The tradition of Nigerian directors acting in their own productions remains strong. Here, wearing multiple hats is practically an art form. While it’s hard enough to direct a film, some decided, “Why not act in it too?”

Here’s a look at Nigerian directors who didn’t just call the shots from behind the camera but also stepped in front of it taking full creative control by directing and acting in the same projects.

Biodun Stephen

Biodun Stephen is one of the most active Nigerian directors who regularly features in her own films. In her most recent, she plays a prostitute in I am Anis (2025). She directed and appeared in Mother’s Love (2019), where she had a supporting on-screen role; Butterflies (2021), where she featured briefly as a background voice; Love Unusual (2021), where she again lent her voice in a minor but deliberate cameo; and Pain and Beyond (2022), where she played a small yet visible character. In Picture Perfect (2016), she appeared as a camerawoman.

In Breaded Life (2021), she played a minor role. In Sista (2022), she voiced a school authority. In Big Love (2023), she voiced the radio presenter, and in Small Talks (2023), she added voice background commentary. Her filmography reflects her personal stamp across her stories, often inserting herself into small but symbolically meaningful roles. Her subtle but deliberate appearances have become a signature of her productions.

Kunle Afolayan

Kunle Afolayan has long been regarded as a director who blends technical precision with narrative richness, and he often inserts himself into his own films. He directed and starred in Irapada (2006), a suspense thriller steeped in traditional beliefs, and The Figurine (2009), a psychological mystery where he played the lead role, Sola. He made brief but meaningful appearances in Phone Swap (2012), The CEO (2016), and Ijogbon (2023), often serving as a narrative connector. In Aníkúlápó (2022), he portrayed a respected elder in the king’s council while managing the film’s grand vision as director and producer.

Funke Akindele

She directed and starred in Your Excellency (2019), playing Kemi Ajadi in a satirical political comedy. In Omo Ghetto: The Saga (2020), she reprised her dual roles as Ayomide and Lefty, while also serving as co-director. She returned with another blockbuster hit in Battle on Buka Street (2022), playing Yejide, a strong-willed food vendor in a rivalry-driven family drama.

In A Tribe Called Judah (2023), she took on the role of Jedidah Judah, a matriarch leading a band of sons through a chaotic heist plot, again co-directing the film. In Finding Me (2025), she portrayed Tinuke while sharing directorial duties. She also directed and starred in the original Omo Ghetto (2010) and has consistently contributed to the Jenifa franchise, especially in the long-running Jenifa’s Diary series, where she acts, writes, and co-directs.

Ramsey Nouah

Ramsey Nouah successfully transitioned from leading man to director with Living in Bondage: Breaking Free (2019), where he played Richard Williams, a manipulative cult leader and driving force of the film’s tension. The movie served as both a continuation of a Nollywood classic and a showcase of Ramsey’s evolution as a filmmaker capable of handling high-concept suspense.

He also plays a significant role in Tokunbo (2024) which he also directed.

Stephanie Linus

Stephanie Linus (formerly Stephanie Okereke) is another key figure. She directed and starred in Through the Glass (2008), making her directorial debut with an international release. She later directed and featured prominently in Dry (2015), a film that earned critical acclaim both within Africa and internationally for its powerful social message. Her work firmly placed her among pioneering Nigerian directors and actors.

Femi Adebayo

Femi Adebayo has directed and acted in a range of major Yoruba and mainstream Nollywood projects. He directed and played the title character in Jelili (2011), a comedic hit that captured local audiences with its exaggerated but heartfelt portrayal of a job-hopping village clown. He reprised this role in the sequel Survival of Jelili (2019), which he also directed. In King of Thieves (Ògúndábède) (2022), he took on the commanding role of Agesinkole, a mythical bandit terrorizing a Yoruba kingdom, while co-directing the epic and managing its production.

Femi extended this director-actor synergy to the television space in the period drama Seven Doors (2024), where he portrayed King Adejundoye while directing the series. Earlier in his career, he directed and featured in culturally resonant Yoruba-language films like Sonto Alapata. His dual involvement in these projects often gives his work a distinct mix of cultural authenticity, comedic timing, and narrative control.

Toyin Abraham

Toyin Abraham is an actress, filmmaker, and creative lead who often directs or supervises the direction of her own works. In Imade (2023), she was officially credited as both director and lead actress. She played dual leading roles in the spiritual drama Ijakumo: The Born Again Stripper (2022), where she was story originator, producer, and behind-the-scenes creative driver.

In The Ghost and the Tout Too (2021), she reprised her signature comedic role while overseeing many directorial choices. She returned to her roots in Alakada: Bad and Boujee (2024), serving as lead actress and screenwriter, deeply involved in the production’s vision and tone. Her creative imprint is visible across every layer of her film output.

The tradition of Nigerian directors acting in their own productions remains strong. These creatives demonstrate a rare depth of versatility. Their ability to balance directorial duties with strong screen presence continues to define Nollywood’s innovation and resilience. As the industry matures, this blend of skills ensures Nigerian stories are delivered with authenticity, precision, and deep personal investment. In Nollywood, this phenomenon is often rooted in both passion and practicality.

But does this dual role of actor-director come with risks? Could it affect the objectivity of a director who is also playing the lead character? Or is it, in fact, a signature of creative ownership; a director fully immersed in their story from the inside out?

We’d love to hear what you think.