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Ibadan International Film Festival: Venture Government, Private Sector Must Embrace’ –  Prof. Tunji Azeez

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Ibadan International Film Festival

Ibadan International Film Festival: Venture Government, Private Sector Must Embrace’ –  Prof. Tunji Azeez

Ibadan International Film Festival

Glizt, Glamour as Ibadan International Film Festival Rekindles Ibadan as City of Art, Culture, and Entertainment
Globally, the impact of film making cannot be underrated. Apart from the fact that it can be used build positive societal values, its contribution to unite people in a common sense of humanity and shared responsibility gives it power to foster positive changes and developments in any given society, as it can reach a wide audience to inform and inspire change through engaging audiences and reflecting society.

Economically, film making industry in Nigeria has continued to break barriers, grossing millions in dollars as it is being watched globally.

 

Ibadan International Film Festival

According to PwC Global Entertainment and Media Outlook for 2020-2024, Nigeria’s media and entertainment industry is one of the fastest-growing creative industries in the world. It has the potential to become the country’s greatest export, with a projected annual growth rate of 8.6% and a compound annual growth rate (CAGR) of 19.3% from 2018-2023.

The report further pointed that the Nigeria’s film industry in 2021 contributed 2.3% and about 239 billion naira ($660 million) to GDP and projects that the industry will increase its export revenue earnings to over $1 billion.
 

For much of these efforts to be appreciated and further inform the society on the contributions the industry is making to the Nigerian economic and national landscape, major Nollywood stakeholders gathered in Ibadan last week under the platform of Ibadan International Film Festival.

As it was set out, the international festival was a three-day event that gathered major film making players and stakeholders from different institutions to entertain and educate people about films.
The Festival Convener, Usman “Blackky” Ogunlade said that the festival was born out of the idea of putting Ibadan back to its old status of been the cradle of entertainment in Africa which was driven by WNBS/WNTV which later became Nigerian Television Authority.
 

 

Ogunlade said the birth of NTA have birth to the beginning of filmmaking Africa.

In his word, “We set out not for a local film festival but an international film festival because of the status of Ibadan in the World Map. We created an avenue where we can bring the World to Ibadan and also take Ibadan to the world using filmmaking/entertainment.”
 

The event which started on Thursday with workshops on film making was facilitated by Ehizojie Ojesebholo, popular filmmaker known as Jimi Bendel; Godwin Lawani, and Charles Oleghe.

The second day of the event featured workshops on Directing for Film/TV which was facilitated by Niji Akanni; Producing for Film/TV by James Omokwe and Jemila Akinwale and Sound Design for Film/TV was facilitated by Segun “Ebonie” Osisanya.

 

 

This day also screened selected films which were wrapped with an ‘Art Hang Out’ that was supported by the prominent art Curator/Collector – Prince Tunde Odunlade of Tunde Odunlade Arts and Culture.
The last day of the festival featured film screenings and seminar that had the top key players in the business of filmmaking in Nigeria, Biodun Stephen, Olaleken Wasiudeen of LibraTV, Femi Ogunsanwo and Adeleye Fabusoro of the popular family series – Awon Aladun.

In his keynote address, Lagos State University’s Professor of Theatre, Film and Cultural Studies, Professor Tunji Azeez identified the role corporate sponsorship play in event like Ibadan International Film, saying that any nation, such as Nigeria that refuses to consciously and intentionally invest in art, culture and filmmaking does so at its own peril.

 

 

The former Acting Head of Department of Theatre Arts and Music of the institution lamented that successive Nigerian governments have not woken up to this reality in over hundred years of the industry existence.

Professor Azzez emphasized that the birth of Ibadan International Film Festival should be seen as a venture that we all, particularly the government must embrace, pointing that government must put structures and policies in place to guarantee that it is a permanent festival.

 

 

 

 

“Now, let me add that beyond coming to deliver a keynote address at this maiden festival, I am a bonafide son of Oyo state with a passion for the state and the arts and culture sector generally. For this reason, I must emphasize that if we get this right, Ibadan and Oyo state will have cause to attract investors that will impact positively on our people and our culture.”, he said.

The festival received over 10000 entries from over 117 Countries across the world for different categories of awards which went through rigorous screening by the college of screeners and panel of jury which comprises renowned filmmakers and scholars within and outside Nigeria.

 

 

 

 

 

How to Tie a Tie won the Best Screenplay; Leiying Luan in Medea won the  Best Actor (Female); Badmus Ibironke in Sky Pie won the Best Supporting Actor (Female); Gerard Depardieu in Umami won the Best Actor (Male); Pierre Richard in Umami won the Best Supporting Actor (Male); Favour Eraikhuvwmem in Baba won the Best Child Actor, while Kiryane Ahmad won the Best Child Actor (Male) in “Merlich Merlich.

From Trash To Treasure won the Best Editing; Potato won the Best Short Film; Ami won the Best Nigerian Film; Impossible Love won the Best Cinematography; Mummy Is Not Fine won Best Sound Design; Merlich Merlich won the Best Student Film and Ami won the Best Animation

 

 

 

Other movies that had honourary mentions were Kiitan , Midnight Gift, Invisible Manners; Urgent News Bulletin and Archibald Syndrome.

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SEVEN DOORS: OLATUNJI AFOLAYAN DESERVES A FLORIST

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SEVEN DOORS: OLATUNJI AFOLAYAN DESERVES A FLORIST

 

As a film student, my evaluation of Seven Doors, the Netflix mini-series produced and directed by Femi Adebayo and others, may differ from the general audience’s. While the audience is integral to the film’s meaning, my academic perspective allows me to appreciate the cinematic craftsmanship that underlies the narrative.

Unarguably, in the same way that auteur theory highlights the director’s creative vision and Schreiber theory emphasises the screenwriter’s role, mise-en-scène theory underscores the art director/production designer’s contributions to the film’s visual language.

The art director/production designer plays a crucial role in creating the mise-en-scène, encompassing settings and props, costumes, facial and body expressions, lighting and colour, and character positioning within the frame. Therefore, the art director of Seven Doors, Olatunji Afolayan deserves a special recognition for designing visual elements that evoke nostalgia and cultural memory.

That you may know, the vintage chinawares and floral metal bowls in Seven Doors are props and carefully designed elements that contribute to the film’s visual composition and spatial relationships. The mural and sculptural designs are creatively etched on the walls and plotted to depict the period piece seamlessly. The choice of architectural designs (constructed or adapted) is a brainchild of the art director’s attention to detail when selecting these props, which helps create a sense of realism and authenticity.

An art director is said to be a “master of visual storytelling, a weaver of worlds, and a conductor of the cinematic orchestra.” The look, feel, mood, and colour pallets that connect all the departments are designed by an expert—the art director. Olatunji Afolayan’s technical depth and prowess are the apparent signature of Seven Doors. Without Afolayan’s ‘dirtied hands’, Seven Doors would remain bald and bland.

In conclusion, the art director/production designer is an essential member of the filmmaking team, and their contributions to the mise-en-scène deserve recognition. Olatunji Afolayan’s work in Seven Doors is a testament to the importance of the art director/production designer in creating a visually stunning and engaging film.

Undoubtedly, Olatunji Afolayan is the god of mise en scene in Seven Doors.

Steven Anu’ Adesemoye

SEVEN DOORS: OLATUNJI AFOLAYAN DESERVES A FLORIST

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Ayra Starr’s Mother Sparks Buzz with Confession About Her Mystery Crush

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Ayra Starr’s Mother Sparks Buzz with Confession About Her Mystery Crush

Ayra Starr’s Mother Sparks Buzz with Confession About Her Mystery Crush

 

The mother of Nigerian Afrobeat sensation Ayra Starr has sent social media into a frenzy with a playful revelation about having a crush on someone who, humorously, calls her “mummy.” In a video that quickly went viral, she expressed her excitement about the possibility of meeting her crush at Ayra Starr’s upcoming show on Christmas Day.

Ayra Starr’s Mother Sparks Buzz with Confession About Her Mystery Crush

Captioning the video, Ayra Starr’s mother wrote: “Wahala, my crush is calling me mummy. Anyways, we will meet at Ayra’s show on the 25th.” Her candid and lighthearted confession immediately captivated fans, sparking a wave of speculation about the identity of her mystery crush.

Many have taken to social media to guess the individual who has captured Ayra Starr’s mother’s affections. A popular theory among fans is that the crush might be none other than Don Jazzy, the renowned Nigerian music mogul and the boss of Ayra Starr’s record label, Mavin Records. However, Ayra’s mother kept the identity of her crush under wraps, leaving fans to wonder and eagerly anticipate any clues that might surface.

As the excitement for Ayra Starr’s Christmas Day show builds, fans are eagerly awaiting the event, with many now watching closely to see if Ayra’s mother’s cheeky prediction about meeting her crush will indeed come true.

Stay tuned for updates and watch the video below as the mystery continues to unfold!

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Tiwa Savage Reveals Divorce Struggles: “It Made Me Depressed and Turned Me Into the ‘African Bad Girl'”

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Tiwa Savage Reveals Divorce Struggles: "It Made Me Depressed and Turned Me Into the 'African Bad Girl'"

Tiwa Savage Reveals Divorce Struggles: “It Made Me Depressed and Turned Me Into the ‘African Bad Girl'”

 

Nigerian music sensation Tiwa Savage has opened up about her turbulent divorce from Tunji “TeeBillz” Balogun, sharing deeply personal insights about the emotional toll it took on her life and career.

Tiwa Savage Reveals Divorce Struggles: "It Made Me Depressed and Turned Me Into the 'African Bad Girl'"

Speaking candidly on The Receipts Podcast, the 44-year-old Afrobeat star reflected on the heartbreak of her 2018 separation, which she revealed was exacerbated by her struggles with postpartum depression and public backlash.

“I Was Nigeria’s Sweetheart”
Tiwa described how her rise to fame was met with widespread admiration, as she followed what she called the “perfect path” of societal expectations.

“When I started, I was Nigeria’s sweetheart. I could do no wrong. I went to university, got married, had a baby — everything by the book. But then everything came crashing down, and I became the target of criticism,” she said.

The separation, which TeeBillz announced online, marked a turning point in Tiwa’s life. Despite not initiating the breakup, she recalled being vilified in the media and by the public.

“I Was Told I’d Never Win”

Tiwa revealed how the overwhelming criticism pushed her into a dark place. “At the time, my baby was just a few months old, and I was already dealing with postpartum depression. My body wasn’t the same, and I was depressed. But instead of support, people attacked me,” she shared.

After attempting to tell her side of the story in a public interview, she faced even more backlash.

“People said, ‘How dare you go and talk? You’re a woman, and you’re supposed to hold the home together.’ Famous people called to tell me I’d never win, and it was my fault because I was a woman. It was heartbreaking,” Tiwa recounted.

 

Reinvention as the “African Bad Girl”
The constant criticism and emotional pain led Tiwa to transform her image and embrace a bolder persona.

“It made me depressed for so long, but it also made me angry. I thought to myself, ‘If I did everything right and still got attacked, why should I bother?’ That’s when I became the ‘African Bad Girl,’” she said.

Tiwa explained how she began to rebel against societal norms, opting for tattoos, shorter skirts, and bikinis. “I was just wild. It was my way of coping and reclaiming control of my life after being judged for so long,” she added.

Despite the challenges, Tiwa’s resilience and reinvention have made her an enduring icon in the global music scene, solidifying her place as a trailblazer in African entertainment.

The revelations highlight not only the personal cost of fame but also the cultural pressures that women in the spotlight often endure. Through it all, Tiwa continues to inspire, proving that reinvention is a powerful tool for survival and success.

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