Veteran Nigerian actor Francis Duru has offered a candid perspective on the shifting power dynamics within Nollywood, explaining why filmmakers of Yoruba descent currently dominate the industry despite the foundational contributions of Igbo creators during the home-video boom.
The Genesis of Nollywood and the Shift in Control
While acknowledging historical pioneers like Hubert Ogunde, who laid the groundwork for Nigerian theater and cinema in the mid-20th century, Duru maintained that the global phenomenon known as “Nollywood” was truly birthed in the 1990s and early 2000s. During this era, Igbo filmmakers revolutionized the local market by introducing and popularizing home videos. However, despite this head start, Duru believes a lack of strategic unity has hindered Igbo filmmakers from maintaining their lead.
Community Support vs. Individualism
According to Duru, the Yoruba film sector has overtaken the Igbo contingent primarily due to superior organization, collaboration, and a culture of mutual support. He emphasized that Yoruba professionals excel at pulling together resources to elevate their peers and protect their cultural market share.
“The Yorubas epitomize the saying, ‘Charity begins at home,’ and we need to learn from them,” Duru stated. “If you don’t protect and project your own, who will do it? They created opportunities for themselves and utilized them effectively.”
In contrast, Duru criticized the “individualistic mentality” prevalent among many Igbo stakeholders, which he argues has stalled collective growth. He noted that because many pioneers of the home-video era operated with a basic trading mindset, they struggled to adapt as Nollywood transitioned into a highly structured, corporate industry.
The Digital Era and the Representation Gap
This lack of cohesion, Duru warned, has resulted in a glaring disparity on global streaming platforms. He pointed out that while Yoruba-themed films are highly visible and celebrated on international platforms like Netflix, authentic Igbo cultural narratives are increasingly scarce.
Duru also expressed concern over how Igbo stories are being told when Igbo filmmakers refuse to fund them. He noted that Yoruba creators have begun stepping in to produce Igbo-themed movies, such as the critically acclaimed film Ahamefuna, but cautioned that outsiders risk misrepresenting the nuances of Igbo heritage.
“We have great writers who are now writing for the Yorubas,” Duru lamented. “You even see the Yorubas crossing over to write Igbo stories and making a mess of who we are because we failed to protect our own.”