News & Releases

Netflix has set a release date for All Na Vibes, a teen crime-drama/thriller directed by Taiwo Egunjobi and written by Isaac Ayodeji. The announcement came on social media and major media outlets that the highly acclaimed feature will be available globally from January 27. All Na Vibes is a story that commentates on the lives of young Nigerians against a backdrop of academic and political breakdown. It follows three teens who after a house party that takes a dark turn are forced to question their futures— and friendships— when a politician’s daughter goes missing. All Na Vibes enjoyed an extensive festival run around the world, from opening the Nollywood Week Film Festival in France to the International African Film Festival in Argentina to a special Nollywood showcase in Brazil and many more. According to director Taiwo Egunjobi, All Na Vibes is best described as neorealistic, as it favors a story rooted in real experiences, opts for a functional visual language, and employs a cast of non-professional leads. He goes on to describe the film as an exercise in ambitious storytelling that takes a stab at a wide range of themes like crime, corruption, thuggery, and youthful delinquency. Who’s Involved with All Na Vibes? All Na Vibes is the latest entry into the teenage-young adult genre preoccupation in Nollywood. Director Taiwo Egunjobi helms the film while Emiola Fagbenle serves as producer and editor. Isaac Ayodeji serves as the writer and Bolaji Opakunbi is cinematographer. The feature boasts a cast of young actors like Tolu Osaile, Tega Ethan, and Molawa Davis. More popular names like Tope Tedela, Babatunde Aderinoye, and Jide Kosoko complete the cast list. All Na Vibes premieres on January 27, exclusively on Netflix. Check out the images below and the trailer here.

by Tonto I came to realize, as soon as last weekend, that there are two kinds of conversations: The loud ones that decenter the individual filmmaker and cast the light on the shortcomings of others. These are commonly held in Twitter spaces, boiling with the advocative fervor that’s popular on social media. The young filmmaker is wont to enjoy this kind of conversation. After all, it’s a collective fight against the gatekeepers hoarding all the opportunities. These conversations give the impression that important work is being done. And maybe work is being done by pointing out these lapses but I worry that the young filmmaker could easily be consumed by this and forget what really matters. The second kind of conversation is unremarkable in appearance. It’s a known truth that’s easily forgotten and will only be relevant if it’s regularly brought to the fore of the mind and negotiated with daily. I was reminded of this last weekend. A friend of mine met with a senior colleague and they talked about a Nigerian film that has enjoyed global success. My friend expected the acclaim but remains enamoured with how a story so simple in delivery could be adored by all. The senior colleague quickly pointed out that the simplicity of the film is a function of storytelling excellence. The directors of the film took the time with their idea and pruned it till it was as clean as a bone. This did two things to me. I was reminded, again, that simplicity is complex; and that filmmaking, like any career, demands time to gain an appreciable level of mastery. At every moment in a filmmaker’s career, even he/she may not know it, he/she is torn between these two conversations. Getting caught up in the righteous noise or hunkering down to do the work of skilling up. I’m not suggesting it’s a binary situation, far from it. The industry does need to get better, and the louder the demands for change the more likely anything happens. My call for caution is, however, directed at the insidious nature of misplaced priorities. Joining in the call for change while forgetting your primary duty of honing your craft, of preparing for the opportunities that could open up when a shake-up does happen. Wouldn’t it be shameful if the activist filmmaker isn’t any better than the supposed gatekeepers? The way out is to face the work. Add to the noise, if you have to, but don’t stop studying. Cork the shades and insults, channel the frustrations into books and video essays. That’s the only way to stay at the top when and if you do get to the top. There’s a naughty realization I’ve chosen to take away from all this– our standards are in the trenches. Take a look at the quality of products from neighbouring countries and you’re bound to shake your head in despair. The cheat here is to console yourself with the notion that skilling up by the barest minimum will create such a separation from the majority that stands you out immediately. I know it’s a rather mischievous motivation to get better, but I think it’s a valid one. Get better, young filmmaker. Make it your obsession. The industry needs your skills more than your frustrations.  

[vc_row][vc_column][vc_single_image image=”7074″ img_size=”full” alignment=”center”][vc_column_text] We believe that a great story can come from anywhere, and be loved everywhere. Africa has a rich heritage of storytelling and a young population that is ready to step up and tell Africa’s stories, in all their multiplicity. We’re excited by the fresh new voices that are ready to tell the stories they were told by prior generations, to the world. Netflix has partnered with UNESCO to launch a short film competition, “African Folktales, Reimagined,” to find the bravest, wittiest, and most surprising retellings of some of Africa’s most-loved folktales. We can’t wait to see what you’ve got. Folktales have always played an important role in the heritage of a culture, passing down values, knowledge, and customs from one generation to the next. Knowledge that builds communities, nations and unites the world in shared understanding and experience. We believe Africa’s rich history of storytelling, from universal tales to hyper-local fables, provides fertile ground for creative retelling. This is an opportunity to reimagine the relevance of these tales to our contemporary society and extend them to the world stage on-screen: a celebration of Africa’s profoundly varied culture, folklore, and heritage. This competition invites submissions from emerging filmmakers across Sub-Saharan Africa on the theme of “African Folktales, Reimagined”. The competition is open to individuals seeking to venture into feature film development and production. Applicants must have a minimum of 2 years and a maximum of 5 years of demonstrable professional experience in the audio-visual industry. Applicants must have developed and produced 1 to 2 theatrical feature films, television fiction, documentaries, or 2-3 short films and/or commercials. Do you have a tale to share with the world? If our call has set your imagination alight, you may be one of the final six storytellers chosen to tell the stories you were told, to the world, on-screen. We are calling upon budding filmmakers to share their reimagined African folktale concept for a short film that celebrates the dynamism of African cultures. All genres welcome! Look at this brief as a creative ignition — see where the theme takes you. You will submit a concept synopsis that should give us a clear idea of your creative vision and artistic angle. Be a part of the new generation that shares Africa’s dazzling folktales — and just be sure to put your own fresh twist on it. Shortlisted finalists will have the opportunity to take part in “How to Pitch to Netflix” workshops. These will give you the chance to prepare, polish, and present your film concepts with the help of industry experts. The Netflix and UNESCO judging committee will then mentor six winners to develop a 12 to 20-minute short film. The final 6 storytellers will each win $25,000; each of them will also receive a production budget of up to $75,000 to create their short film. The collection of winning films will be launched on Netflix in 2022 as an “Anthology of African Folktales, Reimagined.” CLICK HERE NOW!! https://youtu.be/QXGYTd07YU4[/vc_column_text][/vc_column][/vc_row]