“The Story Was Inspired By My Wife’s Grief” – Toyosi Ige On A Trieb For Maggie
In this interview, filmmaker Toyosi Ige discusses his artistic journey and creative process, reflecting on his experimental short film A Trieb For Maggie, inspired by themes of love and grief.
Toyosi Ige began his career as an independent filmmaker from Kwara State, Nigeria. Known for his intentional approach to storytelling, his short films Oiza’s Nexus (winner of the 2022 Eko International Film Festival), My Oga Na Tailor, and The Psalmist showcase his talent. More recently, his experimental short film A Trieb For Maggie explores themes of love and grief.
Ige, who moved to the United Kingdom to pursue his Masters in filmmaking, was tasked with creating a film as a coursework project. Determined to exceed expectations, he drew artistic inspiration for his unique visual style from Hlynur Palmason’s Nest and Quentin Tarantino’s Inglourious Basterds.
In this interview, he discusses his journey as a filmmaker, his sources of inspiration, and the process of creating A Trieb For Maggie.
You wore different hats creatively and technically for A Trieb For Maggie. How did you juggle all that?
I run a company in Nigeria, Rayhouse Studios, where I hired many people to handle cameras, but some didn’t meet my expectations, so I had to learn to shoot for myself. However, I’m also a filmmaker who strongly believes in collaboration. A Trieb For Maggie is the only film of mine that I have written, shot, and edited on my own.
I love having other hands and brains on my projects, but this time, because it’s an experimental film, I struggled to communicate some ideas I wanted to experiment with. Secondly, because I shot it in the UK, I didn’t have access to the human resources I usually would in Nigeria, so I had no choice but to do it all myself. It worked out in the end, but I wouldn’t want to do it again.
You mentioned that A Trieb For Maggie is an experimental film. At this stage in your journey as a filmmaker, how do you select the projects you want to work on?
I work based on whatever inspires me at any given moment. For instance, I made Oiza’s Nexus, which won Best Short Film at the Eko Film Festival in 2022, in response to stories I’d heard about female sexual assault. The psychological power shifts involved in such cases moved me, and I wrote the story out of anger.
For A Trieb For Maggie, I was inspired by my wife's grief after she lost her dad a couple of years ago and remembered my experience with her through my own lens. I’m always inspired by the stories of others, and right now, I’m working on a short comedy inspired by my experience in the UK.
Different spaces trigger my creativity, so it’s never just one thing that inspires me.
What’s it like being a Nigerian filmmaker in the UK? How is it different from Nigeria, and what are the pros and cons?
I wouldn’t speak on behalf of Nollywood since I wasn’t yet mainstream in Nigeria before I moved. For me, the biggest difference is the availability of human resources. In Nigeria, because I ran a film company, I had access to resources whenever I was making films, and I had the money and people excited to make films. Here in the UK, while the enthusiasm exists, it comes with a premium on service delivery. The structure here means you pay for time. Actors and crew members are on proper databases, so they’re easier to find.
Another difference is in access to locations. In Nigeria, we could just use someone’s house; for Oiza’s Nexus, I used my dad’s house. But in the UK, there are procedures, especially for students. Renting equipment is also expensive here, and it’s challenging to buy everything you need.
Now I understand why some Nigerian filmmakers based in the UK make their films in Nigeria. It’s not easy to make a film with a particular quality or taste in the UK because of the high costs.
I read your director’s statement for A Trieb For Maggie, and I found the philosophy around love and grief intriguing. Can you elaborate on that?
Epicurus was an ancient philosopher who said, essentially, “whether we fear death or not, we’re still going to die.” So instead of fearing death, he suggested we enjoy life. I got the word “trieb” from Sigmund Freud, who identified the desire to love and the desire to die.
My main character in the film is searching for love, but grief stands in the way. In borrowing Epicurus’s philosophy, I’m saying that sometimes we just need to live our lives fully because, in the end, we all die. Whether you grieve today or tomorrow, that person won’t come back, and you’ll still face the same reality.
You combined dance, music, and film in a unique way for this story. What motivated this approach, and what do you hope to achieve with it?
For this experimental film, I drew inspiration from Hlynur Palmason’s Nest, which focused on a beach house without showing any faces, and from a scene in Inglourious Basterds where only the woman’s face was shown. Both influenced my decision to use dance and music as the narrative tools. I used to be a choreographer, so I understand how rhythmic movement can communicate.
The lyrics of the main song in the film, which was written and produced in Nigeria, tell the story when you listen carefully, and the dance movement complements it.
Back to wearing multiple hats in making this film. I understand the reasoning behind it, but how was the execution? How challenging was it?
Originally, I was supposed to work with a videographer, but that didn’t work out, so I knew I’d be shooting it myself. I prepared thoroughly, studying, and rehearsing in the actual locations.
We shot over two days with a crew of both Nigerians and British people. I took my time editing, reaching out to friends like Taiwo Egunjobi in Nigeria for feedback.
One challenge was trying not to deviate from my plan. The UK’s unpredictable weather added difficulty; we shot in natural light, and during one scene, it started raining right after our first take. To maintain continuity, I shot the second take in the rain.
Another challenge was shooting the dance sequence, which required about six hours of repeated takes. I had to blend the skills of a Caucasian professional dancer with a Nigerian who isn’t primarily a dancer. Getting close-up shots to avoid showing their faces was difficult but creatively fulfilling.
With A Trieb For Maggie screening since last year and now coming to YouTube, what has the response been like so far?
One of the most resonant reactions came from Blessing Effiom Egbe, who asked, “What were you thinking?” I knew I’d done something impactful. I also met filmmakers who appreciated the artistry. That’s what festivals do—film buffs notice details the average viewer might not. Now, by putting it on YouTube, I’ll see how it resonates with a broader audience.
At my university’s department of film and television, the film has been used to teach current students. It’s rewarding to know it’s a reference point.
What kind of films do you want to make going forward, especially after your experience with A Trieb For Maggie?
The films I want to make now reflect my growth and new perspectives. I’m in a new country, experiencing a different culture, so my worldview has expanded. My future films will be cross-cultural. Language has always been important in my films—A Trieb For Maggie uses Pidgin English, and Oiza’s Nexus features Ebira. This choice felt refreshing.
Nigeria has over 300 languages, so there are countless stories. I envision a story about a Nigerian from Benin and an Indian who is Hindu, mixing meaning and interpretation. Language, visuals, and culture are big for me. For my next film, I’ll also continue experimenting with not showing faces, at least in some parts. It keeps the audience guessing and adds depth. And I’ll incorporate a cross-cultural element, blending different worlds.