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Nigeria at the 93rd Oscars: Supporting THE MILKMAID As Our Collective Choice

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By Peace Anyiam-Osigwe, MFR

It takes chance and luck to get some rays of attention in this thriving age—one that could change the fate of a great country like ours. A lot has not been seen of us, even with the advent of social media. Among the more predominant realities that has failed to gain much needed attention is the suffering borne out of the Boko Haram insurgency in northern Nigeria. Across the nation, Nigerians have endured the evils of kidnapping, and bandits ravaging the sub-region in a way that makes human existence almost devoid of normalcy.

Truly, the government has tried to explain what is going on in the North to the people. However, we are so far removed from reality that we realize neither the depth of the problem that bedevils Northern Nigeria, nor how badly it has affected the routines of the people. Not only is road travel dangerous, but people are also scared to sleep in their houses at night. Once, I heard that people up North sneak away at night for fear of being kidnapped. The first-hand stories of women, boys, and girls being battered and raped consistently failed to attract adequate attention in media and motion pictures.

This year however is quite different because we get to see these realities vividly portrayed in the Africa Movie Academy Awards Best Picture recipient, The Milkmaid. Fortunately, it has been picked to run for this year’s Academy Awards – 93rd Oscars, for its precise and convincing capturing of the realities of the imminent threat to human existence in Northern Nigeria. The Milkmaid, which tells the story of insurgency, imbues a little bit of understanding and empathy into this area. It allows for us and the world at large to get acquainted with certain things that go unnoticed up North. The Milkmaid is a remarkable film— The Milkmaid is a compelling, top-quality film and a worthy representation of what Nollywood has to offer in cinematic story-telling.

The Nigerian Official Selection Committee (NOSC) has chosen this film as the country’s submission to the 93rd Oscars, and this is an opportunity to not only gain global recognition for a product of our industry, but to also bring attention to a major crisis happening in Nigeria. Part of what would be applauded is the growth, beauty and social relevance of Nollywood; its achievements exemplified by the quality and standard of this film, the indigenous crew and cast that speak to the job-creating potential of one of Nigeria’s largest industries, the scenic geographical location that gives a glimpse into northern Nigeria and perhaps most importantly, the haunting realities of life within the region.

Given this, the decision by the NOSC to put forward The Milkmaid presents the country with the opportunity to gain global recognition for our film industry. Whilst submitting an eligible film for consideration by the Academy is an achievement in itself (several countries in Africa and elsewhere in the world have never done so), it is perhaps long overdue for an industry with the heritage, prominence and dynamism of Nollywood. The real opportunity lies in progressing beyond the preliminary stage of over 90 country submissions into the February shortlist of 15 films (recently expanded by the Academy from 10), and even potentially claiming a place amongst the coveted group of 5 official Oscar nominees to be unveiled the following month ahead of the April ceremony.

This opportunity can however only be fully realized with the support of all stakeholders. We would need to campaign and lobby this involves the full involvement of the Ministry of Information, Culture and Tourism, and our agencies under the Minister, The Ministry of Foreign Affairs, and Finance. In our bid to win an award at the 93rd Oscars and bring the entire Nollywood a greater spotlight—as this would be a collective win for us all—this would be crucial. It is interesting to note that unlike all other categories at the Oscars that acknowledge individual achievement, the category of Best International Feature Film is unique in that the nominees represent the respective countries of production rather than any specific individual. In essence, it is a national accolade. As such, the onus ultimately rests with the government of Nigeria to take full advantage of this annual opportunity to burnish the image of the Nigeria filmmaking industry and the country at large by wholeheartedly supporting an aggressive local and international PR campaign on behalf of the film selected to fly the national flag against typically formidable competition.
It has been proven through the decades, that notwithstanding the creative and technical merits of the submitted film, lobbying is the driving force that influences perceptions and decisions of key stakeholders in the voting process. South Africa has long been aware of this, and its vigorous efforts in this regard on behalf of its submission, Tsotsi, yielded the ultimate prize of an Academy Award in 2006. I would love to see not only the Nigerian Government but also Corporate Nigeria rise to the occasion and support The Milkmaid – an act which by extension would actively encourage and inspire the millions of youths who are doggedly pursuing various means of creative expression.

I keep making comparisons about the National Film and Video Foundation in South Africa and our Nigerian film organizations because they understand that when it gets to be nominated at the Oscars, the entire industry and all stakeholders must forge together and harness their collective strengths into winning the award in the name of South Africa.

In Nigeria, this is what we must do as well. It is time to pull together. It is not the time to complain and take potshots at the Nigerian Official Selection Committee -how it was constituted, or who constituted it, or why they were the ones who constituted it, etc. Of far greater significance is that finally a successful submission out of several eligible films was made to the Academy, and that now is the time to unite and make our first foray into the Oscars arena a truly memorable one. We should acknowledge the work that has and continues to be done. I can fully relate to this, given that we are entering the 17th consecutive year of AMAA without a break. God’s grace, plus the Nigerian can-do-it spirit, has got us here.

The Milkmaid has a unique opportunity to make an impact at the Oscars this year, based both on its cinematic storytelling, as well as the global resonance of its theme – it effectively bears witness to the consequences of extremism and insecurity ranging from kidnapping and banditry in Nigeria to white supremacists and coup attempts in North America.
The Milkmaid has a decent shot at the final five at the Oscars. This is obviously a huge deal and one that cannot be achieved if we do not give the film our full backing.

Let’s start using whatever platform we have to give ourselves some accolades about how far we have come with our doggedness. There is a saying Igbo ” when you call yourself somebody, others will respect you.” We need to generate the conversations around this work of art representing over 200 million people, and whose relevance was underlined with the uncanny synchronization of its unveiling as Nigeria’s submission for the 93rd Oscars with the much publicized abduction of 300 boys by extremists from a school in Kankara, northern Nigeria, a chilling reprise of the 2014 abduction of 276 girls in Chibok. Notably, The Milkmaid’s dialogue is rendered entirely in Hausa and Fulfulde, lending further authenticity and poignancy to its narrative and characterization.

We can and should utilize social media, which has proven to be a basic awareness tool to generate public support for this film. We could engage with diasporic voices in continental hotspots – an effective lobbying strategy that other countries have keyed into in order to raise the money needed for an Oscars campaign.

As the National President of the Association of Movie Producers, what I have witnessed is an unfortunate detachment and lack of understanding to what needs to be done with regard to this film, this might be expected as it’s our first time in the race. The Executive Producers of this film are doing as much they can, but without the country’s backing, the film cannot reasonably be expected to make any substantial progress. To reiterate: This submission is for Nigeria as a whole and not just the film’s producers and director.

Let’s make Nigeria proud on the world stage by working together on this one. Nollywood was founded and grew on team spirit and there has not been a better time to exemplify this unity of purpose. The Government and People of Nigeria have enjoyed the positives that Nollywood has over the years garnered for our country. Let us walk the talk. I call on every single individual, government, influencer, and opinion writer to watch the film, celebrate Nigeria Cinema. Let us not waste this great opportunity to turn the global limelight on our industry. May we all rise together. Nollywood exemplifies the essence of what Nigeria is about our resilience and our creativity that defines innately who we are!

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Hollywood Bubbles As Season of Awards Sets in

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By Samantha Ofole-Prince

From AAFCA to BAFTA, the Golden Globes to the Critics Choice Awards, it’s certainly the season of splurges and speeches.

Each year between November and March, Hollywood becomes host to a majority of significant film awards as numerous guilds and critics associations heap accolades on movies which have moved them.

With 3 more major awards that include the Screen Actors Guild Awards, Oscars and the Image Awards left to dole out their nominations list, Samantha Ofole-Prince shares the scorecard on who’s snagged what statuettes so far.

Paul Thomas Anderson‘s action-thriller “One Battle After Another” has dominated the season. The film about a washed-up ex-revolutionary on a quest to rescue his daughter from a resurfaced nemesis that stars Leonardo DiCaprio, Chase Infiniti, Sean Penn and Teyana Taylor, has struck a chord with audiences receiving more accolades than any other movie. Some of the categories it has been nominated for include Best Director, Best Actor, Best Supporting Actor, Best Ensemble, Best Adapted Screenplay, Best Cinematography, Best Production Design, Best Costume Design, Best Sound Design and Best Visual Effects.  The film will most likely receive multiple Oscar nominations on January 22nd.

“Sinners,” the supernatural horror film directed by Ryan Coogler, follows close behind with 17 nominations, nearly matching the record of 18 that “Barbie” achieved two years ago from the Critics Choice Awards. The film collected a nod for Best Picture, while cast members Michael B. Jordan, Wunmi Mosaku, and Miles Caton are up for Best Actor, Best Supporting Actress, and Best Young Actor / Actress respectively. Ryan Coogler was recognized in the categories of Best Director and Best Original Screenplay, and the film also received nods for Best Casting and Ensemble, Best Cinematography, Best Production Design, Best Editing, Best Costume Design, Best Hair and Makeup, Best Visual Effects, Best Stunt Design, Best Song, Best Score, and Best Sound. Coogler also received the Director Award at the Critics Choice 8th annual Celebration of Black Cinema.

Guillermo del Toro’s “Frankenstein” hasn’t done too badly either this awards season. The live-action film adaptation of Mary Shelley’s classic novel about a scientist bringing a monstrous creature to life in a daring experiment, earned several Golden Globe nominations with additional recognition at the Critics Choice Awards and Gotham Awards for its screenplay, design, and performances.

Other notable nominations include Akinola Davies Jr.’s “My Father’s Shadow.” His feature length film debut, which is set against the backdrop of the 1993 Nigerian presidential election, has won several notable awards and special mentions at international film festivals and award ceremonies.  Directed from a screenplay he co-wrote with his brother Wale, it secured two major awards at the 35th Annual Gotham Film Awards with a Breakthrough Director for Akinola, an Outstanding Lead Performance for its main actor Ṣọpẹ́ Dìrísù. The film also received 12 total nominations at the British Independent Film Awards (BIFA).

Tessa Thompson’s role as a manipulative woman in an entangled relationship between two men in the movie “Hedda” recently earned her several nominations including a Golden Globe nod for Best Actress, a Spirit Award nomination and Best Actress wins at the African American Film Critics Award and Critics Choice Celebration of Black Cinema. Other accolades include Gotham Awards and nominations for Best Film at the BFI London Film Festival, with production design and score.

Notable Nigerian actors Damson Idris, Cynthia Erivo and Ego Nwodim have also received accolades. Idris received a Best Supporting Actor nod from the African American Film Critics Association (AAFCA) and was honored by the Critics Choice Association (CCA) for his role as a race car drive in the movie “F1.” Erivo received two Golden Globe nominations and a Critics Choice Award nomination for her work in “Wicked: For Good” in the Best Actress category and Ego Nwodim received a Critics Choice Award nomination for Best Supporting Actress in a Comedy Series for “Saturday Night Live.”

Despite decent reviews and strong performances from both Dwayne Johnson, who plays a real-life former amateur wrestler and mixed martial artist in the movie “The Smashing Machine,” and Ayo Edebiri, who plays a PHD student who accuses a Yale Professor of rape in the film “After the Hunt,” both have failed to garner many accolades. Johnson did receive his first Golden Globe nomination and Edebiri, an Emmy and SAG award-winning actor, writer, producer, director, and comedian, did get another Golden Globe nod in the television category, but it was for her portrayal of chef Sydney on the television series “The Bear.”

Now the countdown begins to the Oscar nominations, one of the most-watched live entertainment events of the year, the NAACP Image Awards and the SAG Awards nominations.

Samantha Ofole-Prince is a U.S. based journalist and movie critic who covers industry-specific news that includes television and film.

Photos: Critics Choice Association

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Actress Iyabo Ojo Makes Case for Single Mothers

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Nollywood actress, Iyabo Ojo, has spoken on the changing perception of single motherhood, saying many men now want serious relationships with single mothers rather than treating them as side partners.

According to the actress, being a single mother is no longer seen as a stigma, as many women in that category and their children are doing well in different areas of life.

She noted that unlike in the past, some men now actively seek relationships with single mothers because of their maturity and life experience.

She added that many of these men make their intentions clear, insisting on marriage.

Iyabo Ojo encouraged women not to feel discouraged after a failed relationship, saying another partner would be willing to accept and love them.

Declaring herself the “President General of the Single Mothers Association,” the actress urged single mothers to embrace confidence, resilience, and self-worth, and not to feel ashamed of their status.

“Gone are the days that being a single mother was a stigma. Single mothers’ children are doing great things in life. Men are chasing single mothers. They are even begging us that they don’t want us to be a side chick. They want us to marry them because we have experience. If a man leaves you, another man will accept you. I am The President General of the Single Mothers Association,” she said.

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Tribute to Jimmy Cliff: Last Lion of Reggae Crossed the Rivers

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By Prince Adeyemi Shonibare

The wind blows soft across the hills of Jamaica, and the world feels it — a tremor of sorrow, a sigh of history, as Jimmy Cliff, the last Lion of the Reggae Mountains, crossed the great river at eighty-one.
He was the troubadour who sang survival into existence. The freedom-fighter who turned melody into movement. The dreamer who taught the world that:
“You can get it if you really want, but you must try, try and try.”
And try he did — from Somerton to Kingston, from Kingston to the world.

THE JOURNEY — FROM SOMERTON TO THE SUMMIT

Born James Chambers, a young boy humming tunes to the morning breeze, Jimmy Cliff stepped into Kingston with nothing but ambition and spirit. He recorded “Hurricane Hattie” at sixteen, and the island took notice.
He rose like sunrise — slow, steady, unstoppable. Reggae, ska, rocksteady — he touched them all, carving a golden road across Jamaica’s musical skyline.

Then came the explosion that stamped his immortality.

“THE HARDER THEY COME” — A REVOLUTION ON SCREEN

With the 1972 classic The Harder They Come, Jimmy Cliff did more than act; he preached struggle and hope for the entire world.
His voice cried out: “The harder they come, the harder they fall.” Oppressed people everywhere heard their story.
In “Many Rivers to Cross,” he poured a lifetime of pain, faith, and yearning:
“Many rivers to cross, but I can’t seem to find my way over.”
Yet he always crossed — and showed humanity how.

THE MAN WHO SANG FOR HUMANITY

Jimmy Cliff lived with the soul of a pilgrim, a man who believed that peace could ride on melody. He travelled far, performed wide, raised children with pride, held philosophies that blended faith and freedom.

He sang of unity in “Wonderful World, Beautiful People,” reminding humanity:
“There is a place where love is flowing freely.”
His life proved that music could make nations kinder and people braver.

AWARDS, HONOURS, AND ETERNAL RESPECT

Jimmy Cliff earned the world’s applause:

Rock and Roll Hall of Fame

Grammy Awards

Jamaica’s Order of Merit

Worldwide tours and universal reverence
A catalogue woven into the soundtrack of global culture
But his deepest legacy lies in the millions who found hope in his voice, who stood tall because he sang:
“I can see clearly now, the rain is gone.”

THE LAST LION OF THE REGGAE GENERATION

With Marley gone, with Toots, Peter, Bunny, and Gregory gone, Jimmy Cliff stood as the final elder — the last lion roaring from reggae’s original pride.
He carried the flame when others dimmed. He carried the memory. He carried the movement. He carried the message.
And now he has crossed the last river — the one his own lyrics foresaw.

TRIBUTES FOR A TITAN

“Jimmy Cliff was a bridge between struggle and joy — a global treasure.” — Jamaican Prime Minister
“He sang the world into courage.” — Global Entertainment Guild
“Reggae has lost its last first-born. The music will never forget.” — International Music Legends Alliance

Though gone in body, the stage curtain remains open for the last lion who crossed all the many rivers after finally finding his way.

Jimmy Cliff is gone. But Jimmy Cliff can never die.His voice lives in street corners where youth gather, in radios crackling across African markets, in festivals, in freedom rallies, in every soul that ever felt hope rise from a song.

His own words now carry him across eternity:
“There’s a river that must be crossed, and I must cross it.”

He has crossed. The Lion rests. But his roar echoes forever.

One love. One legend. One Jimmy Cliff.

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