New Nigerian Cinema
New Nigerian Cinema or New Nigerian Cinema era is an emerging phase in Nigerian cinema, in which there became a major shift in the method of film production, from the video format, which came about during the video boom, back to the cinema method, which constituted the films produced in the Golden era of Nigerian cinema history. The films in the New Wave are specifically characterized by improved narrative complexity, aesthetic nuance, much higher budgets and advanced overall production values, when compared to video films from the second generation of filmmakers. They are mostly released theatrically, although some are still released directly on DVD.
Since the early 2000s, several discussions and conferences have been held, based on how to revamp the Nigerian film industry and bring about more professionalism like it used to be in the golden era. During this time, some other filmmakers, such as Tunde Kelani and Tade Ogidan tried to make "break away" films, which were supposedly different from the norm. The now defunct Amstel Malta Box Office production company also made several films with the aim of making a difference. However, all of these films were also produced in the same video format that the other filmmakers used, albeit with quality stories and better directions. New Nigerian Cinema finally emerged in the mid-2000s with the release of films such as Irapada and The Amazing Grace. The Figurine by Kunle Afolayan is generally regarded as the break out film, which heightened the media attention towards "New Nigerian Cinema" revolution, due to its critical and commercial success in Nigeria, as well as screenings in notable international film festivals.
Few years into the 2000s, Nigeria began to experience the growth of cinemas, which was initially structured for the middle and upper class. The Silverbird Group is the first company to launch a series of modern Cinema houses across major cities in Nigeria, mostly situated in affluent areas and districts. It launched its cinema chains in 2004, starting with the Silverbird Galleria in Victoria Island, Lagos. Not long after the establishment of Silverbird cinemas, Genesis Deluxe Cinemas and Ozone Cinemas were also launched, creating a competition in the cinema business. Much later, in the 2010s, Film House cinemas and Viva cinemas also came into the picture, leading into wider availability of cinemas in the country, and most importantly, availability outside the affluent neighbourhoods.
Since 2006, there have been several "Project Nollywood" funds by the Nigerian Government, provided to filmmakers, in order to aid the production of high quality films, as well as to aid proper distribution infrastructure across the country. The grants have also been used to help more Nigerian filmmakers to go for formal training in film schools. As at 2020, the highest grossing film in Nigerian contemporary film history is Omo Ghetto: The Saga, which grossed approximately ₦636 million. As of 2013, Nigerian cinema is rated as the third most valuable film industry in the world based on its worth and overall revenues generated.
Beginnings
Since the early 2000s, several discussions and conferences have been held, based on how to revamp the Nigerian film industry and bring about more professionalism like it used to be in the 1970s. During this time, some other filmmakers tried to make "break away" films, which were quite different from the norm; such films include: Thunderbolt by Tunde Kelani, Dangerous Twins by Tade Ogidan, Madam dearest also by Tade Ogidan and 30 Days by Mildred Okwo amongst other. The now defunct Amstel Malta Box Office production company also made several films with the aim of making a difference. However, all of these films were also produced in the same video format that the other filmmakers used, albeit with quality stories and better directions.Return of the cinemas
In the Golden Age, the cinema culture was very vibrant amongst Nigerians. However, the culture started declining towards the late 1980s and the cinema business came crumbling into the 1990s. Few years into the 21st century, Nigeria began to experience the growth of cinemas, which was initially structured for the middle and upper class. The Silverbird Group is the first company to launch a series of modern Cinema houses across major cities in Nigeria, mostly situated in affluent areas and districts. It launched its cinema chains in 2004, starting with the Silverbird Galleria in Victoria Island, Lagos. The Silverbird Galleria is a large shopping mall, with an upscale cinema facility and various outlets where mercantile activities take place. This provides more reasons to visit the place beyond just watching films, but more of a social activity and a modified sort of entertainment beyond film watching. This trend has given another probable explanation as to the demise of the Nigerian cinema culture in the 1980s, which might have been as a result of the unfashionable appearance of most cinemas of the Golden era.Silverbird cinemas upon establishment started screening Nigerian films with high production quality, as a result discouraging poor film production; the cinema culture in the Nigerian cities with film theatres started experiencing a significant improvement, and with huge potentials. However, well produced Nigerian films were generally very few at the time; even at that, most films screened were produced in Yoruba-language, because they attracted more crowd, compared to a typical English-language film which often had no viewers when screened. The first New wave film to be shown at a cinema was the Yoruba-language film Irapada by Kunle Afolayan, which was screened at the Silverbird Galleria in Lagos.
The Silverbird experiment became very successful, and as a result, the group launched few more cinema branches in Lagos and other cities in the country. Not long after the establishment of Silverbird cinemas, Genesis Deluxe Cinemas and Ozone Cinemas were also launched creating a competition in the cinema business. However, the cinemas at start were still very under-patronized, as most of them were established in the upscale areas; "It hardly makes sense for people to travel far to indulge in the pleasure of watching films, especially with the attendant problems of traffic and logistics", stated Jide Kosoko, pushing for establishment of theatres in inner neighbourhoods and Local Government Areas. Much later, in the 2010s, Filmhouse Cinema also came into the picture, leading to more cinemas in the country and availability outside the affluent neighbourhoods.
''Project Nollywood'' government funds
In 2006, "Project Nollywood" was launched by the Nigerian Government, in conjunction with Ecobank. The project provided ₦100 million to Nigerian filmmakers to produce high quality films. Films produced with this grant include: Charles Novia's Caught In The Middle, Chico Ejiro's 100 Days In The Jungle and Fred Amata's Letters to a Stranger, which were all produced using digital cinematography. Ecobank also funded a multimillion Naira distribution network across the country during this period.In 2010, the administration of President Goodluck Jonathan launched a ₦30 billion "Creative and Entertainment Industry" Intervention Fund, financed by Bank of Industry, in conjunction with Nigerian Export and Import Bank. This grant, although dubbed as a spin-off of "Project Nollywood", was for the entire Nigerian Creative Arts and Entertainment sector. The vision of the grant for the film industry however is to help more Nigerian filmmakers in training, funding, and also help in creating necessary infrastructure for the industry. One of the major distribution companies established through this loan is FilmHouse Cinemas. Started by Kene Mparu and Kene Okwuosa in 2012, the cinema chain as at 2014 has modern theatres in four cities in Nigeria, including Lagos, Ibadan, Asaba and Calabar, with plans to have at least 25 cinemas across the country. Other distribution companies who benefitted from the grant include: Silverbird Cinemas, Ozone Cinemas, Viva Cinemas and G-Media. The 2012 film Doctor Bello by Tony Abulu is the first film to be funded with this grant.
In 2013, a smaller new grant of ₦3 billion was awarded once again solely for Nollywood, and specifically for the production of high quality films. Other films that benefitted from one "Project Nollywood" grant or another include: Flower Girl, Half of a Yellow Sun and The Department. Several filmmakers were also sponsored for formal training in film schools with this grant.
In 2015, the Bank of Industry launched another "NollyFund" program for the purpose of giving financial support in form of loans to film producers. A NollyFund Implementation Advisory Group was set up for the program, in order to ensure that only commercially viable scripts with good storylines benefit from the scheme. The group consist of cinema management experts, national film distributors, production and post-production experts, film critics, and film producers; their sole purpose is to critically review all the film scripts and associated budgets submitted to the Bank of Industry by film producers and make "technical recommendations to the management for final credit appraisal and subsequent approval in line with the Bank's Credit Policy".
Breakout
The popular 2009 thriller film The Figurine is generally considered the game changer, which heightened the media attention towards "New Nigerian Cinema" revolution. The film was a critical and commercial success in Nigeria, and it was also screened in international film festivals. The 2010 film Ijé by Chineze Anyaene, overtook The Figurine to become the highest grossing Nigerian film; a record it held for four years, until it was overtaken in 2014 by Half of a Yellow Sun. Other popular films released in the early years of this revolution include: The Amazing Grace by Jeta Amata, Through the Glass by Stephanie Okereke, Anchor Baby by Lonzo Nzekwe, Inale by Jeta Amata, Tango with Me by Mahmood Ali-Balogun and The Mirror Boy by Obi Emelonye, amongst others.By the end of 2013, the film industry reportedly hit a record breaking revenue of ₦1.72 trillion. As of 2014, the industry was worth ₦853.9 billion making it the third most valuable film industry in the world, behind the United States and India. It contributed about 1.4% to Nigeria's economy; this was attributed to the increase in the number of quality films produced and more formal distribution methods.