O
ver the past couple years, films from Nigeria with homegrown directors have made their way to some of the biggest platforms for films and filmmakers globally. CJ Obasi’s Mami Wata went to Sundance. Babatunde Apalowo’s All The Colours of the World Are Between Black and White went to Berlin.
In both cases, those films entered into regular programming, not the sidebars that cinema from the country was previously relegated to. You could say that those filmmakers already have their names in the history books. But there’s room for more.
When the Toronto International Film Festival began to release titles of selected films ahead of a 2024 edition, some industry people were probably watching, scouring the press releases, seeking for the names of those who’ll follow the mighty set of 2023.
The good news is that there are two names this year. One is a filmmaking group called the Agbajowo Collective. The other is Afolabi Olalekan, the director behind Freedom Way. Already known as a music video director, he has made just one feature film, the same one he’ll get a chance to show in Canada next month. And before turning to films, he worked in the content department of Mavin Records, a major record label in Nigeria. Olalekan currently runs a postproduction outfit in Lagos.
Film Efiko caught up with the man, via email, shortly after TIFF announced that his film will be screened in the Discovery section of the festival, which puts Olalekan in the same company as Alfonso Cuarón, Christopher Nolan, and Barry Jenkins, all of whom had their early work filed under Discovery.
Our interview, lightly edited, is presented below.
Congratulations on getting Freedom Way to TIFF! Where were you when you first got the news?
Thank you! I opened my laptop in bed at about 11pm and there it was. I didn’t understand the email at first because of how it was worded.
Interesting. How was it worded? What was confusing about it?
The email didn’t exactly say the film was selected but they requested for assets that indicated it was, so I guess that was the confusing part.
You had a post on Instagram telling your followers about the news. How did you celebrate offline?
I’m generally not a celebratory person. My first call was to the producer, Blessing Uzzi, to try to make sense of it all.
What did she say? Did she immediately understand what you were telling her?
I think we had similar thoughts trying to decipher it. She went ahead to ask around from previous festival attendants and that’s when we could kind of confirm it.
Interesting. How was it worded? What was confusing about it?
The email didn’t exactly say the film was selected but they requested for assets that indicated it was, so I guess that was the confusing part.
Blessing Uzzi is also the screenwriter for the project. Could you talk about how the project first came about?
It started out and was written as a short film. But she was convinced it could do more as a feature film. I could relate to some of the character experiences in the film, so it was easy to say yes to it.
Give us an insight into the film. What is it about? From the trailer, it appears to be a meditation on policing, politics, business, and youth. Are there echoes of #EndSars in the story?
You’re spot on. The story speaks about government policies and how it affects the average man in the country. This film will take every audience on a wild ride because everything is connected. It also speaks on police harassment and brutality which is still an ongoing problem in the country.
This was thought out to be a film for an international audience
A lot of young people, me included, have been victims of this extreme police behaviour. However, I wouldn’t relate this to #Endsars as it doesn’t tackle that.
During production, did you think you were making a film for an international audience?
One of my many thoughts while making this film was to deeply showcase the experiences in Nigeria and to also simplify the viewing experiences for all audiences, home and abroad. So, yes, this was thought out to be a film for an international audience.
Some news about Freedom Way came to the public back in 2022. At the time, it seemed like it was headed straight for a theatrical release. Was that the case?
There was no plan set in stone for the release of Freedom Way because we had several ideas and plans for it. Now, I guess everyone will follow and experience the trajectory of the film.
Filmmaking has always been a thing for me
How did TIFF become a consideration? And how did the conversation with the TIFF team begin?
We never had a conversation with TIFF. We simply thought it was a film great enough to be in the festival, so we went ahead and made a submission. I didn’t even think much of it till the official notification came in.
What was your path into video making? How did you get started?
I was a very curious child. When I was about six, a production crew was making a music video in our house with a green screen. I was immediately fascinated about it and went ahead to challenge the director on how ugly the color green was and why I think red and blue are better colors.
After a few months, I came across the same video on TV with the artist floating in the sky and was confused. My entire journey into filmmaking has been me trying to solve my curiosity year after year and project after project. Filmmaking has always been a thing for me, I doubt I’ve had any other major career interests.
You have had some success in making music videos. Could you talk about how that happened and what key collaborators you have had in that industry.
I’ve lived different visual lives and content creation takes the cake. Working as the content director and producer at Mavin Records from 2016 to 2021 opened up the doors for music videos, and, as always, I became curious. I have collaborated and worked with several artists over the years. Ayra Starr, Ladipoe, Rema, Crayon. Mostly artists signed to Mavin records. I have since found a new visual venture to spark my curiosity, films.
We thought it was a film great enough to be in the festival
Freedom Way is your first feature. Do you now think of yourself as a Nollywood filmmaker?
Yes. I’m a Nigerian who makes films in Nigeria. So, yes, I would say I’m a Nollywood filmmaker in a sense.
How has the reception from the film industry been? Do you feel embraced by the industry?
I think the reception has been generally great. I don’t think the industry has a choice. They definitely have to embrace my crazy.
You are going to one of the most visible film festivals in the world later this year. How is your work different from the average Nollywood project?
[Laughs] I think I’d leave the audience to be the judge of that. The goal has always been to make great films and Freedom Way was made with that same intention.
TIFF says Freedom Way is seeking distribution. What is the ideal outcome of screening the film in Toronto? What would you like to see happen?
I think the best outcome is to find a great stage for the film to flourish. And for viewers home and abroad to have access to see it as it was intended.
Nollywood definitely has to embrace my crazy
You are now among a very small number of Nigerian/Nollywood filmmakers to get a project accepted at a major international film festival. The number is even smaller for filmmakers who do not necessarily have support from Nollywood’s equivalent of studios.
I am thankful and I know it is only just the beginning.
Any idea when your home country will see Freedom Way? You know people are waiting.
I don’t have specific dates yet, but soon.
What preparations are you making before your world premiere in Toronto?
I am currently dotting the i’s and crossing the t’s to ensure that the audience have a great visual experience while watching Freedom Way.
