From December 10th to 13th, at Alliance Française, Lagos, the S16 Film Festival marked its fourth edition to welcoming embrace. Four years since its genesis (ideated by the S16 Collective trio of Abba T. Makama, C.J. “Fiery” Obasi and Michael Omonua), what persists is its pact of propelling Nigerian indie voices with dissenting artistic sensibilities to Nigerian and international audiences. Over the course of the 4-day event that included film screenings, post-screening conversations (adeptly moderated by Falana), networking during breaks and panel discussions— that distinctive passion for cinema was glaring across board.
As filmmakers seen as outliers, skeptical of accepting conventional approaches to storytelling, the S16 trio and by extension the festival’s selected filmmakers have a bottomless disregard for lazy and shoddy projects. They seek innovative solutions for storytelling and industry challenges like distribution.
The festival has expanded. In fostering the spirit of international exposure and collaboration, the festival brought two important international visitors: Delphine Jeanneret, to shed light on the Locarno Open Doors program starting in 2025 and Ana Camilla Esteves, festival director of Mostra de Cinemas Africanos, who took a masterclass on Festival Submissions and Strategies for Emerging Filmmakers. Interestingly, six unannounced projects have been officially selected to screen at the Mostra de Cinemas Africanos film festival in 2025.
S16 Film Festival has grown beyond its current habitat. This is evident from the packed screening hall throughout the event, particularly during the screening of Rugano Nyoni’s On Becoming a Guinea Fowl on the opening day. The S16 Film Festival community is stretching itself to accommodate as many dissenting filmmakers and voices as possible. Unperturbed about industry hurdles, S16 Film Festival shows us that the future, from this lane of the industry, is bright.
Below are mini-reviews of some of the films I saw at the festival.
Enyo (Reflection): Nneoha Ann Aligwe
Nneoha Ann Aligwe’s film follows the journey of Kosi (Amanda Oruh) and Ebuka (Jasper Wills Ebuka) experiencing a turbulent time in their relationship. The couple hope to work on their ruffled relationship on their getaway trip where they meet Adaugo (Onyinye Odokoro) and Nnamdi (Ifeanyi Okondu), a couple enjoying marital bliss with heartfelt inside banter. A fine blend of English, Pidgin English and Igbo, the linguistic choice of using Igbo predominantly sets the tone for the film’s cultural worldview and background which the sound further accentuates. The film won Aligwe the festival’s Viewers’ Choice Award.
Kpakpangolo: Nosazemen Agbontaen
Nosazemen Agbontaen’s film encourages viewers to think deeply to understand its visibly hidden subject matters. Agbontaen’s film is one that, for a wholesome appreciation of its depth, relies on previous knowledge. The film, however, on the surface, is a gentle and warm story of two young girls living their teenage years, learning the rhythm of their emotions and consciously and unconsciously making life’s decisions.
Echoes of the Heart: Arnaud Rwasangabo
Arnaud Rwasangabo’s film poses a question: How do you deal with distance, lovelorn, loneliness and unrequited love? Do you find solace in dating apps, a stranger’s touch, or music to fill the silence? These are some activities Rwasa (Rwasangabo) indulges in as he deals with a lover who isn’t reciprocating his commitment. The 14-minute short is written, directed, and edited by Rwasangabo who also takes on an acting role. What’s commendable about this is that adorning himself with multiple roles in the film doesn’t afford fatigue to step into the story. The muted tones of Rwasa’s room, sparse dialogue, empty streets and restaurants, and his silent demeanour align with the story’s tempo.
Reborn: Adeola Fadola
Written and directed by Adeola Fadola, the two-minute film draws audiences in as a well-scripted, directed, shot and edited commercial. Though adopting a commercial tone, narrator Basil Okache’s question—”Who are we?”—frames the film as an exploration of identity and culture. In one response, the voice said, “we plant faith and sow hope.”
Danse Macabre: Tobi Onabolu
Tobi Onabolu’s film is best described as a dramatised academic paper. It’s a genre-defying approach towards articulating the need for self-identity, measured movement towards the spiritual self and nurturing of connection to the spiritual world. The performative voiceovers and dance performances by Onabolu, who doubles as the writer and director are pleasing to the eyes.
Journey Mercies: Tomisin Adepeju
Tomisin Adepoju’s Journey Mercies trails Appreciation. In this new offering, the lead is yearning for home, Nigeria. How much this yearning is distinctively the director’s is a question deserving of a different interview piece. Shot on VHS camera, the film recalls fond nostalgia of growing up in a Nigerian community surrounded by music, care, love and prayers.
Leaving Ikorodu in 1999: Rashida Seriki
For a film set in 1999, it’s remarkable how the film tries to drain out modernity in Lagos. As admirable as its visual language and art direction are, the attempted statement of the film is stunted and unexpressed.
God’s Wife: Dika Ofoma
Dika Ofoma’s films have become a regular staple at the S16 Film Festival for three years. A Japa Tale in 2022, A Quiet Monday in 2023. Both films including his latest, ardently attempts to interrogate the lives of average Nigerians against the background of political, cultural and religious settings and issues. Beyond entertaining viewers with its witty dialogue and sedative movement, Ofoma’s films stir conversations around these topical issues. In God’s Wife featuring Onyinye Odokoro, he interrogates widowhood within an inherently patriarchal and catholic Igbo setting. Ofoma won the Rising Star Award at the festival.
Everything Lasts and Nothing Ends: Nosazemen Agbontaen & Rete Poki
Can there be a fine and non-toxic balance between Pentecostalism and queer relationships? This is an underlying question this co-directed short poses to viewers. Agbontaen and Poki’s film looks at the place of religion alongside its characters’ sexuality. There’s a commendable creative eagerness between Agbontaen and Poki who co-directed this short. Their creative collaboration gave the film its current shape.
Everything Must End: Uwana Anthony Churchy
Uwana Anthony Churchy’s short is made in honour of his late best friend. Made years after his passing, the film is Churchy’s documented grief. Everything Must End has in its title the universal acceptance of death as the ultimate end. And, in the film, there are spiritual marks sufficiently scattered around. From Bible verses used to the depiction of an agent of death, the film’s subject matter lures spiritual–reposed conversations.
Fluid Lagos: The Fluid Lagos Collective
The Fluid Lagos Collective comprises multi-disciplinary voices which include Justin Chima Unanka, Kammel Chukwu Obasi, Kenneth ‘Laboomz’ Donatus, Lateefah Mayaki, Morola Odufuwa, Nora Mandry, Peace ‘Dopay’ Olatunji, Ramon Shitta, Uwana Anthony Churchy, and Wami Aluko. From animation, dance, cinematography, editing and storytelling, the distinct artistic voice of each creative was safely deposited into the Fluid Lagos, the collective’s film that screened at the festival.
What does Lagos mean to you? For Lagosians and non-Lagosians, different answers will surface. The towering chaos and admittance of the creativity zest residents in the city will unify the varying responses. For The Fluid Lagos Collective, a group of diverse artists, Lagos is seen through the lens of water. In capturing water and bodies of water, the documentary-esque short features Osan Marine, a popular boatman on one of Lagos’s popular beaches, Tarkwa Bay. In Fluid Lagos, the film honours the water goddess as a metaphysical being and as an accompanying part of Lagosians’ daily reality.
Baptized by Fire: Kach Offor
When the trailer of Kach Offor‘s film was released ahead of the festival, it was impossible to not notice the fast-paced mannerisms of the editing. Watching the film at the festival, you could comprehensively capture the conscious editing choices and its intent: communicating the characters’ emotions. The film tells the story of Chuks (Chukwuemeka Chuks-Okeke) and Adamu (Riyo David), a drug dealer and their unfortunate rendezvous with Wasiu (Eric Nwosu.) From a political lens, the film explores police brutality, the lack of closure for victims of police violence, and the absence of accountability for exploitative officers. Beyond this, the film visually captures the rhythm of Lagos. The disarray on the road, the ear-splitting noise and endless movement feature elegantly in the film. The editing sequence which captures the dazed mindset of a drugged individual recalls Darren Aronofsky’s Requiem for a Dream.
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