The screening marks a milestone for Nigerian cinema on the international stage, offering buyers, programmers, and financiers a first look at an ambitious new voice in global storytelling.

“Bam Bam” follows Babatunde, a gifted but introverted teenager whose only confidant is Bam Bam, a strange, almost otherworldly companion who seems to know him better than anyone else. When Babatunde falls for a classmate, Bam Bam urges him to take chances鈥攂ut with every step forward, his doubts grow louder. As the tension between love and fear intensifies, Babatunde must decide what trusting Bam Bam will ultimately cost him.

With its tagline, 鈥淪ome lessons can鈥檛 be programmed鈥�, the film explores identity, connection, and the complexities of adolescence in a digital age. 

Director Tolu Itegboje is best known for “Awon Boyz,” his acclaimed documentary about life on the streets of Lagos, which premiered on Netflix and made him one of Nigeria鈥檚 distinctive cinematic voices. A graduate of the London Film School, he has directed award-winning shorts including “The Amazing Grace Church of God,” and worked across advertising, branded content, and narrative filmmaking. With over a decade of experience across the industry, Itegboje鈥檚 work consistently bridges Nigerian culture and universal themes.

“Bam Bam” reunites him with cinematographer Kagho Idhebor鈥攖heir third collaboration following “The Amazing Grace Church of God” and “Awon Boyz.” Produced by Oge Obasi (Mami Wata), with editing by Chuka Ejorh and Laughter Ephraim, and music by R茅 Olunuga, the film stars Ambrose Nwoga as Babatunde, Kelechi Udegbe as “Bam Bam,” Victory Eyong as Inara, Emmanuel Oluwatunmise as SK, and Nimi Adekanmbi as Oyinade.

For Itegboje, the TIFF Market screening is both a personal and professional breakthrough: 鈥淭his film is deeply personal to me. It鈥檚 about doubt, love, and the strange comfort technology can provide in our loneliest moments. Sci-fi is rarely explored in Nigerian cinema, and I wanted to show how universal the genre can be when rooted in our culture. “Bam Bam” is the beginning of a trilogy, and my hope is that audiences everywhere will see themselves in Babatunde鈥檚 search for connection.鈥�

TIFF is one of the world鈥檚 most important film platforms, bringing together distributors, financiers, programmers and studios聽 from across the globe. With “Bam Bam”, Itegboje adds a bold, passionate voice to international conversations about the future of African cinema.

For more information, visit or

About Tolu Itegboje

Tolu Itegboje is a Nigerian filmmaker and storyteller, born in Benin City and raised in Lagos. A graduate of the London Film School, he has spent more than a decade working across advertising, branded content, documentaries, and narrative film. His documentary Awon Boyz was released on Netflix in 2020, while his shorts have screened at major African festivals. Through his company, LSW Films, Tolu crafts bold, character-driven stories that fuse African nuance with global cinema. “Bam Bam” is his most ambitious project to date, marking his first entry into the sci-fi genre and the opening of a planned trilogy.

Here is what this means, and what to expect from the lens of our producer and showrunner, the founder of,

How did your relationship with cameras and film start?

When I was still planning my career and life, I thought the corporate world would be a good fit for me. Particularly something in politics; I wanted to be an ambassador. 

I went to Turkey to study International Relations and Political Science because I thought it would be that simple at the time. Study the course and become the thing. But in university, we had extracurriculars, and photography was my chosen poison.

What inspired the choice?

As a child, I watched many films, mainly action, and I loved TY Bello as well. There was just something about her and the way she dressed with her camera strap, and I thought wow. I admired it, but I didn鈥檛 think it could be a career path for me.

Why not?

Honestly, I also thought photographers were broke.  I remember one of my lecturers being impressed by my work and noticing how obsessed I was with cameras. He asked why I hadn鈥檛 considered taking the course full-time. I told him photographers were broke in my country, that they only take pictures at events and go home. I thought I would just keep it as a hobby and leave it at that. I was taking pictures for free at university. Sometimes people would give me money, and because of that, I decided to design a logo that read Uzi Photography. A lot of people saw it and asked me if it was still just a hobby, and I kept insisting that it was.

So, when did it stop being a hobby?

When I moved back home, a friend saw how much I loved photography and dragged me down to Lagos to work with a media company, and I was there for about 6 months. I always used my salary to shoot documentaries. I remember shooting a documentary in Abia State and getting kidnapped on my way back home.

Wow, how did you survive that?

I ran for my life. I entered one chance and they carried me to this bush, but once I saw an opportunity to escape, I ran away. I think it was then I realised this couldn鈥檛 just be a hobby, because even after that experience, I still wanted to make films. 

Anyway, one thing led to another, I co-produced a feature film with a friend, then wrote another short film, and I just kept going. Haven鈥檛 stopped since then. Now, I do work under my company, Blu House Studios.

That鈥檚 an interesting start to a career. What inspires the tone of the work you do?

Impact. Even when I had political ambitions, it was me thinking about how best to drive impact. But now, I鈥檓 doing that with filmmaking.

How does this align with 91大神鈥檚 anthology and you being the showrunner for it?

It鈥檚 the same thing. I spoke to Anita and she shared the vision and idea with me. Spotlighting stories that shift gender norms and roles feels very much in line with what Blu House Studios does. And the stories were fun. Having fun and passing across a message, or doing something where people will see that substance is what I do. 

I don鈥檛 know that it’s my calling, but I also know that I don鈥檛 know how to do fluff. So yes, there will be entertainment, but we also have to drive conversations with the work. So, for the life series, it was pretty much a no-brainer. The project involves things that people can relate to and connect to, spotlighting real-life experiences of African women. It鈥檚 impactful.

How is the film anthology supposed to drive impact?

The stories are inspired by 91大神 articles, so they鈥檙e authentic. We鈥檙e not making these things up. But they were definitely factors we had to prioritise in the films. For example, they address many of our daily conversations on social media and even in our homes. I learnt a lot working on them myself. Every time I tell Anita, she doesn鈥檛 like to believe me, but the educational impact was a lot. I saw that sometimes people don鈥檛 plan to deal with things; life just happens, and people end up being victims of circumstances and situations they can’t control and didn鈥檛 create. We see that the world is designed a certain way, and we鈥檙e all trying to adapt to it; in any way we can..

There were some articles I read that I remember feeling deeply touched by. Some of them, we even had arguments about what parts we should leave out, deciding which of the characters needed more emphasis and which ones would garner empathy. But the priority for everything was still how we wanted to shift the story. The question we asked ourselves was what exactly it was we were trying to change.

And how did you answer that?

I think it was highlighting the nuanced stuff. It’s easy to write about the things we see every day, but we decided to point out layers. It’s like saying we know Nigerian men aren鈥檛 like this, but this is how they should be. 

The rationale is that if we keep seeing the nuances, things will keep getting better. It鈥檚 easy for us to write the usual deadbeat guy who doesn鈥檛 have anything to offer. But that鈥檚 not our focus. That鈥檚 not how we want to shift the story.

What role do the women/female characters have to play in this?

They鈥檙e the catalyst for the emotions we hope the audience feels, especially empathy. We鈥檝e written them in such a way that people don鈥檛 feel pity for them or see them as powerless. We want the audience to empathise with their situations. See them as people who can make decisions for themselves and see ourselves in them. So people watch the films and leave knowing they always have a choice to make, and that there鈥檚 always room for growth.

Can we talk about the women and how they portray this in the film?

Mariam in What鈥檚 Left of Us starts as a weak person without much of a choice in her marriage. When we see her relationship with her husband, we see that, first of all, the world isn鈥檛 fair to everybody, especially women. 

Despite how much Mariam wants to keep her family whole, she begins to prioritise herself, and that choice doesn鈥檛 come easily. Her husband is unwilling to meet her halfway, but she has to think of herself and the dreams she had before getting married. So, she chooses herself. Her husband didn鈥檛 seem to be making decisions that favoured her, and there wasn鈥檛 much she could do about it besides this.

In My Body God鈥檚 Temple, Omasilu is self-aware. She knows there鈥檚 a problem, and she understands it鈥檚 probably with her body. But her character maintains her stance. She鈥檚 working on herself, but won鈥檛 go beyond things that align with her spirituality. Even in the process of fixing things, she can identify what she likes and doesn鈥檛 like. And the ones that she likes, we see how much she likes them.

Then Ziora from Something Sweet goes through a lot navigating society鈥檚 perception of a relationship that makes her happy. But she鈥檚 doing it, standing up for herself and her love, even to her son. I think all three women really exhibited self-love, even in really tough situations.

The men also seem a bit far off from what we know Nigerian men to be. Why is that?

It鈥檚 with what I said earlier and shifting the narrative. I mean, Aliyu is your average Nigerian man. A lot of us have his type in our homes, as friends, they鈥檙e on Twitter and Instagram, etc. As much as we鈥檙e trying to shift the story, we also need the characters to be relatable, especially in the context of the stories. But it was important to highlight that because we see how men respond to situations like that. Would he let Mariam leave or give in to what she wants? 

Most times, women think these men won鈥檛 adjust when they stand their ground, but they will. It鈥檚 important to be confident because sometimes it scares them. I think many of them are the way they are because nobody has challenged their mindsets. So yes, Aliyu embodies the average Nigerian man who thinks a wife is just for meeting their needs and having kids.

Zion was very different from that. He was a representation of how men can be, which is really just human. With him, we showed that men can and should be vulnerable, patient, and better at communication. Zion shows how men can be better partners, and honestly, it’s rare to find. A man who鈥檚 so secure in his person and isn鈥檛 ego-driven. Even when we were working on edits, someone called him a simp because of how he took feedback on sex from his partner. But listening doesn鈥檛 make him a simp, it just shows that he listens to understand.

Leke was honestly just human as well. He was firm and decisive, which was good. He knew what he wanted and was also ready to fight for it. But I don鈥檛 think his flaws are something that we should condemn. A lot of what he did was because of how he was perceived, and he鈥檚 human, so that鈥檚 okay. When society makes you feel like you need to prove something, it鈥檚 natural to respond in that way.

These characters seem very strong and intense. What was the casting process like?

We had an audition call, which is the usual process. But when I send out scripts, I wait to see how the actors and actresses respond. I don鈥檛 say anything about how I feel or what I want to do with the story, I just see how they interpret it and confirm whether or not we align. Having someone get the message from the beginning is not something you teach. They either get it or they don鈥檛.

With Tolu Asanu, who plays Mariam in What鈥檚 Left of Us, I remember that after she read the script, she went on about how the story annoyed her so much, and we had a deeper conversation about how this is the norm in the north. From that, I was like, ” This is the person for the role. It was the same thing for My Body God鈥檚 Temple and Uzoamaka Power. There were spiritual similarities between the character and herself, even as the writer and the director. It was obvious that there was a deep connection there, so it was a no-brainer that she would play it. Same thing with Something Sweet. Michelle Dede came with references to films that came to mind after she鈥檇 read the script to show what we were trying to achieve.

I like to work with people who understand what I鈥檓 trying to do. There either has to be a personal connection or an awareness and closeness to what is happening in society.

I think it shows in the films. This awareness and connection you speak of. So, how do you hope the audience responds to the films?

With conversations. As long as they鈥檙e reacting, I鈥檓 happy. I don鈥檛 think it鈥檚 something that we鈥檙e going to release and have everyone move on as though nothing happened. I want people to watch it and challenge their thought processes. Like the guy who called Zion a simp, I wasn鈥檛 upset about that, actually. I was very happy with it. What was it about Zion that made him call him a simp? Let鈥檚 have conversations and wash all the toxicity from society, let them drag the characters. I want all of that. Nuanced, problematic conversations, whatever it is. It鈥檚 art; people have opinions when you put it out there. So I want people to air them out.

What were some of your favourite memories on set? So the audience has something to look forward to?

Wow, my favourite memories. The process was actually really stressful because shooting in Nigeria is not the easiest. But I laughed a lot and I enjoyed making all of them. My favourite memories would be when we were shooting some of the scenes on set, like some of the final scenes in My Body God鈥檚 Temple. When we were filming it, everyone just started laughing because of certain things Uzoamaka did. We literally ran out of the church laughing, and I remember people saying she was making us commit sin inside the church. Some scenes were really intense, like the kitchen scene in What鈥檚 Left of Us. But it was all really good. I enjoyed it. 

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House of the Dragon is a captivating return to the complex and treacherous world of Westeros, a 200-year prequel to the acclaimed TV show, Game of Thrones. Adapted from George R.R. Martin’s “A Song of Ice and Fire” book series, this new installment dives deep into the history of House Targaryen, exploring the events that led to the infamous Targaryen civil war, known as the Dance of the Dragons.

Or simply put, this queen鈥�

…versus this queen鈥�

…who, if you鈥檝e watched the first season, is her ex-bestie turned late father, King Viserys鈥檚 second wife (long story).

It starts where season one left off, post-King Viserys鈥檚 death and Alicent鈥檚 mishearing of his final words to mean that her son, the overindulgent Aegon Targaryen, should rule after him instead of his first child and official heir, Rhaenyra.

But where season one was perhaps slow-paced, big on setting and character development up until after the king鈥檚 tragic death 鈥� ending with Rhaenyra鈥檚 second son鈥檚 untimely death at the hand of Alicent鈥檚 second son and his giant dragon 鈥� this season expectedly begins chaotically. 

With mourning, reprisal attacks after reprisal attacks, intricate politics, familial betrayals and epic battles, fans of the Game of Thrones universe finally get a taste of what they鈥檝e come to expect 鈥� brutality. Expect dragons, battles, crazy misunderstandings and a bunch of petty guys causing avoidable complications. 

But also, expect a lot of waiting around for something鈥� more to happen.

It opens in Winterfell, on a trip to the Night’s Watch and a mention of 鈥淲inter is coming鈥�, immediately throwing us deep into nostalgia and a promise that everything good about the original show is about to come back to us?

While the show has finally found its balance, there are still scenes where logic flies out the window, random twists without feeling and too many side plots that make it hard to care about the main battle for the Iron Throne.

At some point, we have to join Aegon to ask what鈥檚 up with the game of thrones? Are they going to fight the fight or not? However, the bratty new king, who thinks like most that being king is about doing whatever you want, is hardly a worthy contender. 

At least, not without support from his mum, granddad (and 鈥渉and to the king鈥�) Otto Hightower, and crazy brother, Aemond. Even then, Aegon gives us nothing to particularly hate, fear, love or all of the above, like Joffrey, Cersei or Daenerys of the original.聽

On the other side is Rhaenyra, backed by her own crazy husband/uncle Daemon, her in-laws/cousins the Velaryons, and her kids who everyone knows are illegitimate. She, at least, gives us something akin to an uninspiring Daenerys-lite. Perhaps it is unfair then to even compare this spinoff to the OG show.

It鈥檚 鈥済reen鈥� versus 鈥渂lack鈥�. Green for Aegon and Alicent; black for Rhaenyra and Daemon.

There are tons of other characters you might not remember, and the show doesn鈥檛 care to reintroduce them. In fact, fans may need a quick recap of the last season to even remember some plots and players, and why they matter. New silver-haired little children spring up, and no one really seems to know whose they are.聽

Everyone鈥檚 angry, constantly about to fight a dumb war. 

The first four of eight episodes were made available to critics like us for review, and from what we can tell 鈥� without obviously spoiling anything 鈥� the mix of stunning cinematography, meticulous production design and grandeur of the Targaryen dynasty through magnificent sets and costumes gives way to a show that鈥檚 okay, and sometimes, good. 

The lead actors鈥� talents feel wasted, left to do their best with often hair-pulling dialogue and threadbare plot. 

Matt Smith鈥檚 Daemon still doesn鈥檛 know who he is. Is he blood hungrily soulless like the show tries hard to portray or is he devotedly loyal to Rhaenyra? While the constant dichotomy is familiar ground for this universe where two-faced (or no-faced?) characters are the order of the day, this time, it feels most like the show itself is altogether unsure. 

Is Emma D鈥橝rcy鈥檚 Rhaenyra to be a strong, capable queen or is she just going with the flow? Does Olivia Cooke鈥檚 Alicent actually know what the hell she鈥檚 doing? The only sure thing is Fabien Frankel as Ser Criston Cole with his faux-clueless look of steadfast hypocrisy as he righteous-indignantly blusters through the plot. Does he love being a fuck-boy for queens or not?

Also, the plot twists need too much disbelief to work. Some things are too easy and some things are too complicated. Too much potential is lost in boring decisions and lackluster performances that appear to have no end result.

Except of course, if the end is to build our impatience for some real action to a fevered pitch that would be satisfied by the latter half of the season. 

But don’t let that deter you 鈥� there鈥檚 still plenty to love. As the green versus black conflict heats up, it鈥檚 clear that the Targaryen civil war is just getting started. So, grab your popcorn and get ready for a wild ride. Because if there’s one thing this season guarantees, it’s that the dance of dragons is far from over, and the best (and most brutal) is yet to come.

Soft plantain for anyone who can name the dragon above.

Season two of HOUSE OF THE DRAGON debuts today, June 16 (9:00 – 10:00 p.m. ET/PT) on HBO and will be available to stream on Max. The eight-episode season will continue with one new episode weekly through August 4.

THIS IS ACCURATE: The Most Annoying Characters on 鈥淗ouse of the Dragon鈥�, Ranked

Yes, you absolutely can.

鈥淪orrows. Sorrows. Prayers鈥� 鈥� Queen Charlotte 

Situation: When the friend you鈥檝e been warning to break up with their cheating boyfriend finally chops breakfast, and you still have to comfort them. It must be followed with a gentle pat and slight stroke on the back, while your face expresses the 鈥淚 told you so鈥�.

鈥淵ou do not know me, and rest assured, you never shall鈥� 鈥� Lady Whistledown 

Situation: When a family member you haven鈥檛 seen since you were in primary school sees you in public and starts acting overly familiar. A quick step back and side eye to go with these words, and they should get the message.

鈥淵ou have no idea what it is to be a woman鈥� 鈥� Daphne Bridgerton

Situation: When you tell a man you don鈥檛 want children, and he tries to mansplain how children are a gift from God, and your life鈥檚 purpose won鈥檛 be fulfilled if you don鈥檛 give birth.

鈥淚 burn for you鈥� 鈥� Daphne Bridgerton 

Situation: You鈥檙e plantain, and the person frying you turns away for a second.

鈥淭o meet a beautiful woman is one thing, but to meet your best friend in the most beautiful of women is something entirely apart鈥� 鈥� Simon Basset

Situation: You鈥檙e a man living in Lagos and you met a woman five seconds ago. You know she can smell your lies, but that has never stopped you.

鈥淏e it shame or slander, seduction or smear, there is but one thing that humbles even the most highly-regarded members of our dear ton鈥� a scandal鈥� 鈥� Lady Whistledown 

Situation: When you told your younger sibling about the tattoo below your neck, and now, they want to cash it in for a favour. Imagine living with your biggest opp. Stand your ground sha; blackmail never ends.

鈥淗er heart is no matter, as long as her hand remains free鈥� 鈥� Queen Charlotte 

Situation: When you鈥檙e trying to explain to your friends why you can鈥檛 leave your crush alone, even though they鈥檙e in a serious relationship, and you know their partner can fight.

鈥淲e chose to love each other every single day. It is a choice, dearest. One that is never too late to make鈥� 鈥� Violet Bridgerton 

Situation: When your son has cheated on your daughter-in-law more times than you can count, but you still don鈥檛 want her to leave.

Her response will probably be, 鈥淪orrow. Sorrows. Prayers鈥� because she has love at home. And you鈥檒l deserve it, dear.

鈥淛ust because something is not perfect, does not make it is any less worthy of love鈥� 鈥� Daphne Bridgerton  

Situation: After your tailor has sewed rubbish with your 鈧�10k per yard material, and they鈥檙e trying to make you understand that every mistake is a blessing in disguise. 

鈥淚 take issue with any man who views women merely as chattel and breeding stock鈥� 鈥� Kate Sharma

Situation: When you have to write a Twitter bio so everyone knows you鈥檙e a feminist.

鈥淣o, she just wears her hair too tight鈥� 鈥� Penelope Featherington

Situation: When your hairstylist is trying to explain why you鈥檙e balding after they鈥檝e used all your front hair to do pick and drop for the third time.

鈥淒earest Gentle Reader, did you miss me?鈥� 鈥� Lady Whistledown  

Situation: When your mother sends a conspiracy theory the day after you begged her and she promised to stop.

鈥淵ou are the bane of my existence and the object of all my desires. Night and day, I dream of you鈥� 鈥� Lord Anthony 

Situation: When Nigerians think of money, like during that cash scarcity period.

鈥淎h. Spoken with such feeling too鈥� 鈥� Benedict Bridgerton

Situation: When you just confessed love to the person that鈥檚 been stringing you along for months but controls your mumu button. 

鈥淵es, that is why I thought of it鈥� 鈥� Queen Charlotte after Brimsley hinted they follow Lady Whistledown

Situation: When your boss sees the work you鈥檝e been slaving over is actually good and decides to take credit for it. 

鈥淚 know I am imperfect. But I will humble myself before you because I cannot imagine my life without you, and that is why I wish to marry you鈥� 鈥� Lord Anthony 

Situation: When you鈥檝e stained your partner鈥檚 white beyond repair, but you still want them to marry you.

鈥淚 look like a prized calf trussed up for auction鈥� 鈥� Eloise Bridegerton

Situation: When your mother thinks you鈥檙e now of marriageable age so she carries you to every owambe just so she can introduce you to her friends鈥� single children.

鈥淚 did not ask for this. To be plagued by these feelings鈥� 鈥� Kate Sharma

Situation: When you can鈥檛 stop thinking about them, and it鈥檚 beginning to feel like love.

鈥淧lease, speak freely. No one else does鈥� 鈥� Young Queen Charlotte 

Situation: When your parents make you feel like they鈥檙e a safe space, so you speak freely, and end up with a smack on your mouth for speaking too freely.

鈥淚鈥檓 very good with buttons鈥� 鈥� Young King George  

Situation: The tailors on the street advertising their services.

鈥淭hey dangle joy in front of me and never let me grasp it鈥� 鈥� Lord Danbury 

Situation: When you鈥檙e the vice president of a country with a very sick president.

Weeks after the announcement, filming has wrapped on the project, and here鈥檚 what we know so far.

The plot

Dust To Dreams follows the relationship between a mother and her teenage daughter, and how they navigate her first encounter with her father. The father, a long-lost soldier must confront new realities as he reunites with his family after a long time away from home.聽

The Cast

Directed by Idris-Elba, the project features performances from some of Nollywood鈥檚 finest actors.

Nse Nkpe Etim

She plays Milli, a Lagos nightclub owner.

Seal

The British-Nigerian musician plays a soldier.

Eku Edewor

She plays Comfort, Milli鈥檚 (Nse Nkpe Etim) sister.

Atlanta Bridget Johnson

She plays Patience, Milli鈥檚 (Nse Nkpe Etim) sister.

Constance Olatunde

The former Nigerian Idol contestant plays Bisola, Milli鈥檚 (Nse Nkpe Etim) daughter.

Behind-the-scenes

Some of the actors have shared BTS photos, giving fans a glimpse into their characters and what to expect when the film is released. The BTS stills also indicate the film was shot in parts of Lagos Island and the mainland.

When and where will it be released?

There鈥檚 no word about the project鈥檚 potential release date or if it will be available on a streaming platform. However, if it’s anything like Abudu鈥檚 previous short films, My Perfect Life and Iyawo Mi, it should enjoy cinema festival runs.聽

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Kugali Media鈥檚 滨飞谩箩煤 is one of the projects the Walt Disney Company announced on its . Yup, you probably didn’t know about that. But there’s more to know about this coming animated series.

What’s Kugali?

The company started as Tao of Otaku, in 2015 as a podcast. Two years later, it morphed into Kugali (Swahili for 鈥渢o care鈥�), a website and YouTube channel with arts, gaming, comics and animation content. , the co-founders Hamid Ibrahim, Tolu Olowofoyeku and Olufikayo 鈥淶iki Nelson鈥� Adeola narrowed its focus to producing African comics and animations. Kugali has since produced original comics like , and and the latest 滨飞谩箩煤, an animated TV series co-produced by Disney Animation.

Kugali and Disney鈥檚 fateful meeting

All it took for Disney to notice what Kugali鈥� got was a brazen statement by Kugali鈥檚 co-founder Hamid Ibrahim (VFX artist on The Lion King) in a . He said, 鈥�.鈥� Interestingly, Disney reached out to work with Kugali for Disney Plus. This relationship birthed the project initially . But it took additional two years to come out due to .

What’s 滨飞谩箩煤 about?

滨飞谩箩煤 is a Yor霉b谩 word for front or forward. It’s an animated story about class and inequality. It focuses on two friends living in futuristic Lagos; Tola, a rich island babe, and poor, self-taught tech-guy Kole who lives in another part of Lagos (seems like the mainland) and their investigation into the dark sides of their two worlds.

Production

滨飞谩箩煤 is produced by Christian Chen of Disney Animation and written by Halima Hudson and Tolu Olowofoyeku. Nigerian composer handled the film score. Kugali’s co-founders Ziki Nelson, Hamid Ibrahim and Tolu Olowofoyeku are also the film鈥檚 director, production designer and cultural consultant respectively.

Voices of 滨飞谩箩煤

滨飞谩箩煤 is voiced by Simisola Gbadamosi, Sinister Soetan, Femi Branch, Dayo Okeniyi (The Hunger Games and Emperor) and Weruche Opia (I May Destroy You, High Desert and Sliced). The cast was assembled by Nigerian actress .

Release date

滨飞谩箩煤 will debut in the U.S. on February 28, 2024 on Disney Plus. The release date for Nigeria and other select regions will be announced later. African and Nigerian stories finding a home on the global screen will always be a delight.

滨飞谩箩煤: A Day Ahead

滨飞谩箩煤: A Day Ahead is a special documentary about the series development and production process, and it鈥檒l also come out the same day the series debuts. It’s produced by Walt Disney Animation and ABC News Studios.

Are You Familiar with The Best African Animations of 2023?

Funke Akindele’s latest production, A Tribe Called Judah (ATCJ), is Nollywood’s , but it鈥檚 also earned applause for its home-hitting storytelling and excellent cinematography. Its filmmaker and cinematographer, Barnabas Emordi, AKA Barny Blockbuster, is known for his camera work on other acclaimed productions like Ada Omo Daddy (2023), The Ghost and the Tout Too (2021) and Elevator Baby (2019).

In a chat with 91大神, Barny shares his experience on the set of ATCJ, the importance of visual styles in film and his personal challenges in Nollywood.

How did you join the A Tribe Called Judah crew?

Barny: Aunty Funke (Funke Akindele) and film director, , brought me in during the script development in April 2023 before we went into preparation for shooting. When I read the script’s first draft, I saw the possibility of a big picture. This film has all the right attributes that drive the Nigerian audience to the cinema, like family and love. I and the entire team believed it would be a banger, but it exceeded expectations.聽

What intrigued you about the story?

Barny: Family. I think stories that pull families together are my speciality. In Elevator Baby, Day of Destiny and MTV Shuga Naija 5, the characters are uniquely complicated. A clear example is Pere Judah in A Tribe Called Judah. He鈥檚 one of his mum鈥檚 favourites, but he鈥檚 influenced by the environment he grew up in, his family and various complexities that have made him unique. He can still be called a good person who makes the ultimate sacrifice by stealing to save his mum鈥檚 life.

Many moving parts in the characters鈥� lives make them endearing to the audience, even if they aren鈥檛 perfect. That鈥檚 the beauty of humans 鈥� recognising our differences and coming together as a family or country to battle against whatever the world brings us. No matter how different the troublesome sons in A Tribe Called Judah are, there’s one consistent thing about them: they genuinely love each other, and they love their mother. They鈥檙e also united as a family, which is the core of the entire film.

What’s your favourite thing about the film?

Barny: I enjoyed being on set; it was beautiful to watch Funke Akindele at work. The details and intensity she puts into her work are motivating. I loved that and the dedication of the crew too. I had the tools I needed 鈥� I could bring out my visual style and execute properly.

How would you explain 鈥渧isual style鈥�?

Barny: Visual style is the element that builds the world in a film. Stories are different, and so are their visual styles. Visual style elevates the storytelling and the audience鈥檚 emotional attachment to the character. If all the elements and subtle techniques come together right, I’ve done my part as a cinematographer.

For A Tribe Called Judah, we aimed for realism. The visual style was to capture the essence of family, love and sacrifice. We employed lighting techniques that felt natural for various scenes. We used different cameras, like Arri Alexa 35 and Canon Sumire Primes, to make the audience emotionally attach to the Judah family.

What draws you to familial stories?

Barny: I genuinely love family. My family is fantastic; they love, support and care about every aspect of my life. They are my biggest supporters. I鈥檝e also made incredible friends who are now family. They love wholeheartedly. I love films that preach family values, love, togetherness and sacrifice. Also, we practise communal living in Nigeria, and the family unit is the most important social institution in the world.

How do you balance creative independence with working with others?

Barny: The most important thing is understanding the overall vision for a project and knowing you鈥檙e a vital tool in bringing that vision to life. Filmmaking is a collaborative process. I know my work, but I fully understand that I鈥檓 a part of the team. This makes it easier to collaborate with other individuals.

As Barny Blockbuster, what would you say makes a blockbuster?

Barny: In the Nigerian context, a blockbuster is a film that makes over 鈧�100 million at the box office. It comes with joy that I鈥檝e done this with Elevator Baby and Ada Omo Daddy, and now, A Tribe of Judah.

What was life like for you before Nollywood?

Barny: I was in school. I graduated from Delta State University with a degree in Mathematics in 2015. Before NYSC, I wanted to get busy with something meaningful. I reached out to my friend, Gbenga Gomez, a cinematographer and steady-cam operator who was already in the industry at that time, to let me follow him around and help with anything on set. During that period, I fell deeply in love with filmmaking. 

Some people have deep meanings behind their love of filmmaking. For me, I鈥檝e always loved watching movies, Nigerian or foreign. From the VHS to the DVD era, I watched all I could get my hands on. But the stronger pull was the money I thought I could make. My early days as an assistant on movie sets gave me a tangible amount of money that kept me going. I felt that if I worked hard and stayed committed to the art, it would lead me to success in the future. That motivation deepened my love for filmmaking.

What鈥檚 the first film you made?

Barny: It was with my friends. We used to do random jobs on film sets and put money together to make short films in our neighbourhood. It contributed significantly to our learning process, and we could trust each other to become better filmmakers and storytellers. But my first feature film as a camera operator is Elevator Baby.

Which of your films was hard to make?

Barny: Man, every film is hard to make in Nigeria. Ask other Nollywood filmmakers, and they鈥檒l tell you the same thing. Something always comes up, like disturbances from touts, inadequate daylight to film and low budget. Budget is the biggest issue; a budget needs to be in place right from the film development stage. When the audience complains about weak plot in Nollywood movies, I think about this.

Imagine there’s no money to pay story developers. When they should be in the writing room for months, they can end up spending only a week in the writing room. That’s a problem. An inadequate budget will make a production that should take months to wrap up in weeks. 

But the beauty of these problems is that we explore all our resources and creativity to deliver an excellent production. Nollywood still competes internationally; our stories are screened at international festivals and receive notable awards. Prominent brands are coming to Nigeria to collaborate with us because our genuine love for the art is evident to them.

Do these brands come with bigger budgets that have improved production quality?

Barny: The bigger brands are playing their role. Production quality has improved massively over the past few years, and money has been an important factor. Our scripts and productions are getting bigger. I鈥檓 genuinely excited about the next few years in Nollywood because there鈥檚 a certain level of excellence that鈥檚 notable. We鈥檙e already working on amazing stories that鈥檒l excite the audience and strengthen the industry. It can only get better.

What’s a good budget for a movie?

Barny: It largely depends on the scale of the film you鈥檙e trying to make. Averagely 鈧�100-200 million for a mid-size film in Nigeria. It can go up to a million-dollar budget for a film like The Black Book. Budgets are determined by so many factors. It’s always tricky to call a number because you鈥檒l need to factor in marketing and so many other aspects.

Are there emerging trends in cinematography you’re excited to explore?

Barny: I鈥檝e been quite excited about the new sets of recently introduced to the market. It would help us to expand our lighting arsenal, expose us to various effects that鈥檒l influence and stylise the way we approach lighting design in Nollywood. It鈥檚 pretty easy to operate as well, has the best colour rendering index (CRI), large range of lights, minimal power for maximum output and efficiency. It鈥檚 an outstanding development.

What challenges do you face in your work?

Barny: My biggest challenge is finding time to schedule all the projects I鈥檝e set out to work on to avoid clashes. There’s always little time between finishing up a project, sitting down to study a new script, breaking it down in your head, and then, having a conversation with the producers or directors of the film to understand their vision. Filmmaking takes time, and one needs to prep and put things together so that execution can be great. That’s my primary challenge at the moment.

Seems like you’re suffering from success

Barny: I can’t complain. When things are like this, it also speaks to my efficiency and capacity to do great work, and that makes me bankable. Producers trust me to use their money well and deliver, and I have to live up to their expectation.

Does the volume of your output bother you?

Barny: I freelance, and that makes me open to working with all the biggest production companies in Nigeria. If one is consistent with executing big projects at high levels, it鈥檒l attract more clients to you. That鈥檚 been my case, and so far, I like it.

What鈥檚 the difference between working freelance or non-freelance as a cinematographer?

Barny: If I wasn鈥檛 working freelance, I鈥檇 be stuck working with one production company for the duration I signed in a contract. Production companies may not produce more than one or two films in a year due to development and preparation time. Freelancing lets me take on as many jobs as possible. It gives me the freedom to execute projects that align with what I鈥檓 trying to achieve in the industry.

Hey you. Yes, you. Before you leave, help us to answer these 6 Questions We Have About A Tribe Called Judah?

Daniel shares how a heated conversation inspired Hanky Panky, the power of storytelling and rich queer stories. He also cites his influences and what comes next for him.

How does it feel to be recognised for your first short film?

I was shocked to be a semi-finalist at the New York Animation Film Awards. But it felt validating. I’ve always cared about being good, not just 鈥済ood for a first-timer鈥� or 鈥済ood for a Nigerian鈥�. I want anybody anywhere to recognise the quality of my work. 

I’ve done some editing to tighten up scripts for friends in the past, but with Hanky Panky, I got to decide what I wanted 鈥� from the look of the characters to the score 鈥� and it was fun. Although it didn’t win the award, it got that far, and for my first film, I鈥檓 very proud of that.

What’s Hanky Panky about?

It鈥檚 about a phone call between an aunt and the niece she suspects is a lesbian. 

It鈥檚 based on a conversation that happened while my friends were hanging out. They鈥檇 had a joint birthday party the night before, where they danced together like friends do. The next day, an aunt called one of them with 鈥淲hat was that?鈥� and 鈥淲hat鈥檚 going on with you two?鈥� questions. The conversation stuck with my friend, Opemipo Aikomo (producer and co-director of Hanky Panky), who was in a car with them when it happened. He told me the story and the idea to turn it into a film.

The friends whose story inspired Hanky Panky aren’t queer. What matters about this storyline is how the mere perception of queerness was enough to generate such animosity. But in my storytelling, I don’t feel the need to spell everything out for the audience. I allow them to decide what they want the story to represent. 

How did the story come to life?

At the time, Ope wanted to make an animated film and just needed a story. He really loves animation and wants to see more Nigerian stories expressed through the medium. So he took it upon himself to make this film and .

For me, I鈥檝e always wanted to direct a short film, but when he sold it to me to direct, I wanted to refuse. I consider animation one of the highest levels of art, and I didn鈥檛 think I could pull it off on my first try. I was scared, but I trusted myself because Opemipo, who has excellent taste, trusted in my ability to do it. I did a lot of studying. Jessica A., our excellent scriptwriter, worked with what Opemipo recollected of the story, and I did some script editing.

We took some creative liberties. The real event didn’t happen in a traffic jam or at Falomo. Those were added to make the film feel very 鈥淟agos鈥� and Nigerian. Osas, the main character, went from vibing to Odunsi to being angry and stuck in unending traffic. That felt very Lagos to me.

The dance scene stood out

In my head, their dancing wasn鈥檛 nearly as provocative as the aunty described, but that was what she saw. That’s why the scene feels almost otherworldly. 

In my experience, when Nigerian adults see something they disagree with, their minds don’t see reality. When they see an earring on a young guy鈥檚 ear, it quickly escalates to “you must have joined bad gang鈥�. I wanted to capture that tendency to exaggerate.

Is Hanky Panky anything like what you expected of your first work?

For one, I always knew my first work would be a queer story. The initial plan was a live-action short about a guy discovering his sexuality. But Opemipo鈥檚 enthusiasm sold Hanky Panky to me. I found the story exciting, and I thought making an animation would be cool.

How long did production take?

I started working on the character profiles in December 2020. That took two days. 

We began filming in 2021. The whole production took two years to complete because we were obsessed with nailing details like the sound of traffic and the music they鈥檇 be listening to. There were periods when nothing happened because we had to juggle our day jobs. We鈥檇 never done it before, so we were all learning on the job.

And it wasn’t cheap or easy. Opemipo, the producer, put money into getting it made. We had to pay to get the rights to use Odunsi鈥檚 Wetin Dey, for example. Our music director, Osarumen Osamuyi, AKA , facilitated the process. We met the payment requirement, and it was approved.

How much does filmmaking mean to you?

It means the world. I have a deep love for storytelling in films. 

One of the most significant examples of how important storytelling is to me is how my parents unlearnt homophobia because of Mitch and Cam in Modern Family. They watched it without me, and suddenly, gay marriage was normal to them. 

Storytelling is powerful. I had a similar experience as the creator of 91大神鈥檚 Sex Life 鈥� a written series. A married woman DMd me on X that reading Sex Life made her realise she was queer. She saw herself in someone else鈥檚 story that I鈥檇 written for the series. She realised it was too similar to hers, and it made her think about things she鈥檇 never considered. She eventually left her husband. That鈥檚 how powerful stories can be.

I want to make a Nigerian TV series that follows young people in Lagos 鈥� think of a show like Insecure. Lagos is an exciting place, and Lagosians are the most interesting people on earth. I鈥檇 love to work on that.

What’s the most important aspect of storytelling in your opinion?

I鈥檓 huge on realism and believable dialogue. Nothing throws me off more than hearing someone in movies or books say things I’ve never heard anyone say in real life. 

So whenever my friends say something clever, funny or exciting, I write it down in my notes. I’m like, I’ll use this in something someday because it鈥檚 just so great. Whenever I read a script, I do it out loud to hear how it sounds to the ear, not just in my head. 鈥淒oes this sound real?鈥� 鈥淒oes this sound believable?鈥� I always strive for realism. 

I also want to be entertaining. It doesn’t need to be the world exploding. Sometimes, just watching somebody go through something stressful can be entertaining 鈥� like Squid Game. I think it was popular for that reason. Even the spin-off game show is a hit.

Who are your filmmaking influences?

I like filmmakers with distinct styles. I like . He has only two films out, but they鈥檝e been impactful. I like too 鈥� Arrival is my shit. is also an influence; he鈥檚 a weird and interesting filmmaker.  I look for weird and interesting films, and if I really like them, I look out for the director and watch all their work. That鈥檚 how I got into these three.

Did you ever attend a film school?

Daniel: No, not yet. It’s expensive. I actually picked up content writing to save up for film school. My friends have encouraged me to keep learning independently and do what I can before film school falls into place.

I agree with them because I wanted to find my voice first. Working on Hanky Panky has made me recognise my passion for telling relatable queer stories. Now, I鈥檓 ready to attend a film school with some experience.

How would you describe your style

I鈥檓 not sure I’ve fully formed a style yet, but I鈥檓 drawn to telling queer stories, real queer stories. Besides Hanky Panky, I鈥檝e produced , a written anthology of happy queer stories available online. Schitt鈥檚 Creek inspired it. There’s a queer couple in it, and they’re one of my favourite fictional couples because they鈥檙e so happy and healthy from start to finish. The other shoe never dropped; I’m not used to that.

But at the same time, only showing the positive side isn’t rich enough. It doesn’t give you the whole story. In Hanky Panky, we showed that moving into the world as a queer (or queer-presenting) person also comes with unnecessary stress.

Will you ever make a film out of 鈥淔eel Good鈥�?

A lot of people are already saying they need more. That鈥檚 validation, and if a studio wants to help us fund a film adaptation, who are we to say no? 

We did Hanky Panky on our own and put it on YouTube. It’s a passion project. We didn’t sell it to any production house. Opemipo’s independent studio, , made it happen. Making another film requires an adequate budget.

So, as a burgeoning Nollywood guy, what was your favourite Nollywood production of 2023?

Breath of Life. 

I don’t watch many Nollywood films where a very internal or deep emotion drives the story. Breath of Life gave me that. As much as I love spectacle, a good human drama will always do it for me.

What’s next for you?

I’m still trying to gauge how Hanky Panky performs. If there’s an opportunity, I want it, but I also try to be realistic. I want to see what I can do career-wise, maybe make some money to continue making passion projects. I’m leaning more towards making more money as a content strategist.

Your content writing career is just to raise money for your future films?

Everybody needs money. But I’ve never done a job I wasn’t passionate about. Being a multi-disciplinary creative has allowed me to try my hands at writing, content creation, content marketing and more. I鈥檒l never see it as only raising money.

Korean cinema has been delivering insane content long before and after 2019’s Parasite became a cultural phenomenon. If you’ve seen Parasite, and you’re looking for more Korean content to satisfy your craving, this list is for you. But if you’ve not seen any Korean films at all, then omo, I curated this list especially for you. 

Burning, 2018

If there’s one film that captures the term slow burn to a “T”, it’s Burning. Featuring Steve Yeun, who you might recognise from Jordan Peele’s Nope or the Netflix road rage series, Beef, this unpredictable thriller starts simple but descends into chaos as it spirals towards its end. After all, what could go wrong in a story about a man, his childhood friend who asks him to look after her cat while she’s away, and the mysterious man she comes back with? Basic, right? 

Mother, 2009

Few films have been able to stress me out the way Mother did. Mother is one of those films that stays with you long after the end credits hit the screen. The murder mystery places a single mother at the centre of its story as she embarks on a mission to clear her mentally ill son’s name after he’s accused of killing a young schoolgirl. Let me say that nothing, I repeat, nothing will prepare you for the final scene. Good luck, though. 

The Handmaiden, 2016

The Handmaiden is a masterclass in delivering twist after twist and turning a story on its head countless times. When you think you know where the film is going, this iconic queer thriller throws another wrench that leaves your jaw on the floor. The Handmaiden follows the relationship between a wealthy-ass Japanese heiress, the handmaiden hired to look after her, the con man who hired the handmaiden to help scam the heiress and lots of steamy sex. The Handmaiden is one Korean film I wouldn’t advise you to watch with your family, dear. 

Memories of Murder, 2003

Not to sound biased, but Memories of Murder is the greatest Korean murder mystery of all time, up there with David Fincher’s Se7en as one of the GOATs, period. Memories of Murder tells the story of a pair of local police officers whose lives are changed by a serial killer who targets young women and the big city investigator who comes to their village to help solve the case. Disturbing, hilarious and heartbreaking all at the same time, the film is allegedly based on a true story, making it even more unsettling. 

Train to Busan, 2016

Zombie apocalypse films have been done so many times (Resident Evil one to 100) that they don’t slap anymore. The characters don’t feel human, so just like the zombies, we start viewing them as disposable slabs of meat. Train to Busan, however, makes its audience connect and root for the humans as we follow a divorced dad, his daughter and several other colourful characters who try to survive a zombie attack on a moving train. It didn’t help that I watched this movie in 2020, right before the coronavirus gist started spreading. 

Parasite, 2019

Parasite is the most popular Korean film from the last decade, and for good reason. The first non-English film to win Best Picture at the Oscars in 2020, Parasite is a dark comedy that explores class differences through the eyes of two families, one rich and the other poor. A major achievement in filmmaking, Parasite will leave you all up in your feelings as you watch that “eat the rich” saying come to life right before you. 

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The Wailing, 2016

Let me start by saying The Wailing is long and confusing AF. I’ve seen it twice, and honestly, I’m not sure I get the whole gist. This is not to say that The Wailing is bad; it’s just hard to grasp fully, but best believe you’ll feel like you’ve seen a masterpiece when you’re done. The horror film follows a police officer who embarks on a race against time to save his daughter and his village from a mysterious sickness that turns its victims into unhinged demons. You know a horror film means business when a child is involved. 

Old Boy, 2003

Before Parasite became an international hit, Old Boy was arguably the biggest Korean film to hit the market in the early 2000s, inspiring a bland American remake with Elizabeth Olsen (of WandaVision). This intelligent and super violent thriller follows a man who, when freed from 15 years of confinement, is given five days to find and exact revenge on the people who stole over a decade of his life. 

The Host, 2006

Monster films like Godzilla, Jurassic Park and co, tend to be major blockbusters people love more for the grand scale of production and CGI than the actual story (if there’s any, to be honest). However, with The Host, we see a monster movie whose social commentary isn’t drowned out by green screen visuals or cool tricks. The horror film follows a man who must save his daughter after she’s snatched up by an S-shaped monster created from chemicals dumped into the Han River. 

Decision to Leave, 2022

If there’s one thing you’ll learn after watching Decision to Leave, it’s that sometimes, it’s good to mind the business that pays you and avoid trouble. This 2022 romantic thriller follows an insomniac detective who becomes infatuated with a widow suspected of killing her husband. Like, he heard she might be a murderer and still said, “Yes, baby. Off my pant.” In this life, fear men. 

Silenced, 2011

Based on the novel The Crucible by Gong Ji-young, and real-life events in a school in Korea, Silenced follows an art teacher who arrives at a school for hard-of-hearing children, only to discover that their teachers sexually and physically abuse the students. Silenced might be a hard watch, but it’s also a necessary one, as differently-abled people rarely get to have their stories told with such care and nuance. 

I Saw the Devil, 2010

In this bloody Korean thriller, an intelligence agent’s pregnant fiance茅 is brutally murdered by a psychopathic serial killer, forcing the agent to go rogue in a bid to ensure that the killer ends up suffering for an extended period of time, and not in prison. While I support letting the law take charge when it comes to crime, I also support the protagonist here. Like the goes, “In this life, you reap what you sow.” 

You can find these films on Netflix, Amazon Prime Video or any streaming service you use.

ALSO READ: The Ultimate K-Pop Beginner Playlist From One K-Pop Newbie to Another

Nollywood has had multiple generations of stars and fans over the years. 1990s Nollywood introduced us to OGs like Saint Obi, Susan Patrick and Regina Askia. We fell in love with RMD, Genevieve Nnaji and Omotola Jalade Ekeinde in the early 2000s. We copied fashion trends from Ini Edo, Jim Iyke and Rita Dominic in the mid-2000s. And unlocked box office magic in the 2010s with the help of Adesua Etomi, Deyemi Okanlawon and Somkele Iyamah.聽

But with streaming and international projects quickly becoming the norm, a new crop of bankable stars is set to join the OGs. Read this list and learn their names because there’s a strong chance they’ll be on your screens for a long time. 

Tobi Bakre聽

If there’s one Big Brother alum who’s been able to beat the “can’t act” allegations, it’s Tobi Bakre. At a time when Nollywood struggled to find leading men capable of selling movies with their charisma and looks, Tobi came in and also decided to embark on the herculean task of carrying the industry’s action genre on his back. 

While films like Sugar Rush and Rattlesnake ignited that spark in Tobi鈥檚 audience, his deadly collaborations with Jade Osiberu in Brotherhood and Gangs of Lagos solidified his position as one of the biggest stars of our generation.聽

Genoveva Umeh聽

Genoveva Umeh was inescapable in 2022. Between a major standoff against Kate Henshaw in the EbonyLife Thelma and Louise-inspired thriller Blood Sisters and her shippable moments with Natse Jemide on Far From Home, Genoveva was lowkey the queen of streaming last year. 

With her current role on the new season of MTV Shuga and an appearance in the upcoming Amazon Prime original film, Breath of Life, opposite Wale Ojo and Eku Edewor, it looks like Genoveva will be around for a long time. But I don’t think anyone is complaining. 

Chimezie Imo

Chimezie Imo is one of the few actors Nollywood doesn’t deserve but desperately needs. Whether he鈥檚 playing a troubled or thrill-seeking teen in coming-of-age films like Nimbe and Kasala, or the lead in a psychological thriller like Choke, Chimezie always eats, proving that he’s criminally underrated and incredibly talented. 

With Chimezie, you never know what to expect. But that’s what you get from an actor whose range could either keep you at the edge of your seat or leave you in a puddle of tears. Look out for the actor in Breath of Life, Amazon Prime’s upcoming drama co-starring Genoveva Umeh and Wale Ojo. 

Uzoamaka Aniunoh聽

You might want to remember this name because this actress will have an incredible 2023 (and a long career, to be honest). After capturing our attention with her performance in shows like MTV Shuga and Africa Magic’s Venge, Uzoamaka has grown into one of Nollywood’s biggest rising stars, with a starring role on Showmax’s Diiche, the recent Domitilla reboot, Dika Ofoma’s upcoming short, A Quiet Monday, and Mami Wata, the CJ Obasi-directed fantasy drama. 

Outside of acting, Uzoamaka is also an acclaimed director, with her short film, Love Language, set to reach audiences in 2023. 

Demi Banwo 

Demi Banwo has probably been in every Nollywood project you’ve seen. From indie projects, like Abba T Makama’s The Lost Okoroshi and Damilola Orimogunje’s For Maria, to blockbusters like Niyi Akinmolayan’s Chief Daddy and Jade Osiberu’s Gangs of Lagos (which he also executive produced), Demi’s impressive resum茅 is indicative of an actor willing to elevate whatever role he’s given, no matter how small. 

Demi is set to step into the leading man ring sometime in 2023 with TOSOB (we need someone to decipher this title), the boxing drama that’ll have him facing off against Tobi Bakre. 

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Teniola Aladese 

There’s a scene from the first season of the AMVCA award-winning show, Ricordi, where Teniola Aladese’s character, Adesoye, gets involved in a confrontation that leaves the audience heartbroken. What could’ve easily turned into a melodramatic scene becomes a gut-wrenching moment for the audience thanks to Teniola’s nuanced performance. The actress has brought this captivating presence to a wide range of film and television projects over the past few years. 

Jammal Ibrahim 

Nollywood action stars don’t just exist in film; they exist on TV shows too. And Jammal Ibrahim is one actor who has the genre in his hands. The Crime and Justice: Lagos actor has proven he’s a double threat on screen, pulling physical and emotional punches in his role as Detective Danladi. With Nollywood finally taking a break from rom-coms to focus on action projects, Jammal is quickly working his way to becoming the bad-ass action star we didn’t know we needed. 

Olarotimi Fakunle聽

Gangs of Lagos might’ve been the Tobi Bakre show. Still, there’s no way anyone who saw Jade Osiberu’s Amazon Prime debut didn’t turn off their screens thinking about Olarotimi Fakunle’s performance as Kazeem, AKA Eleniyan. The nuance and depth Olakunle brought to his role as Kazeem helped audiences connect to a man who just wants to be seen, despite all his unhinged acts. 

It’s easy to play a villain audiences can hate, but over time I’ve come to understand that the best villains are the ones audiences can understand or relate to (this is why people still mess with Thanos and Namor to this day). 

Paul Nnadiekwe

Paul Nnadiekwe’s big Nollywood moment came with in 2022 with his lead role as Ayo in the NdaniTV underrated gem, Schooled. While it looks like Nollywood hasn’t utilised his talents as they should, everything is about to change for the charismatic actor, with leading roles in Everything Scatter, Jade Osiberu’s follow-up to Gangs of Lagos, and Ahamefuna, Kayode Kasum’s upcoming Igbo apprenticeship drama. 

Onyinye Odokoro

Onyinye Odokoro is more than a Nollywood star; she’s a global superstar. From her role in Dika Ofoma’s nuanced story of letting go, A Japa Tale, to Africa Magic’s Dilemma and the British Sky Original show, Unwanted, Onyinye has captured audiences across continents with her incredible talent. With 2022 already marking a pivotal moment in her career and 2023 kicking off with her lead role in the Domitilla reboot, Onyinye seems poised to rule the screen for a long time. 

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