“Film Has No Language”: Kunle Afolayan on Culture, AI, and Nollywood’s Future
At the Series Mania Festival, 30 African delegates—including producers, distributors, broadcasters, and other industry professionals—gathered in Lille, France, to explore new partnerships and discover emerging talent. Among them were ten Nigerian representatives: Mimdoo Bartel, Chioma Ude, Zulumoke Oyioba, Daniel Olaoluwa, Enyi Omeruah, Blessing Uzzi, Moses Babatope, Onome Ifeanyi, Chioma Onyenwe, and Kunle Afolayan.
As part of our exclusive Series Mania Interviews, we spoke with several Nigerian delegates about Nollywood’s global standing, its perception worldwide, the exportation of Nigerian culture through film, and its evolving relationship with Artificial Intelligence.
Our first conversation is with Kunle Afolayan, a leading figure in modern Nollywood, known for films like Anikulapo, Swallow, The Figurine, and Citation. He shares insights on Nollywood’s interaction with AI and the impact of streaming platforms on the industry.
How does Nollywood’s presence at international festivals like Series Mania shape its global perception and strengthen its position on the world stage?
One of the biggest benefits of attending film and television festivals is bridging the gap between different markets and industries. Film and TV content aren’t confined to a specific tribe, language, or region—they transcend borders. At its core, film is an art form that can be monetized. Events like Series Mania provide a platform to engage with fellow creatives and key business players, such as distributors, exhibitors, and sales agents. Having participated in numerous festivals worldwide, I’ve seen firsthand how these gatherings foster crucial industry connections.
Do you think festivals like this help shift global perspectives on Nollywood and highlight the quality of films coming out of Nigeria?
The real question is: how many Nigerians actively participate in film festivals? Back home, the focus tends to be on box office success. Once a film generates buzz and the PR campaign ends, discussions about it fade. However, when a film balances commercial appeal with artistic depth, it has a better chance of being recognized and documented internationally. Such films become part of the global film archive, allowing future generations—both locally and internationally—to reference them.
You mentioned that film isn’t confined to language or region. Yet, cinema is a key tool for cultural exportation. Nollywood has played a major role in this, but Nigerian culture can sometimes be challenging for foreign audiences to grasp. How do we maintain authenticity while appealing to global audiences?
I don’t think Nigerian culture is difficult to understand. Take South Korea, for example—its dramas are now more popular globally than Hollywood productions. These films and series are in Korean, and their culture is vastly different from the West. In many ways, African culture shares similarities with Asian traditions, especially in terms of family values and beliefs. Korea is successfully selling its culture through cinema, and we can do the same.
A Korean filmmaker recently approached me about a zombie film. This just shows that if we package our rich cultural stories well, the world will embrace them.
Cinema is a powerful tool for storytelling and education. Many people learn about America through Hollywood films. Likewise, African audiences have come to associate Nigeria with the Igbo title “Igwe” because of its frequent use in our movies. This illustrates cinema’s influence, and we must leverage it to showcase the diversity of Nigerian culture.
A great example is Anikulapo, a film entirely in Yoruba. Despite the language barrier, it became the number one most-watched film globally. That proves that film is not about language—it’s about compelling content, captivating stories, strong characters, and rich cultural elements.
With the unpredictability of streaming platforms in Nigeria, many filmmakers—including yourself—are turning to YouTube for distribution. Where do you see Nollywood in the next five to ten years?
Honestly, no one knows for sure. I’ve been discussing this with industry colleagues, and there’s no clear roadmap for Nollywood’s future. Moses Babatope and I had this same conversation when I arrived here—what’s next for the industry? We don’t have a definite answer.
One reason I’m at this festival is to pitch a project to potential co-producers. A co-production model could help distribute films across different territories. Some Nigerian filmmakers prioritize immediate box office returns, but for me, a film’s longevity matters more than quick revenue.
We might have to revisit traditional distribution methods that existed before Netflix entered the market. Other platforms like Apple are also exploring the space, so new opportunities may emerge.
AI is shaping industries worldwide. How do you see its impact on Nollywood and film distribution in Africa?
Nigeria recently announced its first AI-generated film, though I haven’t seen it yet. Regardless, technology is unavoidable in today’s world. I’ve been working on a project involving my late father for over a decade. Back then, I had no way to bring it to life. Now, AI offers a solution.
People worry that AI will replace jobs, and frankly, it should. Many people have become complacent. If technology can enhance filmmaking and deliver results, why not embrace it?
Personally, I prefer practical effects over CGI and green screens. I love filming on real locations with authentic props. However, in today’s industry, certain results are only achievable through technology.
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