C.J. Obasi’s upcoming fiction feature La Pyramide: A Celebration of Dark Bodies is shaping up to be a cinematic exploration that pushes the boundaries of storytelling, aesthetics, and cultural representation. Following his international success with Mami Wata, which garnered critical acclaim for its striking black-and-white portrayal of African folklore, Obasi’s new project promises to delve into a more vibrant and expansive narrative, integrating colour and a larger canvas.
The project is a co-production between Nigeria, the United Kingdom, Senegal, and the United States, marking a significant step in Obasi’s career as it brings together global influences and diverse filmmaking techniques. In La Pyramide, the director seeks to celebrate the beauty and complexity of dark-skinned bodies, an exploration that holds significant cultural and social resonance, particularly within the context of global cinema.
Obasi’s artistic vision for La Pyramide extends beyond simple visual storytelling; he sees it as an opportunity to push aesthetic boundaries in ways similar to what he achieved with Mami Wata, but on a grander scale.
“La Pyramide is an extension of what I did with Mami Wata,”
Obasi said in a recent interview.
“But on a much larger canvas, and with colour.”
La Pyramide reflects a celebration of the body, specifically dark bodies, which have often been marginalized or overlooked in mainstream cinema. Through this film, Obasi aims to centre these bodies not only as subjects of visual art but as profound expressions of identity and cultural significance.
Drawing on influences from his recent travels, including a visit to Brazil where part of the film is set, Obasi is keen to integrate global perspectives into his storytelling. His time in Senegal also contributed to the film’s development, as he described the moment as feeling like “prophecy fulfilled,” recognising the spiritual and political resonance of the country’s contemporary moment.
“Being in Senegal at such a spiritually and politically charged moment in the nation’s history felt like prophecy fulfilled,”
he remarked, further emphasising how deeply his surroundings influence the creative process.
La Pyramide promises to delve deep into socio-political themes, exploring the intersections of race, identity, and power. In a world where African bodies are often portrayed through a lens of tragedy or victimhood, Obasi aims to present an alternative narrative: one of empowerment, pride, and celebration.
“I want to celebrate these bodies, show them as they truly are—strong, beautiful, and full of history,” he explained.
Obasi’s move to incorporate colour into La Pyramide signifies a departure from the stark monochrome aesthetic of Mami Wata but maintains the same level of visual sophistication. The film’s aesthetic aims to be just as ambitious, providing a visual feast that complements its thematic depth. With his focus on the celebration of dark bodies, Obasi is challenging conventional filmmaking aesthetics, offering a fresh perspective that reflects his bold, innovative approach to cinema.
“Colour, for me, is an important part of this project. It’s an integral aspect of the world I’m creating in La Pyramide—one where dark bodies are vibrant and full of life,”
Obasi shared.
In addition to its visual and thematic ambitions, La Pyramide is also a collaborative international effort, with co-productions spanning several countries. This allows the film to access a wide array of talents and resources, further elevating its potential to make an impact on global cinema. The film is also poised to be part of the conversation around African cinema’s growing influence in the global film industry, with Obasi’s work increasingly being recognised on the international stage.
With La Pyramide, C.J. Obasi is crafting a film that promises to challenge, inspire, and captivate audiences. It’s a work that continues his journey as a director who is unafraid to confront pressing social issues through art, pushing the limits of what African cinema can achieve in the global arena. As the film progresses through production, there’s no doubt that it will be one of the most anticipated releases in contemporary African cinema.
“This is my answer to the lack of representation, to the exclusion of dark bodies from the mainstream. I want the world to see them as they truly are,”
Obasi concluded, adding a final testament to the powerful statement he seeks to make with this project.
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