My Life In Nollywood: Wingonia Ikpi 

Every week, The Culture Custodian grants you an all-access backstage pass into the lives of Nollywood rock stars. You get to learn about their fascinating backgrounds, the behind-the-scenes stories, and more. This episode features film executive, producer, director, casting director and talent manager, Wingonia Ikpi. 

Wingonia Ikpi grew up in Ugep, Cross River State, with a chunk of those years exposed to stories about her family history and culture. She relocated to Abuja for her secondary education, after which she gained admission into the University of Calabar, Cross River state where she studied English and Literary Studies. While in school, she became known for her creative prowess, and her peers often commended her for the stories she entertained the class with whenever there was no teacher in sight. As her storytelling instincts morphed into wondrous writerly expressions, she found herself presented with opportunities that further pushed her towards the Nigerian film industry.

Through her involvement in film, Ikpi is creating conversations that she considers the gateway to legacy. In 2019, she founded Boxonia Blueprints, a film production and talent management company, and, while strategically positioning her brand, served as Content Development Producer for FilmOne Entertainment between 2022 and 2023. At present, the company’s biggest talents are Taye Arimoro (Casa De Novia, Roses and Ivy, A Night In 2005, Criminal, Small Talk) and Chuks Joseph (Dark October, Afamefuna: An Nwa-boi Story, The Men’s Club, When Love Strikes, Criminal).

Ikpi has undertaken different roles on a number of Nollywood projects, serving as producer on hits like Toyin Abraham’s Ijakumo, Okey Bakassi’s Bank Alert, and line producer on Son Of The Soil. She also marks her directorial debut on The Lost Days, an upcoming Prime Video film starring Bimbo Manuel, Baaj Adebule, Cynthia Clarke and Durotimi Adebule, among others. Ikpi’s experience also encompasses collaborations with brands such as Access Bank, Unilever, Urban Vision, Standard Chartered, USAID and INNOCROSS—as she continues to stretch her knowledge and interests in cinema business and talent management, constantly evolving from one project to another.

This conversation with Wingonia Ikpi has been edited for clarity.

What was your first Nollywood project as a producer?

That was Otana in 2020, a short horror film which I also wrote and directed. It was my first personal project that came as a result of being tired of asking for opportunities and wanting to prove I could do this.

What inspired you to pursue a career in film and specifically get involved in Nollywood?

When I was younger, I was a huge fan of Nollywood. I was always curious about how they filmed, wondering, “How do they just meet under a tree and cook up a story?” It was an interesting process, but I never thought I’d have a career in film—my path was medicine. In my senior secondary school years and university, that started changing. I found myself writing stories among my friends, little seeds that began to germinate. I wrote a lot of stories and uploaded them online. One day, a director and filmmaker named OtoObong Ekpenyong saw a couple of my stories on Facebook and found them interesting. We decided to merge two stories I wrote, and the film became Eno’s Demons. That was my first time writing a script, with OtoObong Ekpenyong holding my hand and teaching me a lot of fundamentals and equipping me with the first books I read on screenwriting. The film, a hybrid short documentary on mental health and suicide, featuring Onyinye Odokoro, won Best Short African Film at a film festival in Spain and did a couple of rounds at other festivals.

What happened next in your career, and how did you join FilmOne?

In 2018, I got into Lagos and started familiarizing myself with the film industry. I got a gig to write a couple of things, after which I was involved with Tinsel, Africa Magic, Halita and so on. I made Otana, a short horror film that went to a couple of film festivals. In 2021, Mr. Steve Gukas put out a call for a slate of twelve film directors. I submitted Otana, and surprisingly, I emerged as one of the twelve. He then took us to Abuja for a series of directorial training. That was where I met a producer-director. A couple of months later, she called me to line-produce a show called Flawsome Season 1. However, she was not here in Nigeria, which meant that I was practically the producer on ground, with the help of Tola Odunsi and the rest. Shortly after that, I sent a cold pitch email to FilmOne, including Mimi Bartels, after which I was called for an interview and hired. At Film One, I worked on practically all the films during that period, even if my name wasn’t always in the credits. It was a learning curve. I learned about the business of filmmaking, which was my reason for being there.

You founded Boxonia Blueprint in 2019. What is your vision for the outfit, and how do you approach identifying and nurturing the careers of creatives as a talent manager?

Boxonia is a 360-degree production and talent management company handling ideation, production, post-production, and marketing strategies. Our talent management arm recognizes that film is a human-driven industry. As one mentor noted, investing in talent is the best investment. We seek professional, creative talents with a drive for growth, prioritizing those we can develop alongside rather than established stars. Boxonia focuses on foundational work, building structures and strategies for long-term success. Before signing talent, we conduct a SWOT analysis to assess strengths, weaknesses, opportunities, and threats, creating a five-year plan with actionable steps. In 2024, we started with Taye Arimoro, Durotimi Okutagidi, Victory Eyong, and Chuks Joseph. We recently signed Ezeani Chinaza, though there’s no official announcement yet. Taye Arimoro is our quintessential leading man; Durotimi, the friendly neighborhood villain; Chuks Joseph, the action Romeo; Ezeani, the chameleon of characters; and Victory, the spark. Each is at a different career stage, and we tailor strategies to help them grow. We also engage consultants to plan strategically and aim to groom exportable talents for the global market. Project-wise, this year, Taye Arimoro stars in Red Circle, currently in cinemas, and Son of the Soil, an action film directed by Chee Keong Cheung and line-produced by me, where he plays a villain. Durotimi stars in The Lost Days, which I directed, while Ezeani and Chuks Joseph have forthcoming works.

One of the forthcoming Boxonia projects is Nolly Babes, a film with a promotional poster that creates nostalgia for Old Nollywood. Can you talk a bit about expectations from this project and any other earlier-mentioned works of yours?

Nolly Babes is directed by Anu Bamidele and produced by me. It’s a co-production between her company, Gap Tooth Smile Productions, and Boxonia Blueprints. Nolly Babes is a short film about three girls, including Tiwa, and is set in the old Nollywood era with that classic vibe. It follows Tiwa as she goes for an audition where the director tries to take advantage of her, a common issue in the industry back then. She tells her friends, and they decide to make their own film. Nolly Babes has got a heavy Y2K feel, tackling industry problems while paying homage to the filmmakers who sparked New Nollywood. We’re aiming for international festivals, and have already submitted to TIFF. The film is part of a 12-film slate by Natives Filmworks and MichelAngelo Productions, all headed to Prime Video. Also, there’s Son of the Soil which is set for release in African cinemas in the third or fourth quarter this year.

As a film executive, what solutions would you propose to address the distribution challenges facing Nollywood?

To reintroduce film culture in Nigeria, we must find simple, affordable cinema alternatives, places requiring minimal infrastructural plans. We were once a people who gathered at spots to watch films, much like today’s football viewing centres. Why can’t films be like that? A film’s success isn’t just about revenue but how many people watch it, as films should live forever. If we build a structure that amplifies the voices of our films and the worths of our filmmakers, we create a buzz and there’s love for our films at home here. We must attract and sustain new audiences by living up to promises, improving marketing, and telling good stories for better distribution. Audiences vary—high, middle, and lower levels. If the lower level can’t afford ₦10,000 to watch a film but want to, how, then, do we cater to them? It is by partnering with smaller centers, collaborating with entertainment sectors like music and fashion, and local communities, to make films accessible to all. These smaller venues can show certain films, while IMAX offers grand experiences.

There are concerns that streaming platforms like Netflix may not actively promote collaborations between different African film industries. Considering this and other possible factors, how can Nollywood navigate partnerships with African and international film industries to create successful joint projects?

Sometimes, we treat the film industry as if it were a utopian environment. Currently, I’m working on a project that’s a collaboration between my company and a few others in Nigeria and the Caribbean. Son of The Soil isn’t just a Nigerian project, as we also have international partners. It’s not even our film—they approached us. The director of Nolly Babes lives in Atlanta, though she’s originally from Nigeria. But then, there’s the economic factor. We once wanted to film Sugar Rush 2 in Kenya, and it was incredibly expensive. Shooting in South Africa also requires a lot of money. Then there’s the issue of xenophobia. These factors shape how we perceive each other. We need more events where we can genuinely collaborate. Another challenge is that Nigeria’s work culture is very different. In South Africa, for instance, people don’t work beyond a certain number of hours, while here, people are always working. So, we need to find a balance in how we work together. We need grants and associations to sponsor such collaborations. Our governments should also support us by facilitating treaties. It’s not just about streamers like Netflix, though they play a significant role.

Tell me the biggest challenge you have ever encountered in any of your Nollywood duties.

The biggest challenge right now in Nollywood is distribution. I think it is very easy to solve the financial part once the distribution is sorted. The second is structure—and here it is about making the structures already in place work, and speaking with one voice. As regards production, we need to give our crew members a lot more training especially through exposure to international platforms.

Can you highlight your most notable achievements over the years as a film executive? What makes them stand out for you?

My most notable achievement would be building Boxonia. We are working to upscale productions and expand talents with the aim of creating superstars which I don’t think Nollywood has yet. With Boxonia, I have been able to do great work, and gotten involved in projects such as Sugar Rush 2 and Flawsome.

Do you have any role models in the industry?

I look up to people like Moses Babatope, Mimi Bartels here and the likes of Quentin, Tyler and Bob Iger internationally. Bog Iger, being a key figure at Disney, gave the American company a second chance when it was about to fall. The fact that Tyler is so influential in people’s lives is one of the things I hold dear. People like Quentin and Alfred Hitchcock are directors that I have admired for the longest time.

How do you balance your personal life and professional career?

I’m not proud to say that there is no balance. As much as it’s a lot, the reason why I am willing to make that sacrifice is that we are building a global brand that is rooted in a growing culture. It is a future and goal that is worth sacrificing whatever personal life I have for.

Have you got any hobbies?

It’s probably just trying out new things and dancing. These days, I don’t regard watching films as a hobby because the creative part of me is always active and that means work to me.

What do you hope to have achieved as a film stakeholder in the next ten years?

In the next ten years, we aim to have produced seven to ten projects, averaging about one production per year. Our goal is to nurture more talent, grounding them in the industry while fostering collaboration. For the talent we manage, we emphasize discipline and professionalism. Our talents are well-trained, never behaving unprofessionally. Within ten years, we aspire to grow into a global brand that appeals to both local and international audiences.