Blessing Uzzi doesn’t credit her latest film, Freedom Way, with any grand formula for success. Despite securing premieres at two international film festivals and one of Africa’s largest, she remains refreshingly chill. In her words, “That wasn’t the plan.”
As a filmmaker who seamlessly switches between writing, directing, and producing, based on her creative instincts, Uzzi prioritizes authenticity and collaboration above all else. For her, authentic storytelling happens when a filmmaker stays true to themselves and the stories they’re passionate about. Firm in her values, she holds a strong belief that a truly Nigerian narrative capable of putting Nollywood on the global stage is just around the corner.
In an exclusive conversation with Culture Custodian, Uzzi discusses her filmmaking journey, Freedom Way, and her vision for the future of the industry.
Your career spans multiple roles in filmmaking—writing, directing, and producing. How do you handle these different responsibilities, and what unique insights have you gained?
I think they are all different but similar if that makes sense. In terms of what I’ve gained, because I’m a writer and a director, it’s made me a better producer. What that does is that it makes you not just a producer, but a creative producer. I’m not a producer that is going to tell you a huge scene is not possible. And the only reason I can do that is because I’m a director myself.
In terms of how I navigate it, that’s a very tough question because I think it’s almost second nature. Writing is very difficult. It’s probably the most difficult for me of the three. I’ll put writing first, then I’ll put directing second. Producing for me is the easiest, weirdly. The first two take a lot of your creative bandwidth. But because the sort of stories I write currently are largely inspired by either the life of someone I know, my life, Nigeria, or somewhere I’ve been, it makes it easier because I tell relatable stories.
Can you walk me through your creative transition process from No Man’s Land to Freedom Way? What lessons from your directorial debut informed your approach to your latest film?
The industry is always changing. Yes, experience with No Man’s Land helped, but because they are two years apart, I feel like it didn’t help as much as I thought it would because the industry has also evolved. Certain things like when I thought I must make sure this doesn’t happen in my next film, I find out that we are not dealing with that problem, but a totally different problem.
The little ways it helped is getting more creative, editing-wise, and production-wise, you just learn to plan better. And also learn to plan knowing that you are in Nigeria and anything can happen at any time.
Freedom Way has had an impressive festival run, premiering at the Red Sea Film Festival, TIFF, and AFRIFF, and winning the Special Jury Prize at AFRIFF. How do these recognitions impact your perspective as a filmmaker?
I’m not big on awards, and it’s not something I’m saying to be arrogant or anything. If you ask people around me, they will tell you that when we were making Freedom Way, I always used to tell them I wasn’t making a festival film. I just wanted to tell a Nigerian story that Nigerians could relate to.
While negotiating and waiting for streamers, we thought to take a chance and submit to TIFF. I remember telling the directors to submit it on the last day, and it was such a nonchalant thing. Then we got a lot of notifications about getting selected. What that taught me is that at the end of the day, truly, story is the king. Tell authentic stories, stories that matter to you because authenticity is not just you telling a story about Nigeria.
Your films like A Quiet Monday, No Man’s Land, and Freedom Way consistently explore themes of systemic violence and governmental challenges. What drives your commitment to these narratives?
I studied international relations and political science and in secondary school, history was my favorite course. It was because I used to read about things that happened and I’ll just picture it. Oh, they killed 1 million people here, why are they killing people? What’s happening to the families? Why doesn’t anybody care about this? I realized that there is nothing called society. Human beings make up society. So what that means is if I’m going to tell stories about human beings, I’m also telling stories about society. Because the government we are talking about are human beings like you and I. It comes from a belief in the way I see the world and in the way I think things should be done.
In your opinion, what constitutes a globally relevant Nigerian film?
We haven’t had a breakthrough film, for lack of a better word. I think a lot of people are on the way, to be honest, but we are still at the back. That conversation, hopefully, will start happening soon. Having a Nigerian film that not only just travels, but actually does global runs. I believe that what will make that film is authenticity. It has to be our story. It can’t be a Hollywood copy, because you can’t make Hollywood films better than Hollywood people. It has to be a story that is authentically Nigerian but told in a way that the audience outside can connect to it. And I don’t know what that story is going to be. I don’t even know whose story it will be or who would do that. But it’s a hope and a dream that someday one Nigerian film really does that sort of breakthrough that opens the industry’s door to international partnership fully.
Which filmmakers, both Nigerian and international, have significantly influenced your storytelling approach?
There was a year that the only person I was in love with in this filmmaking work, was Steven Spielberg. I was obsessed. And there was a year it was Nolan. And then I had a year with James Cameron. And I found that what these men had in common was they were thorough with their work. Also, I liked that they had both artistic and commercial success, which is very important to me.
With indie filmmakers, who I greatly respect, I would say Asghar Farhadi and Martin McDonagh. One of my favorite moments of Freedom Way was a journalist in America who didn’t interview me or anything, he wrote a review and referenced Freedom Way alongside Asghar Farhadi’s film. I was so happy. In Nigeria, I love everybody actually.
What challenges do you face in producing films, and how do you navigate them?
I’m going to answer this in a very funny way. Agbero, agbero, agbero, finances, finances, finances. We have serious problems with agbero (area boys) in Nigeria, especially if you have somebody who writes a lot of outdoor scenes. Most of my films are outdoors. For Freedom Way, it was a lot.
I think finances are every filmmaker’s problem. Any other thing would be casting, but that’s a normal producing challenge, so I don’t even want to plug it so much.
How do you see Nigerian cinema emerging on the global stage in the next few years?
Consistently doing good work. I feel like if we have 10 filmmakers every year doing good work, top work, or even 5, it doesn’t have to be the whole industry. Five big films from Nigeria that are done excellently well, with distribution, and everything. Then, in the next three years, we will be there. It just has to be consistent.
