” Omeruah, Patrick Diabuah, Bimbo Manuel, Ali Nuhu): A plus-size lady is in danger of losing her house, no thanks to her late father’s default in mortgage payment. She has a few days to raise 18 million dollars, and has to form an unlikely partnership with a dead man whose ghost is given three days by God to find love before he can enter Heaven. Mildly funny, and a great soundtrack too, but fails to live up to the hype.

14. Hakkunde (Frank Donga, Toyin Abraham, Rahmat Sadau, Ali Nuhu): A movie about an educated man who sinks into frustration after a futile search for a white-collar job. He eventually finds himself teaching in a remote village, where he has to adapt to the culture and is intrigued by their way of life. Entertainment value is debatable, but highly educative nonetheless.
13. Alter Ego (Omotola Jalade-Ekeinde, Wale Ojo): A film about a lawyer who fights to bring sex offenders to justice by all means possible, even if it involves becoming a sultry seductress after office hours. A tad sexually explicit, and while the movie teases,  whether it is ultimately pleasing is anyone’s guess.
12. Roti (Kunle Afolayan, Kate Henshaw): A woman finding it hard to come to terms with the death of her son runs into a boy who    bears a striking resemblance to the deceased. She becomes obsessed with the child, causing her husband to question her sanity. Not a perfect story by a long shot, but a reminder that the director of “The Figurine” has still got it.
11. The Women (Ufuoma McDermott, Katherine Obiang, Omoni Oboli, Kate Henshaw, Toni Monjaro, Kalu Ikeagwu): A movie    that would appeal to fans of the series “Lekki Wives”. A woman, in a bid to impress, borrows money to celebrate her “40th” birthday. She invites her three closest female friends and their husbands, all of whom have secrets to hide. Genuinely funny, relatable too, but missed the chance to highlight salient social issues.
10. The Tribunal (Omotola Jalade-Ekeinde, Norbert Young, Funsho Adeolu, Damilola Odunsi): A young lawyer seeking justice after feeling hard done by with his dismissal from a top law firm drags his employers to a tribunal. Some real-life lawyers would feel that more research should have been done, but it is hard to fault the delivery of the actors.

9. My Wife And I (Ramsey Nouah, Omoni Oboli, Sambasa Nzeribe, Jemima Osunde): A constantly fighting couple on the verge of divorce take one last shot at salvaging their marriage by visiting a pastor. They wake up the following day, much to their horror, in each other’s bodies. They have to keep this strange development a secret and adapt to their new gender. Not an original plot if you watch Hollywood chick flicks, but lovable to watch.
8.  The Wedding Party 2 (Banky Wellington, Adesua Etomi, Enyinna Nwigwe, Daniella Down, Ireti Doyle, Richard Mofe-Damijo): Continues from where the first installment left off. Nonso “accidentally” proposes to Deardre, who agrees. They are both unsure, but go on with the wedding plans, involving each other’s families. Glossy, and by all means a commercial success, but falls short of the standards set by its predecessor.

7. Picture Perfect (Bisola Aiyeola, Bolanle Ninalowo, Mary Remmy Njoku): A fashion designer finds herself in a precarious situation when her car breaks down in an unsafe part of town. She is rescued from area boys by a man whom she subsequently keeps running into. Unpredictable, with top notch role interpretation too.
6. Catcher (OC Ukeje, Blossom Chukwujekwu, Tope Tedela, Alex Ekubo, Beverly Naya): A career woman is found murdered in cold blood on her wedding anniversary. The investigation widens and a number of people, including her husband and her colleagues, are roped in as suspects. Fluctuating in pace, but totally fun to watch, with the mystery being the real catch.5
5.  The Bridge (Zack Orji, Chidinma Ekile, Kunle Afolayan, Tina Mba, Ken Erics): A story based on tribal differences, diverse cultural backgrounds, love and determination. Looks cliché from the start, but blossoms into a powerful watch. Emotion is palpable in this one.

4. In Line (Uzo Arukwe, Adesua Etomi, Chris Attoh, Sika Osei): A man is sentenced to prison for murdering his father, but is freed after six years thanks to his mother’s influence. His wife still has reservations about the violent conduct which he exhibited prior to his imprisonment, and this causes friction between them. A plot involving lots of scheming, lies and power play. Non-cliché, and while it struggles for pace at the mid-point, it ends pretty well.
3. Body Language (Ramsey Nouah, Tana Adelana, Ken Erics): A serial killer who targets ladies puts the city on alert. A corporate executive who works as a stripper at night, is particularly anxious after her colleague in her “side job” is murdered. One of her favourite clients at the strip club is a man obsessed with watching birds, who turns out to be the CEO of a firm her daytime employers  had earlier pitched to. Great chemistry between the lead characters, and steamy too, with an unexpected twist at the end.
2. Isoken (Dakore Akande, Joseph Benjamin, Mark Rhys, Tina Mba, Funke Akindele, Patrick Doyle): An artsy, successful lady in her thirties is continually hassled by her mother for being single. She soon runs into a man who seems to be Mr. Perfect, but she finds herself in a dilemma when she develops fondness for an Englishman on contract at her workplace. Strong feminist agenda here, and a somewhat improbable conclusion, but a stellar performance by the cast and crew.

  1. Potato Potahto (OC Ukeje, Jocelyn Dumas, Blossom Chukwujekwu, Lala Akindoju, Joke Silva, Chris Attoh): A couple fall apart, but neither of them is willing to move out of the apartment. They decide to devise an arrangement, each restricted to certain parts of the house, from the kitchen to the parking lot. They try to outdo each other in inflicting misery and stirring jealousy. The movie explores the depths of human pettiness, the imperfections that make us who we are, and the concept of compatibility. Laden with wit, humour and consistency in sequence of events, this film is worth the popcorn and drinks, even where it drags too long. Its conclusion is open-ended in an amazing way too.

There you have it, our top indigenous films of 2017! Here’s to more eye-catching movies in 2018, and here’s hoping that you promote local content by going to see Nollywood movies in cinemas. Not every time Star Wars and Justice League, sometimes Wives On Strike and Wedding Party.

Jerry Chiemeke is a lawyer and freelance writer who lives in Lagos. An amateur photographer and sports enthusiast as well, Jerry’s works have appeared on Blanck Digital, Elsieisy, Oshodi.tv, The Kalahari Review and Brittle Paper. He is the author of ‘The Colours In These Leaves’. Get the book Here 
You can follow him on Twitter @J_Chiemeke, and also check out his craft on his blog at pensofchi.com

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