While watching the Tosin Igho-directed film, Suspicion, a supernatural crime thriller that dares to push the boundaries of traditional storytelling, I was struck by how rare such films are in Nollywood.
For over a decade since the inception of what is now known as “New Nollywood” or “New Nigerian Cinema” — a movement that marks a shift from traditional low-budget, straight-to-video productions to more sophisticated, high-production-value, cinema-friendly films — Nollywood has been dominated by three traditional genres: comedy, drama, and romance.
These genres have become the go-to of many filmmakers in Nollywood, as it provides a familiar and often successful framework for storytelling. While they may not always push the boundaries of innovation, they have become staples of the industry. Occasionally, filmmakers will switch things up by experimenting with sub genres like action-comedy, romantic-comedy (rom-coms), or family drama, which offer a fresh spin on familiar themes.
The reason romance, comedy, and drama dominate the Nigerian box office is not far-fetched. These genres speak to universal emotions — love, laughter, and the trials of everyday life, which resonate deeply with audiences. They’re also easier to produce on modest budgets, relying less on technical know-how and more on relatable narratives. In fact, a round-up of the top 10 highest-grossing Nollywood films of all time reveals a striking trend: all but two titles on the list fall squarely within the genres of comedy, drama, and romance.
Nollywood’s affinity for familiar, crowd-pleasing genres has undoubtedly contributed to its success, but it has also limited its creative potential. Many films recycle the same tropes: love triangles, melodramatic families, or slapstick exaggerated character traits, leaving viewers longing for stories that feel fresh and daring.
Recently, there has been little change with (historical) epics gaining traction following the success of Kunle Afolayan’s Anikulapo in 2022. Rooted in Yoruba mythology, the film combined lush visuals and good storytelling to capture audiences both at home and abroad. Its success also seemingly paved the way for other successful titles like Jagun Jagun, King of Thieves, House of Ga‘a and Lisabi.
Seemingly because as Matilda Adegbola writes in In Nollywood:
The resurgence of the genre on a mainstream level happened when Femi Adebayo’s Euphoria360 Media, alongside Niyi Akinmolayan’s Anthill Studios, released King of Thieves in April 2022. The film was hotly promoted via word of mouth and raked in N320.8 million. Its success served as the whistle that prompted the current heavy focus of historical stories.
While the rise of epics is commendable, exploring other less popular genres is necessary for Nollywood’s growth and development. By venturing into new genres, filmmakers can tap into fresh stories, themes, and ideas, which can help revitalise the industry and attract new audiences. Such diversification of storytelling encourages innovation and creativity, allowing filmmakers to think outside the box, experiment with new styles, and push the boundaries of storytelling.
Cinema audiences across the world expect film makers to push boundaries and exploring less popular genres could increase Nollywood’s global appeal, attract international audiences and investors, and provide opportunities for talent development.
However, the journey toward a more diverse Nollywood is not without challenges. For one, producing niche films, whether supernatural thrillers, sci-fi, or horror, often requires significant technical know-how and financial investment. For instance, a sci-fi film might demand complex visual effects or CGI animation, while horror relies on precise sound design and atmospheric visuals. As far as financing goes, investors tend to favour safer bets, like romantic comedies, over riskier, less proven genres.
There’s also the audience. While there’s growing interest in genre diversity, there’s also skepticism as audiences are accustomed to the more popular genres. For film critic, Seyi Lasisi, the lack of media attention and distribution haven’t made audiences aware of their (filmmakers) propensity towards telling Nigerian and human stories in different genres. As such, a little bit of marketing could get audiences interested in watching films in less popular genres.
In a survey of 30 random audience participants in Nigeria, a unanimous 100% expressed a willingness to watch a Nollywood film in a less familiar genre. When asked if they believed Nollywood was ready to produce successful films in such genres, 40% responded optimistically, while the remaining 60% were more cautious, with some expressing uncertainty (maybe) and others doubting the industry’s readiness (no).
While the survey’s findings, based on a relatively small sample size of 30 participants, may not be entirely representative of the larger Nigerian audience, they do provide some insight into the viewing preferences of a specific demographic. To gain a more comprehensive understanding of the Nigerian audience’s preferences, a larger, more diverse sample size would be necessary.
Despite these challenges, 2024 has seen Nollywood try to push boundaries of storytelling through films like The Weekend (thriller), A Green Fever (noir thriller) and Suspicion (earlier mentioned).
Culture journalist Praise Vandeh believes that Suspicion could be a game-changer for Nollywood’s genre diversity efforts. “Suspicion might do something in shifting how we approach filmmaking,” she notes, “so we’re not just always adapting Hollywood stories, instead we’ll be able to localise genres to suit the Nigerian context.”
Vandeh is particularly enthusiastic about the film’s portrayal of juju, or black magic, which she sees as a refreshing departure from Hollywood’s typical depiction of powers in fantasy and sci-fi genres. She believes this portrayal could serve as a starting point for creating and popularizing a unique genre she refers to as “Afro-juju(ism).”
Seyi Lasisi concurs with Vandeh’s sentiments, stating that “given Nigeria’s strong inclination towards spirituality, I firmly believe Nollywood has the potential to excel in this genre.” He cites the country’s sociological, cultural, and architectural landscape – including the presence of physical shrines and sacrifice places – as providing a rich framework for storytelling. However, Lasisi also emphasises that Nigerian filmmakers have the versatility to tackle any genre, provided they receive the necessary knowledge and guidance.
It is important to note that genre diversity doesn’t mean abandoning the genres that Nollywood excels at. Instead, it’s about creating space for innovation alongside tradition. By doing so, Nigerian filmmakers can push the boundaries of what the industry can achieve and ensure that the Nollywood truly stands out on the global stage as a hub of creative storytelling.
***Joseph Jonathan is a film journalist and critic whose work explores the intersections of history, culture and film.
