This Is Not a Nollywood Movie, written and directed by Wale Ojo, is a meta comedy that follows Kenneth Okechukwu (Ojo himself), an Igbo filmmaker from the East obsessed with winning international awards. He heads to Lagos to shoot his big project, assembling a cast of eccentric has-beens and divas. His best friend Pius (Broda Shaggi) tags along as loyal sidekick. What starts as a passion-driven adventure quickly descends into production hell: thugs, hijacks, endless chases, and absurd detours.
The film positions itself as satire on Nollywood chaos and award-chasing dreams. Strong chemistry and quirky characters provide laughs, but repetition, choppy editing, and a premise that loses direction turn early promise into frustration.
This Is Not a Nollywood Movie
Directed by: Wale Ojo
Written by: Wale Ojo
Genre: Comedy
Released on: Decmeber 5, 2025 (Cinemas)
Language: English
A Love Letter to Chaos
The heart of the film is Wale Ojo’s clear affection for filmmaking. Kenneth’s dream of Hollywood glory mirrors many Nigerian creators’ ambitions, and the meta layer (Yoruba actors playing Igbo characters) adds playful commentary on Nollywood’s fluid identities. Every role has its own comedic quirk, from diva Queen Venus to faded star Vincent Van Glory.
The duo of Ojo and Shaggi stands out: balanced, in sync, and surprisingly grounded. Shaggi tones down his usual over-the-top style, matching Ojo’s energy perfectly. Their friendship carries scenes even when the plot wanders.
Passion Turns to Pandemonium
Kenneth Okechukwu arrives in Lagos determined to make an award-winning film. He assembles an eccentric cast: veteran Vincent Van Glory (Hanks Anuku), diva Queen Venus (Bimbo Akintola), Shakospara (Shata Bandle) the real lover boy-turned-writer, and lover boy persona Bayo Valentino (Olumide Owuru).
Early chaos feels promising as production stumbles. But the story quickly diverges: chases, thugs, hijacks, and wild encounters pile up. A long car chase through Lagos impresses technically but drags. One bizarre sequence involves water and a CGI crocodile. What begins as satire on filmmaking struggles becomes a series of repetitive fights and detours. The core motivation (making the movie) gets buried under noise, making the film feel like it mirrors its own chaotic set.
Performances Full of Sync and Spark
The cast shines brightest. Every role carries deliberate weirdness, creating a world where no one is “normal.” This uniform quirkiness feels fresh compared to films relying on one comic relief. The ensemble’s unique comedic flairs spread laughs evenly, making ordinary scenes sparkle with odd energy. Wale Ojo and Broda Shaggi (Samuel Animashaun Perry) deliver believable chemistry as Kenneth and Pius. For once, Shaggi dials back just slightly, his usual over-the-top style, matching Ojo’s energy perfectly.
Their balanced dynamic makes their duo iconic. Bimbo Akintola steals scenes as Queen Venus, her diva flair and top-notch accent pure joy. A bed clash with Olumide Owuru’s Bayo Valentino is hilarious. Hanks Anuku’s comeback as Vincent Van Glory cleverly nods to his own career hiatus. Every character brings unique comedic quirk, making the ensemble feel alive and different from standard Nollywood fare. OAP Ijeoma Ononoju, and Ghanian social media personality Firdaus ‘Shatta Bandle’ Iddrisu (as Shakosphere) make brilliant appearances.
Technical Style: Guerrilla Chaos as Choice
The raw, jumpy editing and guerrilla feel seem deliberate, like indie experimentation or stage-drama energy on screen. Shots are loose, blocking theatrical, mise-en-scène indie, very similar to Progressive Tailors’ Club by Biodun Stephen.
This suits satire on Nollywood production madness. A Lagos car chase impresses for scale alone. Yet repetition (jokes, fights) wears thin, aggravated by choppy cuts. Sound issues in cinemas (muffled dialogue, no subtitles) hurt clarity. The style starts fresh but becomes tiring, testing patience as chaos piles on.
Final Thoughts
This Is Not a Nollywood Movie is clearly Wale Ojo’s personal ode to the industry’s passion and pitfalls. The wacky characters, strong leads, and meta humour show real love. It starts with sharp potential, poking fun at award-chasing dreams and production nightmares. But the premise drifts into endless detours, repetitive comedy, and overwhelming action that loses the thread. What could have been tight satire stretches into boredom. Still, the chemistry, quirks, and sheer audacity make it watchable and different.
Verdict
This Is Not a Nollywood Movie suits viewers who enjoy chaotic, character-driven comedy and don’t mind repetition for meta laughs.
It frustrates those wanting focused satire or fresh jokes throughout. Quirky and bold, it’s a love letter that gets lost in its own madness.
Rating: 2.55/5
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