Have you noticed that Nollywood films don’t always fit into the tidy boxes designed by Hollywood? Well, it’s probably because our storytelling is unique.

Why then do we still rely on borrowed genre labels like “romance,” “comedy,” or “thriller” to define our films?

Why don’t we create our classifications to preserve our identity and celebrate our distinct styles?

The idea of genre in the film is as old as the film itself. From the early days of silent cinema to the blockbuster era and the contemporary era, genres have shaped the way movies are made, marketed, and consumed, providing a framework for filmmakers and audiences to understand and engage with diverse types of stories.

The studio system in Hollywood led to the creation of formulaic movies that targeted specific audiences. The film industry’s desire to please and its need to attract consumers was viewed as the mechanism whereby spectators were able to designate the kind of films they wanted to see. By choosing films it will patronize, the audience reveals its preferences and beliefs, thus inducing Hollywood studios to produce films reflecting its desires. 

A Legacy of Diversity

Historically, Nollywood has explored a variety of genres, including supernatural horror, political dramas, and cultural epics. In its early days, filmmakers were bold, creating a wide array of narratives that reflected the complexities of Nigerian society.

Early classics like Living in Bondage, Nneka the Pretty Serpent, Sakobi, proved that our industry could tackle themes of spirituality, morality, and cultural complexity in ways that no other film tradition could replicate. These films were something entirely our own.

The Shift to Homogeneity

But today, things feel different. The rise of “New Nollywood” has brought polished productions but also a troubling sameness. Romance, drama, and comedy dominate the screen. While these genres are important, they don’t reflect the full spectrum of our stories or society. Worse still, films often stray from the genres they promise to deliver, leaving audiences confused and disappointed.

A film marketed as a thriller might drift into melodrama or comedy, leaving audiences confused and dissatisfied. A recent example is Break of Dawn released in cinemas this year, which veers into melodrama with very deep plot holes. This genre-blurring dilutes the impact of the story, resulting in a viewing experience that fails to meet expectations.

Some filmmakers today rely on established formulas, particularly romantic comedies and family dramas. A good example, A Tribe Called Judah, exemplifies this trend, where romance and family themes dominate the box office. And the same thing, ironically, might happen this coming December. While these films may be popular, they often overshadow the potential for innovative storytelling.

The reliance on a narrow set of genres could hinder Nollywood’s long-term growth.

Breaking Away from Western Templates

Hollywood’s genre system isn’t made for Nollywood. Our films often blend elements of multiple genres—romance mingles with spiritual themes e.g. Juju Stories: Love Potion (2021); thrillers are spiced with comedy (Break of Dawn, 2024). This fusion is a strength, not a flaw. Why should we box ourselves into labels that don’t fully capture what we create?

The resurgence of supernatural horror films, as seen with Juju Stories, Dichie, Inside Life, indicates a growing interest in diverse storytelling.

Culturally specific biopics, such as Ayinla, Badamosi, Lisabi, and the upcoming Efunroye Tinubu: The Unicorn, highlight the potential for films that explore the lives of significant Nigerian figures. Additionally, films addressing political and historical themes like King of Boys and Anikulapo show audiences are eager for narratives beyond the familiar love stories.

Take Mami Wata, for example. This supernatural film rooted in African spirituality doesn’t just fit into the “horror” category. It’s a spiritual epic with a uniquely Nigerian flavour.

Instead of squeezing our films into Hollywood’s mold, we should embrace our fluid, hybrid storytelling style and create labels that are true to us.

Exploring Nollywood’s Unique Genres

Funtime Family Drama

This genre is all about the hilarious antics and heartwarming chaos within family life, often centered around mischievous children and comical household dynamics. A standout example is Aki na Ukwa (2002), also known as Aki and Pawpaw, where the mischievous duo, Aki (Chinedu Ikedieze) and Pawpaw (Osita Iheme), wreak havoc with their childlike antics, leading to uproarious situations and laugh-out-loud moments.

These films often feature boisterous family settings where children, often the main troublemakers, bring both joy and mayhem. In Fuji House of Commotion (2001), we see a similar comedic portrayal of a chaotic, yet loving family, where the clashes between different personalities result in humorous conflict.

Other notable films in the genre include Tales of the Heart (2001), A Tribe Called Judah (2023), and The Johnsons (2012). With exaggerated performances, distinctive characters, and playful storylines, the Funtime Family genre captures the laughter and love found in everyday Nigerian family life.

Faith-Based/Evangelical Films

Faith-based/Evangelical films focus on divine intervention and Christian themes, often depicting the victory of good over evil. These films explore moral and spiritual struggles, illustrating characters’ journeys toward redemption, faith, and the transformative power of God. Agbara Nla (The Ultimate Power) centers on the power of faith to overcome trials, while The Wounded Heart: When God Says Yes explores themes of forgiveness, healing, and the spiritual battle between good and evil.

Films from Mount Zion Ministries, like Enoch (2023), Recitation (2023), and Oreofe Williams such as Awo Jesu, are known for their deep Christian messages, often highlighting the moral choices of characters faced with spiritual warfare, delivering powerful lessons on faith, prayer, and divine intervention. Other popular titles include Breath of Life (2023), God Calling (2018), The Man of God (2022).

Ritual/Blood Money Thrillers

These films delve into the dark and often taboo world of money rituals, human sacrifices, and diabolical practices, reflecting the societal fears surrounding greed, power, and moral corruption. These films expose the lengths to which individuals will go in their pursuit of wealth and influence, often highlighting the consequences of making deals with dark forces. Living in Bondage (1992), the genre’s defining film explores the life of a man who turns to ritual sacrifices in exchange for wealth, only to be consumed by guilt and terror.

Rituals (1997), Billionaire’s Club (2003), Yahoo + (2023), similarly focus on the dangerous allure of blood money, depicting the lives of characters ensnared by their ambition and the horrific costs of their desires. Through chilling stories and intense imagery, these films serve as a cautionary tale, revealing the destructive nature of greed and the heavy price that must be paid for pursuing power through unethical means.

Epic/Cultural Films

This genre celebrates Nigeria’s heritage through folklore, myths, and historical narratives that often transport audiences to ancient kingdoms and traditional societies. These films highlight legendary figures, such as kings, queens, and warriors, whose stories are tied to the cultural makeup of their people. Films like Igodo (1999), Oduduwa (2000), Lisabi (2024), House of Ga’a (2024), Anikulapo (2023), and Amina (1992) immerse viewers in tales of heroism, sacrifice, and the complexities of power, tradition, and identity.

They blend history with mythology, using elaborate set designs, indigenous languages, and traditional customs to reflect the struggles, triumphs, and values of various Nigerian ethnic groups. Through these epics, Nollywood not only entertains but also preserves and promotes cultural pride and the significance of ancestral beliefs.

Juju Fiction

Juju Fiction films explore the supernatural with tales of mystical forces, ghostly apparitions, and speculative scenarios, often reimagining traditional practices/juju in creative, reimagined ways. In Day of Destiny (2021), juju enables time travel. Similarly, Juju Stories (2021) delves into eerie tales of love, curses, and transformation, merging folklore with speculative fiction.

In Suspicion (2024), juju becomes a tool for vengeance, granting its protagonist supernatural powers to pursue justice while grappling with personal destruction, presenting juju as both a blessing and a burden.

In Sugar Rush (2019), juju is reimagined by blending traditional mysticism with absurdity. Another interesting one is A Song From the Dark (2024). These films not only entertain but also push the boundaries of how juju is depicted, turning traditional beliefs into dynamic narratives that blend the mystical with the modern.

Protecting our Identity

Nollywood’s strength lies in its authenticity. By creating our genre classifications, we can reject the Western lens and assert our identity on the global stage. This isn’t just about semantics, it’s about ensuring our stories remain ours, told in our way, and understood on our terms.

The audience is ready for change. The question is, are the filmmakers willing to seize the day?