Nollywood – The Alternative Take: An Interview with Nadia Denton

September 12, 2018 by Tola Ositelu

The world of British Council film curator, author and cinephile Nadia Denton is returning to some kind of normality. She is fresh from the hectic but rewarding buzz of her most recent Beyond Nollywood festival I Dey Observe at the British Film Institute (BFI) in August. A veteran of some 15 years, Nadia’s international film festivals have attracted the likes of Spike Lee. 2018’s collection is the fourth iteration of Beyond Nollywood. The idea came to Denton whilst writing The Nigerian Film-makers Guide to Success (a follow up to her The Black British Filmmaker’s Guide to Success). 

Nadia’s isn’t the most obvious profile for a West African film enthusiast. Born in the UK to parents from Jamaica and Barbados, Denton studied Modern History at Oxford University. A passion for film flourished whilst running an informal cinema club at the Institute of Contemporary Arts. She describes film as the “ultimate artistic expression”.‘I think because it’s audio-visual, it’s the most immersive experience you can have,’ she effuses. ‘Lots of people would never go to a concert or the theatre or don’t read but they watch films at home, even if they don’t go to the cinema. I really think it is one of the most persuasive, if not the most persuasive, art form that we have. When filmmakers hit the right note, it’s like magic. What they create can alter people’s perceptions in the space of 90 minutes.’

That explains her cinematic predilection. With no direct cultural roots, from whence thus came her fascination with Nigerian film? ‘I do get asked the nationality question a lot,’ she shares. ‘I realise there are very complex issues regarding Nigerian identity. There can be a slight defensiveness or suspicion but I’m happy to answer people’s questions. I think it’s important to be transparent.’ She expounds, ‘I’m at a point in my career where it’s less about national lines and more about people’s particular focus; the kind of film they want to make. As such, different filmmakers have come into my circle. I am not sure if they immediately see themselves as Nigerian filmmakers. Some of them see themselves as indie creators’. Nadia is keen to support the industry under-dog.‘I’m less inclined to commercial film-makers, whether it be a Jamaican or Nigerian director doing blockbuster movies. I’m more interested in a particular ideology; something that is aside from the mainstream and unique.’

So why Nigeria? ‘I noticed a trend about five or six years ago, mainly amongst some of my Nigerian diaspora film-maker friends,’ she explains. ‘For most of my career up until that point I showed the “black world”, I suppose you can call it. I came to a stage where I was interested in investigating something specific. When researching my book, I started to see lots of experimental stuff – art house, documentary, music videos – that weren’t really part of Nollywood per se. They had a particular voice and represented a certain experience which I believe is trans-atlantic. Many of the Beyond Nollywood filmmakers have either lived in other parts of the world or have heavily consumed other cultures. It has been infused into their work. It’s quite different from the traditional Nollywood. From a generational point of view, they had different experiences and expectations from their parents.’

Denton also observed a cultural shift away from a more Caribbean (namely Jamaican)-dominated concept of ‘Black British’ identity.‘There was an increase in popularity of West African culture; be it Afrobeat, people wearing traditional clothes or being more familiar with the food. I started to see that I could locate [the trend] amidst something that was happening more broadly,’ she explains. ‘I also realised there was a whole demographic aspect which is a driver. Obviously, Nigeria’s demographics and the youth population mean that it can grow and be quite viable in a way it wouldn’t be for other parts of the world.’Nadia welcomes this sea change.‘We can all share in one another’s culture without losing anything. The fact that Jamaican dancehall isn’t as popular doesn’t bother me. I’m quite happy to embrace the West African culture as I feel it’s more relevant to the time. I think a lot of people don’t understand that and can become quite fixed.’

Lest anyone think Beyond Nollywood is an elitist backlash, Denton is at pains to stress otherwise. She believes the mainstream Nigerian film industry has played a significant role in the aforementioned resurgence of cultural pride within the Diaspora. ‘Nollywood began with the desire to tell more indigenous, locally-made African stories,’ she reflects. ‘I was fortunate to connect with Chris Obi Rapu, the director of Living in Bondage [widely perceived to be the pioneering Nollywood film]. He saw Nigerians were consuming Mexican soap operas but there was a desire for something from their cultural perspective. I think Nollywood has definitely been very important as a high note for Nigerian – or even West African – identity. It has done a great deal for the Diaspora. Some people saw it as a useful tool for keeping their children more rooted in the culture. It has given its African descent audiences a sense of agency; being able to recognise themselves.’

With Beyond Nollywood however, Denton aims to redress the balance. ‘It’s not so much to play down Nollywood,’ she insists. ‘It’s more to highlight those emerging filmmakers who are not getting visibility. My concern is that Nollywood is a victim of its own success. It’s become a homogenous monster which has pushed out everything else. There’s a debate in the industry now. Some people would argue that everything Nigerian is Nollywood. I don’t believe it is. You have travelling Yoruba theatre that pre-dated Nollywood of which people have a clouded awareness. There’s film-making in the North of the country which is very different from Nollywood. There are people who make documentaries… The work of a lot of my collaborators is not deemed suitable. It’s too ‘arty’. Why should filmmakers of Nigerian descent be restrained to making things about Nigeria?’

Nadia doesn’t seem to have much truck with the cultural ‘appropriation’ argument. She believes exchange is an intrinsic part of the Continent’s history.‘It is part of being human and taking an interest in the outside world. I personally don’t see anything wrong with people meshing influences from external sources to express themselves. At times we can be quite rigid: “…you’re from this place, you do this a particular way…” If we’re looking at the African diaspora in particular, we’ve travelled. We move around and mix. It’s part of our nature. Beyond Nollywood is an exciting reflection of this merging.’Is there nonetheless a danger of imitation?‘The most important thing is authenticity. Go outside and mix with other cultures and be authentic. Some of the most recent Nollywood offerings mimic American styles. It’s just a verbatim cut-and-paste [dialogue]. It doesn’t feel right.’Rom-coms, according to Denton, are a case in point. ‘I’m happy to go and see a romantic comedy but the way the characters are expressing love does not feel natural to me.’ You can picture her cringing. ‘It’s not that people don’t express affection; they just do it differently.’

Denton takes issue with some other recurring tropes in Nollywood, especially pertaining to gender.‘Women tend to occupy roles like the hag; the older mother who is a witch or the young woman who is the prostitute or trickster. Why are the womenfolk so accepting of these parts? Fine, men will write characters and will have their perception, but you wonder what the women’s own view is of these characterisations and whether they believe these should be challenged. I think that’s very complex in terms of Nigeria’s history.’ Speaking of female representation in the Nigerian film industry, Denton produced a BBC radio documentary Shooting it Like a Woman on that very topic. Judging from breakout Nollywood hits like Michelle Bello’s Flower Girl, it seems that even with a woman at the helm, certain gender-based clichés (obsession with relationship status, for instance) stubbornly persist. Nadia believes there are pragmatic factors at play.‘We have to consider that a lot of these filmmakers are working within the constraints of commercial pressures,’ she points out. ‘They might have their own vision of presenting women in a particular way. In terms of investors, distributors and to some degree the audience, there is an expectation to package certain kinds of characters another way. They have to present content to an audience which are largely conservative, accept patriarchy without question and who do think feminism is evil.This is why for me Beyond Nollywood is so important. I want to open up a space where you can make these radical films and we don’t have to worry about a Nigerian audience because I’m aiming for an international one.’

With regards to making less conventional content, Denton believes artists need to be given a chance to evolve.‘Everyone is on their own developmental trajectory,’ she adds sympathetically. ‘People in their 20s will have certain views on , she laughs. ‘Certain things happen to them, their view of themselves as a woman and of society changes.’ Nadia sees promise in a new generation of Nigerian female auteurs. She cites Adeola Osunkojo as an example.‘There was something in her dynamism. It’s like she lives and breathes to make the content. I thought “Yeah this is the future”.’ There are encouraging signs of Ava Duvernay-style female solidarity on set amongst Nigerian filmmakers. Director Bello talks about opening up opportunities to other women. Denton herself has observed ‘pockets’ of mutual support. On the other hand, female content-makers face overwhelming challenges. It appears that the Nigerian film industry is yet to have its own #MeToo/TimesUp moment. ‘The chief issue facing Nigerian female film-makers is being compromised on a number of levels; whether sexually or ethically,’ Nadia rues. ‘It can be quite intense. It becomes very difficult if you are a woman standing strong, not wanting to compromise or be paid less… The people who are trying to coerce them will say: “Well, I can get someone else who will do it”.

During the process of making Shooting Like a Woman, Denton recalls, several filmmakers expressed their concerns off-the-record. Depressing isn’t even the word.  Nevertheless, Nadia hastens to add that there are glimmers of hope.‘There are those who are not going to compromise, who are taking their time – maybe saving their own money – so they don’t have to. I wouldn’t want to give a false impression. But they need more people to support them and make their voices known’.

The I Just Dey Observe programme will feature at Encounters short film festival on 27 September 2018 in Bristol.