Nollywood Deserves More Well-Grounded Historical Epics

The rise of streaming platforms in Nigeria has triggered a renaissance of Nigerian historical epics. From Femi Adebayo’s King of Thieves, Jagun Jagun and Seven Doors, to Frank Rajah-Arase’s The Legend of Inikpi, Izu Ojukwu’s Amina, Kunle Afolayan’s Anikulapo franchise, Bolanle Austen-Peters’ House of Ga’a, Eniola Ajao’s Beast Of Two Worlds, Odunlade Adekola’s Orisa, and Adebimpe Oyebade’s Lisabi 1 & 2, the Nigerian audience has been recently treated to a palette of stories that are often told in indigenous languages, with a few exceptions, and rooted in age-old traditions. Besides mirroring a rich tapestry of our heterogeneous cultural realities, these films have positioned the continent, among other artistic exports, at the forefront of storytelling on the global stage.

A retrospective look reveals that the Nigerian film and television industry has invested in the epic film as far back as the 1970s. In the 1970s and 80s, Hubert Ogunde produced celluloid films such as Aiye and Jayesimi, while the 1990s witnessed productions like Andy Amenechi’s Igodo and Obafemi Lasode’s Sango: The Legendary African King. The early 2000s saw the release of Andy Amenechi’s Egg of Life, Adebayo Faleti’s Afonja (1 & 2) and Basorun Gaa, and Tunde Kelani’s Efunsetan Aniwura, with the Faleti and Kelani’s productions particularly posing as biopics highlighting certain Yoruba figures of historical significance. The arrival of streamers only dared to amplify what was already in motion, with the availability of modern technology to enhance the aesthetic value of our narratives and contribute to their posturing for global attention. Be that as it may, the burgeoning investment in Nigerian historical epics for a sophisticated contemporary audience has been met with criticism. Such criticisms border on historical accuracy, commercialization, and narrative depth.

The bedrock of a great film is a good story. Through incisive and compelling narratives, filmmakers are capable of invoking profound reactions from their audiences and leaving indelible marks on the creative landscape. On the contrary, shoddy stories bring disrepute to filmmakers, contributing to audience distrust in their work and skepticism towards the larger framework of the industry. With Nigerian historical epics, filmmakers have a responsibility to tell stories that are authentic and unique. This requires approaching such stories to educate and entertain their audiences. It requires filmmakers to recognize themselves not only as agents that breathe existence into the annals of history but also as creative engines transporting contemporary audiences into intriguing worlds long detached from reality.

Nigerian filmmakers must prioritize thorough research before undertaking any historical epic project. During pre-production, before scripting, they should investigate and consult library resources, custodians of traditions, historians and experts, and visit landmarks associated with their subject matter. This would provide them with the necessary historical context for their scripts so they can tell enriching stories that are historically accurate with precise references to timelines. An understanding of timelines informs the filmmakers’ approaches to production design, costuming, cinematography, and other aspects of production. By doing so, filmmakers can successfully circumvent deficiencies such as the fluffiness of Lisabi: A Legend Is Born, and the contextual imprecision of Seven Doors. Filmmakers can champion stories of traditional heroes and empires with similar suspenseful grit and alluring breadth as the South African M-Net series Shaka iLembe. 

Filmmakers who are interested in historical incidents that have been previously explored will be informed enough to either spot gaps in existing works for improvement in their projects or approach the subject matter from a unique perspective. This is exemplified in Austen-Peters’ House of Gaa, which, despite a few misguided nuances, reveals the story of the legendary prime minister through the eyes of a narrator differently from the raw, unprejudiced perspective of Faleti’s 2004 film. This further trickles down to the need for epic filmmakers to be more inventive in their style and approach new productions with a fresh edge while consciously diversifying their thematic leanings. 

The Yoruba epic is one of the most explored in recent times and probably throughout Nigerian film and television history, with the sub-genre accounting for a sizable portion of the industry’s historical productions. The influence of the Yoruba film industry is also understandable considering that they are a major ethnic group in the country, with a language of over fifty million West African speakers that ranks among the top ten most spoken languages in Africa. Nonetheless, there are epics that reflect other cultural groups in the country. Films like Rajah-Arase’s Iyore and James Osakwe’s 2025 Cannes Film Market selection Osamede are set against the backdrop of the ancient Benin Kingdom. The Legend of Inikpi tells the story of an Igala princess while exploring tensions between the Igala and Benin Kingdoms in the 16th century. We also have recent Africa Magic shows like Ajoche, a period drama set in 20th-century Idomaland, and Diichie, which revolves around the 12th-century Itsekiri Kingdom.

For a country with over 300 ethnic groups and over 500 languages, the historical representation in mainstream film and television appears to be inadequate. While some regions have produced films and shows that showcase their unique cultural heritage, these productions often have limited circulation. As a result, these films remain localized and don’t make it to mainstream cinema, notable streamers, or international festivals, where they are accessible to a wider audience. Noting this reality, Nigerian filmmakers need to be more adventurous and select untold myths and legends of minority groups to be retold as New Nollywood epics. In the long run, this development will enrich the canon of Nigerian cinema, preserving and flaunting the country’s multilayered cultural heritage beyond borders.