The Rise of Larger Scale Epic Films In Nollywood

Nollywood in the last couple of years seems to have reacquired more taste for Epic stories. This blatant preference is not new, it is an evolution.

In his book The Creation of Nigerian Film Genres, Jonathan Hayes referred to the epic as cultural or traditional epic, stating that “this genre is distinct for its creative approach in representing the past through specific landscapes and period props and costumes”.

The wave of epic films was marked in the ‘70s and ‘90s with titles such as Andy Amenechi’s Igodo and Herbert Ogunde’s 1978’s celluloid film, Aiye. Up until the recent boom, epic films have shown up in Nollywood on a smaller scale with films like Murphy Afolabi’s Àwòdì, Funke Akindele’s Apáàdì (2009) and the Igbo film, Akaeze (2018).

The resurgence of the genre on a mainstream level happened when Femi Adebayo's Euphoria360 Media, alongside Niyi Akinmolayan's Anthill Studios, released King of Thieves in April 2022. The film was hotly promoted via word of mouth and raked in N320.8 million. Its success served as the whistle that prompted the current heavy focus of historical stories.

There has been a release of at least one epic film at the start of the second quarter of every year since then. On the streaming side of things, Kunle Afolayan’s Anikulapo held the forte for epic storytelling. The Netflix Original, which  was released in September 2022, explores the wild passion between a traveler and the wife of the King of Oyo Île. Set in the backdrop of the old Oyo kingdom, the period was brought to fore through specific visual  storytelling elements such as the language, props, costumes and other elements of the story itself reflecting the time, particularly the mystical bird Àkàlà. 

Other titles would arrive subsequently including another Netflix Original Jagun Jagun, Orisa, Beast of Two Worlds and Anikulapo’s series sequel, Anikulapo: The Rise of the Sceptre. The success of these titles in both cinemas and on streaming are symptomatic of the wide acceptance of the epic genre of storytelling.

There are questions about the reasons for its wide acceptance, its appeal and the now-perceived monotony.

Curiosity about the past and a suitable avenue for cultural identification

A common thread with epic films is how they attempt to explore and represent the past. Olatunji Afolayan, the art and costume designer for King Of Thieves and Jagun Jagun, says history is inherent in any society and Nollywood is at the point where viewers are getting more curious about the past.

“There is a paradigm shift and the audience are becoming more willing to forgo their inconvenience to seek out enlightenment about the past just like in the time of Ogunde,” he tells In Nollywood.

“The genre can be considered in two broad categories — biopic and epic,” Afolayan says. “Biopics lean more towards telling the stories of the lives of historical figures or an aspect of their lives.”

We have seen examples of this in the past with films like Àfònjá (2002), Efunsetan Aniwura(2005), and recently in Kings Of Thieves. Bolanle Austen-Peters’s House of Gaa tells the story of Basorun Gaa, a historical Yoruba figure — the Netflix Original premiered few weeks ago.

Stills from House Of Gaa’s principal photography.

Another reason for the rekindled fascination with epic films is the attractive avenue for cultural identification that it provides. In a society where there is a constant agitation of the loss of tradition and cultural values, historical epics are a reinforcement avenue for cultural elements.

“African parents in the diaspora, and not just Nigerians, use Nollywood epics to demonstrate their roots to children and their Non-African friends,” Hayes says in his analysis of cultural epics.

“While the epic film making aims at conveying a horizon of imagination, an expression of traditional culture, and values whose original and clearest expression is in the past, the epic has the tendency to have as its subject, historical change,” Hayes expounds.

This means that not only does the epic genre explore the past as a subject, it also incorporates themes of changes in the manner people live. Therefore, beyond the need for entertainment, there is a lot that can be gotten through epic films. Adults today who aren’t familiar or taught history can glean information and get socio-culturally enlightened.

James Kalu Omokwe, who is known for epic Africa Magic shows like Riona and Ajoche, agrees: “Epic films are historical in nature. They contain elements that affect our daily living today. Our ways of life, everything that concerns us as a people in a sociocultural sense can be shaped by epic films.”

The process of making an epic film in Nollywood

How does a filmmaker decide that an epic is the next project or embark on? For Omokwe, it is a decision between the production company and the studio. “The thing about choosing epic films is that it’s not necessarily a decision. For example, if my production company decides that this is what we want to do, the client —maybe Showmax or Netflix — also has to decide that that’s the direction they want to go. We then go ahead to workshop the story and build the world.”

This attention to detail is necessitated by the idea or need for accuracy in telling an epic story. The question to ponder on is—how far does accuracy play in telling these stories? 

When a story world is going to be built, there is deep research carried out to determine the facts about the period and these facts are considered in the creation of the story world.

According to Afolayan, the filmmaker tries to determine the period specifically and through research. They have to be sure they are writing the story accurately before they can include any artistic license. “Turning a blueprint into life is akin to playing God and while an epic story may not be 100 per cent accurate, it should be close to accurate.”

Accuracy is always a touchy subjects with epic films as they are with historical films in general. In Hayes’ analysis of accuracy and authenticity, he cited the analysis of nine films by critic Emmanuel Dandura and Obi Okoli in 2010, noting that “core Igbo values and cultural practices have been bastardized and grossly misinterpreted, distorted and misapplied” in a lot of films.

More recently, film critic Seyi Lasisi reiterated a similar sentiment in his critique of Aníkúlápó: Rise of the Sceptre. His gripe was with the manner in which the ruling administration of the Oyo kingdom —the Aláàfin and the Òyómèsì— were portrayed in the series.

“For an audience who doesn’t know the history, it’s a painful and awkward misrepresentation coming from Afolayan, who has distinguished himself by making historical epics tethered on Yoruba culture and history,” Lasisi wrote.

While acknowledging Afolayan’s artistic license, Lasisi still stressed that “as a traditional series anchored on a well-read and documented history, the series, not forgetting the creator’s creative liberty, is riddled with cultural and historical holes.”

Perhaps one needs to wonder what  constitutes the measure of accuracy. Are filmmakers telling epic stories still obligated to commit to accuracy? How well can they fall back on creative liberty as the recourse defence when challenged on the level of accuracy in telling stories about the past? 

Nevertheless, the undeniable fact remains that epic films are not only sources of entertainment but of educational value and heavy sociocultural impact too. This consciousness surely proves the weight that accuracy and authenticity hold. 

The future of epics in Nollywood 

It's one thing to have the attention of filmmakers and the viewers, but for how long will this fascination last?  

Though not without their controversies, epic films in the last two years have witnessed a measure of success. Odunlade Adekola’s Orisa was the first Nollywood film to surpass N100 million at the box office in 2023. In 2024, Eniola Ajao’s Beast Of Two Worlds made a box office record after raking N63.2 million in its opening weekend.

Omokwe says the genre’s freshness is its attraction. “In the last five years, people didn’t really venture into making epic films so it now feels like the new kid on the block as now many want to invest in telling epic stories.

“They seem fresh but if care is not taken, the market might be oversaturated and everybody would start to run to something else. However, the current economic value and investor attraction for epic films are undeniable.”

On a broad note, he does not think audiences will grow weary and believes that it would find its place like romance and action, more so that these genres already exist under the epic umbrella.

“I think it is here to stay and we’ve not exhausted the stories that can be told under the epic umbrella,” Omokwe said.