Nollywood – the Nigerian film industry – was described as a small cinema of amateurs who produced low-budget, shoddy movies with predictable plots.
But in the intermediary decade has been transformed into a multi-million dollar industry having fun with growing international interest.
For my Ph.D I treated this transformation because the gentrification of the industry as a result of the visible displacement of popular viewers who previously constituted its audience base.
The growth of Nollywood has been phenomenal considering that it has largely no government support and is developed by private investors. The industry has change into a showcase of resilience, perseverance and artistic abilities. An example of how, despite limited resources, Nigerians have managed to export certain facets of African cultural history and heritage to the world.
Across Africa, Nigerian entertainment, especially music and film, is in high demand constantly growing patronage. Nollywood is without a doubt the preferred film industry on the continent. And with the provision of subscription video-on-demand platforms, Nollywood movies reach subscribers around the globe.
So, a Nollywood enterprise like Netflix’s new four-part mini-series Blood Sisters is capable of conquer global markets and deserves it.
In my opinion, Blood Sisters sets a new pace for the industry. Its plot is in some ways unusual for popular Nollywood. First, it favors thrills and suspense over comic romance. Second, it seeks a new and growing representation of friendship between women.
Finally, Blood Sisters provides a unique commentary on the fight against gender-based and intimate partner violence. Deaths brought on by domestic violence amount to approx growing in Nigeria. The miniseries contributes to conversations about changing the narrative.
Stereotypes under the microscope
Blood Sisters tells the story of the lives of two best friends. Despite their ethnic and cultural differences, Kemi Sanya and Sarah Duru develop a friendship bonded by the murder of Kol Ademola, Sarah’s fiancé.
The plot refers to a variety of stereotypes. These include the bad girlfriend, the disillusioned profession woman, argumentative and ruthless trophy wives, and spoiled daughters versus overworked house girls. Instead, it promotes supportive girlfriends and strong-willed women.
Promotional photo courtesy of Netflix
Blood Sisters suggests that when women support one another, amazing things occur. This echoes a model present in literary works equivalent to Ije Chinese Anyaele, Kemi Adetiba’s king of boysSmart Money Woman Bunmi Ajakaiye i Half of Biya Bandele’s Yellow Sunamongst others.
The story of a missing, abusive fiancé, beloved son, brother and friend with dark, secret desires opens up a conversation about mental health and well-being, in addition to gender issues in Nigeria.
Blood Sisters examines the anguish and frustration brought on by gender preferences and inequality. Male children still take precedence over female children and the psychological damage this causes them is reflected within the characters of Femi and Timileyin Ademola. Despite their personal struggles and efforts to live as much as expectations, Kolya outshines them.
However, some stereotypes persist. While Uduak Ademola’s attitude towards his daughter is unusual, in Uchenna Duru and naturally the Igbo tribe in Mr. Ifeanyi Duru we see a very stereotypical image of motherhood.
The representation of the Nigerian Police is equally stereotypical, although the sacked Inspector Joe has provided a ray of hope within the force.
A hit story
Blood Sisters is a wonderful first season that leaves viewers wanting more. It was well received and universally recognized.
Typical Production of the EbonyLife studioit is extravagant in some ways. This includes solid and crew, costumes, cinematography and general technical elements.
The mini-series features top Nollywood actors. Like many other contemporary Nollywood movies, ‘Blood Sisters’ shows how much filmmakers and filmmaking in Nigeria have developed since they became very talked-about in 1992. This is very true in terms of the technical elements of filmmaking.
There is still much to do. However, the emergence of subscription video-on-demand platforms presents a mandatory and timely challenge for the industry. In addition to supporting diversity and sparking creativity, it connects filmmakers and audiences, bringing Africa to the world, one film at a time.
This new opportunity is resulting in a rejuvenation of experimentation with “unconventional” genres. Examples include time travel adventures equivalent to Akay Mason and Abosi Ogba’s destiny dayand culturally sensitive and controversial topics equivalent to “Without a Voice” by Robert Peters.
Blood Sisters is also unique in that it has an intense and creatively unified story, though it was co-created by two different directors – Biya gangs AND Kenneth Gyang. Experimental filmmaking is familiar territory to each.
Bandele, a poet, novelist, playwright and filmmaker, often creatively explored themes of oppression, violence and corruption. These include his acclaimed, big-budget adaptation of Novelist Chimamanda Adichie’s Half of a Yellow Sun. This story attempts to reimagine the silent chaos, pain, suffering and anguish of the Nigerian Civil War.
Experimentation is largely Bandele’s way of capturing, expressing, commenting on, and documenting life experiences. Like Gyang, she continues to create and portray strong African women who’re undeterred by life’s challenges.
Gyang’s creative abilities stand out in various ways. The award-winning director continues to make use of each film project to challenge his creative abilities and maximize film for entertainment and education. In Blood Sisters, he continues to reveal extraordinary skills inspired by the works of great filmmakers.
Indeed, for Nollywood – movies, filmmakers and creators – beautiful has not yet been born.
