LGBTQ: Nollywood Portrayals Under Nigeria’s Legal Lens -

Lights, Camera, Controversy: Nollywood’s LGBTQ Portrayals Under Nigeria’s Legal Lens

Nollywood has long been a mirror reflecting the nation’s diverse cultural and societal narratives. However, when it comes to LGBTQ representation, the reflection is distorted by stringent laws and societal taboos.

Early Depictions

In the early days of Nollywood, the industry’s focus was primarily on themes that resonated with mainstream Nigerian culture, often avoiding controversial subjects. When LGBTQ characters did appear, they were often depicted negatively, reinforcing stereotypes and societal prejudices.

In the 1990s to 2000s, films like Total Eclipse (2000) introduced LGBTQ characters but often portrayed them as comedic or villainous figures. These characters were frequently depicted as being possessed, influenced by bad friends, or forced into homosexuality, always needing “saving.” Even as late as the 2010s, this exact trope persisted, as seen in the film Men in Love.

However, in the Late 2000s to 2010s, gradual changes began with some filmmakers daring to explore LGBTQ themes more sensitively. Though such films were still rare and often faced backlash.

Notable Titles and Their Approach

Movies like Hell or High Water (2016) presented more nuanced characters while delving into the internal conflicts faced by individuals grappling with their sexuality in a conservative society. This short film, directed by Oluseyi “Asurf” Amuwa, tackles homophobia, religion, and love highlighting the emotional toll of such struggles.

In the midst of it all, narratives like those in Kasala (2018) often touch on darker realities, such as rape and child exploitation, though they might not fully delve into these issues. While such portrayals may risk overshadowing the nuanced representation of queer identities, they nevertheless bring crucial awareness to the existence of these harsh realities in Nigerian society.

From 2019 to present day, there have been significant improvement in the portrayals. The film, We Don’t Live Here Anymore (2018), directed by Tope Oshin, tells the story of two teenage boys who navigate their relationship amid societal pressures with the threat of expulsion from school. The film humanizes their love, portraying the emotional struggles they face.

Country Love (2022) follows a queer man returning to his hometown after many years. The film exploring themes of memory, family bonds, and love. Directed by Wapah Ezeigwe, it challenges societal norms and confronts the prejudices faced by femme queer individuals.

Tack: Live & Let’s Live (2022), written and directed by Patrick Kidochukwu Iwe, shines a light on the struggles faced by LGBTQ+ individuals in Nigeria, reflecting the pervasive hypocrisy that resides in the hearts of many Nigerians on this topic.

In the case of the 2023 ongoing series, Wura. We observe two queer characters confront the harsh realities of navigating their sexual orientation in Nigerian society. It’s something that they have to keep hidden or face societal consequences. The film received both acclaim and criticism for its realistic, positive, and believable portrayal of same-sex relationships, with some accusing it of promoting homosexuality.

In an interview with Premium Times one of the actors who played a queer character in Wura, Iremide Adeoye claims that playing a gay character boosted his career.

Another significant milestone in Nollywood’s portrayal of LGBTQ themes came with the film Ife (2020). Directed by Uyaiedu Ikpe-Etim and produced by Pamela Adie. Ife tells the story of two women falling in love over three days, confronting the realities of being in a same-sex relationship in Nigeria.

According to Pamela Adie, producer of Ife, the film aimed to show an accurate picture of lesbian and bisexual women in Nigerian movies.

She explained, “If a lesbian woman does appear in a standard Nollywood movie they are often portrayed as being possessed, influenced by bad friends, or forced into homosexuality and always needing ‘saving.’ You rarely see stories about LGBTQ people, especially about queer women, that speak to the realities of our lives. Ife was made to bridge the gap and to get the conversation going in Nigeria.”

Still, Ife faced significant opposition from the National Film and Video Censors Board (NFVCB), which warned that Adie and Ikpe-Etim could be jailed for promoting homosexuality. The same with Babatunde Apalowo’s All the Colours of the World Are Between Black and White. This 2024 film, the most recent on this topic, perceived by its openly queer portrayals, might never see the light of day in the Nigerian cinema space. But its message is clearly passed on the international scene.

The Double-Edged Sword of Regulations

The head of the NFVCB, Adebayo Thomas, has stated unequivocally that there is no space for Ife or other homosexual movies in Nigeria, citing the law. “There’s a standing law that prohibits homosexuality, either in practice or in a movie or even in a theatre or on stage.” He said. “If it’s content from Nigeria, it has to be censored.”

While it is true that homosexuality is frowned upon by many within the cultural context of Nigeria, the outright rejection of these representations is a disservice to the complex and varied experiences that exist within the country.

The Same-Sex Marriage (Prohibition) Act of 2014 not only prohibits same-sex marriages but also outlaws associations supporting LGBTQ rights. This significantly impacts the creative freedom of filmmakers. And it has caused what the Director of Ife, Ikpe-Etim called, telling “one-sided stories.”

This law stipulates severe penalties for those found guilty of promoting LGBTQ themes, creating a climate of fear and self-censorship within the industry.

The law, as it stands, not only hinders free expression but also prevents an honest and factual portrayal of the society. By censoring such content, the government perpetuates a cycle of denial, ignoring the prevalence of homosexuality and the lives of those who navigate their existence within this hostile environment. This approach stifles dialogue and progress, further entrenching discrimination and ignorance rather than fostering understanding.

Filmmakers face the risk of legal action, including imprisonment, if their work is perceived as advocating for LGBTQ rights or depicting same-sex relationships in a positive light.

The National Film and Video Censors Board (NFVCB) plays a crucial role in enforcing these laws. It rigorously monitors and censors film content to ensure compliance with national regulations. The NFVCB’s stringent guidelines prevent the release of films that contain content deemed inappropriate, which includes any positive portrayal of LGBTQ individuals or themes.

This regulatory environment stifles the representation of LGBTQ stories and characters in Nollywood, making it challenging for filmmakers to explore these narratives openly and honestly.

Contemporary LGBTQ Storytelling in Nollywood

Despite these challenges, some filmmakers have bravely tackled LGBTQ themes, often using metaphor and subtext to circumvent censorship.

While regulations aim to preserve cultural values, they also stifle creative expression and the accurate portrayal of Nigeria’s diverse society. This has led to a form of self-censorship among filmmakers, who often avoid LGBTQ themes altogether to ensure their films can be distributed without issues. Well, in the case of Kasala, the issue of homosexuality was treated along the confines of rape.

For All the Colours of the World Are Between Black and White, director Babatunde Apalowo had to relocate from Nigeria to complete the film, owing to the challenging environment for producing such a controversial piece within the country. Although the film is set in Lagos, parts of it were shot abroad. For Ife, the film is intended for release via alternative channels and streaming platforms, same as many others mentioned previously.

The Future of LGBTQ Storytelling in Nollywood

The global push for LGBTQ rights and representation is influencing Nollywood, albeit slowly. International platforms like YouTube and Netflix are providing Nigerian filmmakers with opportunities to tell stories that might be restricted locally. The success of Nigerian films on global streaming platforms could encourage more filmmakers to explore LGBTQ themes, knowing they have an international audience.

Additionally, local advocacy groups are working to change perceptions and push for more inclusive storytelling within Nollywood.

Nollywood’s journey with LGBTQ representation is fraught with challenges imposed by legal and societal norms. Filmmakers often adhere to these rules to avoid legal repercussions, which limits the scope of LGBTQ narratives. However, the determination of filmmakers and the influence of global platforms offer a glimmer of hope for more inclusive storytelling.

As the industry evolves, so too might its ability to authentically represent the full spectrum of Nigerian society.