Debola “Santa” Ogunshina: The Film and Theatre Director Making Language Films and TV Series

Nigerian film and theatre director, Debola “Santa” Ogunshina is one of the filmmakers championing indigenous language films and TV series. But Ogunshina doesn’t just make them, he makes the case that Yoruba films and TV series also have technical depth and nuance. His work follows the line of pioneers like Tunde Kelani, Hubert Ogunde and others who have contributed to great Yoruba cinema. Kelani’s Saworoide is constantly referenced as one of the best Nigerian films ever made. 

When Ogunshina’s  feature film Mofe Ni Mofe was released in 2020, the critic-turned-filmmaker Olamide Adio called it a “classic Nollywood feel-good movie” in his 2021 review. Who Tiff Monalisa?, one of his stage plays, has been staged at the Lagos International Theatre Festival, Lagos Fringe Festival, Terra Kulture and other spaces. Hafeedoh Balogun’s review of the play, describes it as a “comedic masterpiece that looked into the labyrinth of artistic integrity and financial and external pressure.” Writing for The Guardian, Omiko Awa’s review addressed the artistic and national conversation the play elicited around the “worth” and “sacredness” given to international art over local ones. By 2026, his co-produced film will be released in Nigerian cinemas.

In Culture Custodian’s interview with the film and theatre director, he talks about his artistry and choice of satire, the gradual domination of Nigerian film markets with language films and more. 

This interview has been edited for clarity. 

You have spent a considerable portion of your creative life working in the Yoruba film industry and making Yoruba films. Why has this been so important to you? And as a filmmaker, what are Yoruba films and what are its identifying factors and traits? 

I really adore Yoruba films. One of my best films ever is Tunde Kelani’s Ti Oluwa Ni Ile. Language is part of the distinguishing factors of language films but that’s not all. Yoruba films are films that capture the essence of the Yoruba culture, mysticism and the Yoruba universe at large. For instance, Kelani’s Thunderbolt is mostly delivered in English but it captures the patterns, sounds and speak of the Yorubas. Also, I realized earlier on that there is the comfort that comes with speaking your first language, especially in films. Many actors are able to focus solely on immersing themselves in the role once the barrier of language is removed.  When I released my indie romantic comedy Mofe Ni Mofe in 2020, the comments were very encouraging. I knew then that there was a lacuna that needed to be filled. It showed that with solid production value and scaling, language films can become a darling of the audience. 

In the current film landscape where Yoruba filmmakers and audiences are now dominating mainstream markets(streaming and cinemas), what do you make of the prior audience segmentation? 

I would argue that Yoruba films were always mainstream. However I agree that there were times when English speaking films were more popular but those times didn’t necessarily define entire moments in Nollywood history. Yes, prior to Kunle Afolayan’s Anikulapo, Adebayo Tijani and Tope Adebayo’s Jagun Jagun and others, English speaking films were popular on streaming platforms. But, some of the most popular and culture defining films were in fact language films. Afolayan’s The Figurine may have been filmed in English mostly but it was a Yoruba cultural film that defined an era.  Many years ago, people would queue in the streets  to see Hubert Ogunde’s films. Even in the early 90s, Ebun Olaiya recorded some successes similar to Ogunde’s. 

Do you think there is a degrading identity attached to Yoruba and other indigenous film segments of the Nigerian industry?

People still watch Nigerian films and series on YouTube so I do not see the degrading identity. Like I said, there were very encouraging comments when I dropped the trailer for Mofe Ni Mofe years ago and I got huge support even after the film dropped. I headwrote and directed several episodes of the hit show Awon Aladun many years ago and it generally received positive reviews and pulled in great numbers when it aired. Borokini too. 

As a figure in the Nigerian theatre space, what is your perspective on the current state of funding, access and audience engagement with Nigerian theatre productions? 

I think people generally enjoy theatre. The challenge, however, is pulling them to it. Once they attend a show they marvel at the level of entertainment they get from it. But, it’s disheartening that there aren’t a lot of spaces where people can readily experience theatre in their communities. 

Your work often sits on satirical narrative. How do you see your work as an artist and the way your works in shaping or questioning societal norms?

I have come to believe that my artistic choices stemmed from how and where I grew up. I was trained by a mother who is excellent at humour. Euphemism was the order of the day. She could have an accident and joke about it in a funny and weird way. This background has a ripple effect on me such that comedy is always a tool for me even when my themes are heavy. The comedy softens the blow or rather it delays the realization. After one of the performances of  Who Tiff Monalisa? at the Edinburgh Fringe, someone in the audience said the play made her think but it made her laugh first. When humour is cleverly done, it drives home the message faster, I believe.

What are your thoughts about the Nigerian theatre space when it comes to audiences engagement and theatre practitioners ability to survive off their work? 

After NYSC, I started professionally in the theatre space but I made some mental calculations and I made the decision to move to filmmaking. I saw, at the time, that audiences would fill out a hall for a free show than when it was ticketed. I realized that the practitioners with bigger branding and name would sell out their shows so I realized I couldn’t play that game just yet. Realizing that I can’t survive solely off theatre made me make the move and I am happy I did. Now, I can use my earnings, understanding, and influence from Nollywood to fund and promote certain parts of my theatrical productions. Hopefully, I don’t have to do so for much longer if I get funding opportunities and sponsorship. For Nigerian theatre to be as big as it used to be, it must become cultural again. It should be in communities and secondary school students should be able to come together and do a play and sell to an audience in their communities. Restaurants should give out their spaces for shows once in a while. This is how we build consciousness again. Theatre can not be over-intellectualised. It started on the streets and now it has to return there.

Who Tiff Monalisa? will be returning to Ibadan in December. What motivated this move and what conversations are you hoping to elicit?

Ibadan is my creative mother and where I wrote my first play. If this is my most successful play then, it has to play in Ibadan. Who Tiff Monalisa? has been performed in Lagos, and even Edinburgh but never Ibadan. So a move to Ibadan, where I wrote my first play and bagged my Theatre degree, feels natural. It just makes sense.

Who Tiff Monalisa? satirizes art, its authenticity and questions our adoration for foreign art in a way we never romanticize ours.

You have mentioned your mom being one of your creative sources. Outside of your professional work, what are your personal pillars of culture—the art, music, or media you consume for inspiration or relaxation?

I love seeing films. Music is very inspirational too. I listen to all kinds of music from Fuji to Apala to hip-hop and soul.

You work with Chris Ihidero. Can you describe that relationship and its artistic, personal and career benefit to you? Also, has that relationship made you think of your legacy in the landscape of Nigerian and global culture?

I have a strong relationship with Chris Ihidero and I find that our vision aligns a lot. Working closely with him on several projects is also an opportunity to learn from him. As a storyteller, he’s someone I respect a lot and we’ve collaborated on documentaries, made-for-TV films, and Man Pikin, PinPoint production that airs on Rok and francophone Africa. I also co-produced his debut feature which I believe will be the biggest film out of Nigeria in 2026. 

Your standup comedy, Rookie Mistake will debut at Lagos Fringe. What can audiences expect to see and, from a personal and artistic perspective,  what’s driving this move?

Stand up comedy has been on my bucket list for a while now. I have always wanted to explore that side of me especially since I have been exploring it through writing and directing for some time now. I have directed sitcoms, acted in skits, and MC’ed. So I always knew I’d be here at some point and certain interesting things have recently occurred in my life that in a way spurred this decision. Also, I have rehearsed comedians over the years, written for some. I think a lot of people are quite surprised at my new direction, especially since the announcement. But, rest assured, I’m rehearsing and working on it to be as good as it can be.

Lastly, you produced a film coming out in 2026. What can you share about it? 

This is the first time I am producing a film of this magnitude. It starred some of the biggest talents in and out of Nollywood and we had almost a hundred crew members on the set, filming across some of the roughest neighbourhoods in Lagos. It’s a title that explores the political climate in Nigeria as of now and the reluctant hero archetype. Nigeria loves saviours and this film presents her. But it also poses many moral questions such as if the concept of being a saviour is in black and white. It’s a really interesting film and will definitely be one of the biggest films in the country in 2026. I can’t wait for everyone to see our labour of love.