Toyosi Ige is a UK-based Nigerian filmmaker who has carved a niche for himself in writing and producing movies that reflect his unique, out-of-the-box thinking, offering his audience a refreshing and unconventional approach to screen storytelling. His latest movie, Heirloom, is a well-thought-out narrative, born out of deep introspection and a desire to explore generational identity, legacy, and the unspoken struggles within family dynamics. Through compelling characters and layered storytelling, Ige delivers a film that not only entertains but also provokes reflection and conversation. He speaks with GREGORY AUSTIN NWAKUNOR on the inspiration behind his piece, delving into the creative process that birthed Heirloom, while also sharing his thoughts on what the future holds for the Nigerian film industry.

Let’s begin with the big question, what inspired this movie Heirloom? Was there a moment or story that sparked it all?
It started off as an idea. A desire to create short videos featuring one or two actors interpreting my short scripts in about 60 seconds or less. I was going to use that exercise to further experiment with my writing and test screen chemistry between actors. Later, while participating in a spontaneity session during my MA in film programme, I came up with a ‘what if?’ As an avid student of history, I’ve read extensively about the invasion of Benin Kingdom and looting of the palace in 1897 by English officials, seeing the diversity in the United Kingdom now, what if two descendants of people from that era meet and fall in love without knowing the history they share? That triggered my interest in making the 60 second series into something a bit longer and deeper. Then in 2024, I directed a short film titled, Fading Echoes, for a US-based Producer. While filming, I introduced the bead as a symbol and metaphor. It worked so well that I decided to expand upon the significance of the bead in African culture by creating a fictional story around it and making it the central motif in Heirloom.

How did your current environment influence the storyline?
How did my environment influence the storyline? I am someone that is very observant and open minded. Since I arrived in the United Kingdom in 2022, I have interacted with people from different nationalities and background, noting the similarities and differences. One common thing I have observed is this: all humans have flaws, challenges, wants and needs that are universal. Love, success, pain, grief etc. My observations of real life conversations and stories influenced the story and dialogue in heirloom. I reside in Wolverhampton which has a beautiful mix of modern and industrial age architecture. I decided to use this picturestique landscape as the backdrop of the series, giving it a look that is quite unique. Many filmmakers draw from personal experiences.

Many filmmakers draw from personal experiences. Is this story in any way connected to yours, or someone close to you?
Whether I’m on the train, bus, aeroplane or tram, I usually picture imaginary conversations with strangers. While Heirloom is essentially fictional, a few of the characters are based on real people and some of the dialogue is based on real stories I read or heard and my conversations with other people. For instance, the character of Osahon is based on a real life person who was my predecessor as Corps Liaison Officer (CLO) during my youth service in Imo State, in 2010/2011. Some of my own struggles, fears and coming of age experiences are wound up in Edward Akenzua’s life in the series.

How did you approach building the world of the movie, from setting to tone to visual storytelling?
First, noting the familiar landscape, architecture and ease of access to equipment, cast and crew, I decided to set the series in Wolverhampton. With the physical world set, I needed to build the psychological world. Borrowing from the cross cultural worlds often employed by Guy Ritchie and Quentin Tarantino, and my love for languages, I decided to introduce characters from Nigeria, Jamaica, England, Poland and Serbia, a chilly potpourri. I needed the film to sound like the United Nations, so, I made sure that all the characters spoke with easily distinguishable accents and this made the romance, conflicts and clashes of interests more intriguing. Social strata was also clearly defined. Edward’s house and room showed how many immigrant students live while Marjorie, a British citizen, lived in a more posh environment, showing her level of stability. Inspired by how Yasujiro Ozu used earth, fire and water in his films, the world of this series was built on intentional use of the natural environment – about 60 per cent of the series was shot inside the West Park in Wolverhampton.

What was the casting process like? Did you write any of the characters with specific actors in mind?
From the onset, I knew who was going to play Edward. Having worked with Destiny Osagiede, we had struck up a friendship. Knowing he is from Benin was one of the reasons I decided to tap into the kingdom’s rich history. Also, Christine Hoillett is a friend I’d been hoping to work with for some time. So as I was developing the series, I was so happy to know she had Jamaican heritage. She’s Jamaican-British, just like Marjorie in Heirloom. I held closed auditions for some of the other roles. I also used a few of my friends and acquaintances. My Nigerian contacts made casting Mary and Mama easier than it should have been. The most challenging role to cast was Osahon as getting an actor who could speak bini was a real hassle. Jeffrey Akhidenor who eventually played Osahon, was acting in a professional capacity for the first time. Some actors were cast and dropped out due to various reasons but thankfully, we were able to replace them quickly. In pre production, my emphasis was on on-screen chemistry and the work eventually paid off.

Every film has its challenges. What was the biggest hurdle you faced during production, and how did you overcome it?
The first challenge was funding. I initially wanted to do something very economical but the more people I shared the idea with; the more I was encouraged to go bigger. Eventually, I did a lot of shifts to fund the project. I also had contributions from a couple of friends who saw through my vision. Before we even went on set, I sent the pitch deck to Peter Ayeni of Party Jollof TV and he offered to take over the PR for the film and so put it on his platform. Peter’s encouragement went a long way in making the project a reality. I was so worried that I delayed writing the actual screenplay till a few weeks to principal photography. The worst challenge we encountered was the weather. We shot in December, 2024 – January, 2025, the climax of British winter. We filmed in temperatures as low as -5 degrees.

To say we were freezing is an understatement. The sun barely came out and it was cloudy for most parts of the day. It was a very tough experience for the cast and crew.

From script to screen, how much did the story evolve?
By and large, we stuck to the original screenplay. However, by the time rehearsals and meetings commenced, a few details were changed based on suggestions and recommendations from people with superior knowledge of the subject matter. For instance, some of the lines in Patois were modified by Jannette Barrett, the veteran actress who played Irie and the physical appearance of Pete Tsar was also modified. The spine of the story stayed the same throughout, because it was a well thought out piece of work from the onset.

What message or emotion do you hope audiences walk away with after watching the film?
Heirloom is a combination of many genres with each episode representing a different theme. I want the audience to have introspection as to their value system at the end of the series. What really matters? What do you hold dear? How convinced are you about what you believe? Do you know your own history? Are we really who we claim to be or are we just what people say we are?

How do you see the current landscape of Nigerian cinema or African storytelling evolving and where does your film fit in?
In my opinion, many popular films and social media skits have altered the taste of the Nigerian movie audience. However, the international success stories of films like Mami Wata, For Maria: Ebun Pataki and My Father’s Shadow mean that there’s more accommodation for authentic and well made Nigerian stories abroad.

That said; the Nigerian audience needs to be offered different recipes to diversify their palate. That is when they will be able to accommodate these different types of films. I make cerebral, cross cultural films that lean heavily on history and spirituality. The key thing about my projects is connectivity. Audiences from around the world can connect with the themes and expressions. Through symbolisms, allegories and metaphors, my films provide a fresh perspective to storytelling. The use of language and raw Nigerian experiences are what I know most can connect with. They just have to know about it and see it first. I made Heirloom to reintroduce myself to the Nigerian and global market. Nigeria is very rich culturally. With over 300 languages, I could make 300 films, each in a different language and showing different cultures. This aspect is one I think needs more exploring.

If you could say one thing to young, aspiring filmmakers watching you now, what would it be?
I will repeat what I usually tell my mentees: Excellence has no home. I only reside with whoever decides to embrace it. You can make something good from wherever you are. You just have to make sure to learn, practice and keep getting better. Don’t compete, collaborate. Collaboration is the secret weapon for any filmmaker. Once you hack it, you will only keep soaring higher.