My Life In Nollywood: Jide Kene Achufusi

Every week, The Culture Custodian grants you an all-access backstage pass into the lives of Nollywood rock stars. You learn about their fascinating backgrounds, the behind-the-scenes stories, and more. This episode features actor and budding filmmaker Jide Kene Achufusi.

Jideofor Kenechukwu Achufusi, popularly known as Jide Kene Achufusi or Swanky JKA, radiates talent and charisma, qualities honed through his diverse upbringing. He began his education in Ebonyi, later completing it in Enugu, where he earned a degree in Geography and Meteorology from Enugu State University of Science and Technology. In 2001, he spent part of his adolescence in Anambra, nurturing his acting aspirations. In 2010, he left Anambra’s capital, which lacked industry opportunities, for Enugu to pursue a career in Nollywood. His exposure to various Eastern Nigerian states deepened his mastery of the Igbo language, including its regional dialects, and enriched his understanding of local traditions. Achufusi credits this linguistic and cultural fluency for enhancing his storytelling and positioning him as a cultural ambassador. While acknowledging the Yoruba as pioneers of Nigerian cinema and the Igbo for their role in its commercialization, he advocates for greater representation of the Eastern Nigerian region’s rich cultural narratives in mainstream media.

In Enugu, Achufusi starred in several local films before breaking into mainstream Nollywood. He gained prominence with his lead role as Nnamdi Okeke in Living in Bondage: Breaking Free (2019), a supernatural thriller and sequel to the 1992/93 classic, directed by Ramsey Nouah. In the film, Nnamdi, an ambitious young man and son of the original’s Andy Okeke, is drawn into a secret cult, The Six, which promises wealth in exchange for human sacrifices and loyalty. As his status and fortunes rise, Nnamdi grapples with a moral dilemma and the consequences of his choices.

Achufusi’s performance in Living in Bondage: Breaking Free earned him the 2020 Africa Magic Viewers’ Choice Awards (AMVCA) Trailblazer Award and the Best Actor in a Leading Role (English) at the Best of Nollywood Awards. Since then, he has starred in several acclaimed Nollywood films, including Kambili: The Whole 30 Yards, Dwindle, Blood Vessel, A Tribe Called Judah, and Japa!.

This interview with Jide Kene Achufusi has been edited for clarity.

Can you share more about City of Dreams, your upcoming film project set in Enugu, and what inspired you to collaborate with the Enugu State Governor on this initiative?

I thought that it would be a great idea to liaise and partner with the Enugu State government, having been born and brought up in the state that was home to Nollywood for decades, a state that gave rise to the likes of Ramsey Nouah, Chidi Mokeme and Mr Ibu. City of Dreams is a passion project with a working business model. The coming-of-age series, which also marks my screenwriting debut, is set around Enugu as a city and explores issues such as youth and secondary school life, bullying, gang culture and classism. Here, I want to prioritise the age-old relatable storytelling in Nollywood and combine it with modern cinema perks. In the series, we are referencing important scenarios or landmarks that appeal to both the youthful and older audiences. I must say it is a beautiful thing to see that the government is not only willing to work with young people but also willing to give people like me who haven’t done production a chance based on the brilliance of the ideas, the tangible and non-tangible deliverables, and the track record I’ve built in Nollywood over the past five or six years since I burst onto the scene.

Can you walk us through your journey from modeling to acting, and what motivated the evolution?

I didn’t plan to become a model; I was already pursuing acting when modeling came my way. My height and muscular physique at the time caught attention. Someone invited me to what I thought was a movie audition, but it turned out to be for modeling. They taught me how to walk the runway, and from there, my modeling career took off. However, my focus remained on acting, and after returning to Enugu, I began attending movie auditions. The first producer to contact me, Chioma, offered me two scenes in a film. When the movie poster was released, I was featured prominently, bare-chested, in the center. This made me realize that good looks could be an asset in the film industry, motivating me to seek more acting opportunities. In 2014, the year I graduated from university, I had a discouraging experience after traveling hours to Lagos for an audition. Frustrated, I decided to quit modeling and distanced myself from everyone I had met in that industry. Instead, I connected with directors like Obi Emelonye, appearing in a few of his films, and Ernest Obi, who gave me my first lead role in Poka Messiah. This film featured a character from a franchise Ernest Obi created years earlier, which had previously starred Genevieve Nnaji. I was the latest actor to portray this character in a new installment. I’ve also acted in numerous Igbo-language films, many of which were nominated in indigenous language award categories.

You’ve received a couple of awards and nominations, most notably for your performance in Living In Bondage: Breaking Free. Can you walk us through how you secured the lead role for that production?

Although I lived in Enugu, I didn’t just want to make local films. I had a target, a plan. I remember coming to Lagos in 2018 because one of my Igbo films was nominated for the AMVCA. I was in Lagos earlier than the day of the show because I wanted to familiarize myself with the directors and go around for auditions. It was a time in my life when I auditioned for almost everything—Big Brother Africa, EbonyLife’s Desperate Housewives Africa, Tinsel. The same year, during one of my low moments, somebody sent me an Instagram video of Ramsey Nouah announcing that his production team was looking for an actor to play the lead role in Living In Bondage. I just told the person that I wasn’t auditioning. The person sent it to me two weeks after the first one, and I still refused it. Interestingly, the previous year, Ramsey Nouah had come to make a project in Enugu, during which time he saw an unreleased movie, Black Rose, that the director had made in 2015. The movie had to be placed on Africa Magic as it couldn’t make it to the cinemas due to the absence of famous acts, except Blossom,  on the project. At the time they were scouting for a lead actor, Ramsey’s manager, Chris Odeh, the CEO of Sozo Films, remembered the young man who had played a mechanic in the film they saw in someone’s studio. That young man was me. After reaching out to everyone, they had their contacts in Enugu, they eventually found me through one of my guys, Mr Elijah, an associate producer on Black Rose. In 2018, I was asked to send a soft take, after which I did a physical audition in Enugu. This was followed by a three-day intensive read in Lagos. At the end, I met Mr Steve Gukas, also a producer of Living In Bondage and the director of 93 Days, who gave the final approval for me to play the lead role before introducing me to Charles of Play. 

How did you feel when you were announced as the Trailblazer Award winner?

Honestly, I didn’t think I was going to win Trailblazer. I thought I would win Best Actor. But then, I figured since it was Viewers’ Choice, the more popular person, who is my brother, friend and a very talented dude, Timini, won. When he won, with his sister Dakore announcing him, I had mixed feelings: I felt a bit down that I didn’t win, but I was also really happy for him and Dakore because it was a blissful moment between the siblings. That moment reminded me of my older sister, who had inspired my love for entertainment. She had always dreamed of becoming an actress and even appeared as an extra in a scene with Genevieve while in school. When I was announced the Trailblazer winner after a suspenseful moment, it was an incredibly beautiful experience for me. I was so overwhelmed that my speech was cut short—I couldn’t find the words to express myself. This was a day I had prepared for like six or seven years earlier. I am still grateful to God and my mum for that special day. After the award year, COVID-19 happened. All the interviews we had planned and the roles I got before the onset of the pandemic were gone when the lockdown ended. 

What’s your favorite project you’ve worked on so far, and what made it stand out to you?

All my projects came at very significant moments for me. Working with Funke Akindele in an industry that is currently green for Yoruba people, and for the fact that I played the lead role in the film and then it went ahead to gross over a billion naira, is an unforgettable moment. Living In Bondage was one of the most difficult films I’ve ever made in my life because I knew I wasn’t going to get the shot again if I didn’t take it right. Kambili happened immediately after Living In Bondage, when I was still trending. It was like a breath of fresh air, the first time I felt seen and recognized by directors. I combined with Nancy Isime, who was then very popular for her hosting duties, on Kambili to create what is one of the best romantic comedy films in Nollywood. So, my favorite project would eventually be between Kambili and A Tribe Called Judah.

With reference to any of your roles so far, can you do a breakdown of how you approach your characters?

In A Tribe Called Judah, I played the eldest of five young men, even though three or four of my co-actors were older than me. To portray my character, I asked myself key questions: How can I embody the role of the oldest brother? What are the responsibilities of the eldest son towards his mother? This process of self-inquiry helped me get into character. Anyone who reads my script for Living In Bondage will discover many gems—insights I recorded about the character, shaped by my commitment to creating believable characters. Achieving believable characters comes from becoming, not acting. To ensure my characters across different projects are distinct, I avoid using the same language and style for each. After receiving a script, I take detailed notes on the character and share them with my assistant. Unlike theatre, where performance can dominate, acting in film relies on synergy with scene partners. If I aim to convey deep emotion but my partner isn’t matching that intensity, we must find a balance. The camera zooms in to capture every nuance in the eyes, revealing truth or betrayal. That is why, as an actor, I strive to create a unique language and mannerisms for each role, so audiences see a fresh character every time they watch me.

Can you recall any embarrassing experiences you had on set as an actor, particularly early in your career?

The first time I attended an Actors Guild audition, sometime between 2013 and 2015, I was offered about eight scenes in a film. I can’t recall the title, but it featured actors like Belinda Effah, Annie Idibia, and Daniella Okeke, with Pascal as the director. There was a well-known actress on set, still prominent in the industry today, who was talking with a crew member. I said “good morning” to get her attention, hoping she’d step aside so I could pass without brushing against her. I’m not sure if she was arguing with the crew member, but when I gently tapped her shoulder respectfully, she snapped and gave me a harsh dressing-down. Her reaction was so intense that I felt like quitting the industry that day and nearly left the set on a bike. Another experience, less harsh but amusing and embarrassing, happened when I was reading the script for Living in Bondage. That same day, a woman interviewing for the costume designer role was asked about her vision for the central character’s appearance. She pulled out her iPad to show some pictures. When asked how the character would look later in the story, she pointed at me and said, “Like what he’s wearing now.” It was funny but awkward. She didn’t get the job, though.

How do you prioritize self-care and mental health amid a demanding filming schedule or promotional tour?

I just have to look out for myself. Our industry can improve if we have a passionate leader who provides clear guidance on how Nollywood should function. The government also needs to implement policies and laws to regulate the industry and ensure funds allocated to the Actors Guild of Nigeria are not misappropriated. Recently, a producer or director has been spreading rumors that I’m difficult to work with, simply because I refused to travel on a small boat for a two-hour ride to a village for a shoot. This was shortly after the Junior Pope incident, and my decision was about ensuring my safety. Yet, he’s been telling others he’ll never work with me again. I urge upcoming actors to adopt a business model that prioritizes adequate rest. The government and industry stakeholders should establish policies that protect both actors and crew members. For example, in the U.S., actors, writers, and other creatives earn residuals for the reuse of their work in digital media, sometimes receiving payments for films made decades ago. I believe that if we allocate budgets properly for film production, push boundaries to expand distribution, and generate more revenue, we can afford to provide actors with stipends. This would prevent overwork and allow actors to take better care of themselves.

What are your hobbies?

As a millennial, I watch TV, read books, play video games, and often talk to family and friends. I used to play football, but I’m more of an indoor buddy now.

Who are your role models?

Growing up, I didn’t have someone I needed to look up to. But I think Will Smith had an influence on me for his versatility and talent. Jammie Foxx also infects me with his professionalism and scandal-free life. In the past, I have taken notes from Hanks Anuku, Muna Obiekwe and Chidi Mokeme. 

What impact has fame had on your relationships with friends and family, and what’s worked for you in keeping them strong?

The impact has been more on a negative side because it’s put me in a place where people now assume I am no longer who I used to be, that I am not so friendly anymore, that maybe I am a snob. If I were a nobody and you invited me to your wedding, but I didn’t show up, you wouldn’t even notice. But now, if I don’t come to your wedding for some reason or because I have anxiety, it’s a problem. My upward career movement has caused a decline in most of my friendships and relationships, but at least it’s a worthy sacrifice to be able to create impact. I still try to see how I can create balance, but you know, we often have to let go of some childhood alliances and make more informed friendships and partnerships. 

How do you see yourself evolving as a creative, and what impact do you hope to make on the Nigerian film industry in the next five to ten years?

By 2031, I plan to build a very big film studio, an international one similar to that of Tyler Perry, in Enugu, and potentially attract investors to the state. I love Lagos but it is quite a stressful place and is not so conducive for filmmaking. I also want to make distinctive films, stories that inspire young people, stories that will birth international actors that reside here in Nigeria. We are also working on bringing global stars like Dwayne Johnson down here, just as Idris Elba has been coming. The business plan is similar to that of Akon’s collaborations with Afrobeats.