Film  

Nollywood: Epic movies and blurring lines of realism

By Ajuluchukwu Brown, Abuja

30 January 2025   |   9:14 am

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Henrik Johan Ibsen, the renowned Norwegian playwright and theatre director, is often heralded as the father of realism in drama. He profoundly altered the trajectory of theatrical writing by focusing on the ethical dilemmas and moral conflicts faced by lower-middle-class characters. Ibsen broke away from the traditional narratives that romanticised the lives of nobility and…

Henrik Johan Ibsen, the renowned Norwegian playwright and theatre director, is often heralded as the father of realism in drama. He profoundly altered the trajectory of theatrical writing by focusing on the ethical dilemmas and moral conflicts faced by lower-middle-class characters.

Ibsen broke away from the traditional narratives that romanticised the lives of nobility and elites, choosing instead to portray the struggles, aspirations, and complexities of ordinary people in a manner that was both consistent and believable.

His emphasis on realism extended beyond the themes and characters; he also revolutionised stagecraft by advocating for the use of naturalistic settings.

Ibsen favoured mundane living spaces that accurately reflected the daily lives of his characters over the ornate and grandiose backdrops that were common in earlier theatrical productions. The costumes worn by actors in his plays were equally understated, prioritising authenticity and relatability over spectacle.

In stark contrast, the contemporary epic films produced in Nigeria’s Nollywood industry often diverge substantially from these foundational tenets of realism. While Nollywood films can be vibrant and culturally rich, they frequently lean towards melodrama and fantasy, showcasing exaggerated plots and larger-than-life characters that stray from the grounded storytelling championed by Ibsen.

Recent blockbuster films in the epic genre, such as ‘Seven Doors’, ‘House of Gaa’, ‘Jagun Jagun’, ‘Orisa’, ‘Latakabu: The Monster’, ‘Anikulapo’, and ‘Lisabi: The Uprising’, have made significant strides at the box office, capturing the attention of audiences worldwide.

However, the artistic treatment of these movies has raised questions about their adherence to realism. The narratives often revolve around themes of nobility and grandeur, set against backdrops that may feel more fantastical than authentic.

In these films, characterisation can sometimes draw from historical or mythical figures, yet their portrayals are frequently embellished with extravagant and contradictory costumes that do not accurately reflect the period or cultural context.

This blending of reality with mythos creates a rich visual tapestry, but it risks creating a disconnect for viewers seeking a more grounded storytelling experience. The choices made in plot development, settings, and character design contribute to a more stylized representation of the epic tale, challenging the viewers’ perception of what is real and what is a cinematic portrayal embellished for dramatic effect.

At the beginning of 2025, ace stand-up comedian and producer Bright Okocha, popularly known as Basketmouth, disclosed that many epic productions in the Nigerian film industry often lack the realism and authenticity that audiences expect from standard epic movies.

He further noted that these movies, though a good attempt, look like stage plays rather than actual movies.

Okocha emphasised that the costume, set design, and properties lack believability owing to the craze to join the bandwagon.

Another filmmaker and director, Biodun Stephen, disclosed that the bandwagon effect is a result of the total commercialisation of the art.

She further noted that filmmaking is a gamble and all filmmakers are under pressure to make substantial returns on investment.

“Not every razzle-dazzle is travel-worthy; sometimes simple is travel-worthy. This commercialization has been a disease that has plagued us for years. It was the campus film before, and everybody jumped on the train. Everybody jumped on the gang film, everybody was making gang films. Everybody jumped on comedy. Everybody is just jumping on whatever everybody thinks is the cash cow. Right now, there is a street thing that everybody is doing, and everybody is jumping on it,” she said.

It’s encouraging to witness Nollywood productions achieving significant box-office success and gaining global recognition. However, it is essential for filmmakers to strive for a harmonious balance between realism and fantasy in their storytelling. This thoughtful approach can enhance the authenticity of their narratives while still allowing for creative expression.