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20261011 230000 UTC
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[00:00:12] of
[00:00:24] of
[00:00:37] of of Hello, this is
[00:00:41] where we caught open Nollywood, the complex magic making
[00:00:44] machine and bring into your homes the various
[00:00:48] aspects
[00:00:49] of the vibrant movie industry.
[00:00:52] in I am koi Shutadi and this
[00:00:55] of is Nollywood oncott, glad you can join
[00:00:59] us. He is
[00:01:02] of known in the industry as the
[00:01:05] governor, one
[00:01:06] of the early directors in Hollywood,
[00:01:09] Lanslot, popped into
[00:01:13] our studios for a quick chat with
[00:01:16] us, given
[00:01:20] the state
[00:01:20] of the security in our state,
[00:01:23] insist that you, your excellency,
[00:01:27] escalate this matter to the presidency. videos thank you very
[00:01:31] much um for joining us and um should i say welcome back into the country you've
[00:01:35] been away for a bit speak to us about that um tour
[00:01:39] that you
[00:01:39] a were on well i just went
[00:01:42] i went to build my family
[00:01:45] and uh also took time to rest so um
[00:01:49] let's let's speak about um isak about um the trailer dropped
[00:01:53] um recently and everybody has been discussing
[00:01:56] of and saying yeah of course you know um we spoke about saka about few
[00:02:00] months ago when you were in shooting and i continue to ask
[00:02:04] you
[00:02:05] is 25 years um
[00:02:06] of ago uh why
[00:02:09] now why bring it back now why why wake up
[00:02:13] of again 25 years after after the first
[00:02:17] of introduction yeah the question would be what was the
[00:02:21] purpose the movie
[00:02:25] s den and has our
[00:02:28] of situation change
[00:02:34] so you tell us about the proposal was far beyond the
[00:02:39] of fame, isak was the destiny
[00:02:43] of people captured in
[00:02:46] pictures for posterity, that
[00:02:49] there was a time a certain people said
[00:02:53] no, we cannot continue to live like
[00:02:55] this, they are doing their
[00:02:59] business, people are coming to buy from within and outside
[00:03:02] Nigeria, the consciousness that they will
[00:03:06] retain home safe wasn't there, just like it is
[00:03:09] now, some
[00:03:13] a students, happily, parents has seen them through
[00:03:17] the university, they are going to save their
[00:03:21] a fatherland as entrance constitution, they
[00:03:25] never got to where they are going to,
[00:03:28] so is that statement that you
[00:03:31] know what, we take our destiny in our hands, so that was what
[00:03:35] brought up is then when in
[00:03:38] ab, the shoemakers decided, you know what
[00:03:41] our business going down because
[00:03:45] of the presence of robbers and criminals
[00:03:49] and all of that, we must take destiny, because
[00:03:53] the system has failed, and whatfully
[00:03:56] so the non system, so okay,
[00:04:00] fine, oh, i just be r, call the
[00:04:03] a police, and the the this response and
[00:04:06] whatever, so they took that this in their hands
[00:04:09] and that what
[00:04:12] of is, that was the reality with us that the film
[00:04:16] is came out of to document that
[00:04:20] time of alive, now the question is,
[00:04:23] shouldn't there be more
[00:04:25] of we first said there
[00:04:26] that security was local? the
[00:04:30] film advocated that security was local,
[00:04:34] so to tackle the manages of insecurity amongst
[00:04:37] us, we must go to the root of
[00:04:42] of it, now we were very happy
[00:04:46] that now we are talking about state
[00:04:48] police, if you go further than
[00:04:52] of that to local government police to
[00:04:55] vigilantes, that what is about, so
[00:04:59] then This is like we all,
[00:05:02] I always
[00:05:03] tell people, not just a mer to entertain,
[00:05:07] he
[00:05:07] of went of further than that, it was mirror of our
[00:05:10] reality that we were facing. and here
[00:05:14] we are today, yes, so now that you have gone into this um
[00:05:18] very deep um
[00:05:21] uh should i say political side the
[00:05:25] conversation - i should as well just ask you
[00:05:28] the big elephant in the room question and and it is
[00:05:31] about um sakaba is like fashion
[00:05:35] after the bakasi boys them right yes and
[00:05:39] um we know that while the basi
[00:05:40] boy boys have been pressed for certain things they have also been accused of
[00:05:44] extrajudicial killings, they've been accused
[00:05:47] of um political used as political talks, they've been
[00:05:51] accused of a whole lot of things. um, 25
[00:05:55] years after now, and you're bringing it back, are
[00:05:58] you saying it's right again to
[00:06:02] circumvent the rule of law and just allow people to go
[00:06:06] ahead and and take laws into their hands, no even
[00:06:09] before not about that. that was
[00:06:13] the operations the guys who said
[00:06:16] you know what, since the state cannot, we have to do this
[00:06:19] by ourselves, now we are saying
[00:06:23] government,
[00:06:25] that was advocacy, can this method is working or is it
[00:06:29] not, of course is working, how
[00:06:32] does government come
[00:06:34] in now and refine its
[00:06:36] operations, there's a vigilante group
[00:06:40] of Nigeria, before the from where we're
[00:06:44] coming from in our villages there are
[00:06:47] this we say which is
[00:06:51] vigilant young boy group so
[00:06:55] okay you this night you will
[00:06:59] guard the rest of us so we can sleep peacefully
[00:07:02] you want so god cannot detach the
[00:07:06] people from the business them being
[00:07:09] secured of
[00:07:13] course that thing around our
[00:07:16] neck, there will
[00:07:19] become infiltrations,
[00:07:23] just the way every non institution in Nigeria has been
[00:07:26] infiltrated, what is
[00:07:30] the reason for the cry, the huw and
[00:07:34] cry and
[00:07:35] all of that, failure of
[00:07:36] institutions, free of
[00:07:40] institution, I have always wanted to be fe
[00:07:43] that is for the moment and the
[00:07:47] future and the past, today people
[00:07:51] complain about that neck, not be free, complain about
[00:07:55] police, not be, not be free, that major institution that should
[00:07:59] maintain certain level of independence that we have
[00:08:03] not achieved, want you to bring back
[00:08:07] isak, we are the new
[00:08:09] is a...
[00:08:14] go away and don't ever come back here
[00:08:17] with any message of that. let's go a bit deep into the
[00:08:21] isakaba story in itself. is this a
[00:08:25] continuation or reboot? because i still um in the trailr i saw
[00:08:29] some day right? so
[00:08:31] is is and
[00:08:32] it was still a b so is it like reboot telling the whole story again or
[00:08:36] you're continuing the story that um you told 25 years ago?
[00:08:39] we talk about the first part of was made
[00:08:43] 2001 i was released that 25 years old followed by
[00:08:46] sequel by part two part three part four
[00:08:50] then we had
[00:08:51] a g 2005 we dropped please come
[00:08:54] back the sakabanness in us is what we are seen
[00:08:58] again
[00:09:03] we we as at
[00:09:07] that time what
[00:09:08] we were battling where prty
[00:09:12] here and there, ritualistic killings and all
[00:09:16] what have you, so became that direct,
[00:09:20] we just show
[00:09:20] it to you, this is the society we are
[00:09:24] today, this
[00:09:25] is the kind of people we are living with today, and they are within
[00:09:29] us, how energized are we
[00:09:33] to do what we have to confront our
[00:09:35] fears, so we didn't
[00:09:39] continue anything, we just presented again today,
[00:09:43] today is kidnapping, the other time there was no need
[00:09:47] for, we talking kidnapping, we were talking
[00:09:50] robbers, pet and there, today
[00:09:54] there is state sponsor
[00:09:56] terrorism, state sponsored,
[00:10:00] terrorism,
[00:10:02] allegedly, so this
[00:10:06] is
[00:10:06] how with us, so
[00:10:07] it it will be to keep the the the
[00:10:11] conversation in the context. of um things that we can
[00:10:14] actually um prove
[00:10:16] and and oh yes you see we have heard
[00:10:20] lot film production wise of course i knew
[00:10:24] that because of um insecurity and the stories then was what
[00:10:28] inspired the movie, but people i watched
[00:10:32] the first back in in different
[00:10:36] stories were going on like oh baqasi boys
[00:10:40] i've gone to one them that they should not expose them again and all of
[00:10:43] that was true that was true it was it was it
[00:10:47] was when we finished that work that was one of my most
[00:10:51] unbelievable moment my life the the distributor
[00:10:55] uh in um abaden was was
[00:10:58] arrested by them by bakassi boys yes dead
[00:11:02] with and fed the film went too far,
[00:11:06] how did we know about that? sam was accosted
[00:11:10] in aba traveling to parthakot, those
[00:11:14] were not, they were not fallas, they were true
[00:11:17] that before the influtation the
[00:11:21] actual people that created that, that's now
[00:11:25] started they started inviting them for place we follow the story
[00:11:29] tenaciously as it was playing real time i
[00:11:33] fear them was real because then going back
[00:11:37] to remake it and were shooting in the east we had that fear
[00:11:40] that are sure this guy will not come to
[00:11:43] but the success
[00:11:46] that trail the
[00:11:50] release of that film there we couldn't just stop no such is not
[00:11:54] because oh there's money to be made, but there was a
[00:11:58] reality that yes
[00:11:59] this was with us and can i
[00:12:03] shock you when the day is
[00:12:07] released that faithful the
[00:12:10] october of 2021 that the thing was released,
[00:12:14] four or five other movies on same topic was released, i'm sure you
[00:12:18] never do that, no and this is
[00:12:22] the first time i'm saying is it was the... of um the
[00:12:26] VHS um VCD and all of that at
[00:12:30] that period there is no ai generating images that you can
[00:12:34] use and um but you were still
[00:12:36] able to to interpret a few things
[00:12:40] right um you were still able to interpret some action
[00:12:44] sequences and um and all of that how how
[00:12:48] were you how did you do all of those things back then and um how has the
[00:12:52] industry really changed over the years we have seen it now
[00:12:55] it appears like it's easier to tell stories now,
[00:12:58] no, you see the the the
[00:13:02] human involvement then when
[00:13:05] i was called document i call the two
[00:13:09] calls, the tail of two calls and i was
[00:13:12] called by the vision beer of
[00:13:16] that pr project, the
[00:13:18] late mil is late
[00:13:22] now when he gave me that call that now we just
[00:13:26] finished very massive film called last
[00:13:28] barrier last barrier
[00:13:32] last barrier was very successful he just released like
[00:13:35] in late
[00:13:38] um august early
[00:13:41] september i say he called me because then when they release the fe you think
[00:13:45] i going to wait for some time before he just come say
[00:13:49] there's this uh there's this idea this is happening in aba
[00:13:53] where you can use it to make uh if if was home, he
[00:13:56] came and we had that script conference,
[00:14:00] the late regional
[00:14:02] the b was call to write and we wrote,
[00:14:05] as matter of fact, let me also release that here, the
[00:14:09] film Isakabar was titled my
[00:14:12] town, initially, my
[00:14:15] town, it was called my
[00:14:18] town, it was during the
[00:14:21] rehearses that I change the
[00:14:25] title to his talk about because it was that spelling basi boy yeah
[00:14:29] it
[00:14:29] was it was a chant it was
[00:14:33] a ch th we had this argument now the robustness that used to come
[00:14:37] into productions different persons are
[00:14:41] called they may not be part of they are coming to to to
[00:14:44] develop the idea they not see script development
[00:14:48] story development so all them came in that
[00:14:51] time what are we going to my
[00:14:55] town, i see used my town as a
[00:14:58] child for film later, i like that whatever, but
[00:15:01] originally this one became was called my town,
[00:15:05] what was happening in my town? it was
[00:15:08] on, i called the producer, i said guy, i'm going to
[00:15:12] title this film isakaba, which is
[00:15:16] bakasi spell, which was bakasi from the other side, he was a chance, it was in
[00:15:20] script,
[00:15:24] was a chance. i said this thing is too is too beautiful,
[00:15:28] this should be better title for it, we call it
[00:15:31] isakaba, and that was it, must say very big thank you
[00:15:35] to you for um coming to speak. to us and of course um very
[00:15:39] soon the whole world will get to watch isak thank you very much
[00:15:42] congratulations to you again this is jungle
[00:15:46] justice
[00:15:56] when we return from a short break we bring you more from
[00:15:59] nollywood and
[00:16:00] cut.
[00:16:08] Hello and a warm welcome to Art House, I'm Melinda Akami,
[00:16:11] coming up today's episode the program. It's time
[00:16:15] to discover, connect and be inspired on
[00:16:18] Arthause where
[00:16:22] creativity knows no bounds.
[00:16:26] Dive into the heart of Nigeria by exploring its rich
[00:16:29] tapestry of arts and
[00:16:31] culture.
[00:16:40] see these stories, creative, colorful and
[00:16:43] vibrant on art
[00:16:45] house, and
[00:16:49] remember, art is not just what we create, it's who we
[00:16:52] are. on arthouse, life is
[00:16:55] art, at
[00:16:58] eyewitness.channelstv.com, news doesn't
[00:17:01] wait, and sometimes the first witness is
[00:17:05] you. capture the moment, upload your photos, videos
[00:17:08] and eyewitness reports directly to channel's
[00:17:12] television, help uncover the stories that matter because
[00:17:15] every report can make difference. visit
[00:17:18] iwitness.channelstv.com,
[00:17:21] eyewitness, seal it, share it, shape the
[00:17:25] news.
[00:17:29] thank you for staying tuned. let's now find out more of what is
[00:17:33] happening in Nollywood. leave in the distinguished
[00:17:37] audience. was the special guest of honor president Bola Tinubu, a
[00:17:40] prominent pro-democracy figure and close associate the late Chief
[00:17:44] MKO Abiola who arrived alongside first lady oluremi
[00:17:48] Tinubo. Also in attendance were key leadership the National
[00:17:51] Assembly, including senate President Gossulat, Deputy Speaker the House
[00:17:55] of Representatives, Benjamin Calu, and the governors of Legos and
[00:17:59] States. The atmosphere inside the hall was charged with emotion as
[00:18:03] dignitaries and cultural icons gathered to revisit one the most
[00:18:06] defined. chapters in Nigeria's democratic journey, leading in the distinguished
[00:18:10] audience was the special guest of honor president Bola Cinubu, a prominent
[00:18:14] pro-democracy figure and close associate the late chief MKO Abiola who
[00:18:18] arrived alongside firstlybu. Speaking at the
[00:18:22] event, the minister of art, culture at the creative economy, Hanatu
[00:18:25] Musa, described the project as a deeply moving tribute to the
[00:18:29] ultimate democratic sacrifice made by Chief Mashud
[00:18:32] Kashimawo, across region,
[00:18:36] religion, ethnicity. gave our mandate to
[00:18:39] chief mushud Abyola, that
[00:18:42] mandate was unfortunately denied, but
[00:18:46] the voice behind it was never ever silenced.
[00:18:50] It was carried by men and women who paid with their
[00:18:54] freedom, their comfort and for some their
[00:18:58] lives. MKO himself gave his
[00:19:01] fortune, his liberty, and in the end he gave his
[00:19:05] life. Tonight's film that story through the
[00:19:09] people who lived it, politicians, soldiers, diplomats,
[00:19:12] journalists, activists and the abiola
[00:19:15] family.
[00:19:19] political situation in Nigeria became so tense, the film weaves
[00:19:23] together footage with explosive first hand
[00:19:26] testimonies from key historical figures, including former heads of state,
[00:19:30] general Ibrahim Babangida, chief ulusego basson and general abdul
[00:19:34] salami Abubakar, alongside pogent reflections from
[00:19:38] Abiola's immediate family and political allies much of
[00:19:40] differencea lived his life for the
[00:19:44] masses,
[00:19:48] he was known to be a philanthropist the highest order directed by
[00:19:52] Nigerian American journalist turn
[00:19:53] filmmaker, the
[00:19:57] documentary delivers an unfiltered revisit to the turbulent events
[00:20:01] surrounding the anuld June 12th 1993 presidential
[00:20:04] election and the protracted struggle for civil rule that
[00:20:11] just
[00:20:11] out followed, going
[00:20:16] now, the i'm lights come up and guests file out the main bow, the
[00:20:20] consensus here is clear, telling Nigeria's history through
[00:20:24] powerful visual lens is no longer optional,
[00:20:27] it is essential,
[00:20:28] it is a transformation the political
[00:20:31] era, nigeria, seeing this
[00:20:34] to film, they reflect very... very
[00:20:38] emotional, because some of us young students university that we're part and
[00:20:42] pass the struggle for the
[00:20:44] the realization mandates
[00:20:45] of
[00:20:48] election.
[00:21:01] and to realize very closely
[00:21:03] to that womanal died or was
[00:21:07] killed
[00:21:09] uh so to say uh was something very emotional for
[00:21:13] me having president b and top state leadership sit in this room
[00:21:17] tonight underscores the deep political and cultural wait this
[00:21:21] project carries, it goes a long way to
[00:21:24] explain that the president is aware the
[00:21:27] power of
[00:21:29] cinema, when we tell our
[00:21:33] stories in writing and
[00:21:36] we dramatize it, there are two different things, i am sure
[00:21:40] the the entire audience here
[00:21:43] today enjoy the movie and they have learned
[00:21:47] a lot today. lot
[00:21:51] and I am telling you this
[00:21:54] script, this story, this documentary is the
[00:21:58] fox, chief fabiola walked into the guest
[00:22:01] house, chief fabiola had tea, and he
[00:22:05] sat on the couch, but slumped right down on the floor, distributed by now
[00:22:09] entertainment, the MCO documentary now heads from tonight's
[00:22:12] premier straight to commercial cinemas nationwide, offering audiences
[00:22:16] across the country and intimate look into the birth of
[00:22:25] where my
[00:22:25] money,
[00:22:29] wrong place, right time, produced by Kensy Studios on folds a drama
[00:22:33] comedy following a group of young people whose ordinary lives take an
[00:22:37] unexpected turn after a chance encounter, single
[00:22:40] decision or delivery twist puts them in the wrong place at the right
[00:22:44] time, as their seemingly simple day spirals into a
[00:22:48] series of unexpected events, their plans, relationships and
[00:22:51] assumptions are put to the test, forcing them to adapt to
[00:22:55] circumstances they never saw me here,
[00:22:58] sorry, but you, you don't if you like me
[00:23:01] yet, yes, do, i'm just letting
[00:23:04] you know that you're really special, why are you even with that boy? i
[00:23:08] know, think i like the idea of him more
[00:23:12] than i liked him,
[00:23:16] you realize that th two little brads know each other.
[00:23:23] I'm scared. East west love centers
[00:23:27] a heart-broken Lagos event planner whose dream Romantic getaway in
[00:23:31] Mombassa, Kenya turns into an unexpected journey of healing and
[00:23:34] love. What begins as a chance encounter gradually develops into an
[00:23:38] unexpected connection that forces Tito to confront her
[00:23:42] heartbreak and reconsider what she really wants from love, set
[00:23:46] between the vibrant streets of Lagos and the coastal beauty of M
[00:23:50] The film stars Sunshine Rossman, Effa Iwara,
[00:23:54] elmadiwe and Brian
[00:23:56] Abajar. For
[00:24:00] starters,
[00:24:01] this
[00:24:05] and the food and the people and the
[00:24:08] culture. Isn't
[00:24:12] this just the most beautiful
[00:24:15] view? True it
[00:24:18] is. Clarissa on Fows as a
[00:24:22] contemporary drama, directed and produced by Nigerian twin
[00:24:25] filmmakers, Ari and Chuko Esiri, the film set over
[00:24:29] a single day and night centered a high society woman
[00:24:33] preparing to host an elaborate dinner party at her Lagos home
[00:24:37] for her husband and his colleagues. Tentions deepen as
[00:24:41] the unexpected arrival of close friends and former lovers from her
[00:24:44] youth forces Clarissa to confront memories, lost connections
[00:24:48] and the choices have shaped her
[00:24:50] life to be
[00:24:53] dream, never thought you'd
[00:24:56] settle,
[00:25:03] we forget that there are people fighting for this country,
[00:25:07] it's missed it, my dear, i felt
[00:25:10] free,
[00:25:18] i was so in love with her, The film is modern day
[00:25:21] re-imagining of Virginia Wolves Classic Novel Mrs.
[00:25:25] Dallaway and stars Sophie Okonedu as
[00:25:28] Clarissa.
[00:25:37] Phoenix fury centers on two women whose lives collide
[00:25:40] across Nigeria and Ghana as they confront loss,
[00:25:44] trauma and a sheared quest for revenge. Recently widow and
[00:25:48] grieving a wura arma. In Haris Eutopia
[00:25:51] Valley, luxury resort nestled in the peaceful
[00:25:55] hills, her quiet existence is disrupted when Yalli, the
[00:25:59] charismatic newly elected Nigerian governor, arrives as high profile
[00:26:03] VIP guest, awakening decades old secrets that
[00:26:07] threaten to change
[00:26:07] everything.
[00:26:15] To my spouse, therama, I give the reminder of
[00:26:19] my property and estate, real, personal
[00:26:22] and mixed. There's a guest checking into the resort I
[00:26:26] inherited. Directed by eforma in
[00:26:29] kiruka, the cast includes Richard.
[00:26:43] the return on folds a
[00:26:45] christian drama centered on spiritual warfare, faith and the supremacy of
[00:26:48] god over traditional spiritual forces, as two christian
[00:26:52] believers leave the city to preach the gospel a rural
[00:26:55] community of
[00:26:57] moon leru.
[00:27:32] Till next show when we unpil more of
[00:27:35] Nollywood, I am quisut asking you to
[00:27:39] aim high, shoot for the moon if you
[00:27:42] miss, you probably end up with the
[00:27:45] stars.
[00:30:30] Tonight the nation's capital remain. does a stand still as the FC2 workers
[00:30:34] strike enters a critical phase, leaving public services
[00:30:38] paralized and thousands of residence stranded, from lock
[00:30:41] secretarial gates to deserted public offices, the enforcement of this
[00:30:45] industrial action has been
[00:30:47] absolute.