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      March 20, 2022

      Feature

      TAFM 2022: Screenwriter’s  Question Their Value In A Growing Industry

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      The Festival’s Twitter space was the ground set for one of the most vital people in the world of Cinema: the screenwriters. The session was hosted by Temilolu Fosudo, a member of the film club and the panelist consisted of six screenwriters who expressed major concerns about the realities of writing in Nigeria. Through their personalized answers, they went on to share how they have survived the ever-growing film industry in Nigeria. The session took the form of a Q & A and the first sets of questions where on the factors to writers should consider before going on to accept writing gigs and at what stage a writer should a writer be more selective or “picky” with available projects. The panelist gave a valid objective truth as to the reality of lack of choice in accepting gigs due to the reality of “Bill to be paid”. Although, one panelist, Africa Ukoh debunked that truth and gave a more subjective opinion writers being more sensitive as to their acceptance of writing gigs based on the writers overall long-term goals or the values and principles of the writer. Another important question asked was on ways writers can go about finding connections as writers are unfairly tagged as anti-social beings. Tomi Folowosele, a panelist, told her personal approach, which is credited to being a member of Film rats club. Another panelist, Hafeez Oluwa gave a more ambitious yet applaudable approach he took to land his first gig which he tagged “elevator approach” and that is for writers to go ahead and pitch their ideas to filmmakers they know. The sensitive topic of contracts was also discussed on the virtual space, as each panelist gave their take on how to protect the creative right of the writer. Part of what was heavily suggested was attachment of clause such as the right to auction, right to buy back and also a contract that covers the sale of a screenplay for a period of time. Another vital suggestion by a panelist was for clarity of role in the early periods of negotiation before going ahead to start the screenplay. The question of story source and story content was brushed as the idea of a screenplay touching on social issues was asked. There seemed to be a synchronized response on this question as the panelist generally agreed that it isn’t a compulsory requirement, but writers should be socially conscious and sensitive to their story’s environment. The final question was based on the time factor for writing a screenplay. Each panelist gave their personal ordeals with time negotiation with producers and directors. One power point made by Africa Ukoh while advising screenwriters was for them to diffuse the energy of seeking to do just any job and having to comprise heavily to the detriment of the work and one’s values. He qualified the act as “man must chop” and requested screenwriters to debunk such ideologies as it only ends the writer in an unescapable loop Afroyute

      Feature

      TAFM DAY 2 DISPATCH: On Stories That Mirror Our Humanity

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      The virtual arrangement for Day 2 of the Annual Film Mischief did little to disrupt proceedings. The screened films, most of them sharing similarities only in their minimalistic approach, offered a more diverse range of themes that reflect the daring preoccupations of Nigerian indie filmmakers. On the uncertainty of justice, The Samaritan by Olabode Israel and Oghenekevwe Okporuwa tells a simple, unambiguous story about a young man unfairly apprehended for being at a crime scene where he lends sympathy to a stabbed victim. The film punctuates the alertness of the law to the facts of evidence, other than the sincerity of intentions. On mental health and depression, Tosan Ayanfulu in Reflections tells the story of a girl who duels with the frightening apparitions from her past when she was raped as a young girl. She pushes through the grim struggles with her demon and fights her way to closure in the safe hands of a therapist and a lover. On the politics of award shows, Debola Ogunshina’s And the winner is sees three contributors to a winning film scuffle over an award plaque, each spitting verbose, and rather contemptuous comments on competencies and who truly deserves to claim the award. On spiritism and mysticism, Holiwata by Okwong Fadamana paints a distorted image of dual personalities using a fine mix of surrealism and a spooky score. On public health awareness, ‘Korede Azeez, in the despairing drama Play, frames the repressive  effects of the COVID-19 pandemic on a young girl who’s feared to have contracted the virus by her overprotective mother. On affection, In Ibadan, by Taiwo Egunjobi, tells a contemplative love story with static, Ozu-esque frames and introspective performances from a talented cast. What is left unsaid, most of them awkward pauses and curious facial expressions, are weightier than the words that are spoken. Ibadan comes alive in the picture. The director is on a mission to clear misconceptions about the ancient city and from the audience’s reception, it appears he succeeded. David Osaireme Isaac O. Ayodeji

      Review

      Smile Is A Phantasmagorical Tone Poem

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      No words are spoken in Smile. Not a single line of dialogue is uttered. Yet the film packs a mighty punch, enough to knock the wind out of any audience. Long stares, eerie soundscapes and breathtaking visuals are its currency. By forfeiting dialogue, writer-director, Precious Rashidi, is able to dig deeper in his brief but bold exploration of the human psyche. It begins with a wide shot of a figure sitting on a park bench, legs crossed, shoulders slouched. The person is sporting a grey hoodie and black track pants which makes them seem like a phantom amidst all the beautiful greenery. An overhead shot reveals a portrait of a man being drawn by the character; on the bench beside them lies a flower and sellotape.  The next scene shows presumably the same character, now on the edge of a cliff; a half-finished drawing at her feet. She stands up and all of a sudden lets out a piercing, high-pitched scream. Frustrated, she tears up the drawing and tosses the pieces in the wind. And then a young man, also swaddled in black like the artist, approaches her slowly. They trade stares. He smiles, a sheepish yet sinister-looking smile. She frowns in return. According to the director, Smile is a film about the complexities of the human mind, about a character, an artist, whose unsatisfaction with her life affects her creative ability. The cliff is a metaphor for challenges faced during the long, lonely process of creating art. The man in black represents public perception, pressures from without. The film even ends with a quote from Taylor Swift which drives home the thesis: “Here I was again, forcing laughter, faking smiles. Same old tired, lonely place.” The beautiful thing about the medium of film and especially films like Smile is that it is open to interpretation; it appears as different things to different people. After the screening, one member of the audience mentioned that the film was about grief and how we cope with it through art. The smiling man was a friend and the artist is attempting to deal with his demise by creating portraits of him. I, on the other hand, thought it was about the Jungian Shadow, an often-unexplored part of our minds and a go-to motif for many a surrealist filmmaker. I imagine that repeated viewings will yield multiple interpretations which is a testament to how vast Smile is despite its 6-minute runtime and general absence of dialogue. A tone poem with shots that seem ripped straight out of a nightmare. Joseph Osamudiamen

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