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      Interview

      Interview

      Moses Ipadeola: Weaving Cultural Heritage into Cinematic Mastery

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      by Towobola Dada and John Orjiudeh Moses Ipadeola is the creative force behind Ekun Iyawo: The Tale of the Runaway Bride, a critically acclaimed short film that has captivated audiences with its depth and artistry. Watching the film, we couldn’t help but feel a profound sense of admiration for the mind behind its stunning visuals and compelling narrative. Ipadeola’s work is making waves in the film industry, not just for its technical excellence but for its intimate and nuanced portrayal of Nigerian culture. His commitment to storytelling as a vehicle for cultural preservation and exchange is truly inspiring. Whether exploring themes of identity, community, or social justice, Ipadeola’s films are infused with a deep love and respect for his heritage. His dedication to showcasing the richness of Nigerian traditions sets him apart. From the vibrant colors and textures of his cinematography to the complex, multifaceted characters that drive his narratives, Ekun Iyawo stands as a testament to his growing mastery of the craft. Given the significance of his work, we were eager to learn more about Ipadeola’s journey, inspirations, and creative process. Speaking with him (however brief) was an honor—his passion, intelligence, and generosity of spirit were evident in every word. We were struck by his thoughtfulness, humility, and willingness to share his insights with others. Moses Ipadeola is more than a talented filmmaker; he is a true ambassador for Nigerian culture and a champion of storytelling’s transformative power.  For Moses, storytelling has always been more than just an interest—it’s a calling. From his school days to his NYSC, he has remained deeply committed to honing his craft. He credits his growth to continuous self-improvement, saying, “I’ve been reading books, sketching, and refining my skills in movie production and other creative fields.” While at university, Moses trained in other aspects like sound mixing and production. This experience sparked his interest in music, eventually leading him to produce sound for a film—an expansion of his artistic expertise. He views his versatility as a divine gift, enabling him to excel across multiple creative disciplines. As he often says, “No knowledge is ever wasted,” a philosophy that fuels his commitment to lifelong learning—not just for career growth, but to enrich his understanding as a filmmaker. Deeply rooted in Pan-Africanism, Moses sees his work as a tool for inspiration and education rather than provocation or confusion. “I want my films to captivate audiences, drawing them into a deeper appreciation of the cultural heritage that shapes them,” he explains. Congratulations on Ekun Iyawo! The film has been making waves, winning Best Cinematography and the Audience Cheese Prize at TAFM 2025, along with 8 nominations at the Film Joint Award 2025, where it took home 4 awards. How does this success feel? Thank you, Cheesemonger, for this interview. I feel truly blessed and grateful for the opportunity. Documentation is essential for growth in our industry, and I deeply appreciate the recognition. As an independent artist, acknowledgment can be rare, so this serves as a meaningful confidence boost—I thank God for it. Ekun Iyawo’s premiere in Nigeria and London was a major turning point. Winning the Best Cinematography award further affirmed that our hard work had paid off. From conceptualization to visualization, I always believed the film was destined for success. It was carefully refined by a team of passionate filmmakers who ensured that only the most impactful elements remained, allowing the core message to resonate with the audience. Our ultimate goal was to make the story clear and accessible, and I’m grateful we achieved that. When did you know you would become a storyteller, how did it start? From a young age, I was always sketching and creating storybooks, instinctively drawn to visual storytelling. I knew I had a talent for drawing, and despite my parents’ hopes that I would study law, my passion for art remained unwavering. At 13, I began training under Uncle Wale, my mentor in drawing, while still in secondary school. Balancing my artistic pursuits with academics, I initially planned to study fine arts but eventually found myself at the University of Ibadan, where I majored in Directing and Stage Management within the Theatre Arts department. Looking back, it’s clear how everything started falling into place. How did your cultural heritage shape your approach to filmmaking, particularly with Ekun Iyawo? What inspired you to tell this story, and what message do you hope the audience takes away? I grew up in the military era and got my butt kicked by soldiers sometimes. This environment influenced my childhood whether I liked it or not. Also, I grew up watching the films of Tunde Kelani, as I grew wiser, I was exposed to the works of Wole Soyinka, Femi Osofisan, and enjoyed the mentorship of Tunde Awosanmi, my lecturer at the University of Ibadan. Through these works and exposure, I saw how every work of art needs the director’s unique critical input. This inspired my interest to experiment with a concept I coined – Trado-Fiction, which focuses on traditional folklore. During my Masters program at the University of Lagos, I also studied psychoanalysis and the “Orunmila Ifa Corpus.” All these have shaped my approach to Indigenous storytelling. My cultural heritage has shaped my storytelling, and “Ekun Iyawo” is a reflection of this. I hope audiences appreciate the film’s nuances and take away their own unique messages. Western culture often prioritizes therapy while overlooking the ancient wisdom of Ifa and Orunmila, you can also find this execution in my first attempt at creating this “Trado-Fiction (Ifa Therapy). As a proud Owu boy from Ogun State, I feel deeply responsible for sharing my cultural heritage through storytelling. My goal as a filmmaker is to stand out by authentically representing my roots, not by imitating Hollywood or Bollywood. I want my work to celebrate and preserve the richness of our traditions, ensuring they remain relevant for future generations. We’re eager to learn about your approach to helping the actors embody their characters and bring their roles

      Interview

      Music Licensing & Industry Growth: In Dialogue With Unique Oliver

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      If it’s not too late, happy new cinematic year. This is the year where we watch more films, make more film-related strides, and importantly hold more conversations around the art and business of filmmaking. In keeping with the Film Rats Club’s longstanding commitment to curating meaningful conversations about Nigerian and global cinema, we launched the Dialogue Series within the Film Rats community. Our first guest of the year is none other than a fellow Rat, Unique Oliver. Oliver has a unique portfolio as a lawyer turned Music and Entertainment Executive serving as the Music Supervisor and Licensing Lead at Spring Sound Ltd. Here he leads the company’s Music Supervision and Licensing division, delivering tailored music solutions for Film, TV, Reality Shows, Games, and New Media projects. Over his career as Nollywood & Afrobeats Go-to Music Supervisor, he has successfully negotiated and delivered on high-profile projects including Amazon Original Christmas in Lagos, Amazon’s TV reality series Ebuka Turns Up, Africa, Adire, The Uprising: Wives On Strike, and more. Outside the film industry, he has licensed music from Afrobeats superstars like Davido, Rema, Flavour, Omah Lay, Femi Kuti, Adekunle Gold, Ayra Starr, and other A-list artists.  In this conversation, moderated by Seyi Lasisi with contributions from fellow club members, we explored the art and business of sound, Unique Oliver’s observations on the industry, and his recommendations for its growth. For those who don’t know you, can you describe yourself and what you do? For a one-liner, I’m a music supervisor and licensing specialist for media (film, TV, games etc). With an interesting background in the music industry and as a music creative. My hustle simply involves making the best music available for a typical media or film project. I love everything that interacts with music. Whether it’s film, games, mobile applications, advert, etc. just use music, and let’s talk about money. My typical day will be with a glass of water on my laptop and researching the best Afrobeats song that can meet my client’s budget. You casually described your daily routine already. But, how much music do you listen to and how does this inform your work? I can’t really count because it’s not just random listening on a music streaming app even though I do this when I’m looking for a specific vibe to use. For me, it can be listening to my neighbor’s playlist in the morning, to swiping Instagram stories in the afternoon, surfing TikTok in the evening to capture trending music, then hitting the gym at night to study people’s music playlists or just hearing the DJ to Shazam those songs that give that “you know” vibe. What has this hunt(permit me to call it that) taught you about the listening palate of Nigerians especially as it relates to your line of work? Not all Afrobeats songs are about money, drugs, women, and body parts. It’s just your POV as a listener. Interesting. How handy is this information in making informed decisions while dealing with a filmmaker? It’s very handy for us because we are always limited by budget and have to find the next available song that can work for the scene. When we receive the scripts we study the setting of the movie in terms of location, year/era, major characters, and what will be the typical soundtrack for these characters based on their role in the movie so we can always suggest options when the filmmaker most preferred option is above budget. Filmmaking isn’t just about action and visual storytelling. As someone who has observed the listening habits of Nigerians, what and where is the place of sound design and score in pushing storytelling? And if you are doing a deep scrutiny of our auditory storytelling, how will you discuss it within the context of Nigerian films?  I see music and score as the continuation from where the dialogue stops. When you give the audience something they can relate to, you feel it, they feel it and we all love it. Well, you think of the city with the brown roofs you are thinking of Ebenezer Obey songs, you are thinking of the trenches you are thinking of a song by Small Doctor and the likes, if you think of a male character from the south-south part of Nigeria you are thinking of Timi Dakolo “Men of South” song. It’s all about creating a sonic identity that the audience with the background information can relate to and the ones without the information can learn something new about it. It’s entertainment but it’s also an education of the existing culture and listening habits of the biggest black country in the world. Not to place you on the spot. But, as an expert in this field, which films or series will you recommend for someone interested in learning auditory storytelling?  Lol. You’ve put me on the spot already. Not sure I can recommend the perfect film or series that captures the role of music in relation to auditory storytelling but if there’s anything I’ve enjoyed lately is reality shows and the intentionality in regards to the use of music, it’s as if the characters stop talking and it’s the music talking. Someone screams “I’m so rich” and what plays next is a song saying “I’m rich “. It’s so beautiful to watch. What do you think are the challenges attached to your part of the film industry? And, what recommendations will you prescribe? Improper licensing practices. The assumption the artist has told you to use the song for free doesn’t mean you can use the song just like that. Some producers and songwriters have to approve before you can use the music. Also filmmakers not understanding that music isn’t tomatoes that you can price anyhow. The deal is to work with the music that fits your budget, not your taste. I think this response circles back to a recurring theme in some of your responses: the need for education. Or, what do you think? Education is really

      Feature, Interview

      IN CONVERSATION WITH ISOKEN ARUEDE 

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      I had just arrived in Lagos from Ibadan, sometime in 2024, when I decided to attend a performance of Kelvinmary Ndukwe’s Pantyliners. The title struck me immediately as both symbolic and intriguing. True to Ndukwe’s signature site-specific style, the three actors in Pantyliners paid no attention to the audience, immersing themselves fully in the created fictional world. This approach is reminiscent of what Russian theatre practitioner Konstantin Stanislavski referred to as “public solitude”—the ability to act as though one is in complete privacy, even while being intently observed. It’s a fascinating concept: to exist “alone in public,” entirely absorbed in the moment. In Pantyliners, Ndukwe presents three high-class women who come together to reconnect, share their intimate experiences, and explore the warmth of their relationships. As with many of Kelvinmary’s works, the casting was spot on with performers who embodied their characters so authentically that you might mistake them for real people if it were your first time at the theatre. As the play unfolds, the audience is deliberately kept at a distance from the performers’ conversation. We’re not invited into their intimate exchange. Instead, we become intruders—silent observers, like flies on the wall, eavesdropping on the secret lives of these women and encroaching on their personal space. This sense of voyeurism adds a layer of discomfort, pulling the audience into the narrative in a way that feels both invasive and compelling. In Pantyliners, this technique reinforced the presence of the fourth wall, positioning the audience as outsiders — unwelcome guests. The actors’ deliberate detachment drew me deeper into the narrative, making the experience both intimate and isolating at the same time—a hallmark of Ndukwe’s mastery. Pantyliners is an enjoyable play—until it suddenly isn’t, when the facade starts to crack, and the secrets come pouring out. The atmosphere shifts when the proverbial pants begin to fly and the breeze starts to “blow fowl nyash” (when hidden truths are revealed). What truly drives the intensity of the experience is the audience’s emotional and physical involvement in the unfolding drama. As I observed them, I could feel the palpable tension in the air. Many were visibly uncomfortable, squirming in their seats, unsure whether to move or not, as if they might be caught in the guilt of their reactions. They pretended not to know the perverse topics the characters were discussing, but it was clear—they enjoyed it. The audience flushed with a mix of shyness and guilt, caught in the thrill of the play’s taboo subjects. It was as if they were a group of eager yet embarrassed onlookers, drawn into the rawness of the performance—an audience both complicit and conflicted. The play was first performed in 2018 at the Lagos Theatre Festival with Kiki Omeili, Rhoda Albert, and Bunmi Sogade pulling the audience along in this secret-savage-sexy play as Adaugo, Atinuke and Titi –the characters in the play. The play returned in 2024 at Terra Kulture (Theatre on the Lawn) with Chinonso Young, Amaka Zin-Michael, and Isoken Aruede as the three friends who reconnect over wine and dirty talk.  Amidst the intriguing performances, my attention was drawn to Isoken. In her performance as Titi, she presented a layered depiction of a woman grappling with a traumatic past, a haunting present, and an undecided future. After watching the captivating play, I was compelled to have a conversation with Isoken. Her indelible performance is a testament to the performer’s dedication to her craft and ability to breathe life into characters.  Isoken is no stranger to the stage. According to Isoken, she has always been a stage kid in certain ways. She did well in school with dancing, acting, and singing. She was also a child model. Having worked closely with her as co-star (on Babatunde Lawal’s Honeycomb, a short film), I’ve witnessed the passion and commitment fueling her artistry. There’s an unmistakable drive — an unrelenting pursuit of excellence that defines her approach to the craft. A multifaceted performing artist, she is trained in the disciplines of music, dance, and acting. She professionally started acting in 2023, and she can tell she has been successfully working in alignment with God’s will. “I experience art as a purpose-walk, and I enjoy the challenge of constantly learning and pushing boundaries as a medium to impact lives positively. As an artist, I believe I am everything everyone is and everything they are not.” In this conversation, Isoken opens up about her journey as an actor, her inspirations, and the challenges she faced along the way. Beyond her performances, Isoken wants to use her platform to inspire others and advocate for the transformative power of the arts. Here, we explore the world of Isoken – her dreams, and the unwavering passion that drives her to redefine what it means to be an artist in today’s world. This conversation was had in December 2024 and has been edited for length and clarity.  Okay, so Pantyliners… This was the most challenging role of my career at the time because it required me to explore rage and anger – something that is completely far from my real-life character. Honestly, it was quite demanding to embody Titi Pereira’s emotions through the roller coaster of experiences she went through in one sitting. Titi’s journey alone took her from excitement and teasing, to happiness and drunkenness, then to anguish and vulnerability, and finally to rage and unpredictability. The complexities of the character had me praying every chance I got backstage—which would constantly happen before the show, and just before the enraged display would start. Getting to know Titi and understanding her took a lot of my energy, but it was also a journey of discovery and empathy for me. I would say it was an intense and conclusively rewarding experience. Why did you decide to do it? I believe Pantyliners is a profound reflection of how many relationships and friendships, unfortunately, are beyond the facade of togetherness and happiness. I decided to take on this role because I am a strong advocate

      Interview

      A Heartfelt Conversation with Nigerian Cinematographer Emmanuel Odihiri: “Find Your Own Way To Tell Your Stories.” 

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      Emmanuel Igbekele Odihiri would introduce himself as a cinematographer based in Lagos Nigeria. Keen on traveling, Odihiri enjoys listening to music and meeting people. As he would describe himself, he’s “sometimes a photographer.” A graduate of Dramatic Arts, Obafemi Awolowo University, Ife, upon completing National Youth Service Corps (NYSC), Odihiri and a group of friends would form a media group with a vision to produce music videos, short films, and feature films.  In this interview with Cheesemonger, Odihiri recalls the first time he got to film and direct a music video. The director and cinematographer contracted to shoot the music video was unavailable. And his friend, who was working on the set, called him to save the day. As Odihiri, who has now built an admirable portfolio, will recall, that was the first time he would handle a RED camera —a RED epic. “It took courage to jump on it and I was also asked to direct, “ Odihiri said. Strangely enough, Odihiri has never listened to the song whose video he was supposed to direct. But, in the company of other creatives, he was able to come up with a story.  Recalling the day, Odihiri said, “It was a crazy day. But, we did some series of shots and played around with lightning.” Surprisingly, for Odihiri, the video was well received and it was repeatedly played on MTV and Trace.  Although good and promising, Odihiri was troubled about how competitive the market was.  With top-tier music directors like Clarence Peters and Mo Musa in the mix, getting a musical artist to trust you to shoot their video was challenging. Additionally, Odihiri, at that time, didn’t have a solid body of work to show clients. Hence, getting clients was hard. This influenced Odihiri’s decision to cross carpet into the film industry to start as a second camera operator and editor. Years after that decision, Odihiri has displayed his skills as Director of Photography in some Nollywood films- Soole (2021), Ponzi (2021), Breaded Life (2021), Introducing the Kujus (2020), Love in a Pandemic (2023), About a Boy (2021), Chao Calling (2023) Adire (2023) Ajosepo (2024) amongst others.  If you were to recommend one film in your filmography, which would it be?  I would say Afamefunna, the 2023 film directed by Kayode Kasum. Why? For me, it was something different, shooting a film that spoke about the Igbo apprenticeship system. It is a very important story and an interesting concept that I’ve not seen on screen in a long time. Reading the script and getting to know the history of the Igbo apprenticeship system) was very interesting for me. For me, it was a great opportunity for me to tell the story through my lens.   Was there any shocking cultural discovery for you during filming? Well, for me, not really. During NYSC, I served in Onitsha so I was quite aware of some Igbo customs that we explored in Afamefuna. Nothing was shocking to me.  What would you say about the “Igbo man”?  They are very serious with their business, you know, very straightforward. There’s no mago mago (cheating). Everything is business. They just keep it business. I would say their women take education more seriously than the men. The men are always in the market. I made friends in Onitsha during my NYSC service year, with some of the indigenes, the teachers, and the principal in the school. From my interactions with them, I learned that they are very welcoming to individuals who are straightforward and serious. What was the biggest lesson from filming Afamefunna? Shooting the film made me realize why, as an industry, we need to tell more of our stories.  After the screening of the film during the premiere, someone walked up to me and shook my hand so hard. They said, “I have not heard of stories like this before. I have not seen stories like this before. I was living through this. Living through Afam’s character.” For him, he could relate to everything that happened. What this told me is that we have different stories that we haven’t scratched. We have stories that haven’t seen the light of day. We just need storytellers who would tell these stories. The world wants to see these stories. Even in Afamefuna, there are different stories about apprenticeship that haven’t been touched. Other cultures have their own stories that we don’t know about across Nigeria, and these are things that the world would like to see. So let’s sell it to them. What’s your artistic process? Your process for filming Afamefuna.  So, in Afamefuna, I wanted the story to be told without any camera gimmicks because it’s drama. I didn’t want the camera to distract the audience. You know? So, I wanted the characters to look live through the lens. With attention to production design and screen treatment, I wanted the characters to be true and alive in that world and give the film a documentary feel. That was my vision for the film. This influenced some of the shot framing and composition in the film. You’d see a lot of close-up shots that allowed for intimacy. For some scenes with the chief,  I wanted his house to feel very big. You know? The Igbo man is a businessman. There are certain kinds of furniture you see in the house of a typical Igbo man, they are usually enormous, larger than life. So, when we see Afam’s master’s house, it is always very large in our eyes. Working with Kayode Kasum Kasum and I have come a long way. We happen to be secondary schoolmates too. Just after we met in the industry, we realized that we shared similar visual language and shared the same synergy. So whenever we were working together on a project, we would always discuss how best to approach it, in style and technique. How can we create something fresh? We bounce off each other. It’s always like there’s a telepathic language or understanding that

      Interview, Yellow Dialogues

      SUARA OLAYINKA: “The Camera Started Looking Sexy”

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      The Film Rats Yellow is a community of Nigerian university students united in their love of films, whether as filmmakers or consumers. With this platform, Nigerian student filmmakers get to network, collaborate, share their wins and disappointments, learn from each other, and grow their artistic taste. Managed by both past and present students, The Film Rat Yellow is a place where Nigerian students can learn and grow, and foster a community.  In the Yellow Dialogue series, the publication spotlights and taps into insightful dialogue sessions with film students who have a deep passion for cinema and storytelling and are doing something remarkable about it. This year’s first Yellow dialogue was conducted on the 21st of January 2024. Moderated by Keona, she, and other members of the Film Rats Yellow community dialogue with Olayinka Suara as they attempt to explore the mind and creative journeys of the talented cinematographer. In this interview, Suara, the 26-year-old Cinematographer, shares his thoughts, experiences, and aspirations in the world of filmmaking.  A graduate of the Department of Theatre Arts, University of Ibadan, and an indigene of Ibadan, Saura started learning about film right after graduating from Oritamefa Baptist Model School. In his 8 years of experience, Olayinka has worked across various departments in film, such as art direction, welfare, props, and camera assisting. His filmography includes, ‘The Wedding Party 2,’ ‘The Wait,’ ‘A Young Time Ago,’ ‘Bad Commando,’ ‘Hallelujah,’ and ‘Jinjah.’ (Olamide’s music video) Keona: What inspired you to pursue a career in cinematography? Suara: Heartbreak. Lol. I needed to get my mind off her. So I asked a friend of mine, a music producer, to link me up with anyone in the industry. What inspired me though was the ability to change the world. My boss once said and I always like to quote: Americans knew they wanted to control the world, so they controlled the media. Keona: Hmmmm…. Change the world… How? Suara: Cos you can then control the narrative. You can promote any agenda, and you can do anything. Keona: True. The media has that huge power. Suara: Yes.  That’s why you see some things more rampant. For instance, an obvious one is the LGBTQ narrative happening in almost every media. Cancel culture indirectly then supports that and others. But yeah, when you tell and show people through the immersive compulsion of audio-visual, you make them believe that black is red, and they’ll believe it.  Keona: Hmmmm…. I love what inspired you to start this journey. Can you share the story of how you began your journey in cinematography? Suara: After the heartbreak, I reached out to a friend, Jakim. He is a music producer. I told him I wanted to chase my passion and act. He fixed me up with 5 potential industry people to buzz. Over a year, I tenaciously followed up on 2 of those numbers and one of them, Mike Afolarin, landed me a job in Ilesha for the movie ‘Ajuwaya.’ That’s where the camera started looking sexy. Guess who I played in ‘Ajuwaya’?   Keona: Who, please? Suara: Muyiwa, the guy killed by a snake in the movie. Everyone called me Muyiwa till the shoot was over. Keona: Ahaaaa. I hope you don’t mind if I start calling you Muyiwa after this session. I’d watch the film again, this time, putting it in my mind that Olayinka Suara is in the film. Suara: No.  Keona: Alright. So, were there specific challenges you faced when starting, and how did you overcome them? Suara: Not really to be honest. Starting up, I was favored enough to be under LordTanner Studios (the LordTanner & Company). So I didn’t have many challenges. I had people happy to see me grow. They readily answer my questions. I had easy access to the equipment, so practice was easy. It was fun. Keona: With the conversation we’ve had so far, it shows that you were surrounded by amazing people. It’s really beautiful. Can you highlight any key mentors or experiences that shaped your early career? Suara: Mentors – My only notable mentor was Femi Awojide. A spectacular man. He taught me a lot about light and professionalism. But I had, and still have, other people who inspired and saved my life- Lord Tanner himself, Lord Bryan, Fred, and  Uncle Jamiu. Awojide was the DP for ‘Sugar Rush’, ‘Bad Commando’ by Rema the recent Tecno ad with Tiwa Savage.  Keona: Wow. And when you said “saved your life”, how did they save your life? Suara: They helped me grow and push me. They made sure I was on course. And not just professionally. Keona: Oh… That’s great. In your journey, what were some pivotal moments that contributed to your growth? Suara: Pivotal Moments. I’d say the first was the first sequence I made. It was a fight sequence. I made it with so much intent. Everyone loved it. I mean, a fight sequence made in Nigeria, and looked half decent enough. ‘That’s not bad to start, you know… maybe I can do this’ But for me, most of the growth occurred with experience and my intellect. I allowed my mind to stray, reinvent itself, expand, learn, unlearn, relearn, unlearn even more, and catch that light. My mind grew wild with the influx of experiences. Keona: Your story is amazing and inspiring. Learning and growing, that’s cool. I can’t wait to see more of what you’d create next. Now, talking about growth and experience, how important is hands-on compared to formal education in cinematography? Suara: Thank you. Ahh practical ni o. I mean like anything out there that involves high-performance human activities, practical experiences always trump formal learning in my book. But I won’t lie, the theory is just as important. I’m here on a set and keep realizing that the technical know-how is enhanced with theoretical knowledge. A simple cross-setting of little things that seem insignificant changes the outcome of your entire picture. Most times, we don’t know this, just practical knowledge. There’s a lot

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