In 2022, when I attended and wrote about the S16 Film Festival, I closed with this reflection: “Like the closing film of the festival, Nollywood should know that the S16 festival isn’t seeking its Burial but creating a pathway for the Resurrection of cinema culture.” Two years later, the imposing strides and achievements of Nigerian indie filmmakers have proven that sentence undeniably true. From December 10th to 13th, the cozy hall of Alliance Française, Lagos will not only accommodate Nigerian and international auteur-driven and genre-blending filmmakers and cinephiles but bear witness to the authenticity of that sentence.
Created by the trio of Abba T. Makama, C.J. “Fiery” Obasi and Michael Omonua, the festival is set to mark its fourth edition. As the filmmaker-focused film festival beckons, I sat down with Makama and Omonua to discuss their perspectives on the Nigerian indie film landscape, the overarching themes guiding the festival, and the films they are most excited for audiences to see this year.
The interview has been edited for length and clarity.
Now in its fourth edition, what is the most insightful experience you have gained as a festival organiser and curator since the S16 Film Festival started?
Abba: It has given us insight into a demographic of filmmakers who are curious and excited about the future and the prospects of the industry. There are a lot of young people who are doing good stuff, want to watch good stuff, and want to be a part of what we do at S16. Knowing that there are young Nigerian filmmakers who are yearning for more and something different—for me, that is the biggest insight.
Michael: I have found that there are talented filmmakers in Nigeria who are working quietly and may not enjoy mainstream exposure because they aren’t the typical Nollywood filmmakers looking to go mainstream. These are young and talented voices who may not have existed some 10 years ago. I find that quite insightful.
Each year has its unique theme, from 2001: A Space Odyssey, and To God Be The Glory, to this year’s Technologic. What has been the subtle, unifying theme guiding the festival from inception to date??
Abba: The priority is the quality of the work. We are particular about excellent films. As far as the festival’s theme goes, it mostly provides an umbrella that influences branding and aesthetics but only passively influences curation. What unifies each edition is our search for quality films that you wouldn’t categorise as traditional Nollywood.
We are constantly looking for independent, unique and auteur-driven films and filmmakers with potential for growth. Take filmmakers like Dika Ofoma and Nosazemen Agbontaen, for example. Both have shown growth since we first screened their films. From Ofoma’s A Japa Tale to A Quiet Monday and now God’s Wife, the evolution is clear. Agbontaen, who has two films in this year’s lineup, has also shown exponential growth.
S16 is designed as a festival for filmmakers. Yes, there are other festivals here, but they often feel like exhibitions with little incentive for filmmakers. We wanted filmmakers to know they belong to a community that appreciates their craft, connects them with audiences, and provides opportunities to network with like-minded creators—not just within the continent but internationally.
Michael: Over the years, attending international film festivals has taught us what works in these spaces. We created S16 as a way to bring these insights back to Nigeria. Although we are a small team, we’re doing our best. As Abba mentioned, we are filmmaker-focused.
The Nigerian film industry is often disconnected from the international scene. At festivals like Locarno, you’ll see young filmmakers screening their second short films at 23 or 24 years old. But you rarely find young Nigerian filmmakers there. This isn’t due to a lack of talent—it’s a structural issue. What these young indie filmmakers need is a pipeline or conduit for information and connections.
When I concluded the Realness African Screenwriters Residency, the organizers provided resources, connected us to opportunities, and even sent our films to various people. Sadly, there’s nothing like that in Nigeria. This can leave young filmmakers disillusioned. With S16, we’re not there yet, but we’re creating glimpses of what’s possible.
You’ve mentioned filmmakers like Dika Ofoma and Nosazemen Agbontaen showing growth. Are there any specific programs or partnerships S16 offers to help these filmmakers progress further in their careers?
Michael: As a new festival, we have not been able to do everything we want to do yet. But, we want to open up new auteur-driven filmmakers to international co-production opportunities, talent workshops and labs. Basically, we want to open indie filmmakers to the international film industry. We have individually gone on this international journey and we want to speed up that process for as many Nigerian indie filmmakers as possible.
The Locarno Open Doors was recently announced. What is the Locarno Open Doors programme, and what role does it play in this year’s festival?
Michael: Open Doors is a co-production and talent development lab out of the Locarno Film Festival. From 2025 to 2028, the programme is focusing on aspiring filmmakers from Africa. So, the Open Doors team will be introducing their programme to the Nigerian audience at S16 this year.
How has this year’s theme, Technologic, influenced the film selections?
Abba: C.J. “Fiery” Obasi is better positioned to respond as head of curation. However, Technologic is broad—it’s impossible to have a film without technology. For example, Tomisin Adepeju’s Journey Mercies was shot on VHS, which ties into the theme. That said, while the branding and aesthetics align with the theme, curation was guided more by the quality of the films.
Michael: Just to add, there was more we wanted to do with this year’s theme, but budgetary constraints held us back. However, factors like the type of media and camera format played a role in curation decisions.
What’s the process like for securing a film like Rungano Nyoni’s On Becoming a Guinea Fowl for the festival?
Michael: Being a festival curated by filmmakers with international experience is a huge advantage. For example, C.J. has a relationship with Rungano Nyoni, which made securing the film relatively easy. We want S16 to be known for these kinds of projects—films that showcase the best of auteur-driven storytelling.
Screening fees have been a topic of discussion recently. Can you share the importance of these fees and how S16 supports filmmakers in this regard?
Abba: Screening fees are crucial, even if they seem small. For short films, they can range from $50 to $200, and for features, from $300 to $2,000. Some well-funded festivals in Saudi Arabia and Russia pay as much as $5,000 to $10,000.
For a young Nigerian filmmaker, even $100 can make a difference—it could buy data or fuel. These fees add up, especially when a film enters multiple festivals and remains on the festival circuit. For instance, Michael has earned tens of thousands of dollars from Rehearsal alone, through screening fees and prize money.
Michael: As Makama said, these small amounts accumulate if you’re in the festival circuits. Before, I used to wave away the $50 payments, but over time, I have learned their value when they all come together. Rehearsal, which had its world premiere in 2021, is still being screened globally.
Although the top festivals don’t necessarily pay a screening fee— especially if you are in competition with a cash prize attached— some festivals might not pay a screening fee but instead cover your accommodation or travel costs. All these tie into making sure the filmmaker is prioritised and comfortable. At S16, we place an importance on the screening fee to ensure filmmakers are well supported.
Abba: It is our way of reiterating that, as a festival, we are nothing without the filmmakers and their films. Our job, as curators of the festival, is to ensure the filmmakers are comfortable.
When I go out, I tell people that S16 is the festival where all the African films doing well internationally will be shown. Last year, we brought Baloji’s Augure (Omen) and Ramata-Toulaye Sy’s Banel & Adama to screen. Again, this was possible because of our connection to a network of international filmmakers, where everyone in the industry—filmmakers, producers, curators, and exhibitors—benefits from each other’s successes.
This is something I appreciate in the international film festival scene. At the Cannes Film Festival, for example, you’ll find Berlinale Alumni or Toronto International Film Festival (TIFF) connections hosting their parties in the same venue. Similarly, you might see Giona A. Nazzaro, the artistic director of Locarno, immersing himself in Cannes while scouting for films.
As an industry, I hope we can reach a point where we will have an AFRIFF or FESPACO delegation at S16, coming to host workshops, network and party. That kind of friendly competitiveness is what we should strive for.
Indie-focused film festivals in Nigeria are gradually growing. The Annual Film Mischief (TAFM), Ibadan International Film Festival and Ibadan Indie Awards Festival (IFA) are certain examples. From the Nigerian cinema point of view, what do you think about the rise and appreciation of film festivals?
Abba: Personally, I love it. If I am free, these are the festivals I would attend. Let’s just do the work. The focus should be on producing quality work rather than chasing hype.
Michael: Beyond film festivals, I’ve observed a lot of younger filmmakers working together—not necessarily as a collective, but toward a collective goal. This ties into what Abba mentioned earlier about healthy competition, where these younger filmmakers are pushing themselves toward a shared objective. We need a united front. The more people who break through, the more beneficial it will be for the film industry as a whole.
If we have more filmmakers breaking into Cannes, Sundance, TIFF, and other major festivals, it will benefit the entire industry. There will be more information sharing and an exchange of valuable connections.
Oris Aigbokhaevbolo highlighted the need for “critical engagement in the media” in his 2021 commentary. How can media and critics support festivals and filmmakers, and how is S16 engaging critics this year?
Abba: I think there is a lack of interest and intellectual curiosity from a number of media houses and critics. There’s this attitude that if it’s not the typical Nollywood event or festival, they’re not interested. Interestingly, last year, we had a media partner who didn’t attend the festival at all, except for the closing party. This reflects a deficit in intellectual curiosity.
On our part as festival organizers, we need to find media houses and critics who align with our vision. Last year, we had Arise News cover the festival, and it was broadcast nationally. This happened because Adesua Giwa-Osagie, a like-minded person, brought the crew to cover the event. So, it’s about finding journalists and critics in various media spaces who are on the same wavelength as us.
Michael: If you attend a film festival as a filmmaker, you hope that something comes out of it, even if it’s just a review. This is one of our major missions as a festival. Over the years, we have made efforts to bring the media along.
Where do you see S16 in five years, and what is your ultimate vision for its impact?
Michael: Over the next 5 years, we aim to forge partnerships with various labs and workshops worldwide. Expanding venues to screen films and more public engagement are also goals, alongside inter-state screenings. We also aspire to create our own lab and workshop to help filmmakers scale their craft. Lastly, I hope we can raise more money too.
Abba: This isn’t particularly a projection for the next five years but my vision for the festival. We want S16 to be an international film festival on the continent that spotlights independent arthouse voices and cinema. Particularly, we want to showcase the best of international films and voices worldwide. We want to bring internationally-acclaimed films to screen in Nigeria. This year’s programming, as that of previous years, is a reflection of that ambition. This year we have Rungano Nyoni’s On Becoming a Guinea Fowl that won Best Direct Award at the Un Certain Regard Section at Cannes. Additionally, we are screening Mathieu Kassovitz’s La Haine, a French cult classic. This programming reflects our vision of being international. It is evident that there will be exponential growth over the years.
Which one or two films are you most excited for festival guests to see this year?
Abba: Rungano Nyoni’s On Becoming a Guinea Fowl. I have been a fan of Rugano since I am Not A Witch.
Michael: The Portuguese film titled 2720 is really brilliant and one I would recommend. Another one would be Tomisin Adepeju’s Journey Mercies which I consider a terrific follow-up to Appreciation.
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