MOVIES

“Shina” Director, Adesokun Didn’t Expect His First Film To Be A Netflix Hit

Published

3 weeks ago

August 15, 2024

Muyiwa Adesokun didn't expect 'Shina' to be a Netflix hit | fab.ng

Muyiwa Adesokun began his storytelling career as a poet. At first, he thought poetry and filmmaking were very different. However, he later discovered that these two forms of storytelling are actually connected. Muyiwa Adesokun wrote and directed his first film called “Shina”.

This movie was released on Netflix on June 14, 2024. It became very popular and stayed in the Netflix Top 10 chart for several weeks. This success was amazing to Muyiwa Adesokun, especially when he thought about how he started his career.

Muyiwa Adesokun believes that a good story needs to be able to sell well. However, he also points out that making films is very expensive. This high cost makes it hard for filmmakers to create art just for the sake of art.

Muyiwa Adesokun had an interview where he talked about how he became a filmmaker. He also discussed what he plans to do in his future career.

Read the excerpts below:

You seem to have transitioned from literary writing to filmmaking. How has the journey been?

I’ve always been interested in filmmaking. As a kid, I would watch the credits after a film and imagine how amazing it would be to be part of the team that created it. While writing poetry and making films may seem worlds apart, I’ve found a connection between the two in storytelling. Both mediums aim to tell a story, and that made the transition feel natural for me.

As a writer and director, what are the things you look out for before deciding to work on any film?

The story is the heart and soul of any project. Everything begins with the story — what message it conveys and how it resonates. It all starts there.

What was your creative process from script to screen for Shina?

As a writer, I consumed a lot of resources. Read so many scripts of films I thoroughly enjoyed. Aaron Sorkin is a screenwriter I admire a lot. Some of his works include The Social Network (one of the best films I’ve ever watched), A Few Good Men, and The West Wing. Understanding his approach to film was a major step in my process.

After completing the script, it was then reviewed and I got feedback from other writers and producers. These discussions also led to potential casting and things like that. In preparing to direct I also consumed content from filmmakers like Jordan Peele and Quentin Tarantino. Their different approaches to filmmaking inspired me.

Shina was on the Netflix Top 10 chart weeks after its release, how did that feel for you and your team? What did that mean to you personally?

It was surreal. I didn’t expect it to be on Netflix for 49 days, seven weeks! In addition, it’s the second most-watched film on Netflix in 2024 in Nigeria. It means a lot to me and the team. It surpassed our expectations.

How would you describe your working experience with the cast and crew?

Fantastic! I couldn’t have asked for a better team for my debut. We forged relationships and friendships that will last a lifetime. This project was full of firsts — my first time writing and directing, Carmen Lilian’s first time directing, and Timini’s first time as an executive producer.

Nollywood has changed over the years. Some films today focus more on profitability than art. How do you balance the artistic and commercial aspects of filmmaking?

It’s challenging. As a creative, it’s easy to become entirely focused on your art, but creating a film requires a lot of resources. The good news is that a strong story or project tends to attract interest and investment. It becomes easier to get people on board.

For me, a good story strikes the right balance — creatives enjoy making something remarkable, and for investors, there’s almost a guarantee of return on investment. However, no matter how good a story is, it must be marketable. That simply means it must have the potential to connect with its audience in a relatable way.

Would you like to share some milestones you’re particularly proud of?

I’m thrilled that the body of work I’ve put out so far has been well received. My book, The Taxi Driver and Other Poems debuted at number 14 in African Poetry worldwide on Amazon. As for Shina, I mentioned the milestones earlier. I’m just grateful to see the goals I set seven or eight years ago are coming to life.

Challenges they say are a part of life. What are some of the challenges you’ve faced and probably still facing as a filmmaker?

A major challenge is the cost of making a film. If I were to make Shina today, it would cost double or even triple what it did originally. The cost of filmmaking continues to rise at an alarming rate, which is daunting. This ties back to my earlier point — it’s become too expensive to create art for art’s sake. Today, it has to be profitable.

What significant changes have you observed in Nollywood over the past decade?

More and more people are devoting themselves to filmmaking, and every year the bar seems to rise. There’s a growing competition to create the next best film, with filmmakers constantly pushing the limits. As a result, Nollywood is only getting better.

What would you say are the notable strengths and weaknesses in the industry?

I believe the industry’s strength lies in its people — writers, directors, actors, producers, crew members, journalists — the entire ecosystem. As for weaknesses, I think there’s room for more collaborations. By working together, we can firmly establish Nollywood as one of the world’s top film industries. We have the stories, and we have the talent; we just need to collaborate more.

Who are your biggest influences in the film industry, and how have they shaped the kind of work you do?

Definitely Kayode Kasum. He’s exceptional at what he does. His attention to detail, passion for storytelling, and relentless drive to outdo his previous work are truly inspiring. I’m also inspired by the works of Kemi Adetiba and BB Sasore.

How do you balance your career as a filmmaker and your personal life?

I believe they fuel each other — success in one area energises the other. I also have a great support system. Being a stickler for time management helps me make the most of each day, though I often wish there were more than 24 hours.

What advice do you have for aspiring filmmakers looking to make their mark in the film industry?

Learn how to write for film and television. It’s a skill that will make you a better storyteller and benefit you throughout your career. And most importantly, just go for it — do everything you can to make your first film.

Check out more updates here.

Related Topics:Movies Muyiwa Adesokun Netflix Nollywood

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MOVIES

Omoni Oboli’s “Last Year Single” Debuts On Netflix This September

Published

2 days ago

September 6, 2024

Reporter

"Last Year Single" Debuts On Netflix This September | fab.ng

Nollywood actress and director, Omoni Oboli, has announced that her debut series, “Last Year Single,” produced in 2020, will premiere on Netflix on September 6, 2024.

Omoni Oboli embarked on her acting career with her debut role in “Bitter Encounter” (1996). In 2010, she earned recognition for her performances, winning the Best Actress in a Narrative Feature award at the Los Angeles Movie Awards and Best Actress at the Harlem International Film Festival.

Additionally, she received a nomination for Best Actress in a Leading Role at the 2011 Africa Movie Academy Awards. Oboli has a notable filmography, including “Moms At War” and the upcoming third instalment of the “Wives on Strike” franchise, “The Uprising: Wives on Strike 3,” set to debut next month.

In an official statement, the talented actor-director confirmed that her romantic drama series, “Last Year Single,” will be available on Netflix starting Friday, September 6, 2024.

“The only thing we are all doing on Friday is grabbing our movie snacks and sitting in front of our TV on Netflix. Because THE HOTTEST SERIES ever is coming LAST YEAR SINGLE This Friday! Exclusive to Netflix.”

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A post shared by Omoni Oboli (@omonioboli)

The series “Last Year Single” began production in 2020 but encountered delays due to the setbacks caused by the COVID-19 pandemic.

Written by Joy Bewaji and produced by Tomi Adeoye, the show follows the lives of three single women in their 30s as they struggle to find suitable partners while juggling their finances.

The cast includes notable actors such as Bimbo Ademoye, Toni Tones, Abishola Segun Williams, Mawuli Gavor, Kachi Nnochiri, Uzoma Osimkpa, Taye Arimoro, Kabiri Fubara, Chy Nwakama, Anthony Monjaro, and Chamberlyn Okoro, all of whom bring depth and charisma to the story.

Check out more movie updates here.

MOVIES

Daniel Oriahi’s “The Weekend” Officially Selected For BFI London Film Festival

Published

4 days ago

September 5, 2024

Reporter

"The Weekend" selected for BFI London Film Festival | fab.ng

The British Film Institute (BFI) has officially selected the Nollywood film “The Weekend“. Daniel Oriahi directed the film. It is to screen at the prestigious 68th edition of its London Film Festival. The BFI Film Festival in London will occur from October 9th to October 20th, 2024.

The lineup for the festival boasts an impressive 255 titles, including features, shorts, series, and immersive works. They represent a diverse range of 80 countries and feature 64 languages.

Following the successful premiere of his new feature film on August 30th, 2024, Oriahi took to Instagram to share the exciting news of The Weekend‘s selection for the BFI Film Festival. The film garnered a remarkable ₦8 million at the box office.

“I am deeply honoured and proud to announce that The Weekend has been officially selected to screen at the 2024 BFI London Film Festival, the largest film festival in the UK. This selection comes as The Weekend continues to break box office records for its genre in Nollywood. The Weekend will be showcased in the BFI (LFF) Cult Section alongside some of the most anticipated thrillers and horror films of the fall season. I am equally thrilled to join the ranks of extraordinary new wave Nigerian filmmakers like @kennethgyang @fierycj @abbatmakama @mikegouken @damiorimogunje and @chukoesiri , whose works have graced past editions of this prestigious festival,” he said.

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A post shared by Daniel Oriahi (@danieloriahi)

Oriahi began his filmmaking journey by producing and directing Misfit.

This is a psychological horror film, as his debut feature on a limited budget. He has also directed other notable works, including Taxi Driver: Oke Ashewo in 2015 and Sylvia in 2018.

The selection committee for the 2024 Tribeca Film Festival in New York reviewed numerous submissions. They chose Oriahi’s comeback film, The Weekend, for screening at the festival. This selection made The Weekend the only Nollywood film to feature at the international event this year.

The Weekend is a gripping psychological thriller that follows Nikiya Talabi, an orphan girl yearning for family. Nikiya visits her fiancée’s seemingly perfect family, only to uncover their sinister secret. The film boasts a talented cast. This includes Uzoamaka Aniunoh, Bucci Franklin, Meg Otanwa, Keppy Ekpeyong Bassey, Gloria Anozie-Young, and Damilola Ogunsi.

Get more movie updates here.

ENTERTAINMENT

Juliet Ibrahim On Why She Puts Her Movies On YouTube

Published

4 days ago

September 4, 2024

Reporter

Juliet Ibrahim On Why She Put Her Movies On YouTube | fab.ng

Nollywood actress and producer, Juliet Ibrahim, has explained her decision to release her latest films on YouTube rather than other streaming platforms. She revealed this in a recent interview with TheCable Lifestyle at the Nigeria International Film and TV Summit in Lekki. Juliet revealed that she chose YouTube due to its less demanding requirements.

Unlike platforms like Netflix or Prime, YouTube doesn’t impose strict criteria for equipment, editing, lighting, or crew members. This flexibility allows for a more accessible and inclusive approach to filmmaking.

She said,

“Before you submit to a streaming platform, either Netflix or Prime, you have a list of equipment you must use. There is a criteria for editing, lighting, your crew members, a whole lot of things and that includes a lot of money. That is where I said the funding would now become a problem.”

Speaking further on YouTube’s benefit, Juliet also acknowledged the risk of piracy, saying,

“You see, there is something about being a filmmaker, you make your movie, and you want to own your rights. There is also piracy, so even YouTube is not 100% safe because people still pirate, they would steal your content. However, there is a whole market on YouTube where people make quick and easy money with less stress. Without having to go buy the cinema criteria or streaming platform criteria.”

Juliet Ibrahim also highlighted the importance of reaching diaspora audiences who cannot access cinema content.

“As a filmmaker, you want to have multiple streams of income, and there are people in diaspora who want to watch our content but cannot access our cinema content. Until we can give them good cinema content over there, we can put it on Netflix or YouTube. If Netflix says the content is not good enough for them, we can put it on Showmax or YouTube uploads. A lot of people have different reasons, but most times you have to look at it strategically and also what goes into your pocket,” she added.

Check out more updates here.