David Oyelowo is set to develop a limited series on the Biafran War

There is an alternate version of African-American history stitched together by music. From the harmonic melodies that followed them off slavers ships to the home-harkening cottonfield tunes that provided succor during the horrors of slavery, African-Americans have always used music to remember and call one another to action. The stakes are seemingly as important in Ryan Coogler’s new movie, SINNERS, where the music of Sammie (played by newcomer Miles Caton), a prodigious blues singer, turns a night of revelry on its head as a horde of vampires attack a juke joint set up by the identical Moore brothers (played by Michael B. Jordan).

Set in the Mississippi Delta in the 1920s, SINNERS is faithful to its timeline in tone and tenor but confronts issues like racism, colourism, and Black ownership that continue to have modern resonance while deftly sidestepping stringent categorisation. It is Ryan Coogler’s first original conception and it bears the defining personal insights and quirks that have made franchises like Black Panther and Creed hugely successful, while sealing Coogler’s reputation as one of the most respected filmmakers of his eras. 

Ahead of the release of SINNERS, we had a brief chat with Ryan Coogler about his latest film. 

Where did the inspiration for ‘SINNERS’ come from?

It came from my relationship with my uncle. He came from Mississippi and he loved Blues music. I would listen to the music with him and that happened for most of my life. He passed away 10 years ago and, since he passed away, I got more interested in the music and that’s where the seed of the idea came from. 

Do you think the movie was made to honour your uncle’s memory?

Yes, for sure. 

‘SINNERS’ is set in the 1920s American South. Why did you settle on that time period? 

I settled on that time period through studying what year would make the most sense for Blues history. What I think this time period represents for African-Americans is that it was the Great Depression and, while studying, I found out that it didn’t affect Black people as much as it affected white people because there was nowhere for Black people to go socio-economically, they were already as down as they could be. Interestingly, it was a time when white people and Black people were in contact with each other due to what happened with the economy. 

You collaborated with Michael B. Jordan again, what made him the right fit for the role?

I think Mike has a unique combination of range and charisma. Charisma is something that can’t be learnt, you have to be born with it and, a lot of the characters in this movie, are extensions of their charisma. You have to believe that these guys can come back into town after seven years and throw a party and get people to show up. For me, that was the biggest part of it. I wanted an actor that was flexible and charismatic in two different kinds of ways. Smoke has his own charisma but he’s an introvert whereas Stack’s charisma has to be more of a projection, and that’s very difficult because you have to be born with that charisma. Also, you have to know how to manipulate through acting techniques, and Mike is uniquely capable of that.

In spite of stifling government policies and harsh economic realities, creators across West Africa remain dogged in pushing the envelope of culture, expanding and reimagining experiences for African youth, both locally and globally. Celebrating these creators who keep pushing the boundaries of culture is not only essential to acknowledging the present but also to forging a future that honors the innovation and rippling influence of culture changemakers.

The third installment of THE BLACKLIST, in collaboration with our friends at GUAP Magazine is an initiative set out to celebrate the remarkable individuals who are not only defining but actively transforming West African culture. By giving them their flowers in real time, THE BLACKLIST ensures these trailblazers receive the recognition they deserve, amplifying their contributions and inspiring the next generation of creatives and visionaries. This list underscores the importance of honoring culture-shapers while they’re making history, not just in retrospect.

This year, we highlight 15 of the most iconic voices propelling West African culture to new heights. From groundbreaking visual artists to visionary thinkers and creators, these individuals are crafting a legacy of empowerment, resilience, and innovation.

 

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ABIODUN

Abiodun Oladokun is a multifaceted individual, excelling as a crypto research analyst, lawyer, and DJ. He is the founder of ILÉ IJÓ, a monthly house music rave that operates under the brand name MELT. He has gained recognition in the vibrant Lagos and Ibadan rave scene. In just a short span, he has performed at top-tier raves and cultivated a loyal following for ILÉ IJÓ, with returning attendance growing from a few hundred to over a thousand.

Abiodun is not just a talented DJ but also a catalyst for change. With initiatives like ILÉ IJÓ’s ByUSB program, he provides a launchpad for emerging DJs and cultivates a thriving multi-state rave culture that captivates music lovers in Lagos and Ibadan. Beyond the local scene, Abiodun is a virtual resident DJ at Oroko Radio, a prominent Ghanaian music community platform. He also holds residencies at Redlightfashionroom, an elite community of EDM and House Music enthusiasts in Ibadan.

ANIKO

Aniko is a leading electronic music DJ and Founder of Group Therapy, an electronic music event and community in Nigeria which has quickly become a staple in Lagos’ underground nightlife, known for its high-energy parties and top-tier lineups. Known for her dynamic sets, blending afro house, deep house, techno, and progressive beats, her intricate layering, seamless transitions, and ability to connect with audiences have made her a standout figure in Nigeria’s dance music scene and beyond.

Aniko’s influence extends far beyond Nigeria, making waves across the globe with performances that are consistently hailed as some of the best in the space. Her contributions continue to shape the industry, inspiring both peers and fans alike with her dedication, talent, and passion for electronic music. Aniko’s talent has seen her performing prestigious stages and platforms across the world including HOR Berlin, Boiler Room, Homecoming, Nyege Nyege Festival, and many more.

ASHERKINE

Asherkine’s rise from a grassroots content creator to one of Nigeria’s most beloved figures in entertainment is a tale of vision, hustle, and an unmistakable knack for turning ordinary moments into captivating, unforgettable experiences. Originally finding his footing behind the camera, Asherkine first gained widespread attention when he directed the visuals for Asake’s breakout anthem, “Omo Ope.” But while “Omo Ope” thrust him into the spotlight, Asherkine quickly evolved beyond the role of a director, transforming himself into a one-man powerhouse of generosity and social impact.

In the years following his viral success, Asherkine has become something of a phenomenon, often compared to the American YouTube star, Mr Beast, for his seemingly boundless generosity. Whether handing out cash to struggling market vendors or supplying students with essentials, Asherkine redefines what it means to be a creator in Nigeria, bridging the gap between social media stardom and genuine community outreach. His giveaways aren’t simply about social media virality but are rooted in a deep-seated belief in uplifting his fellow citizens. Asherkine’s journey is a reminder of the evolving power of Nigeria’s creative scene — not just to entertain, but to impact lives directly, leaving an indelible mark on the communities that shaped him

AYANFE OLARINDE

Ayanfe Olarinde is redefining contemporary Nigerian art, carving out a space for herself in a scene she has thoroughly transformed with her layered, evocative creations. Known for her intricate scribbling technique and bold exploration of Nigeria’s social realities, Olarinde’s work has not only shaped the visual identity of a generation of artists but also elevated the
conversation around everyday Nigerian life. Self-taught and driven by a fierce commitment to documenting cultural truths, Olarinde blends mixed media, including ink, acrylics, and found objects, to construct textured pieces that speak to self-image, mental health, and identity formation. Her work often doubles as a critique of contemporary society, using imperfections and layered images to question the constructs of beauty, acceptance, and collective memory.

Olarinde’s accolades speak to her growing influence. She’s exhibited at landmark galleries like SMO Contemporary Arts and Rele Gallery, won the First Bank Magic 125 Creative Contest in 2019, and stood as the only Nigerian recognized at the AWIEF Prize for Creativity Award in South Africa in 2020. Her celebrated series “Dem Bobo,” a visually rich commentary on the ironies of urban life, has been featured by CNN, Vogue, and RADR Africa, reinforcing her reputation as one of Nigeria’s most gifted contemporary artists. Last year, Olarinde made waves as the artist behind the cover art for Asake’s celebrated Work of Art album, and she founded the fashion-forward streetwear brand, WWYD. Currently a mentee at The Nlele Institute and director of Unearthical, where she delves into fine art and fashion photography, Olarinde continues to stretch the boundaries of her medium, solidifying her place as one of the most compelling voices in Nigerian art today.

BRYAN IBEH

Bryan Ibeh (He/they) is a 22-year-old Nigerian-born and Lagos-based filmmaker and multidisciplinary creative working mainly as a director, photographer, producer, and editor. Currently in his final year at the University of Lagos, pursuing a Bachelor’s degree in Mass Communication, Ibeh has established himself as a talented filmmaker, photographer, producer, and creative director. His career as a creative began in 2018, experimenting with alternative-style short films, music videos, and images that showcased his unique visual perspective.

Ibeh’s portfolio includes notable collaborations with Lady Donli, Solis4evr, 808vic, Fave, Bloody Civilian, and others, as well as production credits for Adidas, MAC Cosmetics, DAZED, and SHOWstudio. He exhibited his experimental films at EXPO Lagos in 2021 and co-directed the experimental short fashion film “We Are Looking For Ourselves In Each Other,” which premiered exclusively on Nataal Media in 2022. His latest film, “Nowhere is Safe To Be,” a music film for contemporary artist Yinminu, tackles themes of trauma, bullying, and resilience, reflecting Bryan’s commitment to exploring complex social issues through innovative storytelling.

CHINASA ANUKAM

Chinasa Anukam is an award-winning writer, actor, stand-up comic, & digital content creator. Her first degree is in Law from the University of Bristol, UK. She has subsequently studied acting and improv comedy in the U.K & U.S. She has performed on global stages in cities ranging from New York and London to Abuja & Lagos.

She currently produces, directs and hosts the hit Youtube show, “Is this Seat Taken” which has been widely received and viewed in 120 countries with combined views of 8.5 million across 4 seasons. Additionally, ITST is currently airing on television in 42 countries via the Trace Africa TV network. Outside of work, Chinasa is passionate about travel, dancing, pounded yam, young Africans, women’s rights and telling stories. It is one of her deepest hopes that her career is a testimony of possibility to young Africans, young Nigerians, Nigerian women & black women, that we can take up space anywhere as long as we put in the work and believe.

EKOW BARNES

Ekow Barnes is a distinguished fashion writer, producer and creative strategist, with an impressive portfolio of clients across the continent and beyond. He specializes in fashion writing, creative production, and consultancy with several commissions in Ghana and England. Ekow has worked with brands such as Puma, New Balance, Mercedes-Benz, Emirates, Burberry, Spotify, Qatar Airways, Adidas, WSGN, Vogue, i-D , Ebony, GQ , Guardian and more.Ekow holds a degree in Mass Communication from BlueCrest University (Public Relations Major) in Accra, Ghana.

Ekow is the Co-Founder and serves as Chief Creative Officer of Will and Barnes Group; a creative production and talent management agency based in Accra, supporting creatives and sharing inspirational, thought-provoking narrative and audio-visual stories across the globe. Ekow is passionate about promoting emerging talents and showcasing their works to the world. He contributes to Vogue Italia, Guardian, and GQ South Africa as a writer on sustainable fashion stories with 30+ bylines in notable publications including (but not limited to) Glamour, Ebony, Essence, CNN.

ELSIE AHACHI

Elsie Ahachi, also known as “Elsie not Elise,” is a dedicated music enthusiast who’s turned her love for music and storytelling into a full-time passion. Starting out in 2022 with TikTok videos diving into the music she enjoyed, Elsie quickly built a following of people who resonate with her eye for talent and knack for finding artists who deserve more shine. Now, through her engaging
content and platform, Elsie spotlights emerging voices, creating a space where artists can share their work and stories without the usual industry pressures.

What began as sharing the music she loves has evolved into a multifaceted approach that includes artist interviews, documentaries, and storytelling that dives deeper into the creative processes of musicians. She’s also built a thriving community of music lovers across social media, connecting fans and artists over a shared passion for good music.

FEYIKEMI AKIN-BANKOLE

Feyikemi Akin-Bankole is a Business Management graduate from the University of Warwick and the co-host of F&S Uncensored, a leading Nigerian podcast that has transformed music discourse in the country. With over 200 episodes, F&S Uncensored has become an essential voice in Afrobeats, driving conversations that shape and amplify Nigerian and African pop culture. A lifelong
music enthusiast, Feyikemi has always been drawn to the Nigerian entertainment scene, particularly the vibrant Afrobeats landscape.

Upon returning to Lagos in 2019, Feyikemi began her career as an A&R at Aristokrat Records, later becoming Head of Music at Bounce Networks. She now brings her expertise to Spotify Sub-Saharan Africa as a PR & Communications Executive. In her role, she leads the VIP program for SSA and acts as a central liaison between Spotify and its creative agency, skillfully managing talent relations and campaign strategies. Feyikemi’s dedication to fostering talent in Africa’s music ecosystem makes her a crucial player in elevating African pop culture on the global stage. With her forward-looking vision and impact-driven approach, she is committed to empowering the next generation of artists and creators, championing African music and culture far beyond its borders.

JEMEDAFE CALEB UKOLI

At just 24, Caleb Jemedafe, known across Lagos as the “Party Boy of Lagos,” is transforming Africa’s creative scene with a vision that reaches far beyond parties. Starting from his university dorm room, Jemedafe has spent years championing young African talent, guiding emerging artists to global recognition and multi-million-dollar deals. His journey began with a knack for spotting potential, fueled by a Mechanical Engineering background from Landmark University that offered him dynamic knowledge to navigate the business landscape. At 18, he launched “Let’s Relate,” a groundbreaking festival that blended music and sports, drawing over 20,000 young Africans and capturing the attention of top brands like Hennessy, Ballantine’s, Coca-Cola, and TRACE and attracting performers like Rema. This early success led him to found KVLT, a multifaceted creative cloud and talent accelerator that has fueled the rise of talents such as Victony, Llona, Abstraktt, and DJ Six7even. KVLT isn’t just a company—it’s a thriving community of creative enthusiasts who together represent a new wave in African entertainment.

But his influence doesn’t stop there. Through his flagship event series, Even in the Day, Jemedafe is at the forefront of the reimagination of Africa’s party culture, producing 23 high-energy events across West and South Africa and attracting over 50,000 attendees. Featuring internationally renowned DJs like Tyler ICU and DJ Spinall, the series has become a platform for showcasing Africa’s best DJ talent, creating unforgettable experiences for thousands across various nationalities. Driven by a mission to build a global Afro-creative community, Jemedafe is not just rewriting Africa’s entertainment narrative—he’s building an inclusive, opportunity-filled world where young African creatives can thrive. His journey is a testament to vision, resilience, and the power of community.

LAYI WASABI

Layi Wasabi, whose real name is Isaac Ayomide Olayiwola, is a Nigerian comedian, actor, content creator, and lawyer who is best known for his unique style of comedy, often portraying a comical lawyer in his skits. Layi knew that comedy would be his vehicle to connect with audiences and share his unique perspective on life. Armed with a smartphone and a creative spark, Layi ventured into the world of skit-making, using social media as his stage and a canvas for his imaginative sketches.His infectious energy and relatable characters quickly caught the attention of viewers, propelling him into the spotlight of Nigeria’s vibrant comedy scene. His signature style—lively expressions, clever dialogues, and a knack for memorable quips—resonates with fans across generations, turning his social media platforms into a hub for laughter and joy.

Layi Wasabi is more than just a comedian; he’s a storyteller at heart, weaving narratives that reflect the complexities of life in Nigeria. Whether tackling societal issues or simply celebrating the quirks of daily living, he approaches each skit with authenticity and a keen sense of observation. As he continues to push boundaries and explore new creative avenues, Layi remains committed to his roots, reminding us all that laughter is not just entertainment—it’s a powerful tool for connection and understanding. With his sights set on even greater heights, the world truly is his oyster, and Layi is just getting started.

ORRY SHENJOBI

Orry Shenjobi is a British-Nigerian multidisciplinary artist and Creative Director of Studio ORRY, based in London. Her work crosses boundaries, merging techniques and materials to create immersive art that delves into identity, culture, and social narratives. Shenjobi’s dedication to sustainability plays a central role in her practice, with her studio maintaining a zero-waste policy and a strong commitment to upcycling, reflecting her belief in the transformative power of art as a vehicle for social change. In 2024, Shenjobi showcased her solo exhibition A Wà ńbè: A Celebration of Community and Culture at the Venice Biennale, as part of the “Foreigners Everywhere” series curated by Usen Esiet at the European Cultural Centre in Venice, Italy. This milestone affirmed her position as an artist focused on exploring the importance of community and cultural identity.

Shenjobi holds a degree in Product Design from the University of Leeds and an MA in Social Innovation and Sustainable Futures from UAL, blending creative practice with a deep sense of social responsibility. Her mixed media paintings and product design expertise form the foundation of her practice, while her personal background – born in London and raised in Lagos – brings a vibrant duality to her work. This cultural interplay heightens her sensitivity to diverse social experiences, which she translates into her art.In addition to her own work, Shenjobi is committed to artist development through her program, the Laho Initiative, which supports emerging artists in realizing their potential.

PITH AFRICA

Pith Africa founded in 2021 by Adedayo Laketu, Cosmas Ojemen and Nnaemeka Anazodo, began with a goal: to create a brand that resonates with the vibrant spirit of African youth, celebrating creativity and innovation through fashion, narratives and curated experiences that highlight a new age. Founded in Lagos, Nigeria, Pith Africa was born from a desire to reshape global perceptions of African fashion by creating a brand that tells authentic African stories through bold, expressive designs. From the outset, our mission has been clear: to build a brand that doesn’t just create fashion but fosters a cultural dialogue that resonates locally and globally.

At the heart of Pith Africa’s identity is a deep connection to our community. Our brand draws inspiration from the vibrant streets of Lagos—the energy, the pace, the culture. Pith Africa sees fashion as more than clothing; it’s a canvas for storytelling, a medium to amplify the voices, dreams, and experiences of a new age of Africans. Each collection is a celebration of diversity, innovation, and community, encapsulating the combined dreams of us all while challenging conventional narratives of African fashion and creativity. PITH Africa’s aim is to position African streetwear/fashion on the global stage, proving that our designs can compete with—and redefine—the standards of global fashion. Pith Africa is not just a brand; it’s a platform for celebrating African excellence, creativity, and resilience.

TOLU OYE

Tolu Oye is a visionary entrepreneur and creative force with a passion for celebrating Nigerian culture and heritage. She founded Meji Meji, a fashion brand inspired by a love for community and culture during the pandemic. Over the years, she has established Meji Meji as a platform to connect people through fashion, art, and storytelling. Known for innovative designs that blend nostalgia with modern aesthetics, Tolu has created collections like the Midnight Snack Collection, paying homage to Nigerian sweets and snacks, and “Sisi Ologe,” which reimagines classic hairstyles in extravagant, expressive ways to honour hair as an essential to our identity.

Meji Meji has become a beloved brand for its authenticity as Tolu’s vision and creativity never fails to invoke memories while committing to the preservation of the Nigerian identity across all her projects.

TUNDE ONAKOYA

Tunde Onakoya is a dreamer, social reformer, and Nigerian National Chess master. In 2018, he founded Chess in Slums Africa, a non-profit organization that uses the game of chess as a framework to give children in impoverished communities access to education, technology, and mentorship.The impact of this initiative has reached far beyond the borders of Nigeria, with stories of transformation featured on global media platforms like BBC, Al-Jazeera, and Deutsche Welle. Over 10,000 children’s lives have been touched, with 500 receiving fully funded scholarships to local and international institutions.

Tunde Onakoya actively engages in games of chess with fellow thought leaders, fostering connections that have the potential to amplify the impact of Chess in Slums Africa globally. His ability to articulate the mission and vision of his organization constantly garners attention and admiration, reinforcing the organization’s commitment to making chess an agent of change. Onakoya’s efforts have earned him numerous accolades, including The Future Awards Africa Prize for Community Action in 2021, the Business Insider Award for Social Entrepreneur of the Year in 2022, the JCI Ten Outstanding Young Persons of Nigeria Award for Contribution to Children, World Peace, and/or Human Rights in 2022, the Trendupp Award for Force of Social Good in 2022, Leadership newspaper Humanitarian of the year and the Royal African Award in 2022. Tunde Onakoya continues to be a beacon of inspiration, not just within the realm of chess but in the broader context of using strategic thinking to shape a better world for all.

The creation of MAGENTA: A Tale of Two Worlds was a largely personal process. From scripting to embodying the characters on screen, multidisciplinary artists, Ann-Maree Quaynor (AMKMQ) and Angel Oduko are adamant about presenting the stories of their debut collaboration, MAGENTA, on their own terms. Largely undertaken as a means of self reflection through which they could explore their similar post-pandemic realities, the short film turned into an investigation of the pair’s psyches. 

Armed with backgrounds in art and filmmaking, the two sought to visualise their lived experiences as African women traversing life both at home and in the diaspora, and how that affects their interactions with reality as well as the metaphysical world. “It was an attempt to deeply understand ourselves and our culture plus the effect of living as a global West African citizen,” Angel Oduko shared in an interview with The NATIVE. 

AMKMQ and Oduko’s synergy is immediately established both on and off screen, allowing them to seamlessly overcome the countless difficulties women and independent filmmakers face in Nigeria. They dug deep, sorting through a plethora of emotions that unearth a search for oneself many can relate to. While paying homage to Afrofuturism and old Nollywood to reimagine African spirituality, the film largely took a personal approach, drawing inspiration from women the duo admire in their personal lives. Both Oduko and AMKMQ agree that MAGENTA was a labour of love but one well worth their while for the opportunity it gave them to shape their ideas of spirituality with a renewed perspective. 

“She isn’t necessarily good or evil, she just is. She’s an ancestral spirit. She’s the truth that we’ve had to live with for centuries since colonisation. She’s a representation of our wildest dreams and also a great taboo, because traditional religion is still a great taboo in West Africa,” Angel Oduko on Spirit Guide

Following an Ivy Film Festival debut, which earned MAGENTA: A Tale of Two Worlds a Grand Jury Prize for Best Direction of an Experimental Film, AMKMQ and Oduko spoke to us about the film’s visual choices, its major reference points and more. 

 

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Our conversation has been lightly edited for clarity and length. 

I watched the film and I am very intrigued by it. What first inspired the idea for the story?

AMKMQ: We were both in Nigeria for longer periods than usual, reflecting on these sort of existential themes; even [regarding] just how much our lives shifted when we came home. We were also processing things in our personal lives and Magenta started off as a passion project. It was something to keep us occupied and creatively stimulated whilst we were at home. The backdrop of everything still felt a bit strange considering it was post-pandemic and pre-election time. There was a lot that we wanted to explore within that and it just grew into a larger project.

Would you say characters in the film occupied similar positions? 

AMKMQ: It was definitely a very reflective process but also an outlet in an abstract world where we could process our real lives, while realising we’re creating characters. There is that distance that gives you clarity over the entire process and the pain you’re experiencing in that moment.  

Oduko: It was definitely used as a medium to express what we were going through at that time.

When it came down to the final process of writing the script, did you feel any catharsis or did it change the way you felt about being in Lagos? 

Oduko: I wouldn’t say that it did. I think it just shone a spotlight on exactly what we were going through spiritually, emotionally and mentally because the film is really an exploration of both of our psyches, as well as our spiritual and mental health and well-being. It was an attempt to deeply understand ourselves and our culture plus the effect of living as a global West African citizen. The difficulties that come from living in Lagos were also very apparent through the course of filming. If anything, it just cemented how we were feeling.

AMKMQ: 100%. So much happened within that time period. We were learning about ourselves and the subject matter as we were shooting and editing. The actual production process was so experimental which made it a constant [learning] process. It felt like something that was shifting in our hands as we were moulding it. 

You both developed the initial story idea together. What changed between your initial idea and the final product? 

AMKMQ: We split up the process. It went through multiple layers of experiences and thought. We came up with the story and Angel wrote the script. Then we both conceptualised it into what it actually was. MAGENTA was both of our seeds but we nurtured it in separate ways to tap into our strongest individual capacities. It was a labour of love that went through a lot of thought, expectations, desires and what we have at the end is an amalgamation of the first few ideas and so many iterations of other new ideas. 

Did you have any difficulty making sure both your visions were reflected? 

Oduko: Yeah, definitely. I think in any creative collaboration, there’s bound to be creative friction. That is part of what makes it a living and breathing piece of art, especially when it’s something so personal and experimental. We were threading our own DNA into this film so there were definitely times when we were both sensitive and had to figure out how to traverse the difficulties. We had never worked together and it was also our first short film so that came with its own challenges. I would say in the pre-production stage, we had some friction because we both wanted to feel seen and in the end, we made sure that happened.

AMKMQ: I’ve worked in production and theatre but Angel’s actually studied that and I’m more of an independent artist. While we had different approaches to making it, we filled in the gaps where the other person was lacking. When you’re working with someone else you’re definitely gonna have points of contention. That’s part of the learning process. But we realised we both wanted the film so bad that we weathered through any sort of disagreement. The moments one of us is feeling more depleted then that other person can have a bit more energy. I even appreciate the contrast to my individual practice. There’re definitely pros and cons but it’s more like learning lessons and there are many things to be grateful for. 

AMKMQ you have a background, as you said, as a multi-disciplinary artist. Do you think that impacted the way you approached the film visually? Did you draw inspiration from any other art forms? 

AMKMQ: Definitely. In my personal practice, my current thesis is about moving paintings – so approaching film as paintings. I can’t divorce my background in paintings and other mediums from how I approached editing the film just as Angel’s background in writing the film informed the pace, the storytelling and the style. To me, paintings are almost like an elevated frame or screenshot where you’re trying to tell an extensive story or pass an extensive message, feeling or sentiment within the composition. I think that definitely imprints how I approach my video work in general. 

With the visuals, what would you say were the main references used to develop the film? 

Oduko: We had a lot of style influences but our major one was old Nollywood. We were really trying to make a 21st century contemporary Nollywood art theme by bringing together so many different art styles like Absurdism, Surrealism, African futurism, Horror and even Fantasy. It’s an amalgamation of all these different things. 

AMKMQ: We even explored Anime. It was just a multidisciplinary process the entire way through. I think we also had our own ideas locked in so we knew where we wanted to harvest references. We knew the essence of our story and some cool ways that people have explored that in the past. From there, we started approaching it through our own lens. The Lost Okoroshi was a major reference. That was probably the most similar in terms of formats but definitely a lot of different references.

What informed your decision to cast yourselves as Akua and Sade?  

AMKMQ: It was such a small cast we wanted everyone to really be in sync with the part they were playing.

It seemed like you could relate to the feelings that your characters were going through.

Oduko: That’s what I was saying earlier about how our experiences [are woven] into the DNA of the film. It was always our intention to play these characters because personally, as a writer and an actor, I write to be in the things I write. I just wanted to create something that I would love to act in and be a part of. I looked to the women around me to inform the characters. My mom, sister, friends and so on, just to highlight things we’ve all mutually experienced in this realm as West African women. I think it was about both us feeling close to the subject, but also really wanting the execution done properly and exactly how we envisioned it. 

AMKMQ: We also both had trust in the other person even though we had our own set of experiences. If it was just the two of us and we had a camera, it would have been done in two days. But we didn’t have everything we wanted and there was a fear of destabilising all the shifting parts. When you’re in front of the camera, you need to have so much intrinsic trust with the person behind the camera and if that person is struggling, we’re meant to be supporting their vision to fruition. It sometimes caused momentary friction where things didn’t turn out as expected but realising it’s not just about ‘your’ creative process. 

Oduko:  It was pretty smooth for us, navigating the front and back of the camera. The one time I had a real difficulty with directing was when one of the men was trying to direct my actors for me. I’m a Leo and I’m not afraid to look like the bad guy. I’m here trying to take the role of director on my own film. The audacity of this man to question me, mansplaining things to me even.

AMKMQ: Especially with this subject matter, it was really weird. Angel has more onset film experience so I didn’t even realise. I was annoyed at how egregious it was. 

I want to touch on the film’s characters a bit more. Where did the idea to use the Spirit Guide to represent the film’s themes come from, and what was the casting process for this role?

Oduko: It was an exploration and investigation of our culture … the effect living in the West has had on both our spiritual and mental health, and the Spirit Guide represents us trying to understand our culture, community and our old ways of life. She isn’t necessarily good or evil, she just is. She’s an ancestral Spirit. She’s the truth that we’ve had to live with for centuries since colonisation. She’s a representation of our wildest dreams and also a great taboo, because traditional religion is still a great taboo in West Africa now. She represents a world that could really never be ours because she’s a spirit walking amongst us, visible to us. 

AMKMQ: Before even getting into the casting process, we wanted her to symbolise the sense of enlightenment and the pursuit of clarity. It’s clarity within the context of the past, present and the future. Africanism and Afrofuturism is so much about giving yourself solace for colonialism and all the other horrible things that happened. 

Oduko: For the casting, we wanted the spirit guide to be a regal, authoritative figure. 

AMKMQ: We didn’t want to demonise the ancestral spirituality in a way that made it seem like this is a distant evil spirit following the characters. We wanted it to be ambiguous but it turned out how it was supposed to. 

Angel: Spirit Guide is about enlightenment. It represents what it would be like were we not interrupted by colonisation. 

In terms of distribution, what was the process like? You’ve already screened at a festival and won an award. Can you talk about that process?

AMKMQ: The festivals were interesting and majorly about campaigning for yourself and the ideas we felt were important for the film. It was stressful but rewarding and we did it as a form of practice to apply ourselves. We knew it deserved the recognition but the submissions were majorly about getting the practice in. If we didn’t get in, we would’ve been completely ok with that. It made the process all the more rewarding when we went so far as getting an award. Not like the recognition could have confirmed or denied [how special] MAGENTA [was], but having that experience transcended all of the pain that came with the actual process. It was the first time I was able to step back and appreciate the film. 

That must have been really special. The film can be described as quite abstract and absurdist, with potentially multiple ways to interpret it. If there’s just one thing you want audiences to take away from it, what would it be? 

AMKMQ: It has to be something about enlightenment which is sometimes scary. Sometimes, what you fear is not what you should run from. 

Angel: The theme song of the film is called “You Can’t Go Back” and that really does represent what the feeling of enlightenment  is. You really can’t go back to a time where we were uninterrupted. We have to move forward with the knowledge that we could have been something else or existed in a completely different way as West Africans but we’re here now. We have been interrupted and we have this knowledge of our ancestors. We are striving towards the future with that knowledge and we’re living in the present. We have to keep moving, we have to go forward and we have to wake up. 

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CAST

Spirit Guide: Tamilore Fashola  

Sade Adebowale: Angel Oduko

Akua Mawusi: AMKMQ 

CREW

Directed by: Angel Oduko & AMKMQ 

Produced by: AMKMQ  Studios tm & Angel Oduko

Executive Producers: Brown University, Angel Oduko, AMKMQ

Written by: Angel Oduko

Edited by: AMKMQ Studios tm

Director of Photography: Dede Jemide, Bryan Ibeh 

Assistant Camera: Tseyinmi Omasteye 

Assistant Director: Mr. Kolours 

Composer: Rawo- “You Can’t Go Back”

Sound design: Tiankai Li   

Colorist: Richard Shi & Mr. Kolours

Costume Design: Angel Oduko & AMKMQ Studios tm

Visual Effects: AMKMQ, Angel Oduko & Subuola Makinde 

Technical Assistance: ClovaCreate tm 

Production Manager: Khadijah Okoya

Production Assistant: Subuola Makinde

Gaffers: Isaac Okoli & Endurance Lights tm

Sound Recordist: Oyin Sound

Watch MAGENTA: A Tale of Two Worlds here

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