LAGOSFRINGE | In conversation with Nwamaka Chikezie
© 2023 Nwamaka Chikezie
Pushing the boundaries of unexplored themes, Nwamaka Chikezie invites us to discover her world through her acclaimed film ‘My Mama Na Ashawo’. Selected in multiple festivals, we joined her as part of LagosFringe which aims to be a gateway for those curious about the Nigerian artistic scene. Learn more about her progress as an emerging filmmaker.
Congratulations on being selected for LagosFringe! Can you share the inspiration behind your film and the story you aimed to tell?
The idea for this project originated from a personal experience the writer Brenda Ogbukaa had while shooting near a brothel where she saw a kid outside late in the night and asked him why he was out. He said “My mama na ashawo - she dey work” (My mother is a prostitute - she’s working). I was given this story by the writer and instantly fell in love with its rawness and honesty. I made this film to pay homage to honesty in the very raw sense of it. The film was shot and edited in a way that mimics our understanding of truth.
Your film explores themes of childhood, prostitution, and family. How do you approach these complex subjects, and what messages or discussions do you hope to evoke in the audience?
I am an ardent believer in indigenous stories and believe that by blending different forms of art such as audio, visuals, storytelling, etc. you can create a more powerful piece that can help in erasing the dangers of single stories. This film was created in a way that every word was spoken, and every scene was carefully considered and delicately woven into the foundation of truth that underlies the entire piece. Ultimately, I hope that this film challenges audiences to slow down and, on some level, listen and hear people talk about their realities which may be different from our own.
LagosFringe aims to bring art and film to the people of Lagos. How do you see the festival contributing to this mission and connecting with local audiences?
As I mentioned earlier, I am an ardent believer in indigenous stories, and it takes one to tell their own stories. Having a platform like Lagos Fringe is awesome in the way that we the filmmakers can create and go home knowing that there are organizations working to help widen the reach of Nigerian films to the Nigerian audience. It is a breath of fresh air.
© 2023 Nwamaka Chikezie | Annointed Augustine in ‘My Mama Na Ashawo’
As a filmmaker, how do you navigate the balance between addressing societal issues and creating engaging, accessible content for a broad audience?
I am exploring Africa beyond the news headlines, sound bites, and statistics. As a filmmaker, I am constantly seeking out stories for the global audience, not just Nigerians because the beautiful thing about the audio-visual medium is that it cuts across language and geographical barriers. There are stories with the potential of being authentic and universal with ambitious characters.
The success of your film has garnered attention. How has festival recognition impacted your career, and what opportunities or challenges have arisen from the film's acclaim?
The festival circuit for our film has been an incredible journey, and its impact on my career has been rewarding. I've had the chance to connect with fellow filmmakers, industry experts, and potential collaborators, expanding my professional network. It has undeniably propelled my career forward, presenting exciting opportunities for growth and collaboration. The Awards and accolades from some of the festivals have served as a form of validation for the hard work and dedication put into the project by everyone involved. I worked with the best Cast and Crew.
Childhood is a central theme in your work. How do you draw on personal experiences or broader cultural contexts to shape your portrayal of childhood in your films?
The innocence of childhood is a cherished and universally recognized aspect of human development. As children, we tend to express our thoughts and emotions with honesty and authenticity. There's a lack of pretence or social conditioning, making our interactions and expressions more genuine. That is where our head was in putting this project together. Also, this is a demography I am interested in, and believe they are hugely underserved in the Nigerian film space.
© 2023 Nwamaka Chikezie | Chukwurah Tonia in ‘My Mama Na Ashawo’
Your film reflects the growing influence of Nigeria in the industry. Can you share a pivotal moment in your career that has shaped your perspective as a filmmaker?
Making My Mama Na Ashawo and watching it take a life of its own beyond our expectations is a huge turning point in my career and has reinforced my belief that Nigerians and Africans still believe in authentic albeit uncomfortable stories.
Nigeria has a rich cinematic history. What's your take on the current state of Nigerian cinema, and how do you envision its evolution in the coming years?
I don’t even think we have started scratching the surface of the kind of stories we have to tell. While this is an advantage, it can also be a huge disadvantage if care is not taken. If we don’t put all hands on deck; filmmakers and audiences alike, we will sit on the side-lines and watch Oyinbo people come here, package our stories and experiences, and sell them back to us. Then we sit and complain about how badly their Oyinbo man’s Nigerian accent is! We have a rich history and the hope for the coming years is for us to reach inwards and unearth our raw stories.
Your film sheds light on societal challenges. How do you see the role of cinema in sparking conversations and driving change within the Nigerian and African communities?
Cinema in Nigeria and Africa has the potential to serve as a dynamic catalyst for change, fostering dialogue, shaping cultural identity, and addressing societal challenges. As filmmakers continue to explore diverse narratives and engage with pressing issues, the impact of cinema on sparking conversations and driving positive change is likely to grow. We must mirror our society, show the rot as well as the glossy stuff. How can people change if they know nothing about themselves? As an Igbo woman, I want to watch films with stories centering on what life is like for a Yoruba woman or any other woman of a different ethnicity. That is how I can know and resonate with the collective yet diverse experience of other Nigerians or Africans and that can be done through telling stories that speak to our collective human experience. We are more connected than we think, and the cinema is an integral powerhouse to spread this connection.
© 2023 Nwamaka Chikezie | On set of ‘My Mama Na Ashawo’
In navigating the film industry, what advice do you have for emerging Nigerian filmmakers who aspire to address societal issues through their work?
Be authentic. Start by identifying the societal issues that resonate with you. Your passion and commitment to the subject matter will be crucial in sustaining you through the challenges of filmmaking. Before diving into a project, conduct thorough research on the societal issues you plan to address. Understanding the nuances, historical context, and various perspectives related to the issues will contribute to the authenticity and depth of your storytelling. Humanize the issues by telling stories that resonate with the audience emotionally and please avoid overly didactic approaches that may feel preachy. When it becomes overwhelming, remember that addressing societal issues through filmmaking is a powerful and impactful endeavor. Your stories have the potential to raise awareness, inspire change, and contribute to a more informed and compassionate society.
Do you believe film schools are a necessity to enter the industry? Do you believe they have the capacity to bring young creators to a sort of standard in the industry?
All forms of education are important. But, in Nigeria, we don’t have enough film schools to preach about film schools. It is the reality. Most of the time the “standards” we know are the ones we learn on set through vibes and Insha-Allah. But, while standards are subjective, every filmmaker should arm themselves with the necessary knowledge to enable them to compete in the global market in any chosen department in the film industry; film school or not. There are numerous valuable resources readily available to all who seek them. I believe an organized “formal or informal” system needs to be put in place for young creators to learn not just by trial and error.
Can you walk us through the making of your film? Any complications or challenges in production?
Children will test you lol! ‘My Mama Na Ashawo’ is the first film our lead character, the talented Anointed Augustine has ever done. So, we had to do more work with rehearsals. One major challenge was getting locations that matched the story world. It was a collaborative search with our cinematographer Joshua Dauda linking us with a friend who helped us source some of the locations and our producer Brenda finding the location where the brothel was shot. They were miles apart and required a bit of travel, making us shoot a day longer than we would have shot if we had the locations closer.
Looking at the future, what projects do you have on the horizon, and are there specific themes or stories you are eager to explore in your upcoming work?
I like to talk about the elephant in the room. Stories that make us a bit uncomfortable but teach us so much about ourselves. I am currently developing my first feature. Makes me excited and mortified in equal proportion. But “even though upon still”, I believe my love for the craft shall prevail.
Thank you.
MY MAMA NA ASHAWO
| By Nwamaka Chikezie
On his first day of school, Tejiri, the son of a commercial sex worker is given an assignment to write about his parent’s profession.
