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In April 2016, The Toronto International Film Festival announced that Lagos, Nigeria was their selection for this year’s City to City program – a showcase for filmmakers living and working in a selected city, regardless of where their films are set. The selections were curated by Artistic Director Cameron Bailey and among the list: Green White Green, a coming-of-age comedy from Abba Makama, and 93 Days, a drama from director Steve Gukas.
93 Days is based on true events surrounding the Ebola outbreak of 2014 and how the Nigerian government, World Health Organization and employees at the First Consultant Hospital in Lagos respond when foreign civil servant Patrick Sawyer (Keppy Ekpenyong) arrives with what is first thought to be malaria. Dr. Ameyo Adadevo (Bimbo Akintola) knows this patient zero is afflicted with something far more serious and despite opposition from colleagues, officials, and the patient himself, decides to keep him quarantined. Once the Ebola diagnosis is confirmed, she and a dedicated team of medical professionals lead by Dr. Benjamin Ohiaeri (Danny Glover) do all they can with the resources available to treat him while preventing an epidemic that has potentially deadly implications.
This isn’t a biopic about a single individual, but rather an in-depth look at how a group of selfless doctors and nurses risked – and for a few of them, lost – their lives trying to stem an epidemic.
Danny Glover’s involvement with 93 Days was a bit of a surprise and is one of the few actual Western influences in the film. However, it is due to his personal connections to the country and its culture. According to writer Ayodeji Rotinwa:
“Glover while new to Nollywood isn’t new to Nigeria. He is a Chief and a titled man, the Enyioma of Nkwerre. The honor was conferred on him, in 2009, by traditional ruler of Nkwerre town, Eze Dr. Chijioke Jeki Okwara. The town reckons Glover’s roots can be traced to it; that his ancestors were some of those stolen from them in the trans-Atlantic slave trade era.”
What was very clear from the first to the last is that this film is about Nigeria, made by Nigerians and for Nigerians. Was 93 Days a story that affected lives on a global scale? Yes, however it let you know Nigeria and only Nigeria was the focus and everything else was extraneous. Everything from the costume design to the soundtrack was authentic and unapologetically local, making for a more immersive viewing experience and something that couldn’t have been done if the producers or director were outsiders. However, the script was penned by a British screenwriter and in an interview with Daily Trust, director Steve Gukas explains why:
“The decision to use a non-Nigerian writer was informed by the need to have a screenplay that is international, with a strong chance of cross over in the in global market. That’s not to say a Nigerian writer could not have written the story. The difference is in the flavour of language and writing style. I worked very closely with the writer to ensure that the ‘Nigerianness’ of the story was retained. So you could say I am an ‘uncredited’ writer as well. However, the writing is only one aspect of making a movie. We had a crew that was 100 percent Nigerian.”
The same can be said about Abba Makama’s Green White Green – a pseudo-autobiographical comedy with social and political commentary on Nigerian identity, class, status and language. The three main characters, Uzoma (Ifeanyi Dike), Baba (Jamal Ibrahim) and Segun (Samuel Robinson) are from the 3 major ethnics groups (Igbo, Yoruba and Hausa), creating the perfect environment to play around with various ethic and cultural stereotypes while confronting prejudices, their parent’s generational demands, pursuing creative endeavors and contemplating their futures.
Their pre-university, pre-full-on-adulthood adventures are woven with hints of American cinematic influences from films like Dope, Boyz n the Hood, Clerks and The Warriors, but localized and adapted for Nigerian tastes. We get a sense of what it’s like to be young and carefree in Nigeria and tackle topics like the accessibility of art to all – something near and dear to Makama’s heart as an accomplished painter with a successful exhibition under his belt.
The elements of tribes, class and language may not be wholly familiar to Western audiences as our cultural segregators are driven by other outside sources, but viewers get a primer on it peppered with humor. It’s a satire with sharp teeth but just barely bites through the tough skin of the lifestyles of the rich and bourgeois before it wraps up.
Nigerian cinema has been typically synonymous with minimal production costs and production values. From this year’s City to City roster at the Toronto International Film Festival, it’s clear they are making strides in both areas. Narratives are more complex, editing techniques are sharper, production values are matching those found in the West. A refreshing element that continues to separate Nigerian cinema from its Western counterpart is the absence of non-African faces and White savior tropes. Nigerian cinema is about centering their identity. It’s made by the people, with the people and for the people. Western influences are mentioned and referenced, but are not centered. Both selections were a great representation of the current state of the country has to offer. 93 Days may have had the bigger budget and Danny Glover as part of the cast, but Green White Green had the heart and wit. Both films tackled important topics, but took great care in telling those stories their way – and it shouldn’t be done any other way.
Perhaps there are lessons Hollywood could take away from Nigerian filmmakers in the future.
The post Best of Nigerian Cinema at TIFF appeared first on Black Girl Nerds.
In April 2016, The Toronto International Film Festival announced that Lagos, Nigeria was their selection for this year’s City to City program – a showcase for filmmakers living and working in a selected city, regardless of where their films are set. The selections were curated by Artistic Director Cameron Bailey and among the list: Green White Green, a coming-of-age comedy from Abba Makama, and 93 Days, a drama from director Steve Gukas.
93 Days is based on true events surrounding the Ebola outbreak of 2014 and how the Nigerian government, World Health Organization and employees at the First Consultant Hospital in Lagos respond when foreign civil servant Patrick Sawyer (Keppy Ekpenyong) arrives with what is first thought to be malaria. Dr. Ameyo Adadevo (Bimbo Akintola) knows this patient zero is afflicted with something far more serious and despite opposition from colleagues, officials, and the patient himself, decides to keep him quarantined. Once the Ebola diagnosis is confirmed, she and a dedicated team of medical professionals lead by Dr. Benjamin Ohiaeri (Danny Glover) do all they can with the resources available to treat him while preventing an epidemic that has potentially deadly implications.
This isn’t a biopic about a single individual, but rather an in-depth look at how a group of selfless doctors and nurses risked – and for a few of them, lost – their lives trying to stem an epidemic.
Danny Glover’s involvement with 93 Days was a bit of a surprise and is one of the few actual Western influences in the film. However, it is due to his personal connections to the country and its culture. According to writer Ayodeji Rotinwa:
“Glover while new to Nollywood isn’t new to Nigeria. He is a Chief and a titled man, the Enyioma of Nkwerre. The honor was conferred on him, in 2009, by traditional ruler of Nkwerre town, Eze Dr. Chijioke Jeki Okwara. The town reckons Glover’s roots can be traced to it; that his ancestors were some of those stolen from them in the trans-Atlantic slave trade era.”
What was very clear from the first to the last is that this film is about Nigeria, made by Nigerians and for Nigerians. Was 93 Days a story that affected lives on a global scale? Yes, however it let you know Nigeria and only Nigeria was the focus and everything else was extraneous. Everything from the costume design to the soundtrack was authentic and unapologetically local, making for a more immersive viewing experience and something that couldn’t have been done if the producers or director were outsiders. However, the script was penned by a British screenwriter and in an interview with Daily Trust, director Steve Gukas explains why:
“The decision to use a non-Nigerian writer was informed by the need to have a screenplay that is international, with a strong chance of cross over in the in global market. That’s not to say a Nigerian writer could not have written the story. The difference is in the flavour of language and writing style. I worked very closely with the writer to ensure that the ‘Nigerianness’ of the story was retained. So you could say I am an ‘uncredited’ writer as well. However, the writing is only one aspect of making a movie. We had a crew that was 100 percent Nigerian.”
The same can be said about Abba Makama’s Green White Green – a pseudo-autobiographical comedy with social and political commentary on Nigerian identity, class, status and language. The three main characters, Uzoma (Ifeanyi Dike), Baba (Jamal Ibrahim) and Segun (Samuel Robinson) are from the 3 major ethnics groups (Igbo, Yoruba and Hausa), creating the perfect environment to play around with various ethic and cultural stereotypes while confronting prejudices, their parent’s generational demands, pursuing creative endeavors and contemplating their futures.
Their pre-university, pre-full-on-adulthood adventures are woven with hints of American cinematic influences from films like Dope, Boyz n the Hood, Clerks and The Warriors, but localized and adapted for Nigerian tastes. We get a sense of what it’s like to be young and carefree in Nigeria and tackle topics like the accessibility of art to all – something near and dear to Makama’s heart as an accomplished painter with a successful exhibition under his belt.
The elements of tribes, class and language may not be wholly familiar to Western audiences as our cultural segregators are driven by other outside sources, but viewers get a primer on it peppered with humor. It’s a satire with sharp teeth but just barely bites through the tough skin of the lifestyles of the rich and bourgeois before it wraps up.
Nigerian cinema has been typically synonymous with minimal production costs and production values. From this year’s City to City roster at the Toronto International Film Festival, it’s clear they are making strides in both areas. Narratives are more complex, editing techniques are sharper, production values are matching those found in the West. A refreshing element that continues to separate Nigerian cinema from its Western counterpart is the absence of non-African faces and White savior tropes. Nigerian cinema is about centering their identity. It’s made by the people, with the people and for the people. Western influences are mentioned and referenced, but are not centered. Both selections were a great representation of the current state of the country has to offer. 93 Days may have had the bigger budget and Danny Glover as part of the cast, but Green White Green had the heart and wit. Both films tackled important topics, but took great care in telling those stories their way – and it shouldn’t be done any other way.
Perhaps there are lessons Hollywood could take away from Nigerian filmmakers in the future.
The post Best of Nigerian Cinema at TIFF appeared first on Black Girl Nerds.
Tonight, the presidential candidates will face off on the debate stage for the third and final time before November’s election. Here’s how to tune in online for free, even if you don’t have cable.
Editor’s note: This post contains spoilers for American Horror Story. Proceed with caution if you aren’t caught up.
Since the start of American Horror Story‘s mysterious sixth season, AHS’ creators and cast members have teased several times that there’s more to the docudrama-style Roanoke than meets the eye. According a recent remark from Ryan Murphy (via Entertainment Weekly), tonight’s episode will feature “the biggest plot twist” they’ve ever done on the show. Based on previous remarks from both Murphy and Brad Falchuk, we know that the twist will throw fans for a loop and make them question everything they know about the series. With the episode a few hours away, the showrunners revealed some pretty big spoilers about how this season connects with Coven, as well as their Freak Show-related plans for season seven.
“The season was sort of written as if the season was two different shows” explained Murphy. “Something happens where half the cast is revealed to be playing and doing something absolutely different than you’ve seen in the first five. There’s a startling announcement at the end of act 3 that resets the rest of the season up until episode 10.”
According to US Weekly, the season will pivot into an entirely different narrative during the last twenty minutes of episode six. With the change, Sarah Paulson, Evan Peters, and Kathy Bates will be playing entirely different characters. Whether they’ll be ones we’ve seen in the past or brand new to the series remains to be seen. The other big reveal the showrunner shared is that Lady Gaga’s witch of the woods character is the first Supreme–which is a direct tie to Coven. This makes me wonder whether Gaga’s witch took on the name Robichaux after escaping her cell and opened the Witches academy in season three, or whether the story she told Matt was even true. Based on what Murphy said, several characters have been lying this season, so anything is possible.
Speaking of Coven, Murphy confirmed that American Horror Story will touch on those characters again. “At some point, we’re going to do a return to the Coven season.” While he didn’t reveal which season that would be, he doled out another juicy detail about season seven: “Next year, we will be going back to some Freak Show characters, deeper histories and mythologies. So we’re sort of still exploring season 4 in season 7.” Does that mean we’ll finally see the return of Jessica Lange? One can dream.
While we already knew Finn Wittrock was set to return, Murphy revealed that his psychotic character will make Dandy Mott look like a teddy bear by comparison. “Finn Wittrock is coming back soon, playing his most f–ked-up character of all time. To the point where he was like, ‘This is so crazy that I don’t know that I can do it, but I’ll do it,'” Murphy confirmed. Dear Finn, thank you for committing to whoever the character ends up being. I seriously can’t wait to see what the writers have in store.
Taissa Farmiga was also confirmed for season six, though it is unclear when she will make her debut. She was a major character in the Coven season, so I’m hoping the connection to the season goes even further and she is playing a previous character.
All that said, if you weren’t a fan of the secrecy this year, I have great news for you. According to Murphy there will be no more secret seasons! Things will go back to normal once they start promoting season seven. The premise for that season will be unveiled in Spring 2017.
What do you think the big twist is going to be? How do you think Taissa Farmiga and Finn Wittrock will be incorporated? Are you excited for a return to Coven and Freak Show? Let us know in the comments below, join the conversation on Facebook, or start one with me on Twitter: @Samantha_Sofka.
We’ve got plenty more American Horror Story theories on Nerdist News!
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Images: FX
We all knew it would have to happen at some point. Agents of S.H.I.E.L.D. was always about this strange team that Agent Coulson assembled working together. Even back during the unfocused, kind of […]