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Omoni Oboli Wins Copyright Infringement Case On “Okafor’s Law”

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On May 2nd, a Federal High Court sitting in Lagos delivered judgement on the copyright infringement suit filed against Omoni Oboli and her Dioni Visions production outfit as well as FilmOne distribution for the feature film “Okafor’s Law,” by Raconteur Productions.

The plaintiff had said the defendants infringed on their copyright which was assigned to them by the writer Jude Idada.

Justice Ibrahim Buba said the plaintiff failed to adduce sufficient and credible evidence to prove authorship and ownership of the screenplay and/or script of the feature film, Okafor’s Lawcannot be vested with Copyright of the film.

However, owner of Raconteur Productions, Chioma Onyenwe, in a Medium post, said her legal team “provided a copy of Jude’s screenplay and his accompanying Canadian Guild of Writers copyright registration dated January 2015 with an analysis of both screenplays as well as the screenplay purchase agreement between Raconteur Productions and Jude”.

Chioma, who said she had gone into distribution talks with FilmOne, but the latter terminated the letter of intent which it had sent Raconteur Productions. Later on, Chioma said she heard FilmOne was in talks with Omoni on the said feature film.

“I am of the view that FilmOne felt that Omoni was a more commercially viable producer and shared my screenplay that was in their possession with her,” she said in her post.

Omoni, in her statement following the judgement said that “the evidence before the Court showed that the Plaintiff’s proposed Movie Production arrangement did not materialize as the said arrangement was in fact cancelled by FilmOne due to the Plaintiff’s inability to comply with the conditions and production deadlines specified by FilmOne.”

Chioma said, “There was no defence! Omoni’s defence was her claim that she had registered the title Okafor’s law in 2014 and not a script with the National Film & Video Censors Board (NFVCB)”

Continuing, Chioma said the defendants had approached her for an out-of-court settlement. She said:

I was initially offered a payment of N7.5 million, a new coproduction deal this time with Omoni & FilmOne. However, I would have had to sign an NDA and thrown Jude under the bus as well as withdraw the case. I responded to her offer and asked for a written apology from Filmone and for the payment of any sum to come as a license fee for the screenplay (We upped the sum to N15 million to include Jude’s compensation) and for Jude to be credited as the writer in the film end credits. She was willing to pay but she wasn’t going to admit to any wrongdoing which would have inadvertently been the case had she signed a license agreement or given Jude credit.

Both parties agree that Omoni and Jude had had a conversation on the project where Omoni shared the idea of a feature film with Okafor’s Law‘s theme with Jude.

Omoni said in her statement that Jude, in his testimony in court, said he was later contacted by Omoni to prepare the draft screenplay for the movie for the sum of N750,000.00 (Seven Hundred and Fifty Thousand Naira).

She added that Jude said he did not forward any screenplay and/or script to Omoni Oboli for the movie.

Chioma, in her Medium post also said Jude said that no monies were paid to him by Omoni and no agreement was executed between himself and Omoni as regards the screenplay.

While Omoni applauded the judgement and the “court’s commitment to do Justice without fear or favour,” Chioma described it as “a grave miscarriage of justice and is indicative of the lack of knowledge and apathy regarding Intellectual property and Entertainment transactions in the Nigerian Judicial system.”

Chioma may be appealing the court’s decision. In concluding her post, she said: “This only reaffirms to me why this case is so important and despite this setback, I will continue to fight until justice is administered.”

ENTERTAINMENT

AFRIFF 2024: Check Out The Complete List Of Winners

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2024 AFRIFF: The Complete List Of Winners | fab.ng

The 2024 AFRIFF celebrated exceptional African cinema through a vibrant week-long showcase of talent, creativity, and storytelling excellence.

Filmmakers, actors, and cinema enthusiasts gathered from across the continent to participate in screenings, masterclasses, and engaging panel discussions at the 2024 AFRIFF.

This 13th edition of AFRIFF demonstrated unprecedented diversity in African storytelling, featuring compelling narratives that captivated audiences through multiple genres and languages.

In the 2024 AFRIFF, carefully curated selections sparked meaningful conversations about contemporary African experiences while highlighting the continent’s rich cultural heritage.

Also, at the 2024 AFRIFF Globe Awards ceremony, outstanding films earned recognition for their artistic merit, technical excellence, and powerful storytelling.

These winning productions represented various African perspectives, from intimate personal narratives to broader social commentaries.

Let’s explore the complete list of winners who made their mark at this prestigious celebration of African cinema.

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ENTERTAINMENT

Enioluwa Replies X User Questioning The Use Of Same Actors In Nollywood

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Enioluwa on why Nollywood uses the same actors | fab.ng

Nollywood actor and social media personality Enioluwa explained why the Nigerian film industry uses the ‘same faces’ in movies.

It all began on November 11, 2024, when an X user reacted to actress Jemima Osunde‘s post on X regarding the new YouTube film Fame and Fury.

The user said, “I’m sincerely tired of seeing the same faces in this damn industry.”

Osunde did not take her comment lightly. She retorted, saying, “We’re tired of seeing your face too in your office. Damn! I hope they sack you.”

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ENTERTAINMENT

John Njamah Says Actors Should Be Cast Based On Talent Not Instagram Followers

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John Njamah Says Actors Should Be Cast Based On Talent | fab.ng

Nollywood filmmaker John Njamah recently voiced his concern about the prevailing casting practices in the industry. He argued that casting decisions should prioritize an actor’s talent over their physical appearance or social media popularity.

In an exclusive interview, Njamah, a Nollywood veteran, gave insightful commentary on the current state and future trajectory of Nigerian cinema.

Known for his role as Rabiu in the popular TV soap opera “Fuji House of Commotion,” Njamah has also graced the screens of numerous television shows.

Interestingly, the shows he has featured in include “Tinsel,” “Living In Lagos,” “Solitaire,” “Casino,” “Emerald,” “Tide,” and “My Flatmates.”

During the interview, Njamah talked about his filmmaking journey. He emphasized his unwavering passion for the industry and his aspirations for its continued development.

“What is fuelling me is beyond passion. There’s that knack and need to grow with every month, whatever year. There’s that need to.do something different. This industry of ours is for you to do whatever you want to do and not join the bandwagon. So for me, it’s the originality in me and the need to do something right that is fuelling me Basically, it’s the ever-creative venture in me,” he said.

Njamah discussed how African stories are evolving. Furthermore, he emphasized that positive and negative changes have happened over the years.

“There’s a positive aspect and there’s a negative aspect. There’s a technical input. We’re telling our stories better technically. We’re telling better and bigger stories. The negative is that we are beginning to lose our originality. We are beginning to join the bandwagon to tell what is peculiar to other people and not to us. We are beginning to lose a bit of our identity cos there’s no longer us,” he said.

What’s more, Njamah spoke about casting in the industry. He pointed out differences between the industry during his time and the current climate, especially with casting.

“Fuji House was a one-camera shoot with hungry and passionate people. Now we have people who cast people who are beautiful and with Barbie bodies and followership and not necessarily for your talents. Some of us try to be that original because that’s where better stories are told. You want to tell stories with passionate people. Whether you like it or not, it’s a long shot but it’s possible. You want to give the actors that are worthy of the job and not the ones that are based on Instagram followers. We borrow from society and give back to society by way of entertainment and pedagogical values.”

Further, he criticized the lack of professional work ethic among filmmakers in Nollywood. He highlighted the absence of a robust system to evaluate the performance and accountability of producers within the industry.

“Professionalism is lacking. Respect for those in charge, humility and the like is lacking today. The industry lacks checks and balances. Every Tom, Dck and Harry can wake up and call themselves a producer and just get on board and be doing stuff without being checked and of course, the guild system is not working so they can’t check. There are no criteria for who should become a producer. The system is also not working. Let’s just be mindful as producers, directors and actors,” he added.

In conclusion, John Njamah acknowledged the unique character of Nollywood. Meanwhile, he proposed the creation of a domestic platform to market and distribute Nigerian films. Consequently, this would reduce reliance on foreign streaming services.

“That thing that they don’t like about us is what makes us, us. I am tired of people saying they don’t want to come into the country for coproduction cos we’re that and that and why are we relying on the likes of the streamers? Why can’t we do something that is for us by us so that they will come to us and ask for these things? We are solely depending on them to licence our movies, for survival. Speaking of coproduction, if you tell me you don’t want to come into the country for any reason, I’ll tell you you’re wrong, cos there are amazing producers here that you’ve seen their work. All you need to do is come to them and agree on modalities.”

Watch the interview with John Njamah below.

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