The Nigerian film industry continues to be one of the most vibrant storytelling ecosystems in the world. Beyond box-office hits and streaming successes, film festivals have become crucial platforms for discovering new voices, celebrating African cinema, and fostering collaborations between filmmakers, investors, and audiences.

As 2025 is coming to an end, Nigeria is set to host a series of prestigious film festivals that bring together filmmakers, producers, critics, and film lovers together. From Abuja to Lagos, Enugu to Benin City, here’s a comprehensive guide to the top film festivals happening across Nigeria from October to December 2025.

Abuja International Film Festival (AIFF)

Dates: October 26–31, 2025

Location: Abuja, Nigeria

Founded in 2004, the Abuja International Film Festival is one of Nigeria’s longest-running film festivals. Its goal is to provide a platform for filmmakers from Africa and beyond to showcase their works, exchange ideas, and network with industry players.

The festival screens a broad range of content from documentaries and shorts to feature-length film. It also features panel discussions, masterclasses, film markets, and awards ceremonies, making it a key stop on the African festival circuit.

Africa International Film Festival (AFRIFF)

Dates: November 2–8, 2025

Location: Lagos, Nigeria

AFRIFF is arguably Nigeria’s most internationally recognized film festival. Since its inception in 2010, it has grown into a premier destination for African cinema, attracting filmmakers, industry executives, journalists, and cinema lovers from all over the world.

Held annually in Lagos, AFRIFF offers a week-long celebration of film, featuring screenings, industry sessions, pitching platforms, talent development programs, and the AFRIFF Film & Content Market (November 3–6). The festival has played a major role in positioning Nigeria as a creative hub for African storytelling.

Eastern Nigeria International Film Festival (ENIFF)

Dates: November 26–29, 2025

Location: Enugu, Nigeria

ENIFF was created to spotlight filmmakers from Eastern Nigeria while also welcoming entries from across Africa and beyond. Enugu, often regarded as the historic heart of Nollywood, provides a symbolic backdrop for this festival.

The 2025 theme, “Reimagine. Rethink. Reframe,” focuses on pushing creative boundaries and encouraging new cinematic perspectives. ENIFF showcases narrative films, documentaries, animations, and experimental works, accompanied by workshops, panel discussions, and youth-focused training sessions.

Imo Creatives & Film Festival (IMOIFF)

Dates: November 27–29, 2025

Location: Owerri, Imo State

The Imo Creatives & Film Festival (IMOIFF) is a growing event designed to highlight the power of storytelling in Nigeria’s Southeast.

IMOIFF focuses on empowering Nigerian storytellers through training programs, panel conversations, film showcases, and networking sessions. It serves as a bridge for young creatives, connecting them with mentors, funders, and collaborators.

Benin City Film Festival (BCFF)

Dates: November 27–29, 2025

Location: Benin City, Edo State

The Benin City Film Festival has quickly gained a reputation as a home for independent filmmakers. It focuses on films that challenge mainstream narratives and offer fresh, bold perspectives. The festival typically includes international and national screenings, panel talks, student competitions, and cultural showcases.

Benin City, with its rich artistic heritage, provides a vibrant atmosphere for the festival, blending film with local art, history, and tourism.

S16 Film Festival

Dates: December 1–5, 2025

Location: Lagos, Nigeria

The S16 Film Festival is a niche event dedicated to Super 16mm and analogue filmmaking. In an era dominated by digital technology, this festival celebrates the craft, texture, and discipline of analogue film production.

Participants engage in hands-on workshops, screenings of 16mm films, and discussions with veteran cinematographers who champion the art of traditional filmmaking.

African Indigenous Language Film Festival (AILFF)

Dates: December 3–5, 2025

Location: Lagos, Nigeria

The AILFF is a celebration of films made in African indigenous languages, highlighting the diversity and cultural depth of the continent. It was created to challenge the dominance of English and French in African film narratives, and to encourage filmmakers to embrace their mother tongues.

The festival features screenings, language preservation panels, and storytelling workshops, creating a space where language and cinema intersect powerfully.

These festivals not only celebrate creativity but also provide real platforms for training, funding, and collaboration.

Whether you’re a filmmaker looking to showcase your work, a student hoping to learn or eager to explore fresh stories, get ready 2025 is still packed.

In Nigeria’s Middle Belt, a place filled with beauty, history, and pain, a young filmmaker is bringing a different kind of story to the screen. Agatha Doowuese Akaahar, a 23-year-old Tiv filmmaker from Benue State, is the writer and director behind Black Sands, a moving short film that shines a light on the real lives of people living through conflict.

Agatha’s love for storytelling began early. After losing her mother as a child, books became her escape. Later, theatre gave her a voice and showed her the power of stories to heal and connect. Even though she studied History and International Studies at the University of Ilorin, she never lost her passion for film.

The inspiration for Black Sands came from her own experiences growing up in Benue. “The Middle Belt is often spoken about only in numbers — how many died, how many were displaced,” she says. “But behind every number is a person, a family, a dream.”

Unlike most films about conflict, Black Sands doesn’t focus on politics. Instead, it tells a human story about love, loss, and resilience. The title is symbolic — sand usually represents life, but when huts burn, the sand turns black. “The land remembers everything,” Agatha explains. “Black Sands is both mourning for what has been lost and hope for what can still grow.”

The filming took place in Jos, Plateau State, a place that mirrors Benue’s landscape and history. The cast and crew, many of whom had personal experiences with violence, brought honesty and depth to the film. “It wasn’t just another project,” Agatha says. “It was a way to remember.”

As both writer and director, Agatha rewrote her script eight times to get the story right. The result is a film that blends personal truth with collective memory — a story told simply but powerfully.

With Black Sands, Agatha isn’t just releasing a short film; she’s preserving voices that are often forgotten. It’s a reminder that even in the middle of pain, people still live, love, and hope.

Film Details

Black Sands written by Agatha Doowuese Akaahar

Format: Short film (3 minutes)

Single location (mud-hut compound interior)

Three characters:

• Kator (15)
• Wuese (10)
• Their mother (30s)

Language: Tiv (with translations to English)

Logline: During a violent raid on a rural village in the hinterlands of Benue State, two older siblings are forced to hide their little siblings inside a water drum and sacrificing themselves to keep these little ones safe.

Genre: Drama / War / Political Tragedy / Coming-of-age

Setting: A modest mud-hut compound in rural Benue State, Nigeria. It is early morning. The space feels warm, smoky, and lived-in; filled with the quiet rhythm of village life: birdsong, crackling firewood, footsteps on the dusty path, yam boiling on the stove, and the soft hum of a mother’s song.

Synopsis: Black Sands is a visceral, intimate portrait of a family caught in a moment of irreversible change and irreparable damage.

Kator is cooking yam in the family kitchen while his younger sister Wuese nags him playfully for food. Their older sister, weary and quiet, hums softly as she nurses a baby in the next room. A framed photo on the wall of their father and young Kator is a quiet nod to a simpler life. His absence suggests that he’s either deceased or away at the moment.

In the blink of an eye, there’s a low rumble and everything falls apart. Panic ensues. Gunfire cracks in the distance. Kator hears shouts and cries in the distance and the scampering sounds of neighbours frantically running; he hears someone shout ‘Mba agwey shi va ve’ , he immediately deciphers what’s happening; The armed men in tribal wraps who often visit with machetes and leave a trail of violence and bloodshed in their wake are here again.

Smoke starts to rise as huts and barns are raised to the ground, their sister acts quickly. She leads them to the backyard where there’s a big dugbe; a large, empty water drum. In a few quiet, devastating gestures, she places the children in it.

From inside the drum: muffled breathing. Raised voices. A scream. Then; silence.

Later, in the aftermath of the chaos, Wuese is seen sitting and staring into the distance, suggesting that everyone else is gone.

Themes

• Familial sacrifice: The sister’s final actions show deep, silent love; she’s like a mother doing whatever it takes to protect her children.
• Innocence in conflict: The war is never shown directly. Instead, we see its impact through the eyes of confused, frightened children.
• Political erasure: The story highlights the human cost of the Middle Belt crisis in Nigeria; a tragedy that is personal, painful, and

Tone & Visual Style

• Cinematic realism: Handheld camera work, natural lighting, close-up shots, and subtle, emotional performances.
• Muted, earthy tones: Warm browns, soft greys, black ash, and gentle firelight to reflect the mood and setting.
• Sound design is key: The dugbe becomes a space filled with tension, where every sound from outside is amplified.
• Minimalist style: The violence is never shown, only heard. The story is told from the children’s emotional point of view.

Why This Story?

In just one location, with just three characters, Black Sands captures something deeply Nigerian: the fragility of peace, the quiet strength of mothers, and the small, unspoken ways we hold onto dignity in the face of devastation.

It is inspired by countless untold stories of displacement and systemic violence in Nigeria’s Middle Belt; a region where family and community are the only shield, and memory, the only monument in the midst of all that chaos. This is a quiet, devastating film; deeply evocative, gripping, and powerful in its message. It is designed to eviscerate, to leave the audience with much to reckon with.

Budget: The budget for the film was ₦3M (three million naira) but due to Agatha’s financial management skills, the film was made under budget.

Nollywood’s latest historical epic, Amanyanabo: The Eagle King, is officially set to hit cinemas across Nigeria on September 12, 2025, marking one of the year’s most anticipated theatrical releases.

The film, directed by Fred Amata and Ibinabo Fiberesima, brings to life the story of King Ibanichuka (Ado VI), a 19th-century warrior of Okrika in the Niger Delta who was chosen by the goddess Tamunoba to become king. Drawing from Dr. Alfred S. Abam’s book ‘King Ibanichuka (Ado VI) 1816-1896’, the movie blends history, mythology, and drama, exploring themes of leadership, cultural identity, colonial resistance, and personal sacrifice.

Amanyanabo, the eagle king, a story of heritage, power, and destiny is coming to life on the big scree, from tomorrow, September 12.

Catch it with your geng.

A @ibinabo.fiberesima @queenbae_production film
Distributed by @nile_ent#Amanyanabothemovie #nileentertainment pic.twitter.com/DykUNGza3m

— Nile Entertainment (@Nile_ent) September 11, 2025

A Star Packed Cast

The epic features a rich ensemble of Nollywood veterans and rising stars. Patrick Diabuah leads as King Ibanichuka, supported by Nkem Owoh as Chief Ogan, Monalisa Chinda Coker as Queen Mboro, Walter Anga as Chief Okpokiri, and Gentle Jack as Igbanibo Will-Braide. International actor Lucien Morgan also appears as Consul Ralph Moor, representing colonial interests in the story.

Themes of Power and Conflict

Amanyanabo: The Eagle King dives deep into the political, spiritual, and cultural struggles of its era. It portrays the clash between indigenous traditions and Christianity, the influence of colonial powers, and the burden of leadership placed on Ibanichuka as he navigates loyalty, betrayal, and divine expectation.

Release and Distribution

Following its Lagos premiere, the film will now roll out to cinemas nationwide, with distribution handled by The Nile. Producers say the release is a milestone in Nollywood’s commitment to telling African historical stories on a grand cinematic scale, pairing elaborate costumes and set designs with powerful performances.

Early reviews from critics following its August 29 premiere in UK, have praised the film’s ambition and visual richness, though some noted its theatrical pacing. Nonetheless, many see the September 12 release as a defining moment for Nollywood, especially in elevating stories rooted in Nigerian history and culture.

Nollywood, Nigeria’s film industry, has grown from grassroots video productions into one of the world’s largest film powerhouses. With thousands of releases every year, Nollywood tells stories that blend culture, history, comedy, and drama. But a few films stand out as milestones; either for their artistry, commercial impact, or influence on the industry.
Below is a ranking of the 10 greatest Nollywood movies of all time, alongside an explanation of how the ranking was determined.

The Ranking

1. Living in Bondage (1992)

Widely regarded as the film that launched Nollywood’s video boom, it tells the story of a man who joins a secret cult in search of wealth, only to suffer tragic consequences. Its success marked a turning point for Nigerian cinema.

Summary: The film tells the story of Andy Okeke, who is lured into a money ritual cult. Though he becomes wealthy, the spiritual consequences destroy his life, leaving a cautionary legacy. It was a cultural reset that birthed Nollywood.

2. Osuofia in London (2003)

This comedy starring Nkem Owoh remains one of Nollywood’s most iconic films. It follows a naive villager who travels to London to claim an inheritance, blending Nigerian humor with cross-cultural themes.

Summary: Osuofia, a villager, travels to London to inherit his late brother’s property. His naive outlook collides with Western culture, creating comedic situations and showing the humor in cultural clashes.

3. The Figurine (2009)

Directed by Kunle Afolayan, this psychological thriller won multiple African Movie Academy Awards. It is praised for its strong storytelling, cinematography, and for raising Nollywood’s technical standards.

Summary: Friends discover a mystical statue said to bring seven years of fortune, followed by seven years of doom. Their lives spiral as destiny, superstition, and human choices collide in this thriller.

4. Half of a Yellow Sun (2013)

Based on Chimamanda Ngozi Adichie’s acclaimed novel, this historical drama explores love and loss during the Nigerian Civil War. With international stars like Chiwetel Ejiofor and Thandie Newton, it brought global attention to Nollywood storytelling.

Summary: Set during the Nigerian Civil War, the story follows twin sisters Olanna and Kainene as they navigate love, betrayal, and survival. It brings the human side of war to the big screen.

5. October 1 (2014)

Set just before Nigeria’s independence, Kunle Afolayan’s thriller follows a detective solving murders in a small town. It is both a gripping crime story and a reflection on colonial legacies.

Summary: A police detective from Lagos is sent to a rural town to solve a series of murders just before independence. As he uncovers the truth, the film explores themes of trauma, colonialism, and national identity.

6. The Wedding Party (2016)

A romantic comedy that became Nigeria’s highest-grossing film at the time, grossing over ₦452 million. It captured the glamour, chaos, and humor of Nigerian weddings with mass audience appeal.

Summary: On the day of a high-society Nigerian wedding, chaos ensues as families clash, secrets spill, and love is tested. It’s a glamorous rom-com filled with laughter and cultural celebration.

7. The Wedding Party 2: Destination Dubai (2017)

The sequel continued the success, this time set in Dubai. It reinforced Nollywood’s ability to deliver commercially successful, star-studded productions.

Summary: Picking up from the first film, this sequel follows a lavish wedding in Dubai. With drama, comedy, and exotic settings, it continues the spectacle that made the first movie a hit.

8. Chief Daddy (2018)

A family comedy about the chaos that follows a wealthy man’s death. With a star-studded cast, it was another major box office hit, earning about ₦387 million.

Summary: When a wealthy patriarch dies, his dysfunctional family scrambles to secure their inheritance. The film is a blend of humor and family drama, showing the chaos money leaves behind.

9. King of Boys (2018)

Directed by Kemi Adetiba, this political thriller follows a powerful woman navigating corruption and ambition. It received widespread acclaim for its storytelling and powerhouse performance by Sola Sobowale.

Summary: Eniola Salami, a powerful businesswoman with political ambitions, struggles to hold onto power. Betrayals, rivalries, and her own ruthlessness drive this intense political thriller.

10. Eyimofe (2020)

An internationally acclaimed drama that portrays everyday Lagosians striving for better lives. It premiered at the Berlin International Film Festival and became the first Nigerian film added to The Criterion Collection.

Summary: Split into two chapters ‘This is My Desire’ and ‘This is My Story’ the film follows Mofe, an engineer, and Rosa, a hairdresser. Both dream of leaving Nigeria for a better life, but face harsh realities of class and survival.

How This Ranking Was Done

This ranking was not based solely on box office numbers or popularity. Instead, it considered four main factors:

1. Historical Significance: Films that shaped Nollywood’s identity or marked a turning point in the industry.
2. Critical Acclaim & Awards: Recognition from film critics, African Movie Academy Awards, and international festivals.
3. Box Office Success & Popularity: Movies that broke records or captured mass audiences.
4. Cultural Impact & Longevity: Titles that influenced pop culture, inspired conversations, or remain classics.

By balancing these factors, this list highlights films that not only entertained but also elevated Nollywood’s reputation globally.

Nollywood continues to evolve, moving from grassroots productions to globally recognized cinema. The films on this list represent milestones in that journey whether through breaking box office records, winning international acclaim, or shaping cultural conversations. As Nollywood grows, future films may join or even surpass these greats, but their legacy will always remain part of Nigeria’s cinematic history.

With To Kill a Monkey, filmmaker Kemi Adetiba returns with her most daring and socially confrontational work yet — a brooding, eight-part cybercrime thriller that swaps political theatrics for a deep dive into the moral compromises of survival in modern Nigeria. Streaming on Netflix as of July 18, 2025, the series is a raw and layered portrait of a man seduced by tech-enabled fraud, haunted by loss, and hunted by consequence.

Anchored by strong performances and atmospheric tension, To Kill a Monkey is as much about internet scams as it is about identity, desperation, and the haunting price of trying to outrun your past.

Plot Summary: Into the Heart of Digital Darkness

The story follows Efemini — simply “Efe” — a down-on-his-luck, intelligent young man played with controlled intensity by William Benson. Efe has lost everything that once grounded him: his job, his family, and most importantly, his sense of moral compass. Living in Lagos and trying to find his footing, he reconnects with Oboz (Bucci Franklin), a notorious cybercrime kingpin running a covert fraud syndicate.

The syndicate operates under the guise of “monkeys” — an ironic label for men who scam their way to wealth by pretending to be what they’re not. Efe, with his background in tech and artificial intelligence, quickly proves useful, building tools that help the gang target foreigners.

But beneath the wealth, women, and wild nights, the cracks begin to show. Efe’s inner world is fragile, riddled with grief, survivor’s guilt, and the slow realization that he’s spiraling into something unrecognizable.

On the other side of the hunt is Mo Ogunlesi (Bimbo Akintola), an emotionally scarred cybercrime officer determined to bring down the syndicate. As the lines blur between right and wrong, her pursuit of justice collides with Efe’s desperate need for escape.

Performance & Characterization: A Breakout and a Masterclass

William Benson is a revelation in the role of Efe. His performance is quiet, haunting, and deeply internal. Benson doesn’t play Efe as a one-note criminal but as a man struggling to survive the emotional wreckage of his life. His pain never screams — it simmers.

Bucci Franklin, as Oboz, brings charisma and controlled menace. The Edo accent, the swagger, the manipulative confidence — Franklin crafts a character that is seductive yet untrustworthy. Oboz is as much a metaphor for the streets as he is a reflection of its dangers: fast wealth, shallow loyalty, inevitable betrayal.

Bimbo Akintola returns to the screen with force. Her portrayal of Mo Ogunlesi — driven, grief-ridden, unshakably moral — offers the perfect foil to Efe’s morally gray journey. Their eventual face-off is among the most emotionally potent in the series.

Other cast members, including Stella Damasus, Chidi Mokeme, and Lilian Afegbai, deliver strong performances, though a few characters, especially within law enforcement, could have used more backstory and depth.

Direction & Writing: Kemi Adetiba’s Bold Evolution

This is Adetiba’s first major work since the King of Boys franchise, and it’s an intentional departure. Gone are the dramatic monologues and crown politics. In their place: subtlety, grit, and the silence of desperation.

As the creator, director, and writer, Adetiba shapes a story rooted in the here and now — from dating app scams to dark web forums. The dialogue is authentic, street-smart, and emotionally resonant. The writing captures both the banter of Lagos boys and the desperation of a generation trading dreams for survival hacks.

Still, the series isn’t without its flaws. At eight episodes, it occasionally lingers too long on scenes that don’t move the story forward. The mid-section, in particular, could’ve benefited from tighter pacing. But when the show finds its rhythm, it doesn’t let go.

Cinematography & Sound

Visually, To Kill a Monkey is a triumph. Shot by KC Obiajulu, the series uses deep shadows, neon backlights, and smartphone overlays to immerse viewers in the digital underworld. The use of screen graphics; messages, code, AI models, and is clever without feeling gimmicky.

Sound plays a crucial role too. The series hums with tension: the buzz of a hacked laptop, the ping of a notification just before betrayal, the muffled roar of Lagos nightlife. The soundtrack, blending ambient electronica with low-key Afrobeats, heightens both danger and emotion.

Costume & Styling: The Look of Fast Life

From knock-off designer belts to crisp kaftans and “big boy” jewelry, the costume design mirrors the delusion of luxury that defines the fraud world. Oboz is always overdressed, a walking ad for his own success story , while Efe’s style shifts from humble to gaudy, then back to broken as his inner world begins to collapse.

It’s in the subtle styling — the oversized shades, the loud watches, the new iPhones — that the show tells a silent story about aspiration and identity.

Themes & Symbolism

The title To Kill a Monkey is both literal and metaphorical. In Nigerian slang, it implies removing a nuisance — but here, it represents a deeper question: what does it mean to kill the part of yourself shaped by trauma, poverty, and anger?

The “monkey” is Efe’s alter ego — the face he wears to survive a system that failed him. Killing it isn’t just about walking away from crime; it’s about reclaiming his humanity. But can a man who’s benefited from darkness ever fully escape it?

Other powerful themes include:
– Grief and isolation
– Tech as both savior and curse
– The price of betrayal
– The thin line between survival and corruption

My Rating: 8/10

To Kill a Monkey is a sharp, emotionally resonant, and stylistically confident series. It’s not just about cybercrime; it’s about the personal cost of chasing shortcuts in a world that offers so few long roads.

With a career-defining performance from William Benson, a pitch-perfect villain in Bucci Franklin, and a director who continues to evolve and challenge herself, this is one of Nollywood’s most relevant thrillers in recent years.

In the world of the “monkeys,” survival is never free, and sometimes, the hardest person to escape is yourself.

I don’t think you’ve noticed…

Although the majority of our social media posts cover international entertainment, Streamdorm is Nigerian-owned. So I want to say a big thank you to you for subscribing; you have no idea how big your impact is in realizing our dream.

What’s happening in Hollywood?

The industry we all love, the industry which, till this day, colonizes cultures. It’s sad to see what’s happening, and it seems like it is eating itself. What’s happening?

For years, Hollywood has always been about fostering the ideas of creatives, creating movies and products that have helped shape American culture. Star Trek, Star Wars, Rocky, The Exorcist, Rambo, Top Gun, E.T., Coming To America, and so on are part of a long list of movies that have been exported outside of America and now have a history of many, including myself, here in Nigeria. But what could be wrong?

These past years, our screens have been filled with adaptations, sequels, remakes and reboots, while that may be good, the obvious elephant in the room will be the re-messaging. Snow White, Ghostbusters, Lightyear, The Little Mermaid, The Last of US: Part II, Batwoman are a few of many movies and shows where the original audience loved was changed to serve a purpose. Trust me when I say it’s not because of the hate of a particular gender or inclusivity. Into The Spider-verse, Barbie, Captain Marvel, Wonder Woman, Crazy Rich Asians, and Get Out are great examples that, if done right, your movies can do well at the box office.

Hollywood, in its attempt to play all sides or, in most cases, play social justice hero, ends up mocking its audience. Recently, we had the casting of Paapa Essiedu as Severus Snape, which to this day, is facing backlash.

Before you go on thinking this newsletter issue is about politics, it’s not. This year we had Snow White, Captain America 4, and Thunderbolts from Disney, none became a box office success, and on the other hand, we had Companion, Mickey 17, The Alto Knights and The Day the Earth Blew Up: A Looney Tunes Movie from Warner Bros – all flopped. What some may consider woke movies, Sinners and A Minecraft Movie, and Ne Zha 2, became a success. The original being Sinners.

The truth is that a lot of factors play into a box office success, and it all falls down to the answer to this question: “Will the general audience spend their hard-earned money to see this movie?”

As a creative and an industry executive, it is your duty to ask the tough questions. As much as art should be made without constraint, we should also consider the normies. You don’t want to end up as the villain thinking you were the hero all this time.

So, how does this affect Nollywood?

While we’re yet to spend 70 million dollars making movies, it is important to watch and learn. Hollywood once thought they were untouchable, but as time went on, politics and the economy became a reality for them. In Nigeria, we understand the economy. Even consuming this content is expensive; now imagine producing it.

The quality of the art should always be a priority, and the messaging should always reflect what the majority are thinking. While you may think you know what’s right from wrong, you may be blatantly wrong.

At the end of the day, it is important to point out you DO NOT, for any reason, let people crush you for sharing what you think is right. While it may be labelled “woke” or “fascist,” you have to use your voice to speak, and to be honest, we live in a time where the meaning of those words is lost.

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While you’re here…

Hijack ’93 is a Nigerian historical drama based on the infamous October 1993 hijacking of a Nigerian Airways flight by four young men advocating for democracy during Nigeria’s military regime. Written by Musa Jeffery David and directed by Robert Peters, the movie dramatizes this real-life event while exploring themes of youthful idealism, disillusionment, and political resistance. The film debuted on Netflix in October 2024, marking a significant addition to Nollywood’s repertoire of historical thrillers.

The hijackers’ story centers on their desperate mission to bring attention to their democratic demands. Although the movie includes some fictional elements, such as altered character names and motivations, it retains the core of the event. It highlights the hijackers’ internal struggles, the tense interactions between passengers and captors, and the ultimate resolution through negotiations and force.

Strengths

Cinematography: The film excels visually, particularly in capturing the confined space of the airplane. The camera work during action sequences is commendable, enhancing the film’s intensity.

Themes: The exploration of tribalism, grief, and abuse offers relevant social commentary, reflecting issues still prevalent in Nigeria today. Historical Resonance: By revisiting a dark chapter in Nigerian history, the film prompts viewers to reflect on political struggles and societal change.

Weaknesses

Plot and Character Development: The film struggles with narrative cohesion, leading to flat emotional moments. Characters lack depth, and their motivations such as the hijackers’ transition from personal grievances to political activism are underexplored.

Dialogue and Acting: The script and performances fall short of delivering the tension and emotional stakes expected in such a high-stakes story.

Historical Authenticity: While visually modern, the film fails to convincingly portray the 1990s setting, with overly polished props and inconsistent period details detracting from the narrative’s credibility.

Sound Design: Inconsistent audio quality disrupts immersion, particularly during pivotal scenes.

Overall, while Hijack ’93 provides a gripping premise and impressive cinematography, it falters in execution, leaving its emotional and historical impact underwhelming. However, its bold attempt to tackle a complex historical event makes it a noteworthy, albeit imperfect, addition to Nollywood’s catalog.

Rating 5/10

Veteran Nollywood actor Kanayo O Kanayo has shared his voice with new and blooming Nollywood actors who have delved into skit-making.

He shared his voice via a post shared on his official Instagram.

He warns against ‘one-day shooting,’ its health impact, its cost, and its relevance. He fears the art of YouTube skit-making will become unsustainable as actors will overwork themselves.

He said;

‘’This past midnight I sat back and watched the opportunities offered by the YouTube channel a very good platform but unfortunately like anything that comes to Nigeria, people jump in and try to mess it up. I watched with dismay and I made this video out of no malice for anybody. It’s been messed up by different things, especially the actors that are doing it.

The whole irony of one day shoot is not sustainable. Some of them now make it so difficult for producers and tell you one day shoot is 1 million to 1.5 million one day shoot.nfortunately my very high-standing colleague who started this one-day shoot go and ask him, unfortunately, he’s not in good health.

We built Nollywood, brick by brick, block by block but the guys who have besieged YouTube, the actors not the producers, do not have any sense of purpose or process to create a procedure for a lasting videography or creating content. Take for instance, the whole irony of one-day shoot. It is not sustainable. Some of them now make it so difficult for producers. They tell you one day shoot is N1 million or N1.5 million. It isn’t sustainable. Unfortunately, my very high standing colleague who started this one-day shoot is unfortunately not in good health. Why? I know for everyone who gives you a job, they want it done. They pack you with enough to finish in one day. Thirty scenes, thirty-five scenes..Most of you think you are enjoying ‘I am fully booked for the next six months’ but your health…I hope you enjoy good health like those of us who started 38 years ago because what you are doing is not sustainable.

I bear you no malice. Earn all your money but the disservice you are doing to professionalism is not going to last long and the way I see it. YouTube is not going to last long in Nigeria as a platform.”

Watch the video below:

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