Nollywood movies set for December release
Nollywood has been making waves with blockbuster films that showcase the industry’s impressive evolution over the years. Nigerian movie producers have capitalized on December as a prime release month, leveraging the festive season’s heightened audience engagement. Last December, Funke Akindele set a high standard with her extensive public relations (PR) and marketing campaign for A Tribe Called Judah, which was released in cinemas and earned a staggering N1.5 billion at the box office. Other actresses, such as Mercy Aigbe and Wunmi Toriola, followed suit by releasing their films in the same month. This December, Ms. Akindele is back with another highly anticipated release, kicking off her PR efforts well in advance. However, she’s not the only one; several other exciting films, including Alakada, Thin Line, and A Christmas in Lagos, are also set to hit theaters. Let’s take a closer look at what’s coming our way! Everybody Loves JenifaIf you’re active on social media, you’ve likely seen celebrities sporting matching merchandise with the phrase, “Everybody Loves Jenifa.” When Ms. Akindele releases a film, it’s always a major event. Her marketing prowess led to a surge in ticket sales for her previous movie, A Tribe Called Judah. To achieve another milestone, Ms. Akindele has crafted a meticulous marketing strategy for her upcoming movie, set for release in cinemas on December 13. The film will feature fan favorites like Falz, Omotunde “Lolo” Adebowale-David, and Olayode Juliana, alongside new faces such as Chimezie Imo, Layi Wasabi, Bisola Aiyeola, Jackie Appiah, and Omowunmi Dada. Alakada: Bad and BoujeeProduced by Toyin Abraham, the first Alakada sequel in 2009 was a blockbuster, thanks to its engaging plot. The Nollywood actress, who also stars in the movie, has been strategic in its marketing and PR campaigns. Alakada: Bad and Boujee will be the fifth film in the popular Alakada series, following Alakada (2009), Alakada 2 (2013), Alakada Reloaded (2017), and Fate of Alakada: The Party Planner (2020). Although no specific release date has been announced, the movie is expected in cinemas this December. Thin LineThin Line is a Mercy Aigbe-produced film scheduled for release in December 2024. Her previous movie, Ada Omo Daddy, was a hit, and this upcoming film may follow suit. The movie stars Iyabo Ojo, Jaye Kuti, Yvonne Jegede, Uche Montana, Niyi Johnson, and Uzor Arukwe. While the exact release date remains unannounced, it’s anticipated to premiere in December. A Christmas in LagosJade Osiberu’s new movie, A Christmas in Lagos, set to release on Prime Video in December, has already generated significant media attention. This holiday comedy weaves together interlocking stories against the backdrop of Lagos’ vibrant “Detty December” festivities, following four friends as they navigate friendship, love, and loss during the holiday season. Osiberu has promised that the film will be “the most heartwarming and beautiful film ever.” The star-studded cast includes Teniola Aladese, Shalom Obiago, Shaffy Bello, Rayxia Ojo, Richard Mofe-Damijo, Wale Ojo, and more. Nigerian musical stars like Ayra Starr, Adekunle Gold, Wurld, and Ladipoe also make appearances, adding to the film’s excitement.
Can Hollywood Really Tell African Historical Stories the Way They Should Be Told?
“The most effective way to destroy people is to deny and obliterate their own understanding of their history.” — George Orwell Hollywood seems to be delving into African history, making movies about the continent’s past. They feature Black actors and actresses, but many are not truly African themselves. While the cast may include Black actors, they are often not indigenous Africans, who would have a better understanding of the stories being told. In some cases, the screenwriters for African historical movies are white! What an absurdity! Even when the screenplay writers are Black, do they really know the history they’re trying to depict? Hollywood frequently makes mistakes in its portrayal of Africa. For example, many movies seem to assume Lagos is the capital of every African country — when, in fact, Lagos isn’t even the capital of Nigeria. Some even depict Lagos as a country! You might see a South African actor with a South African accent playing the role of a Nigerian in Hollywood films. This is a slap in the face. If you’re telling our story, tell it correctly. Being Black doesn’t make someone fully African. Due to the transatlantic slave trade and migration, many people of African descent live in Europe and other parts of the world. Some don’t even know the specific African country they originate from, only their race, based on skin color. Such people may struggle to blend into indigenous African culture without misunderstandings or inaccuracies. Mixing up African dialects, cultures, and cities in Hollywood movies that depict African culture is simply not good enough. No writer would ever mistakenly portray New York as the capital of the United States, even in a fictional film. But when Hollywood gives incorrect capitals to African countries under the guise of creative license, it comes across as both racist and wrong. African culture and history are sacred; if you’re going to tell them, tell them accurately. For instance, an African American might be better equipped to narrate the history of racism in the U.S. during the 1900s than to tell the story of the Yoruba Civil Wars. He may have spent his entire life in America, fighting for racial justice in a foreign land, but he is not immersed in Yoruba culture or its intricacies. He would have more knowledge of how African Americans rose up against racism than about the Yoruba Civil War. There’s a good chance he might not even be from West Africa, but from another part of the continent. I would have praised the movie The Woman King if it hadn’t poorly portrayed the Oyo Empire. The actors depicted the Benin Empire speaking more Yoruba than the Oyo Empire, even though the Oyo Empire was the true cradle of the Yoruba language. The actors who spoke Yoruba in the film sounded disconnected from the language. Casting actors unfamiliar with African history for such sensitive roles diminishes the integrity of the movie. I don’t believe Hollywood can tell our stories better; only we can tell them accurately, without distorting the truth or mixing up accents and languages. Only we, who still bear the scars of our past, can tell the stories of what has happened. Our history has been passed down to us in tales, epics, and songs. Only Africans who are well-versed in their history can tell these stories correctly. History is not fiction; it is yesterday’s reality. A people’s history encompasses what they have endured, what they are currently experiencing, and what lies ahead. Only those who have lived this reality can tell it properly. A foreigner cannot accurately tell the history of a particular group of people; they will always be speaking from an outsider’s perspective. This is a wake-up call to all African filmmakers to take charge of telling their own history. People no longer read books as much as they watch movies. Films have become a powerful medium for documenting and preserving culture. Let us tell our history the right way — how it was, how it is, and how it will be. Let us speak our languages correctly and show the rich diversity in our dialects. Let’s provide the correct capitals, cities, and cultural values. Our diversity makes us unique. We are many different components merged into one — let’s ensure that our history doesn’t fade into extinction. By Eyitayo Jemimah Ajayi
Beyond ‘Beautiful Things’ – A Deep Dive into Benson Bonne’s Best Tracks
Music fans appear to be drawn to the song “Beautiful Things” from the Fireworks and Rollerblades album. Ironically, Beautiful Things is my least favorite track on the album. I’ll be sharing my top tracks from the album along with my thoughts on them. There She Goes This is actually one of the album’s most upbeat tracks. The protagonist in this song finds a woman who helps him overcome his loneliness. Without her, his world feels empty, but she makes him incredibly happy. Whenever he is away from her, he longs to return home to her. He sincerely believes this woman has completely changed his life for the better. My Greatest Fear Benson touches on his overthinking, his fear of losing loved ones, and the complexity of his mind in nearly every song on this album. In this song, he expresses his deepest fear of losing someone very special to him. Although the protagonist is “terrified of the day he dies,” losing the one he loves is even more frightening. He also reveals that he hasn’t spoken to God “since early May.” The song gives the impression that the person he fears losing is still with him. However, by the end, it becomes clear that they have already left. Hello Love Benson Bonne’s lyrics are incredibly poetic. If he weren’t a musician, he could easily be a poet. In this song, the protagonist begs his love to stay. Although it doesn’t seem like their love is physically leaving, it feels that way. The protagonist worries that their love already feels different. He blames his thoughts, emphasizing his vulnerability and how much he needs them to stay and hold him. This song is the foundation for the album’s title. In the Stars How I wish I could use emojis here! The protagonist of this song has lost a loved one and struggles to say goodbye. He is still holding on to everything they owned. Because this person helped him attend church regularly, he no longer goes to church now that they are gone. Their absence makes it difficult for him to keep attending. Love of Mine Benson Bonne’s lyrics consistently emphasize vulnerability. This song speaks of how the protagonist feels empty and lost without his love. It seems as though he has already lost this person, making the song truly heart breaking. Essentially, he is lamenting his life after the breakup. He is in deep pain, and it feels like the only place he can see his beloved now is in his dreams.
Men experience stronger social disconnect due to smartphones than women
Childbirth: A Sacrifice Worthy of Reward, Not Just Routine
One of the primary roles of a woman is to give birth; she is the only human gender with the reproductive opportunity to produce young humans. Many centuries ago, and even now in some parts of the world, a woman is seen as incomplete if she cannot give birth to a child or children. Even now, when radical feminists argue that women should have reproductive rights, we still cannot deny the fact that women are still expected to give birth. I am not here to debate whether or not a woman should give birth. I am here to advocate for the appreciation of women after they perform this task. “There is no other organ quite like the uterus. If men had such an organ, they would brag about it.” – Ina May Gaskin. Sometimes, I think if women did not have the superpower to give birth, we would be regarded as mere vessels for sex. Childbirth should not be seen as a normal routine, but as the sacrifice a woman makes for the continuity of the human race. Women cannot truly find the words to explain the pain they endure during gestation and childbirth. I believe a man should reward his wife for bearing his children. If surrogate mothers are paid or rewarded, then biological mothers should also be rewarded. We realize the worth and complexity of childbirth when it is difficult. I am not talking about gifting all the fancy stuff; I am talking about gifting thoughtfully according to your capability. A woman’s strength stretches beyond her comprehension during gestation and childbirth. She is at her most vulnerable; she’s connecting to a divine world – a world she might not come back from. Push gifts can serve as a way to show appreciation for a job well done – not that you’re paying her, but you’re acknowledging her sacrifice. She is eager to get back in shape for you. She is also eager to have more children, if she wants to. In African history, even now in some places, men kill animals for their wives after childbirth – the meat is usually used for the naming ceremony, so I do not count it. But the intentionality of gifting your wife shows how much you love her. A woman giving birth to your children shows how much she wants to build a future with you. Gift her favorite jewelry if you can! That car? She’s worth more than that! Go all out for her, because, man, she tries! A war of birth took place in her body; she’s more than a fighter. I don’t know about other women, but I believe I will appreciate a push gift from my future husband! By Eyitayo Jemimah Ajayi
Lisabi, The uprising : A Nollywood movie that embodies Yoruba cultural essence
After watching House of Ga’a a few months ago, I was kind of reluctant to watch Lisabi, The Uprising. Thank goodness, I did, it was indeed a great watch! Ibrahim Chatta has been a recurring actor in Yoruba historical movies and he has been doing well playing his roles. When I saw him in the first scene, I knew the movie had potential to be good. From the first scene, I loved a lot of things about the movie. The sound effects, sound track and color grading was premium. The representation of the Alaafin of Oyo is one of the most lovable moments of the movie. I have said before that only we can tell our stories the right way with the power and might that he is. Once again, I am reminded by the supremacy the Alaafin of Oyo had in those days. Toba lase! The Ilari Oyos, tribute collectors collect tributaries, isakole on behalf of the Alaafin of Oyo. They were his representatives in neighboring villages who were subjects to him. This movie is juggling up my knowledge of history. I must say that Nollywood has attained considerable progress in effects. Though they still have to reach perfection, one cannot but recognise the fact that they’ve tried. Another kudos goes to the costumes team who carefully put pieces together to embody tradition and also time setting. The best costumes in the movie were that of the four deities. Their appearance really represented the power they portrayed. Lateef Adedimeji’s role as Lisabi deserves all accolades for his impeccable acting skills. He truly is a great force in the Yoruba movie industry. One of the highlights of the movie for me was the plot development. The elaborate plot allowed for full message development and informed watchers about the movie concept. Though, it seemed like the last scene was rushed unlike the first scene that absorbed us in the beauty of Yoruba culture. Cultural intricacies in Lisabi,The Uprising -A Yoruba man doesn’t fight his fight without spiritual fortification. Who knew Lisabi bore such power under his cloak? He literally conversed with deities and had built his own powerhouse. – Growing up, my parents passed on the knowledge to me that a whirlwind was not ordinary. It might be one of the dynamics of nature but it was easy to manipulate by terrestrial power. I wasn’t surprised when Lisabi took the Ilari Oyos by the whirlwind. – People say their dead loved ones appear to them just in the space of their death. The situation of Osofiponmile and his wife, Orosola attests to that. Osofiponmile was killed on his way back from his farm but Orosola claimed she saw him afterwards. – The Yoruba culture really upholds sexual purity among women such that a woman’s prized possession to her husband is her virginity. One cannot help but wonder the emotional tantrum Abebi went through after she lost her virginity to Sangodeyi who was not her husband on her wedding day. – A Yoruba man is expected to be hardworking so that he can feed his family. Lisabi advises his friend, Sokenu to work hard so that he can take care of his wife. Lisabi, the Uprising can top my Yoruba cultural movie of the year as I’ve seen nothing like this yet. The soundtracks did a great deal in resonating the weight of the Yoruba culture in my ears. The high color grading of the movie made it so delightful to watch. The producers made a masterpiece that’ll forever stick in my memory this year! By Jemimah
Chandler Moore’s latest album
Chandler Moore Live in Los Angeles is arguably one of the most talked about worship albums of the year. Chandler, an incredible singer, a prolific songwriter and a maestro,after putting out so many collaborative bodies of work in the gospel/worship genre over the past couple of years finally released his own album August this year which was recorded live in LA. One thing so admirable about this project is its songwriting, Chandler gets better and better as a worship songwriter and when he gets in rooms with some other incredible writers like : Naomi Raine, Joe L Barnes, Brunes Charles , Israel Houghton and so many more,the result is a piece of vulnerable,relatable, and incredible story telling which this album embodies. Consistency is key, and Chandler has proven that yet again, that’s he’s still got it, “Feelings” his 2020 extended playlist [Ep] was filled up with vulnerable, faith building, worship music and 4 years later, he’s still able to reproduce which to me is sensational. Now let’s take a nose dive into the songs on this album: The album kicks off with track 1 – “I have a father” which speaks about the goodness of God as a father, it also speaks about how a father protects, keeps, stays, fights, loves, and that there’s no mistake,trauma or challenge that could keep him away. Personally, I think songs like this come from a place of deep relationship and intimacy. ” I have a father” endears you, draws you closer to God as a father and serendipitously it also draws you into the album. Top tier stuff. Track 2 – “Joy” featuring Israel Houghton: such an amazing song, upbeat tempo, reflects on the importance of joy, as it is the well of strength for us, personally this is definitely top 3 on the album for me, Israel being on this song adds to the song’s dynamic and sweet sound. It has such a beautiful bridge as well which for me is the highlight of the song. Track 3 – what I needed : Track 3 for me has probably the most vulnerable songwriting on the entire album. This song speaks about trust, how God’s plan is the best and his ways and thoughts higher than ours. Also top 3 for me on the album. I personally believe this song much more than just song writing is an experience on its own, definitely a faith building worship. If I could only play 3 songs of the album, I’d play this track twice. So deep, refreshing, it runs for about 8 mins but worth every second of play time. By Jemimah
Kaos, and its emphasis on the supremacy of fate
Sometime earlier this month, I was trying to pick something to watch on Netflix. I didn’t have anything in mind but the captivating cover of “Kaos” drew me in. Then I watched a bit of the trailer, inquisitive me, I downloaded the whole season straight up. Since Netflix has decided to starve us with Sandman, I was eager to consume something mythological and mystical. The movie was the right pick from the first scene listening to the narrator mentioning Greek gods. I thought I was in for entertainment but as the scenes developed, I discovered an element of melancholy. Just like every historical story, there’s always a downfall attached to a person’s fate or prophecy. The fact that gods cannot escape their fate is something to ponder about. In my knowledge about Greek gods, I saw Zeus as all powerful, not a god that needed people’s validation to get his day going. Charlie Covell’s representation of the Greek god, Zeus(Jeff Goldblum) broke a little bit of the god’s sacrament but at the same time made him relatable to humans. As humans, we are all scared of our fate such that in avoiding it, it comes to pass eventually. It’s funny how fate works most especially if there has been a prophecy foretold. It may take centuries to come to pass but it eventually will. The characterisation of roles in the movie is a 10/10. The best casting for me is the role of The Fates. One cannot tell who they are, they are indeed mysterious. Adapting a mythological Greek story into fictionalized black comedy makes the storyline subtle and at the same time captivating for the audience. I wasn’t surprised when I found out that the movie rated 7.5/10 on IMDb. Zeus’ lifestyle was admirable but one would not have thought that the King of gods still suffered an identity crisis. He literally needed his enemy turned confider, Prometheus( Stephen Dillane) to assure him out of his insecurities. He was on the subtle side of sense such that Hera ( Janet McTeer) could talk him out of her cheating lifestyle which was hilarious by the way. Like Nigerians will say, she has got his mumu button. The fact he couldn’t decipher from where the prophecy will come to pass shows that he isn’t an all- knowing god. When at a point we thought gods could escape fate, Prometheus reminds us that Zeus was once a human. His former state of humanity still subjects him to the dictates of fate. Zeus looks for all ways to avoid fate but he forgets to look within. The first thread of his prophecy to unfold was pulled by his son, Dionysus. The one whom he fails to pay attention to causes the chaos that ruins him. I remember reading Oedipus Rex where Oedipus leaves home to escape his fate but later on, he still finds his life as a cycle which brings him back to his beginning. At all cost, a man’s fate or prophecy comes to pass. What I fear most is a negative prophecy over one’s life. The more you try to escape it, the more you get closer to it. The good prophecies are always hard to get but the bad ones happen even when you try not to make it happen. Let me not forget Orpheus (Killian Scott), the husbandman who literally goes to the afterlife to bring back his love, Eurydice (Aurora Perrineau). One couldn’t have imagined that but for a prophecy to be fulfilled, the unimaginable starts to happen. But I feel so sorry for Orpheus, he was just a variable in a bigger set of reality. Zeus thought if he destroyed The Fates – Atropos (Sam Buttery), Lachesis (Suzy Eddie Izzard), and Clotho (Ché then he could escape his fate and prophecy. Peak foolery, a god should have known better. Who are the Fates in Greek mythology? In classic Greek mythology the Fates, known as the Moirai were three sisters and goddesses who determined the fates of humans. Clotho spun the threads of human fate while a human was still in the womb, Lachesis dispensed it and decided how long a human would live, and Atropos cut the thread aka ended the human life. So while humanity had free will, ultimately they could not escape their destinies as pre-determined by the Fates. Their prophecies were instrumental in the stories of Achilles, Meleager, and of course Orpheus and Eurydice. Source: Cosmopolitan And at the end of the series, we discovered that the story had only begun. Caeneus (Misia Butler) becomes our MVP just at the end of the series. Let me not spoil the series any further! If you have not watched Kaos, you should check it out on Netflix today. By Jemimah
Lateef Adedimeji Shines as Freedom Fighter in “Lisabi: The Uprising”
A new star has risen in the world of Yoruba cinema. “Lisabi: The Uprising,” directed by Niyi Akinmolayan, tells the captivating story of Lisabi, the Egba farmer who led a rebellion against the oppressive Oyo Empire in the 18th century. This historical epic is a visual feast, with stunning cinematography, costumes, and set design that transport viewers to ancient Oyo. Lateef Adedimeji delivers a powerful performance as Lisabi, capturing the character’s courage and charisma. The film masterfully blends historical accuracy with engaging storytelling, exploring themes of oppression, unity, and the fight for freedom that resonate deeply with contemporary audiences. “Lisabi: The Uprising” sets a new standard for Yoruba cinema, offering a compelling narrative, superb acting, and a profound message that will stay with viewers long after the credits roll. Lateef Adedimeji thump up!
