Hijack 93 is a shining example of the love-hate relationship audiences have with Nigerian films based on real events. These cinematic adventures often have us both cheering and cringing. Take, for instance, the baffling plot where three men decide to hijack a plane with absolutely zero plans. Because who needs a strategy when you can just think, “Let’s make history, but without any idea how!”?
Nollywood has its moments of brilliance, but Hijack 93 lands squarely in the realm of confusion. It’s a curious case of filmmakers wielding storytelling as a powerful tool, only to stumble and trip over their own narrative feet, leaving viewers shaking their heads and laughing at the absurdity instead of engaging with the serious themes they aimed to portray.
This exploration will delve into how these films artfully blur the boundaries between fiction and reality, offering a unique perspective on the complex dynamics of Nigerian society and its history. You may even find a few titles to add to your watchlist!
Hijack 93 (2024)
Oh yes. We’re starting with this one. The official synopsis of the film captures this simply: “In an effort to dismantle their military-backed government, four men hijack an airplane, leveraging passengers onboard in the name of social change.” And all we can say is, if the filmmakers’ aim was to portray the hijackers as foolish, then they succeeded in doing just that.
Hijack 93 is a fictional dramatization of the infamous Nigeria Airways hijacking that took place on October 25, 1993, when four teenage boys: Richard Ogunderu, Kabir Adenuga, Benneth Oluwadaisi, and Kenny Rasaq-Lawal, seized control of a commercial flight from Lagos to Abuja. Armed with fake guns and driven by political frustration, the young hijackers aimed to draw attention to Nigeria’s turbulent political landscape, demanding the reinstatement of democratically elected leader Moshood Abiola and the resignation of the military-backed government.
Their audacious plan quickly spiraled into chaos, culminating in a tense four-day standoff with authorities that resulted in the death of a crew member. While the hijacking was a misguided attempt to provoke action, it highlights the broader issues of justice and democracy in Nigeria.
The film is set within Nigeria’s political unrest in the 1990s, The film reimagines and to an extent, recounts the events of the hijacking but also explores the complex motivations behind the men’s actions, ultimately portraying them as controversial figures; viewed by some as heroes who dared to challenge a corrupt regime.
93 Days (2016)
93 Days is based on the real-life events of the 2014 Ebola outbreak in Nigeria. The film focuses on the efforts of Dr. Ameyo Adadevoh and her medical team in Lagos, who played a pivotal role in containing the virus. The outbreak began when Patrick Sawyer, a Liberian-American diplomat, arrived in Lagos and was quarantined by Dr. Adadevoh after showing Ebola symptoms. Despite his resistance, she made the critical decision to prevent him from leaving the hospital, an act that ultimately stopped a wider spread of the virus in Nigeria. The containment strategy employed by Nigerian health workers, particularly through contact tracing, became a global model for managing Ebola cases.
The film closely mirrors the actual events, highlighting the sacrifices and heroic efforts of health professionals who risked their lives to stop the spread of the virus. Through its portrayal of Dr. Adadevoh, 93 Days emphasizes the human element of this battle, focusing on the moral and physical courage required to take necessary actions, even in the face of potential personal danger. The movie honors the memory of the real-life figures who were instrumental in preventing a national and possibly global catastrophe.
Invasion 1897 (2014)
The real-life event depicted in Invasion 1897 revolves around the British punitive expedition against the Benin Kingdom in February 1897. This marked a significant historical moment when British forces invaded the kingdom in response to the killing of their officials during an unapproved visit. The British troops looted the Benin Kingdom, burning the city to the ground and exiling Oba Ovonramwen, the once-powerful ruler of Benin.
Thousands of cultural artifacts were stolen, many of which now reside in museums around the world, including the famous Benin Bronzes. The invasion marked the end of the Kingdom’s independence and the beginning of colonial rule in that region of present-day Nigeria.
The film Invasion 1897, directed by Lancelot Oduwa Imasuen, retells this event through the lens of a fictional contemporary character—a young Benin prince who stands trial for stealing historical artifacts from a British museum. The prince’s defense journey takes viewers back to the historic events of 1897, linking the past to the present. The film reimagines the invasion by intertwining history with personal narratives of pride, loss, and the fight to reclaim cultural identity.
While the film attempts to stay true to the essence of the historical events, it creatively mixes historical facts with fictional elements to draw attention to the ongoing conversation about the restitution of looted African artifacts.
Last Flight to Abuja (2012)
Last Flight to Abuja is inspired by real-life air disasters that occurred in Nigeria in 2006. During that year, a series of fatal plane crashes shook the nation, sparking concerns about the safety of civil aviation. One of the most tragic incidents involved a commercial flight from Abuja to Lagos, which crashed shortly after takeoff, killing all passengers on board. These crashes exposed severe regulatory and infrastructural weaknesses in Nigeria’s aviation sector, leading to widespread calls for reforms. The film, though not based on one specific event, is a commentary on these disasters and the broader issues of aviation safety in Nigeria.
In the film, directed by Obi Emelonye, the plot centres on passengers aboard a flight from Lagos to Abuja who must confront their fate when disaster strikes mid-flight. Through flashbacks, the film reveals the personal stories and motivations of each passenger, linking them to the eventual disaster.
While the film blends fiction with historical elements, it echoes the real-world issues of negligence and inefficiency that plagued Nigeria’s aviation industry at the time. Emelonye’s film goes beyond entertainment, aiming to spotlight the importance of aviation safety reforms, offering a compelling narrative that reflects on both past tragedies and the challenges within the industry.
Elesin Oba: The King’s Horseman (2022)
Elesin Oba: The King’s Horseman is inspired by the true events of 1946, when British colonial authorities prevented a royal horseman, Elesin, from committing ritual suicide after the death of his king. This ritual, integral to the Yoruba tradition, was meant to ensure the king’s safe passage into the afterlife and the protection of the community from disaster.
The British intervention, however, disrupted this practice, leading to tension between traditional values and colonial imposition. Wole Soyinka’s Death and the King’s Horseman, on which the film is based, modifies this historical narrative. Soyinka shifts responsibility from colonial interference to Elesin himself, using this alteration to explore themes of personal duty and failure within the framework of cultural and ritualistic obligations.
In Elesin Oba: The King’s Horseman (2022), directed by Biyi Bandele, the story follows Elesin Oba, played by Odunlade Adekola, as he grapples with fulfilling his ritualistic role after the king’s death. Set in 1940s Oyo Town, the film illustrates Elesin’s distractions, rooted in his desires and pleasures that delay his duty, leading to tragic consequences. While the historical backdrop of colonial interference remains present, the film focuses on the internal struggle of Elesin’s character, emphasizing the clash between individual desires and the burden of cultural duty.
Through this lens, the film underscores Soyinka’s thematic focus on honour and responsibility, while also serving as a reflection on the broader tensions between tradition and colonialism during British rule in Nigeria.
Oloibiri (2016)
Oloibiri is based on the true story of the first oil discovery in Nigeria, made in the town of Oloibiri, Bayelsa State, in 1956 by Shell-BP. This event marked the beginning of Nigeria’s oil boom and the exploitation of its vast petroleum resources. However, decades of unchecked oil drilling led to environmental degradation, poverty, and the marginalization of local communities, who saw little benefit from the wealth generated by the oil industry. The film shines a spotlight on the aftermath of this discovery, particularly focusing on the plight of the Niger Delta region, which has long suffered the consequences of environmental pollution and socio-economic neglect by both the government and multinational corporations.
In Oloibiri, directed by Curtis Graham, the film tells the story of a former militant, Gunpowder (played by Richard Mofe-Damijo), who takes up arms against the oil companies that have ravaged his homeland. The film juxtaposes Gunpowder’s desperation with that of an elderly Chief, played by Olu Jacobs, who witnessed Oloibiri’s descent from a thriving community to a desolate land ruined by oil exploration.
Through these characters, Oloibiri portrays the ongoing struggles of the Niger Delta people and the complex relationship between wealth, power, and exploitation. While the film draws on historical realities, it also explores the psychological and moral impact of the oil crisis, emphasizing the long-term effects on local communities and their fight for justice.
76 (2016)
76 is inspired by the real-life events surrounding the 1976 military coup in Nigeria, which led to the assassination of General Murtala Mohammed, the country’s Head of State at the time. The coup, orchestrated by Lieutenant Colonel Buka Suka Dimka, was a pivotal moment in Nigeria’s political history and marked a period of instability and violence. The film takes place six years after the Nigerian Civil War and explores the personal and political repercussions of the coup, focusing on the lives of military officers and their families as they navigate the aftermath of the political upheaval.
Directed by Izu Ojukwu, the film follows the story of Captain Joseph Dewa (played by Ramsey Nouah), an officer accused of involvement in the coup plot, and his wife, Suzy (played by Rita Dominic), as they struggle to prove his innocence. The film delves into the emotional toll of the coup on military families, revealing the strained relationships, fears, and loyalties tested in the wake of political turmoil. While the film weaves historical facts with fictionalized elements, 76 captures the atmosphere of paranoia and uncertainty that characterized Nigeria during this period.
The film also serves as a reflection on the fragility of power and the human cost of political ambition, making it a poignant exploration of a critical chapter in Nigeria’s history.
4-4-44 (2022)
In 4-4-44, the film draws inspiration from the real-life story of a couple, Hillary and Theresa, whose relationship is tested by the challenges of mental illness. Set against the backdrop of Nigeria’s struggle for independence in the 1940s and 1960s, the narrative explores their love and devotion amidst the trials that come with Theresa’s psychological struggles.
The film’s narrator, Veronica, the couple’s daughter, reflects on the complexities of love and how it reshapes lives, emphasizing the emotional turmoil and resilience of the characters as they navigate societal pressures and personal challenges.
The film retells this poignant story by oscillating between two timelines: the early stages of Hillary and Theresa’s romance and their later years facing the harsh realities of mental illness. It aims to humanize the struggles faced by those affected, highlighting the importance of support and understanding in relationships. Through the lens of love and commitment, 4-4-44 illustrates how the bond between Hillary and Theresa endures despite the challenges, showcasing the universal themes of love, family, and mental health awareness.
Dark October (2023)
Dark October is a film that dramatizes the tragic event known as the Aluu Four lynching, which took place on October 5, 2012, in Aluu, Rivers State, Nigeria. The film recounts the heartbreaking story of four university students: Ugonna Obuzor, Lloyd Toku, Chiadika Biringa, and Tekena Elkanah, who were falsely accused of theft and brutally killed by a mob in a shocking act of jungle justice. The narrative unfolds as the students, caught in a misunderstanding while confronting a debtor, become the victims of a community’s violent response fueled by fear and misinformation.
Directed by Toka Mcbaror and produced by Linda Ikeji, Dark October sheds light on the chilling realities of mob justice in Nigeria, exploring the circumstances that led to the students’ tragic deaths and the societal issues that allow such atrocities to occur.
The film not only serves as a significant reminder of the dangers of taking the law into one’s own hands but also aims to spark conversations about justice, accountability, and the need for systemic change within the Nigerian society. By bringing this painful chapter of recent history to the forefront, Dark October seeks to honour the memories of the Aluu Four while advocating for a future where such acts of violence are no longer tolerated.
Within Nollywood, a striking genre has taken root: films born from real events! These cinematic tales breathe life into narratives that we’ve come to love. From heartrending dramas that echo the everyday struggles of individuals, to electrifying thrillers that plunge into the annals of history, Nigerian filmmakers wield the art of storytelling as a powerful tool, illuminating truths that might otherwise remain shrouded in darkness.
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