Kannywood

• Director: Ali Gumzak
• Producer: Abubakar Bashir Maishadda
• Screenplay: Jameel Nafseen
• Language: Hausa
• Company: Mai-Shadda Global Resources Limited
• Release Date: 28/01/2022

Mai Shadda Global Resources Limited, a film production company that recently emerged as Kannywood’s powerhouse, has produced many blockbusting comedies with the veteran director, Ali Gumzak. Their last release, Kayi Nayi, was the biggest hit of the previous year. However, as the new year arrived, they came in with another comedy entitled LAMBA.

The film is a social satire set against the backdrop of ‘Audio money’ (a slang term for the fake display of wealth). It tells how some three young men (Adam A. Zango, Umar M. Sharif and Ado Gwanja) flaunt false riches to impress the classy girls they meet on social media. They look for the girls who post their filtered, stylishly snapped pictures on the platforms.

Quite incidentally, the girls, too, are living under false pretences. They rent all the trendy clothes and latest phones they use. They hire everything from a dubious merchant, Salo (Aminu Shareef Momo), at any price. The unveiling of their true identity and what transpired later is shown in brilliantly executed hilarious scenes that get the audience laughing throughout.

The film bears some striking similarities to Makaryaci and Kalen Dangi (both directed by Ali Gumzak in 2017), but this doesn’t make it a clichéd one. It’s, in fact, somewhat of an unconventional comedy for having up to three choreographed song and dance routines. The songs are pretty melodious and well shot. But Zango’s dance in the last one, which has thumping music, impresses the most.

Also, due to the film’s need for multiple actors, the producer (Mai Shadda) didn’t cast his favourites (M. Shareef and Maryam Yahaya) alone. He, this time, featured Adam Zango alongside many others. This is particularly interesting for, until this film, the star (Zango) has not appeared in any big production since Karamin Sani (Dir. Falalu Dorayi, 2020).

Moreover, Ado Gwanja, Aminu Sharif (momo), Maryam Booth, Amal Umar and Aisha Najamu acted in pivotal roles. Dubbing artist-cum-actor, Sultan Abdurrazak and rising starlet Ummi Rahab also play supporting roles along with many new faces.

All the leading cast show great comic timing. Zango is larger than life, and Gwanja amuses with great gusto. M. Shareef shows a vast improvement as an actor. Aisha Najamu shines with her signature look, and the new faces seem promising. The credit should go to the director (Ali Gumzak), who handles them effectively.

In sum, though LAMBA lacks an innovative script, it’s an excellent comedy that succeeds in tickling the funny bone. It will surely entrance you and leave a long-lasting smile on your face. Watch it!

Habibu Ma’aruf Abdu wrote from Kano via habibumaaruf11@gmail.com.

By Saddam Ungogo

Light and Darkness (2018) is one of Kabiru Musa Jammaje’s Kannywood films in English. He is a fantastic filmmaker with ideas, but I always feel it isn’t a good idea to make such films. If it is something worth doing, Ali Nuhu would have made a few, Karan Johar would have made a Bollywood film in English. Instead, however, we saw indigenous films winning prestigious global awards.

At the Oscars, we even have an award category called ‘The Academy Award for Best International Feature Film’ (known as Best Foreign Language Film before 2020). It is given to feature films produced outside the United States with a predominantly non-English dialogue.

Directed by Hassan Giggs, written by Ilyasu Umar Maikudi and co-produced by Kabiru Musa Jammaje and Abubakar Bashir Maishadda, Light and Darkness is a story that revolves around Alhaji Balarabe Maikadara (Rabi’u Rikadawa), who is allergic to western education. The movie was set in an urban Hausa society of the 2000s, and it turned out to be a domestic drama with ‘education’ as its central theme.

Alhaji Maikadara was a well-endowed businessman. He married his second wife, Raliya (Rahma Sadau), with a promise to let her further her education, but after having her under his watch, he transgressed his end of the bargain. He had two grown-up children, Abba (Nuhu Abdullahi) and Basma (Maryam Booth), with his late wife. He chased Basma out of the house when she protested his intention to give her hand out in an arranged marriage. Instead, Basma preferred to go to school.

The film tries to identify the significance of education, paint it as light, parade the remonstrance of ignorance, and sketch it as darkness.

The film has good intentions, but it lacks preparation. Something tells me that the film cast was selected based on who they are or because they could speak English. Stories are supposed to call for actors.

Viewers were rushed through the storytelling, the story was stitched with anxiety, and the dialogues were incompatible with the character profiling.

Jammaje decided to be the line’s director, which I think was a blunder. He assigned uneducated characters to speak big grammar and talk with idiomatic expressions. Perhaps he was trying “to use the opportunity to teach English to viewers”, as he bragged in a Daily Trust interview on January 7, 2017.

Throughout the movie, I asked myself what audience the filmmakers had in mind while putting it together. Staged in an urban setting, written in English and with education (girl-child education included) as its cardinal message, this story was huge. Its target audience should be rural Hausa communities where there is a high level of out-of-school young people and children, where western education is still not condescended. If that is the case, the language used in transmitting this message must have spooked away from the suitable audience of the movie.

This is 2022. The movie was made in 2018. Maybe nobody would even care about this review, even the filmmakers themselves. Jammaje made many movies after this one, including The Right Choice, which his co-producer Maishadda called the “biggest Kannywood project ever in terms of finance”,…costing N35m.

The Right Choice (2020) was worth N35m. It featured top Nigerian stars from both Kannywood and Nollywood industries, such as Sani Mu’azu, Segun Arinze, Sola Sobowale, Nancy E.Isime, Enyinna Nwigwe and Ali Nuhu.

With The Right Choice, Jammaje Production must have learnt that they needed to be more pragmatic and made a complete Nollywood movie. Or, maybe, a Nigerianized film so that Jammaje could teach his beloved English language through his role as he would get educated cinema-goers lining up for his work anywhere around the world.

As for Hausa consumers like me, do not dare bring something like Light and Darkness ever again.

You might be promoting my culture with Light and Darkness, but honestly, you were killing my language!

Saddam Ungogo is a Kanp-based broadcaster and singer. He can be reached via candidsaddam@gmail.com.

By Habibu Maaruf Abdu

Since the middle of the previous week, the trending news on Kannywood has been revolving around a racy film entitled Makaranta. The Kano censorship board declares the film’s director Aminu Nasara wanted for releasing the uncensored film trailer, which embodies obscene content.

The trailer starts with a school setting, and a female voice is heard talking about jima’i (‘sex’) crudely without euphemism. Two female students are then shown conversing in a classroom where one of them advises the other in a vulgar dialogue as follows:

“Banda tsabar sakaci da dolanci kawai kina zaune har ya buɗe jaka ya ɗauki bireziya baki sani ba. Idan kikai wasa da wannan dolancin kina sakin baki wataran sai ya cire miki pant…”

“If not for sheer foolishness, why would you just sit there while he opened a bag and took the bra without you knowing. Unless you are careful, he would, one day, take your panties off…”

The aforementioned are just a few of the many vulgarities in the trailer. So, if the two-minute-long trailer alone is this bad, how do you expect the complete film to be? Males and females are even shown touching one another and licentiously dancing in some scenes!

No doubt, such despicable movies are a threat to the well-being of our society. They can negatively influence viewers, especially the young generation, and dent our beautiful reputation as the Hausa Muslim populace. A film is a reflection of the society where it’s produced. I, therefore, strongly condemn the immoral movie. Making such a film is insolent, and all those involved should be brought to book.

Although the film director is trying to dissociate it from the mainstream Kannywood, his claims are unacceptable because the film is mainly in the Hausa language. Moreover, many of its characters are portrayed as Hausa Muslims (We hear names like Luba, Saudat and Suwaiba). Our society, therefore, has every right to follow it up since it’s something which, they think, could tarnish their image. The director is thus subject to both public outrage and censors punishment. The National Film and Video Censors Board should collaborate with their Kano counterpart to ban this film and impose a total ban on all films of its kind.

I will conclude by commending the efforts of the Kano censorship board in sanitizing Kannywood. Moreover, I call on them to devise more extreme punishment in dealing with the perpetrators of immorality in the industry. This would serve as a deterrent to others.

Habibu Maaruf Abdu wrote via habibumaaruf11@gmail.com.

Director: Sufyan Lawal Kabo

Language: Hausa

Release date: 26-11-2021

Company: Islamic Film Empire

Cast: Musa Lawal, Ibrahim Hassan, Mahmoud Mukhtar, Fatima Lawal, Binta Miko, etc.

Most of the criticisms around Kannywood are rooted in its personnels’ attitude towards filmmaking. They seem to focus on irrelevant, modern love stories, neglecting serious topics. Their films are therefore accused of cultural aberration and promoting moral decadence. However, as the criticisms became louder, a production company, Islamic Film Empire, came to change the narrative with its movie titled Gari Guda.

Set in Northwestern Nigeria, Gari Guda explores social vices like banditry and kidnappings that bedevil the region. It commences with a scene of a bandit attack on a village, where they kidnap many people, including its Chief Imam, and take them to their hideout in Dunguru Forest.

There is Abdul (played by Musa Lawal) on another side. He is a family man who, after losing his job, becomes bankrupt and cannot cater for them. His fruitless search for another job gets him increasingly frustrated with life, and he decides to end it all. He goes far away to Dunguru for the execution but eventually finds himself in the bandits’ camp. However, after hearing his story, their kingpin, Jalo (played by Ibrahim Hassan), asks him to work as their cyber-man.

Would Abdul accept the offer or turn it down? Find out in the cinemas!

Gari Guda is, indeed, a powerful film, not only for dealing with a pressing issue but for doing that effectively. It is shot in suitable locations that perfectly capture Northern Nigeria’s ecology. This makes it a realistic portrayal of the region and its current condition.

The film is a socio-political critique of the Northern political elites. It depicts their abuse of power as the posits that as the primary cause of the terrible mess the region faces. This is suggested when Jalo tells Abdul that he holds an LL.B degree, and his inability to afford “Law School” makes him resort to kidnapping. The intention of Abdul to commit suicide also reiterates the misconducts unemployed citizens could engage in.

The film is, in addition, overtly didactic. Its portrayal of Abdul, who encounters troubles for throwing his parents away, clearly symbolizes the consequence of parental disobedience. There are also many instances where the director incorporates moral teaching into the dialogue. I salute him for the job well done, together with all the cast and crew members.

Nonetheless, the film’s plot progresses too slowly. And while some scenes are lengthy with unnecessary details, some important points are missed. For example, what transpired with the people kidnapped at the beginning remains unknown. The director also fails to strike a balance between education and entertainment. Except for Abdul’s comical father character, there is no comic relief – something to allow the audience to recover from the tensions and excessive gunshots – in the film.

In conclusion, Gari Guda enlightens and educates. It is typical of what you would expect from the “Islamic Film Empire”. Therefore, I recommend it for the serious-minded—rating 3/5.

Reviewer:

Habib Ma’aruf

habibumaaruf11@gmail.com

When an action movie has “Revenge” as its theme, the main focus is the “Avenger”. He is, at times, a lone survivor whose parents are brutally murdered, and his efforts to avenge their death often make the intriguing action scenes in such movies. As its title suggests, Avenger, the Kannywood English action film, is also not different. It’s a story of an avenger who vows revenge against the assassins of his family.

Jamal (M.M Haruna) is the last survivor of Alhaji Baffa Yaro’s family. He was in boarding school when his father, a gubernatorial candidate, was assassinated alongside his family members. His deceased father’s friend, Sani Mu’azu, provides refuge for him. Years later, Jamal grew into an Avenger, and Sani Mu’azu (his saviour who also trained him to be one) begins to give him the pictures of those who, according to him, are responsible for the assassination.

However, when the Avenger launches serial killings on them, he learns that they are innocent. Sani Mu’azu is the real antagonist but mischievously pulls the strings behind him. He is even the mastermind of the actual group behind the murder of the Avenger’s family. Avenger, therefore, shifts his target to the real perpetrators.

Having noticed the exposé of his true identity and that he is now the Avenger’s target, Sani Mu’azu hires professional hitmen to haunt the Avenger down and eliminate him. The Avenger’s encounter with them is conveyed in highly dramatic chases and choreographed action sequences. However, everything is not resolved when the film ends, and the phrase “to be continued” pops up on the screen.

Though a rehash of foreign films, Avenger opens on an engaging note. It begins with Sani Mu’azu, Abba El-Mustapha and Tijjani Faraga conspiring to kill the gubernatorial candidate. It then shifts to where the police are investigating the serial killings on prominent personalities by an unknown person, who is later found to be an Avenger, as he leaves similar transcription after each murder. But as the film expands, it slackens. The story proves contradictory. The narrative gets incoherent and somewhat confusing. Some unconnected scenes seem complementary as they are not serially arranged, and there are no proper techniques, not even intertitles, to clarify.

As an action film, its setting is also not fitting. So is the use of costumes and props, which is too poor. The cinematography is generally nothing to write home about. The action sequences are poorly crafted, and the editing is flawed. There are instances where dialogue is repeated, among other defects.

Compared with Kannywood’s previous attempts at action genre, like Aduniya (Dir. G. Galadima, 2014) and Gwaska (Dir. Falalu Dorayi, 2015), Avenger is much impoverished. It copies the storyline of Aduniya, while Gwaska has better production quality and a more effective setting than it has. Moreover, the English dialogue rendition is weaker than Jammaje’s “There is a way (2016)” and co.

Additionally, the portrayal of M.M Haruna as Avenger is unfit. He lacks the charisma of action heroes. The same goes with Ali Nuhu, who is portrayed as the boss of Ishaq Sidi Ishaq. The latter plays the role of the police officer in charge of the murder investigations. However, the reverse could have been better since Ali Nuhu is more agile and popular to make the required impact.

The ending is also outrageous. It shouldn’t have been inconclusive. Movies meant for the big screen shouldn’t be fragmented. But they are in Kannywood. The film in question and the previously released Sarki Goma Zamani Goma are typical examples. The filmmakers should either change or end up losing a large audience.

Finally, with all its negatives that clearly outweigh the positives, Avenger is still a watchable film for the suspense in its first few moments and Ali Nuhu and Sani Mu’azu’s eloquence in delivering English dialogue. I rate it 2/5.

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

By Muhammad Sabiu

In style similar to that of the popular Nigerian musician Davido, a Kannywood producer Lawal Ahmad also took to his Instagram and Facebook pages to announce his appeal for donations from his fans.

He said, “Today, I also want to be honoured by my fans courtesy of Prophet Muhammad (SAW),” He afterwards stated his account details, comprising the account number, account name and bank.

You may recall that Davido on Monday was able to raise more than one hundred million naira in less than 24 hours after asking, jovially, those whom he had given a “hit song” to send him money. As of the time of filing this report, money still hits his account.

The famous musician has been sharing his bank account dashboard screenshots, displaying his name and account balance, which significantly increases whenever he uploads a new screenshot.

This has become a new trend as many other social media users follow suit to appeal for money—though sometimes jokingly.

Lawan Ahmad could be the first person to have made such an appeal in the Kano-based Hausa film industry history.

Checks on the timeline of the producer carried out by the Daily Reality show that he has started receiving money, albeit much smaller amounts compared to Davido’s.

By Muhammad Sabiu

A famous Kannywood producer and former actress, Mansurah Isah, took to her social media accounts to lament how some southern Nigerian cinemas rejected the Hausa films.

She further complained about the government’s reluctance to support the films produced by the Kano-based Hausa film industry, Kannywood, and the inability to make the films as popular as those produced in other film industries in Nigeria.

Speaking in a 56-second video, she strongly questioned why Hausa movies are not popular all over Nigeria, except in just a section of the country, which, according to her, should not be like this.

“What did we Hausa producers do in Nigeria that our Hausa movies cannot be shown in cinemas all over Nigeria? But Yoruba movies will be all over; Igbo movies all over. Nigerian movies, too, are all over. So why is that we Hausa producers all left behind,” she questioned.

Though she didn’t mention anybody’s or agency’s name, Mansurah further solicited assistance, which she said should be by patronising films produced by the Kannywood film industry.

“Let us be assisted. You should make regulations. Display your language. Display your culture. You should love us. Make our films to be watched all over Nigeria. An English movie would be brought and shown in Kano, but a Hausa film wouldn’t be taken to Lagos and be displayed there. What is the reason?

Tacitly addressing people in power, she said, “We are the ones who support you. We neither insult nor defame you but we are still not developed. So what do you want us to do?

“I beg you in the name of God to help us and come up with regulations that will make Hausa films to be consumed everywhere in Nigeria.”

Kannywood is embattled with many tough challenges relating to cultural and religious issues, clichéd film content, monopoly of megastars, internal crises, among other problems critics and experts point out.

Masurah produced Fanan, a film whose songs have been trending on social media for several months. It recently showed in cinemas in Kano.

In recent months, no romantic Hausa song has captured the public attention as FANAN. However, the song’s movie was premiered on Friday, October 29, 2021, in Platinum Cinema (a newly inaugurated multiplex cinema in Kano).

The film opened to full halls across the new cinema and grossed approximately ₦1.25 million on its opening day, setting the record of being the first Hausa film to get this in one cinema. This remarkable success can undoubtedly be attributed to the popularity of the Fanan song and the distinctive marketing strategy adopted by its executive producer, Mansurah Isah, in promoting the film. But does it, on itself, merit this immense success? I watched it on Sunday, and here is my review.

Plot:

Fanan is a family drama that tells the story of an obedient wife, Fanan (Sabeera), and her husband, Kamilu (Yakubu Muhammad), a private company employee. The couple lives peacefully together with their only daughter Amira (Iman Sani Danja).

Later, their life is disrupted when Kamilu begins to maltreat Fanan and eventually divorces her after starting an affair with a wealthy woman, Madam Jessica (Rahama M.K). Jessica promises to marry him and facilitate his promotion to the rank of manager in another big company. However, she ditches him afterwards without fulfilling any of her promises.

Kamilu then tries to restore his marriage with Fanan, but his attempt proves in vain. Fanan is beyond his reach as she is now married to a business mogul, Alhaji Sammani (Sani Danja), whom she meets through his son, Fahad (Khalifa Sani Danja), a schoolmate of her daughter. Therefore, the jealous Kamilu filed a lawsuit against Fanan, seeking the return of his daughter (Amira) to him. However, he eventually drops the case after the girl narrates the insult he inflicted upon her and her mother while they were together during the court hearing.

Critique:

The film doesn’t entirely disappoint, but it’s not unique in any way. Both its artistic and technical aspects are only average. The story is predictable, and there are many gaps in the screenplay. For example, when Kamilu leaves his job, Madam Jessica doesn’t facilitate his new job application. Yet, he’s shown to have a connection with the company where she works. Again, Alhaji Sammani’s family background and how he ends up being single remains a mystery.

The interspersing of the title song also throws a spanner in the film. Fanan and Alhaji Sammani performed it before their marriage. Considering its lyrics, however, it would’ve had a better impact if performed after the wedding.

Regarding the cast, Yakubu Muhammad is the life of the movie because his performance stands out. Next to him are Rahama Mk and Sabeera. The latter is, particularly, for her good look. But while Sani Danja’s role deserves notice, his children, Iman and Khalifa, need to hone their skills as actors.

Finally, the fact that Fanan is a huge success doesn’t mean it succeeded on its own merits. It rides only on the popularity of its song and the hype around it. I rate it 2/5.

Habibu Maaruf Abdu wrote from Kano, Nigeria. He can be contacted via habibumaaruf11@gmail.com.

By Nasiru Tijjani

Doubtless, stealing is one of the social problems bedevilling the peace and stability of almost all human societies. Therefore, stealing means taking something away from a person, shop/store, etc., without permission and without intending to return or pay for it. The problem, needless to say, is known to every reasonable person who cares to look and discuss their societal issues. Quote me anywhere that no society can fully develop and excel in all spheres of life if its members are thieves, burglars or robbers. For clarity, thieves are persons who steal things, especially secretly and without using violence. Burglars usually get into a house, office, etc., especially by force, to steal stuff, while robbers steal property from a person or public place, especially using violence.

The rampant cases of stealing are gradually becoming a new normal in our society. The culprits are always employing different strategies to safeguard themselves against an unwarranted arrest by the security agencies and other community volunteers. The community members gradually become helpless and equally lose hope about when to live in peace and comfort with their property. I don’t need to justify anything here for you, or your brother might

Since time immemorial, stealing has been discouraged by Islam and Christianity. The duo has strongly warned their followers through a significant portion of scriptures that they should shun the attitude of taking someone’s property without the owner’s consent. Apparently, the act has been classified as taboo and unethical that can only be committed by the mannerless, heartless and idle good-for-nothing person whose faculty of reasoning is abysmal. The effects of their (thieves) actions negatively affect the peaceful co-existence of the entire society either by crippling the welfare of the people or creating an unresolved hatred and enmity.

What comes first on the list has to do with parents. To me, they should not be left blameless, for they have a role to play in the proper upbringing of their children. They have been saddled with the responsibility of meeting the needs of their children, right from appropriate education to marriage. Nowadays, children are left to stand on their own feet in all walks of life. Parents are gradually disowning the mandates of their children as enshrined in the religious and cultural provisions.

Coming next after the first is peer-group influence. Children usually commit crimes under the influence of friends. This is because they typically get to know the attitude of each other better during their friendship. Psychologists have identified imitation as one of the stages of cognitive development. Therefore, children effortlessly emulate the behaviour of their friends. A friendless child is safe for not associating with rotten eggs, for he is less likely to be influenced by peers.

It is a known fact that the care of children is being placed firmly within the domain of their parents. Therefore, they (parents) should ensure that they fulfil all the mandates saddled on them. They must be answerable for their children’s failure, either for poor upbringing or anything for that matter.

The influence of some films that are of no character-building is equally associated with the topic under discussion. For example, with the recent release of Kannywood seasons, youths learn different tactics of stealing and other unwanted behaviours. “A Duniya“, a new Hausa season produced by Tijjani Asase, is a classic example of such a film. Recently, the Kano State Censorship Board has cautioned its makers and asked them to reshape the season’s activities considering the negativity of some scenes.

The human being is a social animal that cannot live in isolation without associates. However, children/ youths should not be left under the control of friends. Instead, they need to be guided/assisted in choosing or deciding on whom to befriend/mingle with.

Besides, people should reduce their quest for materialism. For instance, youths should regulate their strong desire to possess smartphones, among other things. Parents and security personnel may begin to ask the owners to account for the source, originality and anything to do with the suspected phones or any other property.

In conclusion, stealing is a correctable problem like all other social vices. I can attest without any iota of hesitation that the above-stated recommendations will surely bring a lasting solution to the unwanted act if taken into consideration. Meanwhile, I fancy the idea of not forgiving the doers of the action, for they know not the purpose of being human.

Nasiru Tijjani, Gwaram Tsohuwa, Jigawa state. He can be contacted via tijjaninasiru@gmail.com.

Northern Nigeria’s Hausa film industry, Kannywood, has been at the centre of brainstorming discussions over the years. One of the most interesting is why film consumers are attracted to the industry and otherwise. So often, the analysis of such magnitude is drawn concerning the industry’s foreign and domestic rivals because they provide an alternative to what the industry produces, which directly affects its local market. And like in any other industrial conglomerate, the sustainable conduct and development of Kannywood as an industry thrive on the quality, affordability and viability of its products.

As the so-called king of the arrangement, it’s impossible to conquer any market without exploring the psychological drivers of consumer’s preferences. That said, the primary concern of the teeming film consumers who boycott Kannywood movies revolves around the appeal, quality and uniqueness of storylines and whether it connects with the inner cravings of a modern watcher. A film consumer demands an illusion, one that not only tells him “this is the movie he wants to watch” but also if “it’s the one he should be watching”. An illusion that challenges his status quo creates a reception for the new order and paves the way for a route to escapism. Arguably, many people watch films to escape from their core reality. This occurs either by consuming movies that aim to rediscover an old order. Such order seeks to reflect on the current order or ones that wish to rewrite the order itself in the forms of fantasy movies, futuristic science-fiction movies, historical fiction and nonfiction movies, among others.

In the case of Kannywood, it has done reasonably well in producing movies that reflect greatly on the dynamics of the current order. But then that’s an order of which its potential consumers happen to be physically part. In which case, most of the content would appear familiar and cheap, which will bore the consumers and hand them the warranty to look elsewhere. Meanwhile, Kannywood competitors have religiously developed the culture of challenging the essence of everything a watcher stands for. This makes them more viable, even if more costly than Kannywood, because they satisfy consumer’s utility.

Interestingly, Kannywood’s content has been profiled as the one that agrees with its watchers’ demand. This is indifferent to saying the industry produces only the content which its watchers want to consume. But if that’s any good, why has the industry been economically stagnating and remain vulnerable to its rivals’ invasion? To be fair, Kannywood and its competitors aren’t of the same financial muscle. This plays a vital role in the distinction of their products. However, it is equally valid to mention that all other industries rivalling Kannywood have, at some point, been where it is today. So the most crucial point is how did they move forward?

Revenue, which is the excuse of Kannywood in comparison to its rivals, in the context of production, is a bi-product of the initial measures that a producer put in place to ensure the success of his product. That’s to say, as far as the producer has the initial capital, what happens next is dependent on him. And start-up capital is hardly the problem of Kannywood producers. The actual problem is recouping the expenses and profiting from the venture.

If indeed, Kannywood produces only the films that’ll appeal to its watchers for fear of losing revenue, then it’s vivid that the industry perceives the film market as a consumer’s market rather than a producer’s market. This is perhaps why they produce movies that watchers ‘want rather than the ones the watchers’ think they want. And there’s a big difference between the two. Failure to dissect this difference creates a dilemma that’s so sensitive; it makes or breaks the possibility of any market dominance.

For instance, the romantic, singing and dancing genres that Kannywood produce at a more regular rate is what Hausa watchers want. But the more adventurous and dynamic content being delivered in other film industries are what Hausa watchers think they want – hence they rush to. And the ability to deviate the latter from the former ensures whether a consumer illusion is created or not. Illusion is vital in production because it makes people consume something believing that it’ll satisfy their utility when it won’t. But, instead, it’ll only make them crave for more. And the more is being craved, the better is the chance of getting addicted, and that’s the trap of every capitalist producer.

Hollywood and Bollywood industries come from well-equipped capitalist societies where consumer psychology is conquered. Down there, it’s a producer’s market. Hence, the curve of their revenue never stops rising. Their movies are regularly subjected to sequels and prequels, defending what the producer wants. In the build-up to the preface of his critically acclaimed novel, “The Godfather”, the great author Mario Puzo confessed that a producer’s girlfriend could demand a movie scene to be filtered out. And the consumers would watch nonetheless. In my opinion, there’s no bigger evidence of control. Which greatly unlocks creativity and unhindered filmmaking viscosity.

Kannywood, on the contrary, produces what annihilates the utility of the consumer instead of what’ll make him crave more. Capitalist experts assert that if a consumer gets what he asks for, he’ll be satisfied. And if he gets satisfied, he’ll not need the product again. That’s why a wise producer never allows consumers to ask for products. Instead, he creates the product questions for them. And in turn, answer the questions in a way that’ll make them even more curious. Kannywood does the opposite. Producers obeying the trend of narrowly imaginative consumers is why the watchers don’t find the films as unique as the foreign ones, which is also why the industry is painfully stagnating.

To clear doubts, how the dubbed versions of foreign movies are being consumed at an equal if not higher rate than Kannywood movies in its native domain should erase any iota of doubt on film market being producer’s market rather than consumer’s. For if it was consumer’s, who researched the interest of a villager in Kano before making a movie in Hyderabad, India, that enables him to watch the film with keen interest?

In the end, movie producers need to conquer the fear of losing the market. The film market is a producer’s market contrary to their belief. Agreeing with that would be a new phase for creative filmmaking. They should sharpen and unlock their imagination to produce what watchers would marvel at. Hausa-Fulani society is rich with contents that can create consumer illusion—ranging from history, culture, geography, economy, politics, anthropology, etc.

MA Iliasu writes from Kano State. He can be reached through his email: muhada102@gmail.com.