Showing posts with label cinema. Show all posts
Showing posts with label cinema. Show all posts

Saturday, October 29, 2022

Cameroon's "The Planter's Plantation" is a Masterpiece of African Cinema


Eystein Young’s "The Planter's Plantation" is going to become one of the classics of African cinema.


I will not be surprised if  Cameroon's entry for the Best  International Feature Film category of the 2023 annual Academy Awards makes the final nominees for the highly coveted award and also gets nominated for the Best Picture, Best Actor, Best Actress and Best Original Screenplay.

This is a masterpiece of cinematic beauty in storytelling and cinematography.

Famous Nigerian actor, Nkem Owoh in the leading male role of The Planter may end up becoming the first Nollywood actor to be nominated for an Oscar for his outstanding performance and Nimo Loveline as Enanga is a strong contender for the Oscar for Best Actress. 

"The Planter's Plantation" set in a West African Plantation in the 1960s tells the captivating story of a young determined girl who must battle family and external forces to preserve her late father's legacy, a colonial plantation willed to him by his white master at independence. Disagreements , betrayal and secrets bring back the colonial master's daughter to the helm of the Plantation. An allegory of Neo colonization.

The Academy of Motion Picture Arts and Sciences (AMPAS) will announce the 15 shortlisted contenders for the international feature Oscar on December 21, 2022. The five nominees will be announced on the 24th of January, 2023 and the 95th annual  Academy Awards will take place at the Dolby Theatre in Los Angeles, California, on 12 March, 2023.

#Cameroon #ThePlantersPlantation #Academyawards #Oscars #cinema #Africa #BestInternationalFeature #nominations #nominees #cinenatography #storytelling #Bestactor #Bestactress #Bestpicture #Nollywood #Nkemowoh



Wednesday, June 22, 2022

The Unusual Story of Nollywood

CLICK HERE TO BUY THE UNUSUAL STORY OF NOLLYWOOD

The Unusual Story of Nollywood by Dr. Chika Christian Onu

Description

Through the mouths of credibility, the author exhumes the buried artifacts of the long-earthed stories of Nollywood. Together the mouths weave a shocking tale of film expectation through the ages of unimaginable discoveries in the North, East, and West of the country Nigeria. The Unusual Story of Nollywood is a didactic document that x-rays the seminal movie Living in Bondage and exposes the cluster of information that may not have been intentionally hidden from the public. The book is an array of simple and complex paragraphs, systematically organized groups of small and large sentences, phrases, and quotes. The book is simply expressionistic as it goes straight to appreciate both positive and negative precedence that precipitated the birth of Nollywood in Nigeria.



Wednesday, May 25, 2022

Giving Africa a Creative Voice in the Digital Era

 MultiChoice Group

OPINION PIECE

Giving Africa a Creative Voice in the Digital Era (By Georginah Machiridza)

A modern media company would likely use a combination of broadcast media, social media, written content, video clips, as well as animation and physical activations to share content and market their brand.

JOHANNESBURG, South Africa, May 25, 2022/ -- By Georginah Machiridza, Executive Head Content Strategy and 3rd Party Channels, MultiChoice Group (www.MultiChoice.com)

It’s crucial that the content, art and creative output of Africa’s content creators remains authentically African, even while we embrace the opportunities of the digital era, writes Georginah Machiridza, Executive Head Content Strategy and 3rd Party Channels, MultiChoice Group.

We’re all aware of how rapidly the media landscape is changing. Audiences have been migrating to digital and online channels for more than a decade, and even established media such as broadcast, film, and radio are using hybrid platforms that reach audiences across multiple channels.

A modern media company would likely use a combination of broadcast media, social media, written content, video clips, as well as animation and physical activations to share content and market their brand.

Digital skills

This constantly evolving media terrain requires a diverse range of skills. Storytelling lies at the heart of most media messaging, but specific technical knowledge is required to translate compelling stories for every channel.

Writing, cinematography, video editing, TV, radio and online presenting, animation, coding and content management are just some of the specialised skills of the modern media landscape – many of which are evolving in real time as their respective media fields develop.

Africa is at the coalface of these developments. New media provides enormous opportunities to reach more of our people, with more compelling content, and to do it more efficiently and cost-effectively.

African authenticity

The challenge, though, is that we must continue to tell African stories, even while many technology innovations and Big Tech companies originate outside Africa. Digital media evolution comes with a very real threat of cultural imperialism.

The solution to avoiding this Western cultural hegemony is twofold. Firstly, we must empower African content creators with the skills to tell African stories. Secondly, we must create viable, profitable markets for African content, and grow demand for that content.

Fortunately, Africa has long been a hub of creativity and innovation. We have “found our voice” in the digital economy, and there are many creators telling African stories for African, as well as global audiences.

These include people like Kenyan comedienne Elsa Majimbo, Ghanaian internet personality Wode Maya, Ghanaian visual artist Prince Gyasi, Kenyan journalist Brian Otieno, South African illustrator and artist Slaying Goliath, SA comic Donovan Goliath and others. These innovators are  “Expressing Africa” through compelling content using digital and social-media platforms.

African media platforms such as DStv and Showmax are also enabling this trend, creating platforms across the continent tailor-made to showcase African stories for audiences hungry for stories about themselves and their culture.

In 2018, M-Net and MultiChoice spent R2,5bn developing local movies and series and bringing them to screens across Africa.

By investing in original productions of authentic stories and talent across the continent, M-Net is helping to launch acting, writing and filmmaking careers, both locally and internationally.

Hyperlocal platforms

In Ethiopia, MultiChoice channel Abol TV provides premium 100% Ethiopian general entertainment 24 hours a day. In Uganda, Pearl Magic provides a similar offering, telling stories by Ugandans for Ugandans. In Nigeria, Africa Magic provides channels in Igbo, Yoruba and Hausa. Customised hyperlocal MultiChoice offerings are also available in Ghana, Angola, Mozambique and Kenya and 3rd party channel launching in Zimbabwe recently.

The group reaches a total of 50 African countries. The Showmax streaming service has also emerged as a powerful platform for African content, through its movie and series offerings. Its Colours Of Africa series of homegrown African short films by MultiChoice Talent Factory (MTF) students celebrates African culture and the effects of modernisation on some cultural practices.

Skills pipeline

All of these emerging platforms – whether broadcast, streaming or digital – have created enormous opportunities for African media workers and content creators. Creating the skills that enable young creatives to grasp these opportunities is the other way Africa will find its voice in the digital era.

Helping to provide this, by building a pipeline of skilled African content professionals is the MultiChoice Talent Factory.

MTF plays a critical role in building and strengthening the TV & film industry across Africa, and was born out of a need to solve for representation, local content, and higher production quality and value. MTF is a shared-value platform and strives to be Africa’s leading training ground for content creators, by providing an enhanced training programme through partnering with local and global experts. The initiative takes a multi-tiered approach, incorporating the MTF Portal, the MTF Academies and MTF Industry Masterclasses.

Every year, the MTF academies select 74 talented African individuals to participate in a 12-month academic and practical immersion programme including both theory and hands-on experience in cinematography, editing, audio production and storytelling to name a few.

The year-long, fully sponsored programme is offered through regional MTF academies in Kenya, Nigeria, Zambia and South Africa, in partnership with local tertiary education institutions. Students and interns learn filmmaking by making films – developing their film and TV production skills alongside industry greats.

In addition, MTF Masterclasses give working film and television professionals and those who aspire to be content creators exclusive access to practical, industry expert-led skills workshops, where they interact and learn from the best in Africa and the world. The online portal has more than 40 000 registered users who have access to a growing library of masterclass content.

The MTF Masterclasses, the Academies and the MTF Portal (a profiling and networking platform) – support MultiChoice’s commitment to enhancing accessibility, opportunity, and quality in local productions.

These initiatives are all part of Africa’s cultural and technological resurgence, creating opportunities and building capacity, allowing Africa’s creative output to stand proud on the world stage.

Distributed by APO Group on behalf of MultiChoice Group.

SOURCE

MultiChoice Group


Wednesday, February 2, 2022

Top 20 Emerging Filmmakers Shortlisted For Netflix & UNESCO’s African Folktales, Reimagined Competition


PRESS RELEASE


Top 20 Emerging Filmmakers Shortlisted For Netflix & UNESCO’s African Folktales, Reimagined Competition

The shortlist contains a dynamic group of African creatives from across 13 countries in the region

Access Multimedia Content

https://www.africa-newsroom.com/press/media/top-20-emerging-filmmakers-shortlisted-for-netflix-and-unescos-african-folktales-reimagined-competition

LAGOS, Nigeria, February 2, 2022/ -- Shortlisted candidates from 13 countries across Sub-Saharan Africa; six winners will create short films that will premiere on Netflix (www.Netflix.com).

Netflix and UNESCO are excited to announce the 20 shortlisted candidates who will go forward in the exciting short film competition ‘African Folktales, Reimagined’. What’s more - the quality of submissions received resulted in one extra candidate being added to the list, making it 21 filmmakers on the shortlist! The candidates were selected following a rigorous evaluation process by a wide-range of industry professionals from across the continent who assessed over 2080 applications from across the continent in multiple languages. The shortlist contains a dynamic group of African creatives from across 13 countries in the region.

The  shortlisted filmmakers include (in no particular order): Nosa Igbinedion (Nigeria); Ebot Tanyi (Cameroon); Loukman Ali (Uganda); Tongryang Pantu (Nigeria); Walt Mzengi (Tanzania); Venance Soro (Côte d'Ivoire);Mark Wambui(Kenya); Volana Razafimanantsoa (Madagascar); Mohamed Echkouna (Mauritania); Nader Fakhry (Côte d'Ivoire); Anne Catherine Tchokonté (Cameroon); Mphonyana Mokokwe (Botswana); Anita Abada (Nigeria); Samuel Kanyama (Zambia); Machérie Ekwa-Bahango (Democratic Republic of Congo); Oprah Oyugi (Kenya); Ndiyathemba Modibedi (South Africa); Gcobisa Yako (South Africa); Akorede Azeez (Nigeria); Katya Aragão (São Tomé and Príncipe) and Voline Ogutu (Kenya). 

The 21 emerging filmmakers will go on to the next phase of the competition where they will be required to pitch their stories to a judging panel comprising of the mentors; Nigeria’s Femi Odugbemi, South Africa’s Bongiwe Selane, Leila Afua Djansi from Ghana, David Tosh Gitonga from Kenya, and Jean Luc Herbulot from Congo as well as representatives from Netflix and UNESCO who will act as guides in the process. The panel will select the final six filmmakers who will receive a production grant of US$75,000 (through a local production company) to develop, shoot and post-produce their films under the guidance of Netflix and industry mentors to ensure everyone involved in the production is fairly compensated. Each of the 6 winners will also receive $25,000.

“Congratulations to those who have been shortlisted! They should all be proud of the quality of their work. This competition showcases the extraordinary cultural richness that Africa has to offer that we want to share with people all over the world, as Africa is a priority for UNESCO.” - Ernesto Ottone R., UNESCO Assistant Director-General for Culture. 

Adding to UNESCO’s congratulatory message, Ben Amadasun, Netflix Director of Content in Africa siad, “We also want to thank our panel of independent industry professionals who undertook the mammoth task to read over 2080 applications until they found 21 strong submissions! The response from all the aspiring filmmakers who took time to submit their application also proves that there's a wealth of storytelling potential and talent in Africa and we at Netflix are excited to be part of this journey for more talented new voices to share their stories with the world.”


For more information about the competition, please visit www.netflix-growcreative.com/unesco.

Distributed by APO Group on behalf of Netflix.

About UNESCO:

We are the United Nations Educational, Scientific and Cultural Organization. In 2021, UNESCO published The African Film Industry: Trends, Challenges and Opportunities for Growth the first complete mapping of Africa’s film and audiovisual industries. In 2022 UNESCO will convene the Global Mondiacult Conference on Cultural Policies and Development, in Mexico.


About Netflix:

Netflix is the world's leading streaming entertainment service with 222 million paid memberships in over 190 countries enjoying TV series, documentaries, feature films and mobile games across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

SOURCE

Netflix


Thursday, November 11, 2021

Chioma Ude To Speak @ Dubai Expo 2020: Canon Brings Women Trailblazers From The Middle-East and African Film Industry


Cinema – A Social Catalyst: 



Dubai Expo 2020: Canon Brings Chioma Ude and other women trailblazers from the Middle-East and African film Industry to speak on the dynamics of the power of the cinema for sociocultural, socioeconomic and sociopolitical reformation and transformation.

PRESS RELEASE
Advancing gender equality & celebrating women empowerment at Dubai Expo 2020: Canon to bring together women trailblazers from the Middle-East and African film industry in a thought-provoking panel discussion
The panel discussion is envisioned to celebrate the creative efforts of women filmmakers who make an immeasurable contribution to the enrichment of the industry and to discuss how the industry can re-invent itself to reduce gender disparity

Access Multimedia Content

DUBAI, United Arab Emirates, November 11, 2021/ -- In alignment with the company’s relentless commitment to promote gender equality and women empowerment, Canon  (Canon-CNA.com) will bring together an esteemed panel of women entrepreneurs from the film industry in Middle-East and Africa at Women’s Pavilion, Dubai Expo 2020; Canon is the Official Printing and Imaging Provider of Expo 2020 Dubai taking place from 1 October 2021 until 31 March 2022; To register for the event, please click here -> https://bit.ly/3ohOq4y

Canon Middle East (CME) and Canon Central and North Africa (CCNA) announced today of their upcoming panel discussion on ‘Women in Filmmaking: In the spotlight and studying landscape of Cinema and Media today in Middle-East and Africa’ to be held at Women’s Pavilion, Dubai Expo 2020. As part of the company’s endeavor to celebrate women change-makers in the creative industries, a noteworthy panel consisting of women filmmakers from the Middle-East and Africa will be brought together on 18th November 2021 at the Women’s Pavilion at Expo 2020 Dubai. The panel discussion is envisioned to celebrate the creative efforts of women filmmakers who make an immeasurable contribution to the enrichment of the industry and to discuss how the industry can re-invent itself to reduce gender disparity. The Expo 2020 Dubai Women’s Pavilion, is dedicated to celebrate the efforts of women in creative industries in order to reaffirm Expo’s commitment to gender equality and women’s empowerment. The Women’s pavilion is a platform that celebrates the significant parts that women, known and unknown, have played throughout history and continue to play in the present day, based on the principle that when women thrive, humanity thrives.

Read the report on TALK OF THE TOWN By Orikinla

http://totnaija.blogspot.com/2021/11/cinema-social-catalyst-dubai-expo-2020.html


Tuesday, October 12, 2021

What Makes A Great Movie?



Hundreds of thousands of movies of different genres have been made since  the Skladanowsky brothers who used their self-made Bioscop to display the first moving picture show to a paying audience on November 1, 1895 in Berlin to the Lumière brothers who showed their short films in Paris on December 28, 1895 .

What Makes A Great Movie?

What makes a great movie is not the size of your camera;

It is not the size of your cast;

It is not the size of your crew;

It is not the size of your budget;

But the size of your IMAGINATION.

- Ekenyerengozi Michael Chima,

Artist, writer, filmmaker and publisher.

Author of "Children of Heaven", "Scarlet Tears of London", "Bye, Bye Mugabe", "In the House of Dogs", "Diary of the Memory Keeper", "The Prophet Lied",  "The Victory of Muhammadu Buhari and the Nigerian Dream" and co-author with Dr. Chika Christian Onu of "Naked Beauty", the first Nigerian screenplay published for commercial distribution.

One of Chima's most popular short stories, "Daughter of a Beggar" is included as "Beggar's Daughter" in the critically acclaimed "CAMOUFLAGE: Best of Contemporary Writing from Nigeria".



Wednesday, August 18, 2021

Nollywood and the Image of Nigeria in the Global Village

Nollywood and the Image of Nigeria in the Global Village

(Written in 2006 for an African American magazine)


We all know that action speaks louder than word and seeing is believing.  And nobody can deny this fact of life.


The history of the film industry in Nigeria did not start with the emergence of Nollywood as the Nigerian movies have been dubbed by the rest of the world and now celebrated as the third largest film industry in the world after American Hollywood and Indian Bollywood. 


The world has continued to marvel at how Nigerians "manufacture" and "fabricate" scores of movies in a week.  It is reported that but for India, Nigeria produces more movies in quantitative terms than any other country in the world.”

~~ Tayo Aderinokun, Managing Director, Guaranty Trust Bank


Glover Memorial Hall was the venue of the first film to be shown in Nigeria in August, 1903 and this was done by the ruling colonial office of the British Empire that went on to show primarily educational clips, features and documentary reports of the royal trips to Nigeria and other colonies, English football matches, Westminster Parliamentary debates and other films of little or no value to the culture of Nigeria. And the cinema houses that soon showed up all over the popular cities in Nigeria from Lagos to Ibadan to Kano also showed Western films and later Indian films. But it is important to note that "Sanders of the River" by Edgar Rice Buroughs made in 1935 had some unique parts shot in Nigeria. The film featured the first world class Nigerian actor Orlando Martins (1899 – 1985) and was the first film to put the motion picture image of Nigeria on the map of the world.


Then Nigerian filmmakers such as Adamu Halilu, Mallam Brendan Shehu, Dr. Ola Balogun, Chief Eddie Ugbomah, the late Chief Hubert Ogunde and Francis Oladele produced classic films on celluloid since 1968 and Nigerian films were also competing among the foreign ones in the cinemas until the Indigenization Decree of 1972 transferred the ownership of over 300 cinema houses in the country from their foreign proprietors to Nigerians who did not have the expertise and capital to run them successfully and the economic depression of the late 1980s and the mass importation of Video Cassette Players worsened the situation as cinema houses lost the patronage of cinema goers who now preferred to buy the cheaper pirated films in video cassettes and watch them in the safer and more comfortable privacy of their homes. The popularity of home videos also affected the stage performances of plays by Nigerian playwrights as the numbers of people going to the theatres and town halls to watch live plays began to reduce. As the saying goes that necessity is the mother of invention, the challenges of survival for Nigerian theatre arts practitioners prompted them to dare the production of their plays in home videos. The Yorubas who were always the pioneers of the popular street theatre were also the pioneers of the home movies industry with “Aje Ni Iya Mi” by the late Isola Ogunsola who employed an Ibo man Nnebue of Nek Video Links to produce the video.  And Nnebue seeing the great opportunity went on to produce the best selling “Living in Bondage 1 and 2” in 1992 before others joined the bandwagon.  And now Nigerian movies have taken over TV screens all over Africa from Anglophone countries to the Francophone countries and over 20 million people watch Nigerian movies of which over 15 million are within Nigeria and the rest among the over 7 million Nigerians living in different parts of the world and most of them are in America, Western Europe, Asia and Australia. We are now living witnesses of the emergence of the phenomenon called Nollywood.


Over 50 movie titles are released weekly in Nollywood and attracting the attention of the rest of the world and Nollywood has become the picture of the Nigerian culture in the eyes of the world. Therefore, we must address the importance, relevance and significance of Nollywood as the image of Nigeria. As Dr. Odia Ofeimum stated in “In Defence of the Films We Have Made” in his keynote address at the second National Film Festival, 27 November 2003 and I quote:  


“Powered by its home-grown sense which has been the source of its viability, it was primed to travel and to breach porous borders. Nigerians travel a lot and their video films have been traveling with them. Due to the surprise of self-recognition in our stories or the manner in which Nigerians tell them, other people have connected with the video films. So it was not enough to overcome the Nigerian market place. Through saturation marketing, Nigerian home-video mania crossed the borders even beyond the necessities of trade. Once the barn-storm-rating of the video camera overtook the cinema house, and by-passed its camp-following of foreign dominated distribution networks, it began to turn into a super-asset in a makeshift revolution that only those who are thoroughly impervious to social promptings have been able to ignore. The rest of the world may not have wanted to pay attention.”

(http://www.westafricareview.com/issue5/ofeimun.htm).


Therefore, I believe the next stage of the sustainable development of the Nigerian film industry is the management of the aesthetics and ethics of the Art and Craft to portray a positive image of Nigeria to the rest of the world.


The desperation for quick profits and short-cuts to fame has made both the majority of Nigerian filmmakers and their domineering marketers to disregard the international standards of filmmaking as they rush to make over 50 movies weekly and careless about the content and context of the script and the craft. Thus making Nigerian movies to be known more for the quantity than the quality and millions of viewers have complained about the horrors of juju, lawlessness and bribery and corruption of the Nigerian public officials and others shown in most of the movies. Millions of foreigners have been shown the images of gawky Nigerian police officers collecting bribes at police check-points and engaged in other sharp practices and these negative images have only worsened the bad image of the Nigerian Police and of Nigeria as one of the most corrupt countries in the wrong. And this is the irony of the popularity of Nollywood. Because, as at present Nollywood is like a trailer overloaded with goods on the express way being driven by a desperate man without a driver's license and the others on the vehicle are struggling to correct the driver or even take over the steering from him. So, people are gasping and moping in awe and fear at the daredevil stunts of the vehicle and praying it does not crash. But is this the true picture of Nigeria?

No! 


We must tell the true stories of Nigeria to the rest of the world.

The stories of our great heroes and heroines or “sheros” like Queen Amina, Emotan, Moremi, Madam Tinubu and the contemporary role models such as Dr. Dora Akunyili, Hajia Sambo and others.   


Nollywood has become synonymous with the ingenuity of the smart Nigerian as Nigerians never give up in their pursuit of their goals to catch up with the leaders in whatever field of human enterprise they are interested in all over the world.  But Nollywood should not ape Hollywood or Bollywood.  Nollywood should be the mirror of Nigeria from the past to the present and the future.  Therefore, Nollywood actors and actresses should not be competing to master who can fake the American Yankee accent or Cockney accent and should not be apes of Hollywood or Bollywood stars.

Nollywood should be proudly Nigerian, heart and soul.  


Nigerian filmmakers should work in cooperation and support and pool their resources together to make Nigerian films that should be as good as any of the best films in the world. We should no longer be ridiculed for the common B-rated movies flooding the home videos rental shops and corners of the streets.  We have had enough of the same rehashed stories with the same plots and badly produced too.  We have had enough quantity without quality. Because, we must do our homework before we can produce excellent films that we can show at the Cannes and qualify to be nominated for the Oscars and not turned down again for poor standards.


We have a vehicle for the global village and we have already succeeded in impressing the rest of the world.  So, we can now decide what our vehicle should convey and show to the whole world.


The world should see the hardworking Nigerian widow, who is the mother of six children as she wakes up at 4 am in Lagos and leaves for the far away Mile 12 market to trade and earn the means of livelihood.

Why?

She is doing it for the upbringing of her fatherless children she must send to school and pay their school fees, buy school uniform and textbooks and feed and clothe them and pay their medical bills whenever they fall ill.

The world should see the honest to God Nigerian police officers as they work day and night and they shun all temptations of bribes.

The world should see the hard working Nigerian labourers toiling daily to make ends meet.

The world should see the diligent Nigerian pupils walking miles to go to school and later to the farms, streams, and back to their.homes to do the chores.

The world should see the work-in-progress of proud Nigerians at work and at home doing their best in cooperation and support for the government in the nation building of a new Nigeria in the leadership of Africa in the comity of nations in the new millennium.

 

These are the true illustrations that our movies should portray and show to the rest of the world and let us be proud of Nigeria. 


- By Ekenyerengozi Michael Chima,

Novemeber 5, 2006.

Thursday, August 12, 2021

What You Need Most To Make A Great Movie

#movies

#filmmaking

#cinema

#filmmakers

#budget

#actors

#Bollywood

#Hollywood

#Nolllywood

#Netflix

What You Need Most To Make A Great Movie 

"My mentor said what you need most to make a great movie are not big cameras, not big budget, not big cast, not big crew and not a big story. But a Big Imagination."

- Success Iyoha, from Benin City, Edo State, NIGERIA.

Case Study:


The Blair Witch Project is a 1999 American supernatural horror film written, directed and edited by Daniel Myrick and Eduardo Sánchez. It is a fictional story of three student filmmakers—Heather Donahue, Michael C. Williams, and Joshua Leonard—who hike into the Black Hills near Burkittsville, Maryland in 1994 to film a documentary about a local legend known as the Blair Witch. The three disappear, but their equipment and footage are discovered a year later. The purportedly "recovered footage" is the film the viewer sees. Myrick and Sánchez conceived of a fictional legend of the Blair Witch in 1993. They developed a 35-page screenplay with the dialogue to be improvised. A casting call advertisement in Backstage magazine was prepared by the directors; Donahue, Williams and Leonard were cast. The film entered production in October 1997, with the principal photography taking place in Maryland for eight days. About 20 hours of footage was shot, which was edited down to 82 minutes. Shot on an original budget of $35,000–60,000, the film had a final cost of $200,000–750,000 after post-production edits.


Budget

$200,000–500,000

Box office

$248.6 million



Friday, April 16, 2021

#BOLLYWOOD To #NOLLYWOOD 2021

 


 #BOLLYWOOD To #NOLLYWOOD

"The Union of Bollywood and Nollywood will benefit World Cinema." 

- Ashok Tyagi, 

Secretary General, 

International Chamber of Media And Entertainment Industry (ICMEI),, India. 

The International Chamber of Media & Entertainment 8ndustry (ICMEI) has formed the Indo-Nigeria Film & Cultural Forum with the High Commission of Nigeria in India. 

The High Commission of India in Nigeria is supporting a partnership between Nollywood (Nigeria’s movie industry) and Bollywood (India’s movie industry): that “India can use its more than 100 years of experience in Bollywood to assist Nigeria” and to promote cultural bilateral relations of the two countries and international co-productions in the global entertainment industry.

The first Bollywood To Nollywood Filmmaking Workshop by the Asian Academy of Film and Television (AAFT) is coming up in 2021 in Lagos State.

It is in partnership with the High Commission of India, AAFT of India and Wakaati Network of Nigeria It is supported by Dolby and SecurityRisk Brokers. NTA2 is the official news media partner.

It is for three days on Directing; Costume for Storytelling in motion picture, Film Score,  Soundtrack and Sound Design for film production.

The workshop will be directed by Ashok Tyagi, the Secretary General of ICMEI.

The workshop will cover the methodology of converting an interesting story into a gripping screenplay and the conversation of that screenplay into an entertaining film with the help of visual and sound design. 

The filmmaking workshop will be concluded with the production of a short film for international film festivals, cable TV and OTT streaming video channels.

Registration is by a letter of application for participation.

The participation fee is N100, 000 per participant for the three days duration of the workshop (including buffet and workshop kit).


ICMEI is an organisation belonging to Asian Education Group which owns, controls and manages the day to day activities of AAFT. ICMEI was formed in 2014 to fulfil the dream of the Respected Prime Minister Narendra Modi to establish friendly relations with all the countries of the world through art, culture and cinema.



Sunday, March 14, 2021

AAFT is Bringing #Bollywood To #Nollywood

 


AAFT is Bringing #Bollywood To #Nollywood 
For the "Bollywood To Nollywood" Filmmaking Workshop in Lagos
.

The Asian Academy of Film & Television (AAFT) is among the top 7 film schools in India. It is located in India's Noida Film City in the National Capital Region (NCR); a central planning region centred upon the National Capital Territory (NCT) of Delhi.

This groundbreaking film workshop includes the production of a short film.

Notable Alumni

Mukhtar Abbas Naqvi
Gaurav Nanda
Rajat Arora
Uttar Kumar, actor
Mohit Marwah, Bollywood actor
Luv Ranjan, Bollywood director and producer
Arjun Kapoor, Bollywood actor
Kinshuk Mahajan
Kaushik Ghatak, Bollywood director
Aradhana Jagota, Bollywood actress
Hasleen Kaur, model
Ximena Navarrete, Miss Universe 2010

For participation and partnership, contact WAKAATI Network 

WAKAATI TV 

StarTimes Channel 100

Tel: +234 904 693 4427




Sunday, February 14, 2021

Did Anyone in #Nollywood Celebrate the Global Movie Day?


#Sundayvibes💋✌🏼️💕

Did Anyone in #Nollywood Celebrate the Global Movie Day?

Yes. I did!

It would have been a big day to attract more movie goers to the cinemas and new subscribers to cable TV channels and OTT streaming channels.

I am already inspired to host an event of unforgettable cinematic experience to celebrate the next #GlobalMovieDay !

You can never guess!

Just wait for it!💋✌🏼️💕


The second annual Global Movie Day was held on Saturday, February 13, 2021.

Global Movie Day is held on the second Saturday of February every year, to celebrate the power movies have to reach, connect and inspire people around the world.

How to Celebrate:


Celebrate Global Movie Day this year by discussing movies that have inspired you, post your favorite movie lines or the greatest film posters of all time, rewatch your favorite movies with friends and family or discover something new!

No matter how you choose to celebrate, be sure to take pictures & videos and share them across social media using #GlobalMovieDay .







Saturday, January 9, 2021

So, What is NOLLYWOOD?

Dame Taiwo Ajai-Lycett, famous Nigerian actress trained in the UK and  featured in "A Warm December" directed by Sidney Poitier.

The first groundbreaking Nigerian home video was Jimi Odumosu's "Evil Encounter", a 1980 horror movie for the Nigerian Television Authority (NTA) that was pirated on video cassettes at the Alaba International Market on the outskirts of Lagos. 
The first Nigerian movie, shot directly on video was  "Soso Meji" of 1988 by Ade Ajiboye, followed by Alade Aromire's "Ekun" (1989), 
"Turmin Danya" (The Draw")/in 1990,  was the first commercially successful Kannywood home video; Jide Kosoko's "Asiri Nla" 1992 and "Asewo To Re Mecca" of 1992 by Adebayo Salami, popularly known as "Oga Bello".

Dr. Christian Chika Onu

Any documentary film on the history of Nollywood without them is not the conmplete true history of Nollywood and the Nigerian film industry.

The first Nollywood blockbuster home vodeo movie in the Igbo language was "Living in Bondage" 1 of 1992 by Chris Obi Raou and the sequel, "Living in Bondage" 2 of 1993 by Chika Christian Onu of the Nigerian Television Authority (NTA). 

How Nollywood Redefined Conversations on African Cinema and Culture 
From Analog To Digital
Is Nollywood a child of necessity or a phenomenon of ingenuity?
The guerrilla filmmakers in Nigeria who started the phenomenon of the first indie film industry in Africa were driven by necessity, ingenuity and opportunity.

How I Fell in Love with the Cinema

My great father of blessed memory, Sunday "Sunny" Eke loved going to cinemas almost daily, because he loved movies; especially #Hollywood western cowboys movies of Clint Eastwood and John Wayne, war films and #Bollywood movies such as "Sholay" and "Seeta aur Geeta" and I loved the Bollywood legends; Amitabh Bachchan, Hema Malini,, Dharmendra Singh Deol , Sanjeev Kumar and lest I forget the most celebrated nautch dancer in Hindi romantic films, Helen Anne Richardson Khan.  My father never sat down to watch any movie on TV. He would just glance at the popular Bonanza western cowboys series and Combat series on World War 2.

https://nigeriansreportng.blogspot.com/2020/09/how-i-fell-in-love-with-cinema.html

The Most Appreciated Film Writer in Nigeria
https://nigeriansreportng.blogspot.com/2020/08/the-most-appreciated-film-writer-in.html
Do you know that the Alpha Man, EKENYERENGOZI Michael Chima is the most appreciated film writer on #Nollywood and the film industry by filmmakers and other major stakeholders in the Nigerian film industry since 2012. He has written on the Academy Awards and Cannes Film Festival since 2008 to date and accurately predicted the winner of the Oscars for the Best Picture and Best Director in 2017 won by Guillermo del Toro for "The Shape of Water". He has also written definitive articles on Nollywood and history of the Nigerian cinema published on Indiewire and by SHADOW&ACT Author Post List 

https://shadowandact.com/author/MichaelChima.

Nigeria: #Nollywood#Kannywood and the Academy Award for Best International Feature Film

https://nigeriansreportng.blogspot.com/2020/11/nigeria-nollywood-kannywood-and-academy.html

Fincho: The Making of the First Nigerian Film in Colour By Sam Zebba

https://nigeriansreportng.blogspot.com/2020/10/fincho-making-of-first-nigerian-film-in.html

Photo of Chinua Achebe and Hansjürgen Pohland on the Location of "Bullfrog in the Sun" in Ibadan
https://nigeriansreportng.blogspot.com/2020/12/photo-of-chinua-achebe-and-hansjurgen.html

GIOVANNI ROSMAN: The First Canadian Actor in Nollywood

http://totnaija.blogspot.com/2020/08/the-first-canadian-actor-in-nollywood.html?m=1

Why Nollywood Filmmakers Have Failed To Qualify for the Oscars and Cannes
https://nigeriansreportng.blogspot.com/2019/04/why-nollywood-filmmakers-have-failed-to.html

When Will Nollywood Movies Make the Official Selection of the Cannes Film Festival?
https://nigeriansreportng.blogspot.com/2020/10/when-will-nollywood-movies-make.html

TOP 20 Nigerian Filmmakers From 2012-2020

https://nigeriansreportng.blogspot.com/2020/05/top-20-nigerian-filmmakers-from-2012.html

Bankrolling Nollywood: The Challenges and Benefits of Film Finance
https://nigeriansreportng.blogspot.com/2019/03/bankrolling-nollywood-challenges-and.html

über Nollywood
https://nigeriansreportng.blogspot.com/2020/10/uber-nollywood.html

Anachronisms in #Nollywood Igbo Epic Movies and Ṇ́dị́ Ìgbò History
https://nigeriansreportng.blogspot.com/2020/10/anachronisms-in-nollywood-igbo-epic.html

The Importance of a Database, Library and Museum for the Nigerian Film Industry
https://nigeriansreportng.blogspot.com/2020/10/the-importance-of-database-library-and.html

Does Our National Assembly Know Anything About the Nigerian Entertainment Industry?
https://nigeriansreportng.blogspot.com/2020/12/does-our-national-assembly-know.html

NOLLYWOOD is the National Treasure of Nigeria
https://nigeriansreportng.blogspot.com/2020/12/nollywood-is-national-treasure-of.html

#Nollywood Rising: Welcome To Asaba!
https://nigeriansreportng.blogspot.com/2020/11/nollywood-rising-welcome-to-asaba.html

Netflix Needs Cinemas and Cinemas Need Netflix
https://nigeriansreportng.blogspot.com/2020/09/netflix-needs-cinemas-and-cinemas-need.html

The Encyclopaedia of Nollywood and the Nigerian Film Industry
https://nigeriansreportng.blogspot.com/2020/03/the-encyclopaedia-of-nollywood-and.html

- By Ekenyerengozi Michael Chima,
Publisher/Editor
NOLLYWOOD MIRROR®Series