Kannywood

The ‘Taskar Kannywood’ is a YouTube show that seeks to revive the glory of feature films that has been long abandoned since the emergence of web and TV serials. The show runs every Sunday, unveiling fresh standalone movies in a one-episode-per-week order, followed by a review and Q & A sessions to further engage the audience for criticism and opinions. The 7th episode, Da Na Sani, is the collection’s latest and most hyped release.

The film tells the story of a rather humourless and unromantic man (Mansur) married to a young girl (Samira) in her late teens. Samira would always act reminiscent of what we fondly call ‘Kwailanci’ (excessive childishness), which she believes to be her love language to express her romance, a gesture her husband finds too awkward and a clear affront to his dignity.

The biggest drama erupts when she draws a heart emoji with the caption “I love you” on his face while he is asleep and asks if he is ready so she can colour the drawings for a better look. Enraged, he gives her a few slaps and a stark warning about her childish manners, leaving her in tears as he heads back to the bathroom to clean up before leaving for work.

Moments later, after getting housework done, she develops severe chest pain, prompting her to be rushed to a hospital. But she abruptly dies after a brief diagnosis.

Returning home, Mansur finds a note she had dropped containing an apology for her wrongs, promising to change her manners if she made it back alive, plus a reminder that the meal she prepared for him and a visiting friend is already at the dining table. He screams out loud with tears running down his cheeks as he scatters the ice cream and candies he brought as a consolation package, realising the tragedy could have been avoided if he had tolerated her innocent frivolity.

Filled with emotional moments, the movie is ultimately compelling not only for its beautifully crafted drama but also for exposing the gap of misunderstanding between partners and the little effort it takes to fill it. The film is indeed a huge success and well worth watching.

Additionally, the production quality is top-notch, and both Aminu Shareef Momo (Mansur) and Amina Shehu Lulu (Samira) have delivered exceptionally well, thanks to Ahmad Bifa’s directorial expertise in handling family sagas.

However, the running time is relatively short for such a tragic story. The audience would have wanted a longer time frame to see the emotional trauma Mansur would supposedly go through as relief for the painful death of their favourite character, Samira. I rate it 4/5.

• Company: Mai Kwai Movies
• Director: Abubakar A.S Mai Kwai
• Producer: Abdul Dan Small
• Language: Hausa
• Cast: Ali Nuhu, Aminu Sharif (Momo), Maryam Ceeter, Baballe Hayatu, Hafsat Idris, etc.
• Year: 2018

The question of whether married women should be allowed to work remains contentious in Hausa society. Modern people support the idea, while traditionalists continue to frown upon it. As the debate continues, a Kannywood production company, Mai Kwai Movies, weighs in with their film Dr. Halima.

The story revolves around the eponymous character (played by Maryam Ceeter), a PhD holder whose husband, Yusuf (Ali Nuhu), allows her to work at a construction company. Dr. Halima takes pride in her appearance and enjoys being complimented on her looks, but her husband is a rigid alpha male who dismisses that as frivolous and never cares to praise her. Instead, she receives attention and admiration from her male colleagues, whom she openly welcomes despite being married. As a modern woman, Dr. Halima doesn’t see anything wrong with dressing fashionably and being appreciated by others.

However, jealousy consumes Halima’s husband when he realises she has become the centre of attention at her workplace. He reacts by neglecting her and sleeping separately. Despite her attempts to address the issue, he turns a deaf ear, leading to growing tension and a deterioration in their marriage. Meanwhile, Halima’s colleague, Dags (Aminu Shareef Momoh), who has long harboured feelings for her, gets an opportunity to intrude into her life. He eventually succeeds in his pursuit, taking advantage of her vulnerability.

Thanks to its powerful story, the film generally captivates despite having a limited narrative hook. It succeeds in delivering its central message: that the problem with married women working is mostly not from the work itself, but from the behaviour of the women involved. When a married woman respects herself, she repels temptation, and when she doesn’t, the opposite occurs. We see how Dr. Halima attracts indecent colleagues with her scanty dress, but repels them later when she begins to dress modestly.

The film also underlines the need for effective communication in marriage and the dangers attached to neglectful relationships. We see how cold communication leads Yusuf and Halima to neglect each other and sleep separately for over three months. This emotional distance is what plays a key role in Halima’s decision to commit adultery with her colleague, as shown in the movie.

Additionally, the film introduces a moderate Fatwa that a marriage does not necessarily have to end if a wife has committed adultery. What matters most is sincere repentance and seeking Allah’s forgiveness. Ultimately, Dr. Halima repents without revealing her transgression to her husband, and they continue to live happily ever after.

On the other hand, the film falls slightly short in its technical aspects. Both sound design and editing are poorly handled. The continuity and costume use are also noticeably flawed. For instance, in one sequence, a messenger is seen meeting Dr. Halima on the company premises. However, moments later, the same messenger appears wearing a different outfit when she enters the office.

Regarding the actors, Maryam Ceeter, with her mature presence, is perfectly cast as Dr. Halima. She brings emotional depth, portraying both the confidence and vulnerability of her character. Ali Nuhu excels as Halima’s rigid husband. He gives a realistic performance, with his love for Halima subtly evident even as he distances himself from her. Aminu Momoh fully inhabits his dubious character, as he often does, using his charm and great comic timing.

Other supporting actors, including Baballe Hayatu and Hafsat Idris, are equally well-cast and perform commendably.

Overall, Dr. Halima is a compelling family drama that does full justice to its serious subject matter. While it may not be suitable for children, it is a must-watch for adult audiences. Rating: 3.5/5

Habibu Maaruf Abdu wrote from Kano via habibumaaruf11@gmail.com.

By Muhsin Ibrahim

Talk about Kannywood and, often, some people who are scarcely literate or have little knowledge of film will dismiss the entire industry as a sanctuary for good-for-nothing folks. But that is not always true.

I first met the late Malam Umar Maikudi (also known as Cashman) at the 2019 Kano Indigenous Languages of Africa Film Market and Festival (KILAF) conference. We connected immediately, discussed various issues, and ultimately exchanged phone numbers.

Although Malam was old enough to be my father, we maintained a relatively cordial relationship. He would send me some of his writings, and I would send him mine in return. We also met a few more times during subsequent editions of the KILAF conference. I am sure Alhaji Abdulkarim, the CEO of Moving Image and the organiser of KILAF, will dearly miss Cashman.

He was among the few brilliant individuals blessed with the talent to blend theory and practice seamlessly, and he excelled in both. 

Malam was a lecturer at Nuhu Bamalli Polytechnic, Zaria, and President of the Motion Picture Practitioners Association of Nigeria (MOPPAN). 

Malam was a bridge between Kannywood and Nollywood, as he featured in films from both industries. Many Kannywood viewers may not be very familiar with him, though.

Cashman only recently started featuring in more mainstream Kannywood productions, such as Gidan Badamasi and Labarina. As a lawyer in the latter (Labarina), who is expected to code-switch and code-mix, you can tell this actor is definitely educated. He was.

His death is a significant loss to his family, of course, and to the Nigerian entertainment industry. May Allah forgive his shortcomings and grant his loved ones the fortitude to bear the loss, amin.

Muhsin Ibrahim, PhD, is an academic and writes about Nigerian films. He can be contacted via muhsin2008@gmail.com.

By Abdullahi Mukhtar Algasgaini

Mallam Umar Maikuɗi (popularly known as Cashman), a lecturer at Nuhu Bamalli Polytechnic, Zaria, and President of the Motion Picture Practitioners Association of Nigeria (MOPPAN), has passed away after a prolonged illness. He died this evening at the Ahmadu Bello University Teaching Hospital (ABUTH).

Colleagues, associates, and the entertainment industry mourn his passing, praying for Allah’s forgiveness and for him to be granted Al-Jannah al-Firdaws.

Until his death, Maikuɗi was an active academic and a key figure in Nigeria’s motion picture industry.

Funeral arrangements will be announced by the family.

By Habibu Maaruf Abdu 

The social media in Northern Nigeria was recently abuzz with reports that Kannywood actress Fati Washa allegedly ignored and embarrassed some of her fans. This incident mirrors the infamy of certain Kannywood stars who are generally known for disrespecting their supporters. And that’s truly unfortunate!

Fans are the backbone of every entertainer’s success. Without their support, applause, and attention, there would be no fame, no endorsement deals, and no screen presence. So why do some Kannywood stars treat them with such indifference, even disdain?

Take a look at how global celebrities carry themselves. When Lionel Messi visited a restaurant in Argentina, he didn’t ignore the crowd of fans gathered outside. Despite being with his family, he waved, smiled, and acknowledged their love. 

In Bollywood, big stars like Salman Khan often stop for quick selfies or a simple wave to appreciate their fans. Even Hollywood legends like Keanu Reeves are celebrated not just for their talent but for their humility and approachability.

So, if celebrities from such massive industries, with far greater global fame on a scale Kannywood can only dream of, still find it important to respect their fans, what excuse do the local stars have?

I know for sure that not all Kannywood actors are like that. I met many of the industry’s A-listers, and my interactions with them have been nothing short of respectful. Perhaps it’s because I know how to read the room; when I sense a dismissive attitude, I simply stay away. But I’ve had some memorable encounters worth sharing.

Back in 2012, shortly after graduating from secondary school, a friend of mine wrote a film script. I suggested we visit Shy Plaza in Gadon Kaya, where, at that time, Kannywood filmmakers had a significant presence, to discuss it with a renowned producer. I was familiar with the area, having lived nearby.

We went there full of hope. The producer wasn’t around, so we waited. Then we saw Sadiq Sani Sadiq walk by. We decided not to approach him. But he came over and greeted us. He smiled, shook our hands, and made us feel seen. We were both under 20 at the time, nobodies, really, yet he showed us respect. From that day on, he earned my admiration and loyalty as a fan.

Over the years, my interest in Kannywood deepened. I attended many of their events and premieres. When Filmhouse Cinema opened at ShopRite in Kano, I was a regular attendee. I saw many Kannywood personnel there during movie promotions. Still, I rarely approached anyone—except Falalu Dorayi and Nazifi Asnanic, both of whom responded warmly and even posed for pictures with me.

There was also Aisha Humaira, the recent bride. I once saw her being approached by a young girl at the cinema premises asking for a photo. I was seated nearby when she turned to me and said, “If you don’t mind, please snap us.” I was amazed at her subtle show of humility.

Later, when I gained a bit of recognition as a film reviewer, I made the conscious decision to stop attending premieres, just to avoid being compromised by familiarity with filmmakers. I even turned down invites to special screenings, keeping my professional distance. At festivals and award events, I would often avoid conversations with actors altogether.

But something remarkable happened recently. It was at a UNICEF function, and thanks to our mentor Malam Habibu Aminu Lawan, I attended alongside Amina Bako and other social media influencers. We were seated right next to Kannywood veterans like Rabi’u Rikadawa, Umma Shehu, Umar M. Sharif, and others.

Because of actors’ reputation for snobbery, we decided to “maintain our steeze,” acting like we didn’t care. Interestingly, we ended up sharing laughs and engaging in light-hearted conversations. I even had an insightful discussion with Rikadawa about his acting prowess and the industry at large.

Therefore, based on my experience, I can confidently say that there are truly humble and grounded personalities in Kannywood, especially among the educated and veteran actors. The problem primarily lies with the naive, up-and-coming actors who mistakenly believe that arrogance equates to importance. And sadly, it doesn’t. It only exposes their insecurity.

In conclusion, Kannywood actors need a serious reality check. Fame is fleeting. The same fans you ignore today can forget you tomorrow. You have to respect your fans. They made you who you are.

Habibu Maaruf Abdu wrote from Kano via habibumaaruf11@gmail.com.

By Uzair Adam 

The Kano State Censorship Board has suspended 22 Hausa film series, including Dakin Amarya, Labarina, Gwarwashi, Dadin Kowa, Gidan Sarauta, and Manyan Mata, for allegedly violating the Board’s censorship regulations.

The suspension was announced by the Executive Secretary of the Board, Abba El-Mustapha, following a management meeting and internal consultations. 

According to a statement issued by the Board’s Information Officer, Abdullahi Sani Sulaiman, the action is part of a strategic effort to ensure that all films are subjected to censorship before public release, in line with existing laws.

The Board warned all producers and owners of the affected series to halt further streaming or broadcasting of the content via television or online platforms. 

It directed them to submit their films for censorship approval within one week, starting from Monday, May 19, 2025, or risk facing legal consequences.

Sulaiman further called on television stations and the Nigerian Broadcasting Commission (NBC) to support the Board’s enforcement efforts and help safeguard the integrity of the local film industry.

According to Sulaiman, the affected film series include:

1. Dakin Amarya  

2. Mashahuri  

3. Gidan Sarauta  

4. Wasiyya  

5. Tawakkaltu  

6. Mijina  

7. Wani Zamani  

8. Labarina  

9. Mallaka  

10. Kudin Ruwa  

11. Boka Ko Malam  

12. Wayasan Gobe  

13. Rana Dubu  

14. Manyan Mata  

15. Fatake  

16. Gwarwashi  

17. Jamilun Jiddan  

18. Shahadar Nabila  

19. Dadin Kowa  

20. Tabarmar  

21. Kishiyata

22. Rigar Aro

By Hadiza Abdulkadir

Nigerian scholar Professor Abdalla Uba Adamu has officially announced the publication of his new book, Hausa Cinema of Northern Nigeria: Cultural Imperialism and Censorship, a landmark work that explores the development, politics, and aesthetics of Hausa-language film across West Africa.

Published by Bloomsbury, the book is the product of over twenty years of research spanning multiple countries and academic disciplines. Rather than focusing solely on the popular commercial industry known as “Kannywood,” Adamu takes a broader approach, examining Hausa cinema in its many forms—including diaspora productions, documentaries, art films, and digital series.

“This is not just about Kannywood,” Adamu explained. “It’s about Hausa cultural expression wherever it exists, rooted in Islamicate values and media flows across the Global South.”

Completed in 2010, the manuscript faced delays and was almost shelved. However, a 2023 conference presentation and a meal hosted by Dr. Muhsin Ibrahim, where Adamu jokingly called the large waina “one terabyte,” in Cologne, Germany, reignited interest, leading to its acceptance and revision. 

The final version, praised by scholars such as Graham Furniss and Brian Larkin, will be released in July 2025.

Though priced at $130, Adamu plans to publish a locally accessible companion book titled Kannywood: A Brief Introduction later this year in Kano. It will be tailored for readers interested in a concise, less theoretical overview.

With this announcement, Hausa cinema gains its most comprehensive and scholarly treatment, firmly placing it in the global conversation about media and culture.

By Habibu Maaruf Abdu!

The Kannywood film industry has lost one of its most beloved pioneers. Veteran actor Abdullahi Shuaibu, widely known as ‘Baba Karkuzu,’ breathed his last on Tuesday, March 25, 2025, the 25th of Ramadan 1446.

He reportedly died at the University of Jos Teaching Hospital after a prolonged battle with illness. 

His demise comes nearly a year after the passing of the celebrated Kannywood actress Saratu Daso, who died on the 30th of Ramadan, 1445. 

A respected figure in the Hausa entertainment industry, Baba Karkuzu made his debut in the 1980s with his iconic drama ‘Karkuzu na Bodara,’ which earned him the stage name by which he became widely known. His unique acting style and contributions to the industry played a crucial role in shaping the early days of Kannywood.

However, Karkuzu had struggled with health complications for several years, which led to blindness before his death. Reports indicate that he had been facing significant hardship since 2018, prompting renowned Nigerian footballer Ahmed Musa to extend a helping hand by donating ₦5 million and gifting him a house.  

His funeral took place according to Islamic rites today, Wednesday, March 26, 2025, at his residence on Haruna Hadeija Street in Jos, Plateau State.

Karkuzu’s death signifies the end of an era in Kannywood, leaving a legacy that future generations will remember.

By Sani Mu’azu

Inna lillahi wa inna ilaihir rajiun.

It is with a heavy heart that I mourn the passing of my dear elder colleague, friend, and legendary actor Abdu Kano, famously known as Karkuzu.

I had the privilege of knowing Karkuzu for over 40 years, and I can confidently attest that he was an exceptional talent who left an indelible mark on the Nigerian film industry. His versatility as an actor was unmatched, effortlessly transitioning between comedic and serious roles with ease.

One of my most cherished memories of working with Karkuzu was on the hit Radio Drama, Karambana – a dawo lafiya. Paired alongside the iconic Kasimu Yero and the legendary Hausa Pop Singer Sani Dan Indo, Karkuzu, who played the role of Liba, brought his unique energy to the project, which became an instant sensation among truck drivers and freelance workers. Before then and even after, we worked together on several film projects, including the early version of the movie Amina, where he played the role of Sankira along with Pete Edochie, shot around 1998.

What struck me most about Karkuzu was his resilience and dedication to his craft. Despite facing numerous life challenges, including health issues, he continued to act well into his old age, inspiring countless young actors and actresses along the way.

As we bid farewell to this Nigerian film icon, I pray that Allah SWT grants his soul eternal rest in Jannat Firdausi. May his family, friends, and the entire Nigerian film industry find the strength and fortitude to bear this immense loss. Ameen.

Rest in peace, Mallam Karkuzu. Your legacy will live on through the countless lives you touched and the unforgettable characters you brought to life.

By Uzair Adam

Nigerian filmmaker Prince Daniel, popularly known as Aboki, has dismissed reports claiming he was rejected by Kannywood due to his religion and by Nollywood because of his regional background.

Aboki, the director of Mai Martaba, a film that has gained widespread recognition within and beyond Nigeria, described the reports as a misinterpretation of his remarks during a recent event in Los Angeles, California.

The epic Hausa film was among the entries at the just-concluded 97th Academy Awards, having been meritoriously selected by the Nigerian Official Selection Committee for the Best International Feature Film category.

In a statement issued on Tuesday, Aboki clarified that he never granted any interview making such claims.

“My attention has been drawn to publications suggesting that Kannywood rejected me because of my religion and Nollywood because of my region. First and foremost, I never made such statements in any interview,” he said.

He explained that while speaking during a question-and-answer session at Nollywood in Hollywood earlier this month, he discussed the challenges encountered while producing Mai Martaba and the journey to the Oscars.

Among the challenges he highlighted were security concerns while filming in the Northwest and financial constraints, particularly as a new director working with emerging actors.

He noted that during this discussion, he mentioned how the industry at times seemed divided in its perception of him and his work.

“At some point, the Kannywood segment of the industry seemed to view us as Nollywood, while Nollywood also saw us as Kannywood, simply because I am from the North,” he said.

However, he emphasized that this was misinterpreted and reaffirmed his deep connection with Kannywood.

“For clarity, Kannywood has never rejected me on the basis of ethnicity or religion. In fact, it has been my greatest pillar of support as a filmmaker,” he stated.

He further expressed gratitude for the overwhelming support he received from audiences during the film’s cinema release, as well as from industry professionals, both veterans and newcomers.

“I say with every sense of responsibility that I am a Nigerian filmmaker, though of northern extraction. I reside in Kano, where I practice my craft, springboarding from Kannywood. I have enjoyed immense support here, with no prejudice whatsoever,” he affirmed.

Aboki also reiterated his commitment to the growth of the industry and changing narratives about the North.

“I remain dedicated to working with my colleagues and the founding fathers of Kannywood to elevate our industry—telling our stories to the world and creating employment opportunities for our youth, far from the stereotypical portrayal of the North as a region of conflict and banditry,” he added.