Kannywood

By Habibu Maaruf Abdu

For the Kannywood film industry, 2024 has been a remarkable year filled with unprecedented achievements and historic milestones. These include Ali Nuhu’s appointment as the Managing Director of the Nigerian Film Corporation and Rahama Sadau becoming part of the federal government’s Investment in Digital and Creative Enterprise Program (iDICE).

However, while the year was marred by the losses of veteran actress Saratu Gidado (Daso) and singer El-Muaz Birniwa, it also witnessed the emergence of fresh talent and a notable improvement in film quality. Big-budget productions like Nanjala and Mai Martaba achieved significant feats; Nanjala debuted in Turkey and the United States, and Mai Martabawas selected as Nigeria’s official entry for the 97th Academy Awards. Moreover, Sadau’s film Mamah was screened at the prestigious Red Sea Film Festival in Saudi Arabia.

Interestingly, despite the above-mentioned films’ successes, television and web series topped the charts in popularity throughout the year. Established series, such as Labarina and Manyan Mata, continue to reign supreme, with the latter’s instalment (Season 8, Episode 6) amassing over 1 million views on YouTube within 24 hours of its release in January. This success has paved the way for numerous new series. The following are the top 7 among them. Please note that the established series were not considered for this list.

1. Garwashi

Garwashi is arguably the most topical and stimulating series of the year. It confronts critical social issues such as widowhood, moral decay, reckless marriages and irresponsible parenting. The story mainly centres on Asmau/Ma’u (Fiddausi Yahaya), a widow who faces unrelenting adversity due to the cruelty of her in-laws. Her situation is further exacerbated by the greed and heartbreaking indifference of her father. The series is captivating and deserves praise for its engaging writing, intense drama, and realistic portrayal of everyday life. The actors deliver convincing performances, particularly Abubakar Waziri (alias Bado), who plays Asmau’s irresponsible father. His rendition of the Sokoto Hausa dialect is ultimately impressive. 

Additionally, the roles of Baba Lami (Balaraba Abdullahi), Gaddafi (Kabiru Sani), and Sameera (Aisha Humaira), among others, are outstanding. Co-produced by Umar UK and Fauziyya D. Sulaiman and directed by Yaseen Auwal, Garwashihas garnered widespread acclaim, generated buzz, and trended on social media. Other cast members include Yakubu Muhammad, Maryam Yahaya, Isa Adam, Hadiza Muhammad, Sabira Mukhtar, and Rukayya Sharada.

2. Gidan Sarauta

Premiered in 2023, Gidan Sarauta achieved greater popularity in 2024, becoming one of the year’s top series. This is because its episodes get no less than 600,000 views on YouTube weekly. The story follows a complicated love triangle involving two royal brothers, Prince Bello (Umar M. Shareef) and Prince Mu’azzam (Garzali Miko), and a poor daughter, Bintu (Mommy Gombe). Prince Bello initially hides his feelings for Bintu, treating her like a sister and even arranging her marriage to his brother Mu’azzam. Meanwhile, he marries Gimbiya Fa’iza (Aisha Najamu), his cousin whose father (also his uncle) holds the throne. The two couples live together in the royal household, where Bello and Bintu’s bond deepens despite being married to different partners. The drama escalates as Mu’azzam discovers their secret romantic exchanges, leading to intense confrontations and emotional fallout. The series features other compelling characters, such as Alhaji Mai Dala (Rabi’u Rikadawa), his wayward son Kaka (Daddy Hikima), and Tafida (Bashir Bala Ciroki), among others. It was produced by Abubakar Bashir Maishadda and directed by Ali Nuhu.

3. Allura Cikin Ruwa 

2 Effects Media’s Allura Cikin Ruwa revolves around Na’imatu (Ruky Alim), a charming young woman at the centre of attention with numerous men vying for her love. These include Maina (Yakubu Muhammad), Sadiq (Isah Feroz Khan), Dr Hashim (Adam A. Zango) and Alhaji Hadi Makama (Sani Danja). As the title suggests, Na’imatu is like a needle in a vast ocean, which Hausa wisdom says “only the fortunate can find”. Alhaji Hadi is that fortunate one, but he divorces her two days after marriage, adding complexity to the plot. Other characters in the series, such as Maina and his former wife (Fiddausi Yahaya), have interesting backstories that add depth to the narrative. The series features an ensemble cast, stunning visuals and evocative background music. It is also packed with twists and turns, which may hook the audience despite some minor flaws. Sani Danja produced the series, while Yakubu Muhammad directed it. Other casts include Aisha Najamu, Tijjani Faraga, Daddy Hikima, Amal Umar, Ramadan Booth, etc.

4. Darasi

Produced by Sadiq Shanawa and directed by Abubakar S. Shehu, Darasi stands out for its relatable themes, strong performances, and reasonable production quality. The series follows the lives of fresh graduates: Kabiru (Ibrahim Yamu Baba), Marwan (Shamsu Dan Iya), Sadiq (Sadik Shanawa), and Salma (Mommy Gombe), each navigating the challenges of life after graduation. However, Kabiru’s story turns dark after being heartbroken by his love interest, Rabi (Amal Umar), who leaves him for a wealthy son, Shehu Hutu (Abdul S. Tynkin). This betrayal drives him to join a secret cult, aligning himself with powerful influencers such as the corrupt politician Alhaji Audu Maye (Ali Nuhu) and the immoral tycoon Alhaji Maliya (Tanimu Akawu). As the story expands, events become intricately woven. The series is quite popular. It garnered widespread pre-release buzz thanks to promotional photos of Mommy Gombe and other cast members wearing NYSC attire.

5. Wata Rana a Kano 

Wata Rana A Kano is a 5-episode mini-series that addresses the pressing issues of thuggery and phone snatching, which have recently surged in certain areas of Kano State. It is exclusive to Arewa24 TV, unlike many other series that are also available on YouTube. The series exposes the heartlessness of corrupt politicians and their role in fuelling gang violence. It also explores the importance of community involvement in aiding security operatives in combating the problem. Besides its timely thematic relevance, Wata Rana A Kano stands out for its top-notch production quality. The cinematography is exceptional, with realistic portrayals of violence and bloodshed that leave a lasting emotional impact. Many viewers have confessed to crying during a particular scene where the character of Abba Jago (Daddy Hikima) kills Hassan (Adam A. Zango). Produced by Abubakar Bashir Mai Shadda and directed by Kamal S. Alkali, the series also features Mommy Gombe, Umar M. Shareef, Abdurrazak Sultan, Alhassan Kwalle, Abba El-Mustapha, Ali Nuhu, and others.

6. Zafin Nema

Sadik Sani Sadik and Tahir I. Tahir, known for their iconic roles in the Mati franchise as Mati and Lado, respectively, reunite in the topical comedy-drama titled Zafin Nema. The series explores themes of materialism and ambition through the story of two young men, Ilu (Sadik Sani Sadik) and Rabe (Tahir I. Tahir), from a poor background. The duo faces humiliation in their village, Tungan Barau, due to their poverty. Rabe’s father attempts to arrange his son’s marriage to Tala (Mommy Gombe), but her father rejects the proposal despite their familial ties. Similarly, Ilu loses his love, Saude (Maryam Yahaya), to the wealthy Alhaji Dangana (Shehu Hassan Kano). Driven by a desire for wealth, respect, and revenge, Ilu and Rabe embark on a journey to the city. Their misadventures unfold as they foolishly pursue get-rich-quick businesses. The series seamlessly weaves together humour and substance. The actors also deliver excellent performances. It was co-produced by Abdul Amart and Tahir I. Tahir and directed by Yaseen Auwal. Other casts include Al’amin Buhari, Jamila Nagudu, Minal Ahmad, Bello Mohammed Bello, Hajara Usman, Alhassan Kwalle, etc.

7. Umarni 

The series Umarni primarily deals with the issue of wife-mother-in-law relations in Hausaland. It explores the complex and often tense relationships, including jealousy and conflicts between them. In the series, Hajiya Binta (Saratu Daso) reveals her jealousy when her son Ahmad (Bilal Mustapha) prepares to marry his beloved Madina (Bilkisu Safana). She reduces the substantial trousseau he plans to take for the wedding and forbids him from living with his wife in their newly built home. Her intimidation continues while the couple lives with her in the family household. On the other hand, Salma (Sameera Sister) treats her mother-in-law (Asma’u Sani) poorly. Her husband, Sadik (Garzali Miko), initially sides with his mother but is eventually convinced to see her faults. The story evolves as new themes, characters, and conflicts are introduced. The series is generally enjoyable.

Umarni is likely the last film to feature the late veteran actress Saratu Daso. However, the rest of the cast comprises mostly rising stars who nonetheless deliver satisfactory performances. Seikh Isa Alolo directed it, while Naziru Dan Hajiya is the producer. Its second season, which runs during the writing of this review, was co-directed by Tijjani Mai jama’a.

By Habibu Maaruf Abdu

Kannywood actress and producer Rahama Sadau celebrated her birthday Saturday with an exciting announcement for her fans. She revealed on Instagram that her upcoming film, “Mamah,” will be screened at the prestigious Red Sea Film Festival in Saudi Arabia.

She writes: “Thrilled to announce that our film “MAMAH” will be screened at the Red Sea International Film Festival in Saudi Arabia! 🤭💃🏻 @redseafilm

“This is one great achievement as it marks the FIRST HAUSA MOVIE to be showcased at this prestigious international festival. A proud moment for us as producers and actors, and a huge leap forward for Kannywood as a whole. 🫶🏻🙌🏻”

Sadau, who recently appeared in a Bollywood film, is clearly inspired by Indian actors. These actors often use their birthdays to reveal exciting news to their fans, creating buzz and excitement around new projects. Sadau’s admiration for Indian cinema is evident, as she speaks fluent Hindi and cites Priyanka Chopra as her role model.

The actress also made history last year with her film Mati A Zazzau, which became the first Kannywood film to stream on Netflix.

The upcoming film, Mamah is co-produced by Abdul Amart and Rahama Sadau and directed by Toka Mcbaror.

It stars Adam Zango, Nafisa Abdullahi, Rahama Sadau, and Falalu Dorayi. 

The premiere is scheduled for December 9th, 2024, at 10:00 am at the Red Sea Culture Square, Cinema 4.

By Anwar Usman

Dr. Victor Okhai, a seasoned filmmaker and critic in Nigeria, decried that cultural imperialism has made people forget about Indigenous films, which has caused a significant setback in the local film industries.

This was made known during the Kano Indigenous Languages of Africa Film Market and Festival (KILAF) conference, which was held on Monday at the Faculty of Communications, Bayero University, Kano.

He explains that ” one thing about indigenous film is that it contains a variety of activities. One can see how a particular culture operates, their way of life, and other things contained within that particular culture that people cannot know without being portrayed in a local movie.”

Dr Okhai further added that people mainly rely heavily on American movies. As such, they ignore their own heritage and embrace the Western way of life, which later cultivates them and makes them behave in a particular way the filmmakers want.

He also asserts that “through local films, individuals within a particular culture can be able to know their roots, what their forefathers have done which they might not necessarily know.”

“Indigenous film serves as an important medium of explaining cultural heritage, an avenue for generating revenue and an important tool for entertainment,” Okhai stated.

By Habibu Maaruf Abdu

Nigeria has selected the Kannywood film ‘Mai Martaba’ as its official submission for the Best International Feature Film (IIF) category at the 97th Academy Awards, also known as Oscars.

The 15-member Nigerian Official Selection Committee (NOSC) confirmed in its official statement that the selection was made after a rigorous voting session.

Mai Martaba is a historical epic featuring 500 actors that showcases northern Nigeria’s rich cultural heritage. It tells the story of the succession struggle between competing claimants for the throne of the fictitious Jallaba Kingdom.

Reacting to the selection, the film’s director, Prince Daniel Aboki, expressed his delight, adding, “It is a privilege to represent our country at this prestigious global event.” 

He added, “Mai Martaba is more than just a story; it’s a celebration of our culture, struggles, and triumphs as Nigerians. We’re bringing the voices and stories of our people to the global stage, sharing the heart of Nigeria with the world.” 

The film, which stands as the most expensive Kannywood production, was also selected for the Septimus Awards in Amsterdam before its theatrical release in Nigeria in July 2024.

The Academy of Motion Picture Arts and Sciences (AMPAS), which organises the Oscars, confers the IFF Award yearly to a feature-length film produced outside the US with at least 50% non-English dialogue.

A shortlist of 15 finalists will be revealed on December 17, 2024, followed by the announcement of the final five nominees on January 17, 2025.

This marks the second time a Hausa film has been selected for the Oscars, following The Milkmaid (directed by Ovbiagele, 2020).

However, unlike The Milkmaid, whose Kannywood identity is disputed, Mai Martaba is a bona fide Kannywood production, proudly representing the Hausa film industry’s cinematic talent.

The 97th Oscars will be held on March 2, 2025, at the Dolby Theatre in Ovation Hollywood, Los Angeles, and will be broadcast live to over 200 territories worldwide.

• Production:    Jammaje production
• Producer:       Abubakar Bashir Maishadda
• Director:        Ali Nuhu
• Cast:               Sani Mu’azu, Ali Nuhu, Nancy Isime, Enyinna Ngwige, Rabi’u Rikadawa, Segun Arzine, Abba Al-Mustapha, Asabe Madak, Abba Zaki.

Nanjala, an eponymous and one of the most expensive movies in the Kannywood industry by Jammaje Production, is a breathtaking movie that explores and thematises patriarchal power, domination and mistreatment towards women gender. Nanjala, a leading character, is victimised by her chauvinistic father, who disbands her for being a female in favour of a male child, Dititi (Abba Zaki). Captain Jimmoh (Rikadawa) becomes her adopted father and helps to actualise her dream of becoming a renowned journalist.

Furthermore, Captain Sembene’s family is set on fire as his beloved son, Ditit, becomes a spoiled child, drug addict, thief and clubgoer. Plus, his other female daughter, Jarry, takes a leave from home for her father’s chauvinistic mistreatment. Falmata, another victim of Captain Sembene’s chauvinism, befriends her biological brother, Ditit, with a view to wed him.

Nanjala becomes a renowned and influential journalist who tirelessly fights and exposes corruption in the government. She encounters obstacles along the way from the authority. She is detained in cells for exposing corruption. Finally, she appears triumphant.

Mistreatment and domination are long-held traditions shown to women by a patriarchal world. Women, as chauvinists maintain, are disaster and second-class citizens who can’t contribute to one iota of life. In those days, women had to cancel their identities to have their voices heard—the same as Nanjala has to take a leave from a patriarchal home to attain her potential. 

Thomas Aquinas (1274) opines, “A woman is really an imperfect man… an incidental being … a botched man’’. Nanjala’s treatment by her father affirms Aquinas’s stance that women are imperfect and a botched to her male brother, Dititi. Plus, according to Baudelaire, “woman is natural, that is abominable’’ Some men consider women disgusting. This perception runs through Nanjala’s father, who finds the female gender abominable – divorcing Falmata’s mother for carrying a female unborn child, making life unbearable to Majuma (Asabe Madaki) and causing a great aspersion on Nanjal and Jarry, whom all are females. They have to leave their homes to feel at home.

The belief that women are nothing but second-class citizens, abominable and sex machines for men to exploit became prevalent during the Victorian period (1837-1901) and also in plenty of their literature. We see the fate of Susan Henchad, who is auctioned in Thomas Hardy’s The Mayor of Caster Bridge (1886), women who are sexually exploited by men at Sixa in Mango Beti’s Poor Christ of Bomba (1956) and Firdaus’s sexual abuse by men in Women at Point Zero (1975). Likewise, patriarchal domination doesn’t put a halt here but tries to silence any emerging powerful female voice. 

Women like Gorge Eliat (1919-1880), Gorge Sand (1904-1876), Charlotte Bronte (1816-1855), etc., succumb to patriarchal pressure and accept defeat to vie with men intellectually and literarily. Comparatively, Nanjala encounters the same treatment, where patriarchs try to silence her intellect and voice. They envy her fame, success, and education. Men are jealous of women’s successes, but Nanjala struggles and succeeds. 

For women to succeed in the patriarchal world, they have to be educated, pushed, and struggled. We see how women break the bonds. Li succeeds in The Stillborn (1984) via struggle and education, as Ada in Second-class Citizens(1974). Also, we see in the Kannywood movies- Hauwa Kulu (2019) where Hauwa (Hasana Muhammad) and Laila (Hadiza Gabon) in Manyan Mata (2023 succeed through education. However, Firdaus in Women at Point Zero (1975) and Nnu Egu in The Joys of Motherhood (1980) fail because they are illiterate or barely educated.

Meanwhile, Simone De Beauvoir (1908-1986) asserts that “males define what it means to be human, including what to be female. Since the female is not male”. Beauvoir maintains, “She becomes another”. Indeed, this derogatory portrayal has been born by females throughout many centuries. In the film, Nanjala’s father has this perception run in his blood. He evidently defines who a human being is to him, his male child, Ditti.  He loathes all his three daughters – Nanjala, Jarry, Falmata and Majuma because they are “others”. Women become secondary or non-existent players. 

Finally, Beauvoir asserts, “Women must break the bonds of their patriarchal society and define themselves if they wish to be a significant human”. This is what Nanjala does, and she becomes a “being” in the patriarchal society. Meanwhile, Kate Millet (1970) says, “A female is born, but a woman is created”. As Nanjala defines herself as a true human being, discarding the notion of femaleness in her, she creates womanness, as Millet (1970) puts it, through hard work, education, struggle, and boldness.

By way of conclusion, Nanjala mirrors patriarchal society and uncovers stereotypical portrayal of women as “others”, Second-Class Citizens, incidental beings, imperfect men, and abominable and other derogatory names forced women to accept by men. The film depicts the power of education and struggles as the only means for women to break the long-held tradition enjoyed by men and bury women’s intellect.

If not for education, Nanjala would have been buried alive like other female characters. The film is a clarion call to women to be educated, to disown being relegated to non-existent players or “others”. Nanjala succeeds and becomes a “human being”, whereas Majuma, Jarry and Falmata become second-class citizens.

Reviewed by Abba Musa Ibrahim. He can be reached via abbamusa6888@gmail.com.

Company: Blackville Media

Director: Prince Daniel (Aboki)

Producers: Aliyu Ahmad, Egor Efiok, Bature Zambuk, Shehu Bala Kabara

Language: Hausa

Cast: Adam A. Zango, Ghali Abdallah DZ, Auwalu Isma’il Marshall, Fatima Muhammad, Maryam Usman Shuaibu, Mukhtar Aminu etc.

Release date (Nigeria): 19-7-2024

It’s no longer news that TV series have recently dominated the Kannywood filmmaking sphere. However, Prince Daniel Aboki produced an epic period film titled Mai Martaba in a bold move to revitalize the film industry. The film, roughly based on the popular Arewa Radio drama series Kasar Jallaba, has generated immense excitement among fans eager to see the gripping story come alive on screen.

Made on a sweeping budget of over ₦125 million, Mai Martaba surpassed Nanjala (which had a budget of over ₦65 million) to become Kannywood’s most expensive production. But does it justify this substantial investment? I watched it on Sunday, and here is my review.

Mai Martaba is an exciting tale of a succession struggle among competing claimants for the throne of the Jallaba kingdom. The storyline unfolds through an omniscient narrator, beginning with a few flashbacks of the kingdom under the previous reign of the Agadashawa dynasty. Now occupied by the Jallabawa clan, a sacred decree secures the throne.

Before death, each king must name a successor from within the clan, ensuring the Agadashawas would never return to power. King Mu’azu honoured this legacy by naming Sanaya (Auwal Ismail Marshall) his heir, with a written agreement that Sanaya would one day pass the crown to Mu’azu’s son, Magajin Gari (Ghali Abdallah DZ). But Sanaya breaches the agreement and crowns his daughter, Princess Sangaya (Fatima Muhammad), as his successor, setting the stage for an intense power struggle.

Will Magajin Gari reclaim his birthright? Who is the other claimant to the throne? Can a female monarch win over the hearts of the Jallaba people? Find out in the cinemas.

The movie is generally captivating. However, with a short runtime of less than 90 minutes, the screenplay fails to do complete justice to the compelling story. It features little action scenes and ends quickly when it is supposed to be at its climax. For instance, there is a brave bandit kingpin, Shugaba (Adam A. Zango), whose brother was killed in the kingdom. He is in alliance with Magajin Gari. Driven by revenge, the two could have been shown in a fierce battle against the Jallaba kingdom, adding a dramatic action sequence to the film.

Also, as an adaptation of the Kasar Jallaba radio serial, apart from the setting and select character names, Mai Martaba shares minimal similarity with the original sourcing material. It’s somewhat like the American TV series House of the Dragons, where King Viserys appointed his female child, Princess Rhaenyra, as heir to the throne. The theme of ‘succession war’ is also prominent in many other local and international movies.

However, Mai Martaba remains a satisfactory period drama, boasting a spectacular setting and near-authentic period costumes. It may not be the most engaging Kannywood epic, but it could be the best in general production quality. Its exceptional cinematography and technical excellence is a breakthrough in the Hausa film industry. I salute the director, executive producer, and all other crew members.

The cast should also not be forgotten. Though it consists of new actors, they deliver impressive performances with good dialogue rendition. Ghali Abdallah DZ stands out as the ambitious Magajin Gari, plotting political machinations to get the throne. As Princess Sangaya, Fatima Muhammad was not given much scope but showed confidence in every scene she featured. Adam A. Zango (Shugaba) and Auwal Ismail Marshall (Sarki Sanaya) also deliver solid performances, fitting their roles perfectly.

Overall, Mai Martaba sets a benchmark for cinematic excellence in the Kannywood film industry. It’s a lavish epic film that justifies its hefty price tag. I strongly recommend it. Rating: 3.5/5.

Habibu Maaruf Abdu wrote from Kano. He can be reached via habibumaaruf11@gmail.com.

By Uzair Adam Imam 

The highly anticipated movie ‘Mai Martaba’ (Your Highness) premiered in Kano on Friday, drawing a large crowd of enthusiastic fans. 

The film, directed by Prince Daniel (Aboki), is a historical epic showcasing northern Nigeria’s rich cultural heritage.

Produced with a budget of over N25 million, ‘Mai Martaba’ features a cast of 500 actors, including Kannywood stars Adam A. Zango, Shugaba, Ghali Abdullah DZ, and Muktar Aminu Haruna. 

The movie tells the story of an ancient kingdom’s rise and fall, exploring themes of power, love, greed, and betrayal.

According to the producer, Prince Daniel Aboki, the movie aims to bridge the gap between Kannywood and global filmmaking standards. 

With 99.9% of the actors being new entrants, Aboki believes this move will expand the value chain of the creative industry in northern Nigeria.

‘Mai Martaba’ has already been nominated for international awards, including the Septimius Awards in Amsterdam. 

The movie’s success was believed to be a testament to the growing talent and innovation in the Kanywood film industry.

By Anas Abbas

A Kano Islamic scholar, Sheikh Aminu Ibrahim Daurawa, stated that Hausa films can be important in shaping society.

He stated this at a symposium on Hausa film, culture, religion, among others, which was held via Zoom on Wednesday, July 10, 2024.

It was attended by other academic scholars and notable figures.

During the event, Sheikh Daurawa was quoted as saying, “We cannot stop Hausa film in our society; rather, we should use it to bring positive change , especially in our politics, economy, and even social lives.”

He encouraged the academics to use the medium to promote positive change, saying, “let the academic intellectuals bring film stories that will sharpen and change people’s behaviour.”  

Sheikh Daurawa also announced that Hisbah will venture into film production, focusing on stories that align with Islamic Shari’ah.

This move aims to promote values and principles that align with Islamic teachings. 

The symposium participants engaged in lively discussions on the potential of Hausa films to influence culture, religion, and societal values. 

The symposium featured a diverse range of speakers, including Professor Abdallah Uba Adamu from the faculty of communication at Bayero University, Kano; Prof. Aliyu Muhammad Bunza from the department of Nigerian languages at Usman Danfodiyo University, Sokoto; Dr. Hadiza Salihu Koko from Shehu Shagari College of Education, Sokoto, and Prof. Ibrahim Mulumfashi from the Department of Nigerian Languages at Kaduna State University, Kaduna. 

The event tried to potray the need for responsible content creation and the importance of leveraging media for positive impact. 

Sheikh Daurawa’s call to action and Hisbah’s entry into film production are expected to spark a new wave of creative and values-driven content in the Hausa film industry.

Company: Jammaje Productions

Director: Ali Nuhu

Producer: Abubakar Bashir Maishadda

Language: English

Cast: Nancy Isime, Sani Muazu, Sola Sabowale, Ali Nuhu, Enyinna Nwigwe, Rabi’u Rikadawa, Segun Arinze, Abba el-Mustapha, Asabe Madaki, Abba Zaki, etc.

Release date (Nigeria): 16-6-2024

After successful screenings in Turkey and the United States, the reportedly most expensive Kannywood movie, Nanjala, has finally hit our domestic screens. The movie is a groundbreaking attempt to bridge the gap between Northern Nigeria’s Kannywood and “mainstream” Nollywood by bringing actors from both industries together in a neutral setting and on an equal footing.

The film narrates the story of Nanjala (Nancy Isime), whose father, Captain Sembene (Sani Muazu), harbors a deep-seated disdain for female children. He, therefore, neglects his three daughters, focusing his care only on his son, Dititi (Abba Zaki). Nanjala has been a voracious reader with dreams of becoming a journalist since her childhood. However, her father’s constant discouragement makes his friend, Captain Jammoh Jummoh (Rabi’u Rikadawa), adopt her to help her realize her dreams.

Years later, Captain Sembene’s family falls apart. His favorite son, Dititi, becomes a drug addict, and his daughter, Jarry, leaves home, fed up with his mistreatment. Meanwhile, Nanjala achieves her dream of becoming a journalist but encounters problems with people in authority who want her to stop exposing their corrupt government.

How does the story unfold from there? Find out for yourself at Platinum Cinema.

The film addresses themes of women’s empowerment, the endurance of the human spirit, corruption, and moral decadence. It debunks the chauvinistic belief that female children are mere burdens to their parents and incapable of achieving greatness. We see how Nanjala suffers, initially at the hands of her chauvinistic father and later as a journalist hunted by a corrupt government. Despite these challenges, she overcomes her fears and insecurities to eventually emerge triumphant.

Nanjala is indeed a compelling film that has enough to hold viewers’ attention throughout its runtime. However, while it may lack attention-grabbing twists and turns, the wonderfully constructed screenplay and perfect use of flashbacks make it an enjoyable experience that you wish would never end. The cinematography is also spectacular, fully doing justice to the film’s scale. I haven’t enjoyed any Kannywood movie as much as this one recently. One must applaud the makers for their courage and financial strength in bringing such a big project to life.

The eponymous character seems to be inspired by Kenyan political analyst and activist Nanjala Nyabola. She also shares similarities with a character played by actress Miriam Osimbo in the Kenyan comedy series Hullaballoo Estate. Therefore, the film is likely to resonate with a broad African audience for that reason, and for its setting (a fictitious East African country), casting, character names, and universally relevant thematic preoccupations.

The film also deserves distinction marks for its English dialogue. The diction and flow of words are exceptional. What is even more interesting is how the Kannywood actors deliver their lines as flawlessly as their Nollywood counterparts in the cast. Thanks to Mallam Kabiru Musa Jammaje, the executive producer who pioneered the trend of “Kannywood films in English.”

In terms of performances, Nancy Isime fully immerses herself in the character of Nanjala and plays it exceptionally well. Sani Mu’azu is excellent as her chauvinistic father, delivering his dialogue with expressions that prove his acting skills. Rabi’u Rikadawa will win your heart as Nanjala’s foster father, who stands by her through thick and thin.

Asabe Madaki (Majuma), the character of Jarry, and Abba Zaki (Dititi) are first-rate as Nanjala’s siblings, but their mother, played by Sola Sobowale, does not live up to expectations. However, Enyinna Nwigwe is admirable as an accomplished author who later becomes Nanjala’s love interest. Segun Arinze, Ali Nuhu, and Abba el-Mustapha all shine in their brief roles. But it’s Hajara Haidar (Falmata) who will impress you with her adorable looks and fluent English, giving her small role a huge impact.

In conclusion, Nanjala has opened a new page in Nigerian cinema. It is a “Pan-Nigerian” film that will resonate across the country and beyond. I strongly recommend this insightful and inspiring film to every parent, young ladies, and, of course, anyone who enjoys seeing Africans speaking English on screen.

Habibu Maaruf

Kano, Nigeria abduhabibumaaruf11@gmail.com.

By Prof. Abdalla Uba Adamu

Recently, an extremely prestigious academic journal requested that I review a film made by a Nigerian. I was surprised, as that is Muhsin Ibrahim’s forte. Further, I really don’t watch Nigerian films, aka Nollywood, personally preferring African Francophone directors. Nevertheless, I agreed to do the review. 

However, the link they sent for the film was password-protected. I informed them, and they requested the filmmaker to send the password. Being a request from a highly prestigious journal, he sent the code, and I was able to get on the site and watch the film online. I was surprised at what I saw and decided to delve further into these issues. Before doing that, I wrote my review and sent it off. The film, however, set me thinking. 

Like a creeping malaise, Nollywood directors are rearing their cameras into the northern Nigerian cultural spaces. Again. The film I reviewed for the journal was “A Delivery Boy” (dir. Adekunle Adejuyigbe, 2018). It was in the Hausa language. None of the actors, however, was Hausa, although the lead actor seems to be a northerner (at least from his name since an online search failed to reveal any personal details about him). 

Nothing wrong with that. Some of the best films about a particular culture were made by those outside the culture. Being ‘outliers’, it often gave them an opportunity to provide a more or less balanced and objective ‘outsider’s perspective’ of the culture. Alfonso Cuarón, a Mexican, successfully directed “Harry Potter and the Prisoner of Azkaban” (2004), while Taiwanese director Ang Lee did the same with “ Brokeback Mountain” (2005), even earning him an Oscar. 

In 2006 Clint Eastwood, an American, directed “Letters From Iwo Jima.” The cast was almost entirely Japanese, and almost all of the dialogue was in Japanese. It was very well-received in Japan, and in fact, some critics in Japan wondered why a non-Japanese director was able to make one of the best war movies about World War II from the Japanese perspective. Abbas Kiarostami, an Iranian filmmaker, directed his film, “Certified Copy” (2020) in Italy, which contained French, Italian, and English dialogue starring French and British actors. 

British director Richard Attenborough successfully directed Ben Kingsley in the Indian biopic Gandhi (1982). The film was praised for providing a historically accurate portrayal of the life of Gandhi, the Indian independence movement and the deleterious results of British colonization of India. It took away eight Oscars. American director Steven Spielberg’s “Schindler’s List” (1993) on a German, Oskar Schindler, was equally a powerful portrayal of an auteur genius by a “non-native”. The film won seven Oscars. 

In each of these examples, the directors approached their subject matter with a clean, fresh and open mind that acknowledges the cultural sensitivities of the subject matter. My point is that a person, outside of a particular cultural context, can make sensitive films that portray the culture to his own culture as well as other cultures. That is not, however, how Nollywood plays when it focuses its cameras on northern Nigerian social culture. Specifically Muslims. 

I just can’t understand why they are so fixated on Muslims and the North. If the purpose of the ‘crossover’ films (as they are labelled) they make is to create an understanding of the North for their predominantly Southern audiences, they need not bother. Social media alone is awash with all the information one needs about Nigeria—the good, the bad and the ugly. You don’t need a big-budget film for that. Or actors trying and failing to convey ‘Aboki’ accents in stilted dialogues that lack grammatical context. 

Yet, they insist on producing films about Muslim northern Nigeria from a jaundiced, bigoted perspective, often couched with pseudo-intellectual veneer. To sweeten the bad taste of such distasteful films, they pick up one or two northern actors (who genuinely speak the Hausa language, even if not mainstream ethnic Hausa) and add them to the mix, believing that this will buy them salvation. For southern Nigerians, anyone above the River Niger is ‘Hausa’. 

They started in the early 2000s, and people just ignored them. The directors then included Oskar Baker (Ɗan Adamu Butulu, Abdulmalik), Yemi Laniyan (Makiyi, Uwar Gida), Tunji Agesin (Halin Kishiya), Matt Dadzie (Zuwaira), I. Nwankwo (Macijiya) and many others. These came on the heels of the massive success of “Sangaya” (dir. Aminu Muhammad Sabo, 1999) when this particular film opened up the northern Nigerian film market. 

Those Nollywood producers jumped into cash on the popularity of Hausa films and made their own for northern markets. For the most part, these early ‘crossover’ films that I refer to as ‘Northern Nollywood’ were fairly mild and evoked no reaction. They were still rejected, as the Hausa can be the most discriminatory people you can come across. If you are outside their cultural universe, you remain there. Forever. 

The few Kannywood actors eager to be seen on the ‘national stage’ allowed themselves to be used to deconstruct Islam and Muslims on the altar of filmmaking in subsequent Northern Nollywood films. Let’s not even talk about character misrepresentation, which Muhsin Ibrahim has written extensively about. In these scenarios, the usual tropes for northerners in Nollywood films is that of ‘Aboki’ (a term southern Nigerians believe is an insult to northerners, without knowing what it means), ‘maigad’ (security), generally a beggar. If they value an actor, they assign them an instantly forgettable role rather than a lead. Granted, this might be more astute and realistic marketing than ethnicity because it would be risky to give an unknown Hausa actor a significant role in a film aimed at southern Nigerians. 

A few of these types of portrayals in Nollywood included Hausa-speaking actors in films such as The Senator, The Stubborn Grasshopper, The World is Mine, Osama Bin La, Across the Border and The Police Officer. 

When Shari’a was relaunched from 1999 in many northern Nigerian States, it became an instant filmic focus for Nollywood. A film, “Holy Law: Shari’a” (dir. Ejike Asiegbu, 2001) drew such a barrage of criticism among Hausa Muslims due to its portrayal of Shari’a laws then being implemented in northern Nigeria that it caused credibility problems for the few Hausa actors that appeared in it. With neither understanding of Islam nor its context, the director ploughed on in his own distorted interpretation of the Shari’a as only a punitive justice system of chopping hands, floggings, and killings through foul-mouthed dialogue. As Nasiru Wada Khalil noted in his brilliant essay on the film (“Perception and Reaction: The Representation of the Shari’a in Nollywood and Kanywood Films”, SSRN, 2016) “the whole story of Holy Law is in itself flogged, amputated and killed right from the storyline.”

“Osama bin La” (dir. MacCollins Chidebe, 2001) was supposed to be a comedy. No one found it funny in Kano. Despite not featuring any northern actor, it was banned in Kano due to its portrayal of Osama bn Ladan, then considered a folk hero. The film was banned to avoid a reaction against Igbo merchants marketing the film. I was actually present in the congregation at a Friday sermon at Kundila Friday mosque in Kano when a ‘fatwa’ was issued on the film. Even a similar comedy, “Ibro Usama” (dir. Auwalu Dare, 2002), a chamama genre Hausa film, was banned in Kano, showing sensitivity to the subject matter. 

The reactions against crossover films seemed to have discouraged Nollywood producers from forging ahead. They returned in the 2010s. By then, northern Nigeria had entered a new phase of social disruption, and Nollywood took every opportunity to film its understanding of the issues—sometimes couched in simpering distorted narrative masquerading as social commentary—on society and culture it has absolutely no understanding of. 

In “Dry” (dir. Stephanie Linus, 2014), the director developed a sudden concern about ‘child marriage’ and its consequences. Naturally, the culprits of such marriage, as depicted in the film, are sixty-year-old men who marry girls young enough to be their granddaughters. The director’s qualification to talk about the issue (which was already being framed by child marriage controversy in the north) was that she has ‘visited the north’ a couple of times. With the film, if she could get at least “one girl free and open the minds of the people, and also instruct different bodies and individuals to take action, then the movie would have served its purpose.” The ‘north’ was living in darkness, and it required Stephanie Linus to shed light on ‘civilization’. 

 “A Delivery Boy” (dir. Adekunle Adejuyigbe, 2018) that I reviewed was about an ‘almajiri’ in an Islamic school who was kidnapped from the school, to begin with and repeatedly raped by his ‘Alamaramma’ (teacher). The almajiri somehow acquired sticks of dynamite to create a suicide vest and vowed to blow himself up—together with the teacher. The Alaramma in the film lives in an opulent mansion, far away from the ‘almajirai’. In this narrative universe, the ‘almajiri’ do not learn anything and are unwilling rape victims of their teaches who actually kidnapped them and forced them into the schools. 

“The Milkmaid” (dir. Desmond Ovbiagele, 2020) evokes the idealistic picture of a Fulani milkmaid and became a basis for a Nollywood film. Instead of focusing on the political economy of the Fulani milk trade, the film focused on the trope of terrorism. “The Black Book” (dir. Editi Effiong, 2023), touted as ‘Nigeria’s John Wick’ shoots a significant portion in ‘the north’ – with ‘Islamist’ hijab-wearing females touting assault rifles hidden underneath their hijab. “Jalil” (dir. Leslie Dapwatda, 2020) visits the recurrent theme of kidnapping for ransom. In the north, of course. 

Then came the latest, “Almajiri” (dir. Toka McBaror, 2022). Claimed to be a true-life story (although it is not clear whether it happened to specific people or based on what the director believed to be a common event), it featured muscle-bound badass types of thugs with guns and dreadlocks as Almajirai. The film reinforces the southern Nigerian trope of any beggar in the north being an Almajiri. Such ‘almajiris’ are kidnapped and sold into virtual slavery and horribly abused. The idea is to blame the parental irresponsibility of northerners. 

For southern Nigerians, especially the Nollywood crowd, an ‘Almajiri’ is a beggar, a product of a failed education system, a terrorist, a bandit, and an ‘aboki’. They use concocted figures bandied about by alphabet soup agencies to proclaim ‘over 10 million almajiri are out of school’ and, therefore, twigs of the terrorism inferno. How can someone who has been part of a system of education for over half a century be considered out of school? But for Nollywood, if it is not ABCD, then it is not education. 

“Northern Nollywood” films are the precise reasons why there will ALWAYS be different film cultures in Nigeria. Kannywood talks to its publics, happily churning out now TV shows that address issues it deems relevant—in its own way. Both the northern and southern parts of the country (covering the three major languages) were actively engaged. However, they were mutually non-legible to each other. This was essential because they operate on virtually opposing cultural mindsets – making the emergence of a truly “Nigerian cultural film” impossible. 

Quite a few writers seem to suggest that Kannywood is a ‘subset of Nollywood’, and indeed, many would prefer for the term Kannywood (created in 1999 by a Hausa writer) to be dispensed with and replaced with Nollywood (created in 2002 by a Japanese Canadian writer). It is to protect our cultural representation in films that I stand as a lone voice in advocating for a ‘Hausa Cinema’ to reflect the cultural universe of the Hausa.

Professor Abdalla Uba Adamu can be reached via auadamu@yahoo.com.