Platinum Cinema

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 Habibu Maaruf Abdu

Since its inception, the Hausa film industry, aka Kannywood, has not been cinema-oriented. This is primarily due to the filmmakers’ lack of technology to make cinema-compliant productions and the negative perceptions of the cinemas by the industry’s immediate/target audience (the Muslim Hausa populace). Therefore, video film media (i.e. cassettes and CDs) became the cinema equivalent in Kannywood and remained its sole market. However, the industry later crashed after the scourge of piracy and the emergence of online video-viewing platforms, like Youtube, forced those video film media out of business.

Subsequently, many reputable production companies had to close shop or remain practically inactive. In contrast, some low-class and Chamama (comedy) producers kept on as their films are mostly cheaply made and targeted the masses who are less conscious of modern viewing facilities. It was until the establishment of Filmhouse Cinema at the Kano Shoprite that the film business starts sprouting up again. Big budgeted Kannywood movies, made with state-of-the-art technology, began to overflow the only multiplex cinema.

Also, as people accept and patronise the cinema more, comes a realisation of the need to enhance film shows. Thus, the industry signed a deal with some cinema owners in Kano to show some selected films during the 2018 Eid festival. However, there is a more profound development recently. Platinum, another multiplex cinema for screening Kannywood movies, was opened in Kano.

The emergence of these multiplex cinemas is a welcome development for Kannywood. We all know that it’s on the cinemas that film industries stand. If the mighty Hollywood and Bollywood, for instance, still retain cinemas as the prime platforms for releasing their films, there is no other way for the embattled yet up-and-coming film industry. TV stations and online platforms (Netflix, Amazon Prime, iRokoTV, Northflix, etc.) should be more beneficial for the audience in Diaspora, as proposed by a Kannywood scholar, Muhsin Ibrahim.

In addition, it’s high time we disregarded our anachronistic views against cinemas. These newly opened cinemas are, after all, modern and standard for all and sundry. Nor is it for thugs and whores. There is no smoking and drugs. They are multiplex, with each room having stylishly arranged rows of comfortable padded seats. They are peaceful places to get entertained and have fun in a completely different way from the open-air, single-screens we had before.

Our religious clerics should stop denouncing these cinemas. They should, instead, promote Kannywood in general for more decent and educated people to join the industry. Their bashings, often based on unfounded rumours, will never help matters. Kannywood has come to stay, and it’s better to have them in Kano, a more Islamic state, for the government to regulate their activities than elsewhere.

Finally, I emphasise what Muhsin Ibrahim suggests to our big men: instead of building a state of the art filling stations all around Kano, why don’t they construct cinema(s)? The market is there. They should conduct some feasibility research and invest in this business.

Habibu Maaruf Abdu writes from Kano, Nigeria. He can be reached at habibumaaruf11@gmail.com.