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At this point, it is no news that fewer Nollywood films are getting global releases, something that had mostly become common in recent years thanks to Netflix and Prime Video. But with fewer “strategic” acquisitions by Netflix — and those limited to Africa — global audiences are left with only Circuits, the fledgling, proudly African streaming platform.
With fewer films to discuss, Nollywood Film Club has had to get more creative. Since their return from the new year in mid-January, topical stories and debates have taken centre stage of what people come to discuss during the now-shortened Twitter Space sessions.
In February, they got even more creative, with members coming together to discuss their favourite Nollywood soundtracks, top and least favourite blockbusters. In the same month, they threw it back even further into the past with Tade Ogidan’s 1998 supernatural drama Diamond Ring. With such a retro discussion, there was naturally a lot of conversation about how the film holds up today, and how it compares to what we currently have in Nollywood.
Diamond Ring, written, produced and directed by Tade Ogidan, was widely praised by the speakers for its “two stories in one” approach. Firstly, a sort of coming-of-age story set on a university campus, and then a second part described by some speakers as an “odyssey.” Spanning multiple Nigerian cities and even some scenes set abroad, a few speakers even likened its scale to an epic.
There was also praise for the acting — from Teju Babyface to Richard Mofe-Damijo and even the white actors, a rare find in Nollywood films. Motivations were clear, the plot developed smoothly, there were clear consequences for actions, and the dialogue felt natural — all of which made the world feel lived-in and relatable.
However, the speakers were mostly let down by the didactic ending. Although Lohi came to its defence, arguing that Nigerian parents needed it spelt out to them, because they could have easily blamed the children without acknowledging their role.
Ultimately, the attention to detail and what makes it uniquely Nigerian (even down to the minor characters, who play various archetypes that fit into and enhance the story) made the film shine. The discussion left speakers enthusiastic to dive into even more classics.
My (not-so) key lesson: We need the OGs to return and discuss how they made those films. Some questions came up that would have fit a nice Q&A session. I wonder if some answers might already exist on Archiv.NG. But then, getting them to actively discuss their classic films and the process behind them would be a real gem. Also, I wonder how long it took from ideation and development to the final draft of the script.
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