Latest news with #AkinolaDaviesJr.
Euronews
12-06-2025
- Entertainment
- Euronews
Director Akinola Davies Jr. on breaking new ground for Nigerian cinema
My Father's Shadow made history the moment it hit this year's Cannes lineup. Akinola Davies Jr.'s hauntingly beautiful debut became the first Nigerian film to receive an official selection at the festival, a milestone moment not just for the filmmaker but for African cinema as a whole. 'Representing Nigeria to me is a real badge of honour,' Davies Jr. told Euronews Culture. 'I am extremely proud to be Nigerian, proud to be African in general, and I think our stories are incredibly universal.' Set in 1993 Lagos during the tense lead-up to Nigeria's first democratic election since a military coup installed General Ibrahim Babangida, the semi-autobiographical film takes place over the course of a single, fraught day. Through the eyes of two young brothers reuniting with their absent father, My Father's Shadow quietly grapples with themes of masculinity, generational trauma, and the fragility of national identity in times of political unrest. Gangs of London star Ṣọpẹ́ Dìrísù delivers a simmering performance as Folarin, the burdened patriarch trying to reconnect with his sons, played by breakout talents Chibuike Marvellous Egbo and Godwin Egbo. Davies co-wrote the script with his brother Wale, with both also serving as executive producers on the project. Ahead of its Cannes premiere, global streamer MUBI acquired the film, with plans for a theatrical release in North America and the UK. We sat down with Akinola Davies Jr. following the film's premiere to discuss his Cannes experience, the making of My Father's Shadow, and the responsibility - and joy - of representing Nigeria on cinema's biggest stage. Euronews Culture: First of all, congratulations. It's fair to say My Father's Shadow has been a huge success story. It's received critical acclaim and, obviously, it was the first Nigerian film to be officially selected into Cannes. Could you tell us a little bit about the experience of going to Cannes and what it meant to you personally to represent Nigeria on such a massive global stage? Akinola Davies Jr.: Sure. I mean, you never really set out to be the first in anything, and we certainly weren't aware that it would be the first Nigerian film in selection. I think there have been Nigerian films at Cannes before, but obviously not in selection. So, the experience was pretty overwhelming, but in the best way. I think it's incredible to show work in a place full of cinephiles, people who love the craft, and a place with such massive prestige. It's everything you imagine the environment for your projects and work to live in. In that aspect, it was really fantastic to be there. I think Nigerians, with it being the first Nigerian film at Cannes, have really caught on to that. Many of the crew and cast turned up publicly, and it was synonymous with Nigeria having a pavilion in Cannes for the first year, which was just serendipitous and equally felt like perfect timing. The film doing as well as it has and being received as it has is like a cherry on top of a cherry on top of a cherry. So, yeah, I'm really pleased. Representing Nigeria to me is a real badge of honour. I am extremely proud to be Nigerian, proud to be African in general, and I think our stories are incredibly universal. I hope that continues because filmmakers like Mati Diop with her film Atlantiques and the Esiri brothers did it with Eyimofe (Eyimofe: This Is My Desire). But I think there's probably becoming an icnreasing market for nuanced versions of our stories to travel across the world. Nigerian cinema boasts an incredibly rich and deep history, from the pioneering work of Hubert Ogunde to the more recent contributions of Kunle Afolayan. Why do you think it has taken so long for a Nigerian film to be officially selected at Cannes? I find this question a bit tricky. On one hand, it's about curiosity because media, finance, and many industries are structured to privilege the global North. So naturally, everyone looks to Europe and America for what's relevant. However, there is now more introspection, allowing the global North to turn its attention toward the global South for stories and ideas. Both have been closely linked through growth and resource sharing. Specifically for Nigerian films traveling abroad, it's important to remember that Nigeria is made up of over 300 tribes, each with different languages and dialects. We are community-based people, so Nollywood's primary focus is serving Nigerian audiences. Beyond that, Nollywood serves the African continent and the diaspora. If Europe shows interest, it is incredibly welcoming - but language and dialect barriers need to be bridged. Europe hasn't always been great at doing that, especially since the focus has mostly been on European markets. So, there's definitely some complexity here. That being said, Nigerian films have been present at Cannes before - including another film this year. Perhaps storytelling style also plays a role: my film is part of Nollywood but leans more toward arthouse, which aligns well with Cannes, whereas many Nigerian films tend to be more commercial. I think both sides could do a better job bridging that gap. How do you see your work in relationship with Nollywood? I think my film is unapologetically a Nollywood film. My cast and crew are about 90% people who work in Nollywood. To say the work isn't Nollywood feels disingenuous. Nollywood is incredibly rich, with a beautiful tapestry of storytelling, creativity, and technical prowess. I wear that as a badge of honour. It's a young, fledgling industry. Nigerian cinema predates Nollywood, but Nollywood itself is probably 30–34 years old, roughly my age. Hollywood, by comparison, is about 100 years in development. Maybe now Nollywood has a commercial neccisity, but hopefully films like mine branch out to create space for arthouse narratives, more nuanced dramas. Nollywood has done well in horror, sci-fi, and supernatural, but the drama of the common man's daily life may be neglected. Hopefully films like mine, films like Eyimofe, films like All the Colours of the World Are Between Black and White, films like Mami Wata, create that palette, and audiences are interested. Going back to Cannes, were there any particularly surreal moments? Yeah, a couple of moments. The red carpets are always a little surreal. I tried to wink at Cate Blanchett. I don't know if she saw it, but I definitely tried. I also sat down and had lunch with Juliette Binoche, which was really surreal. But the moments that spun me out the most were simple. I follow this guy, Thomas Flight, on YouTube who does video essays and reviews. Meeting him in person was probably more exciting than seeing a celebrity because I love his work. What did you do to celebrate after the premiere of your film? Any parties? Yes, we had a party. Element produced my film and also produced Harry Lighton's incredible debut Pillion, which won an award for best screenplay. So we shared a party. I have a background in throwing parties and music, so I got some incredible DJs to come play. By all accounts, it was pretty good. For anyone unfamiliar, could you give us a brief synopsis of My Father's Shadow? Sure. My Father's Shadow is a film about fatherhood, nationhood, and brotherhood. It's about two brothers spending the day with their father, who they don't see regularly. He takes them around Lagos to show the struggles he goes through to provide for the family. They question his absence and hold him to account. On that day, there's a big election result announced, and he has to get them home. Why did you feel it was important to set it against such a pivotal political event in Nigerian history? Exactly for that reason. It was a pivotal moment. I was in Nigeria during that period, as was my brother, and we knew something was going on from the reactions of family. We were probably too young to fully understand the politics at the time, but in our research, we realised it was an important moment in the country's history, something not well documented until now. It's like a family heirloom in terms of Nigeria. It's a very important story to tell because Nigeria has a big part to play in Africa's growth and development, and even the world's. It hasn't fully fulfilled that potential yet, though there have been shimmering moments. To really shift things forward, we need to tell our own stories in a nuanced way, not from an outside perspective. I think My Father's Shadow holds a lot in terms of contemporary Nigerian history. It's important to know what happened and who was around in that period for sure. You co-wrote the film with your brother Wale, and I understand you each had different memories of your childhood and your father. How did those contrasting perspectives shape or enrich the film? My brother is an incredibly accomplished writer. He's also a musician and in music management. He's older than me and probably the most well-read person I know. He's also one of my closest and probably my best friends. Working with a sibling forces you into a space of honesty because you know everything about each other. That helps the work because we try to write from an honest place. If it's not honest, it doesn't feel right. Both of us being men, him being a father, and me not yet, also helps. Being close in age to when we lost our father really helped the genesis of the film - trying to figure out what we actually remember, what's made up, what's been told to us, what we fabricated versus what's real. That was the guiding force for writing the script. Equally, my brother became a father during the writing process, so a lot of emotions and the idea of sacrifice and providing for your family were taken into account. There's a narrative of absent fathers, which can be quite negative and derivative, but I don't think ours fits that. Our absent father was out of duty and providing for the family, which I believe is common in an African context - it's traditional and conservative. Ultimately, there's still this idea of duty in Africa, maybe antiquated in Europe, but still very present - providing for your family sometimes means you don't spend as much time with them. That's where our story comes from, and I think there are still challenges we're dealing with. Nigeria in the '90s - like much of the world - was very male dominated. Do you think it's changed much nowadays? I think on the surface, it's very male dominated, but I definitely wouldn't say women are in hierarchical control - although in politics, they've been gaining more ground. Actually, I think Nigerian women probably crystallise the brilliance of Nigeria in many ways. Our producer is a Nigerian woman; we have two producers, one from the UK and one from Nigeria. My mother - who's obviously a Nigerian woman - in my father's absence or after his passing, she took the mantle and raised four children. My aunt is the matriarch of the family. I was always surrounded by my mother's friends - they all ran their own businesses and were completely self-sufficient. If you go to any market in Nigeria, it's pretty much all women running things. So yeah, on the surface - and maybe politically or presidentially in some cases - it feels male dominated, and it's probably easy to say that from the outside looking in. But even though my mother isn't really in the film, she's still an overarching presence. Feminine energy is also a strong, though not front-facing, presence in the film - more subconscious, effectively. And I think that's what it means. To your question, I think Africa in general, and Nigeria in particular, has to present as masculine because of our history - colonial history, independence history. The leaders who've been targeted and killed the most were men and statesmen, including in my film, even though Abiola is still very much alive within it. So when that absence happens, it's the women who have to take care of the family, who have to rise to the occasion - especially Abiola's wives, who are central characters in my film. While my film is set over one day, after Abiola's passing years later, his wives were the ones leading the charge. So yeah, on the surface it might feel that way, but for me, having grown up there, I'd probably counter that Nigeria is highly organised and run by women. Obviously, patriarchy still has a place in society because of the colonial experience. But hopefully, through telling stories in film, art, and media, we can reference our histories. You shot the film on location, on 16mm film. How was that logistically and why did you feel it was important to shoot in this medium? You'd have to ask my producers for logistics, but it was challenging - there are no labs on the continent. We had to shuttle film back and forth, so we didn't see rushes for almost a week, meaning we couldn't strike sets during that time. I love shooting on film. It slows the pace, embraces imperfections, and allows more rehearsal time with cast and crew. Two of my three leads had never acted before - I didn't want to nitpick performances on set. Originally, I planned to fix things in the edit. Working with my Mexican editor Omidy Guzman, who's an unsung hero, we extracted what we needed and got the performances we wanted. Thematically, shooting a period film on film really helped. Politically, I wanted to see the Lagos I grew up in captured on what I consider the most beautiful medium. I wasn't exposed to much of that growing up. So whenever I shoot in Nigeria, I want to shoot on film because Lagos is incredibly cinematic and deserves celluloid - not that I'm against digital; I love digital too and shoot it often. But I think when it comes to capturing the essence of a place, I think film is a really good shorthand. What impact do you hope My Father's Shadow will have on the wider film industry? Ooooh big question! It's a bit early to say, but from responses, I hope My Father's Shadow is like breaking ground for a next generation of filmmakers to see that it's possible to do it. Obviously, like, I come with a certain level of privilege. I was born in the UK. My film's financed in the UK predominantly, but obviously co-produced by a Nigerian production company, Nigerian talent, Nigerian crew. So there's a lot of collaboration in there. But, obviously, I have to also say that it comes with a certain level of privilege having MUBI, Element, Match Factory, Fremantle, BBC, BFI all involved. That might not be the case for every filmmaker, but I want to acknowledge that and say that there is a way to sort of get to this point, but, obviously, it takes a lot of collaboration, a lot of forward thinking, and a lot of groundwork, but it's possible. My Father's Shadow had its world premiere at the Un Certain Regard section of the 2025 Cannes Film Festival, where it won the Special Mention for the Caméra d'Or. Mubi acquired distribution rights for North America, the UK, Ireland, and Turkey.
Yahoo
09-06-2025
- Entertainment
- Yahoo
Cannes Showcases Africa's Film Future
African cinema has arrived in Cannes determined to blaze its own trail amid signs of a slowdown in investment across the continent from the world's leading streamers. Leading the way is Akinola Davies Jr.'s drama My Father's Shadow, an Un Certain Regard contender that's being touted as the first Nigerian film ever selected for Cannes' official lineup. The continent's vast array of location options, meanwhile, is being showcased thanks to the Cameroon-set police thriller Indomptables, from French director Thomas Ngijol, part of this year's Directors' Fortnight lineup. More from The Hollywood Reporter 'The Real Housewives of London,' NBCU Reality Streamer Hayu's First Original, Unveils Cast Andrew Tate and Brother Tristan Charged With 21 U.K. Crimes, Including Rape and Human Trafficking Susie Wolff Is Putting the F(emale) in F1 The much-anticipated Nigerian historical fantasy Osamede will also have its world premiere at the festival — screening at the Marché du Film's Pavillon Afriques on May 17 — and its makers believe the message Africa collectively wants to share is that the continent remains open for business. During the pandemic-era streaming boom, when the legacy studios joined Netflix in a race to boost subscriber counts, Africa — with its young demographics and large populations — was frequently touted as a promising growth market. But in the post-pandemic reassessment of streaming, when revenue per user became Wall Street's preferred metric for assessing success in the sector (rather than sub growth at any cost), U.S. studios and platforms began speaking much less frequently about their original content ambitions in Africa. 'We've already realized that we want to tell authentic African stories and we don't want to tell them just for local audiences,' says Osamede's Nigeria-based director James Omokwe. 'So Cannes is one of the first places we want to go internationally, for people to see what we've done — to see what's coming out of Africa and to see our first moves out of, you know, the rubble [of the streaming investment slowdown].' Set against the backdrop of the 1897 British invasion of the Benin Kingdom, Osamede follows an orphaned girl who happens upon supernatural powers, with the filmmakers promising a 'genre-blending epic that mixes myth, magic and resistance.' The stage-to-screen production is being driven by executive producer Lilian Olubi's Gold Lilies Productions, and it has been picked up for domestic and regional distribution by Nile Entertainment. The move to premiere the film at Cannes is designed to showcase it on a more international stage. 'In the beginning, we were having conversations about how we'd probably take the film to streamers — simple,' says Omokwe. 'But now we've had to figure out how to do it on our own. It's now like you're reinventing the wheel, innovating new ways to distribute the film and make money because as it is, there's no standard value chain, so we're all just trying our best to see how it works.' Amazon Prime's decision last year to cease operations in Africa sent tremors across the continent's content industries. The move cut investment in original content, along with momentum in the sector for mergers and acquisitions. Multiple industry insiders tell THR — asking not to be named to protect relationships and future opportunities — that they believed Netflix was implementing a slowdown of its investments in the region, too. But the California-based streaming giant is still spending more on African content than its peers. African titles in the works from Netflix include new seasons of the popular series Kings of Jo'Burg (season three) and Fatal Seduction (season two). The company also has an ongoing partnership with the Johannesburg-based production banner Burnt Onion (Seriously Single). Back in March — on the sidelines of the Joburg Film Festival — Netflix's vp content in the Middle East and Africa, Ben Amadasun, remained bullish about the streamer's prospects in the region. 'We have seen firsthand the power and impact of African stories, not just on the continent but across the world,' Amadasun said at the event. 'The global audience is hungry for authentic, bold and fresh African narratives, and Netflix is committed to ensuring those stories reach and resonate with millions of entertainment fans worldwide. Our approach is simple: We want to invest in the best African talent, collaborate with amazing local creators, and continue expanding the frontiers of what's possible in African storytelling.' On paper at least, prospects for the region appear full of promise. Some big names have rallied to the cause, with London-born The Wire and Luther star Idris Elba last year announcing plans to set up studios across the region, starting in Tanzania and on the semi-autonomous island of Zanzibar. The actor — who was born to a Sierra Leonean father and a Ghanaian mother — cited the K-wave content boom from South Korea as an example of what Africa could achieve, lamenting to CNN on the sidelines of the Stellar Development Foundation's Meridian conference in London that the majority of Africa-set content 'isn't even generated from Africa.' 'The median age in Africa is 19; these young people are optimistic and deserve the chance to tell their own stories,' Elba said. UNESCO has projected that Africa's film and audiovisual industry could 'create 20 million jobs and add $20 billion to the continent's GDP by 2030.' Lagos-based media mogul Mo Abudu, founder and CEO of the EbonyLife Group, is well aware of those prospects — and of the potential for African content and talent to expand its global reach. 'I'm very excited about the fact that we need to create our own distribution channels, our own distribution networks,' she says. 'We need to find ways to fund our own productions. I am excited about building that ecosystem around funding, distribution and production. 'We're working on a $50 million film fund that African filmmakers can draw from by the end of the year. We're looking at budgets from between $2 million to $8 million. I'm excited about the fact that we're talking to a big global distributor right now as our distribution partner — because at the end of the day, you can't make a film and not have it distributed globally, and we don't have global distribution outlets here at the moment.' In addition to investing in an emerging generation of talent through her company's EbonyLife Creative Academy, and expanding EbonyLife TV, Abudu has previously worked with Netflix on the acclaimed series Blood Sisters. She's also close to opening a 180-seat EbonyLife Place London entertainment center on the British capital's Wandsworth Road to showcase African film, theater, music, food, art and fashion. 'We are also in the process of launching our own OTT platform [EbonyLife ON],' says Abudu. 'We will start small. We will build. But I do believe that it's important to take these baby steps and to get out there and to start creating some momentum. We can't keep waiting on anyone else to do this for us.' Co-productions continue to be one of the African industry's main drivers of investment and growth. My Father's Shadow — which stars Sope Dìrísù and centers on a family reunion around the time of the 1993 Nigerian presidential election — was produced by the U.K.-Ireland operation Element Pictures in partnership with Nigeria's Fatherland Productions. Support has also come via BBC Film and the BFI, while international sales are being handled by Germany's The Match Factory. Sarika Hemi Lakhani spent 18 years working across Africa with the Kenya-based One Fine Day Films (Nairobi Half-Life) before moving to Berlin last year to join Tom Tykwer's X Filme Creative Pool. The hope ahead, she says, is for co-production treaties that balance creative control between those holding the purse strings from outside Africa and the talent the region is providing. 'There are so many untapped stories on the African continent,' she says. 'And that means there are also so many untapped opportunities.' Best of The Hollywood Reporter 13 of Tom Cruise's Most Jaw-Dropping Stunts Hollywood Stars Who Are One Award Away From an EGOT 'The Goonies' Cast, Then and Now
France 24
05-06-2025
- Entertainment
- France 24
Donald Trump signs travel ban on 12 countries
Also, Africa has immense international cultural influence. Nigerian filmmakers made a strong showing at this year's Cannes Film Festival in France, with Akinola Davies Jr.'s debut feature, My Father's Shadow, making history as the first Nigerian film selected for the official lineup, screening in the Un Certain Regard section. Earlier, I spoke to Peace Hyde, the producer behind the Netflix hit Young, Famous & African, now in its third season. She says that the impact that the continent's creatives are having is no accident, and there's more to come. Finally, in Burundi, Parliamentary elections were held on thursday. The ruling party was expected to win as it didn't face much opposition, with many rival political figures not being allowed to run. Amidst the tension, some of the boldest voices have come from the Catholic Church.
RTÉ News
25-05-2025
- Entertainment
- RTÉ News
Element Pictures claims double win at Cannes Film Festival for second year running
Dublin and London-based film company Element Pictures have won two awards for a second year running at the Cannes Film Festival. The company behind Poor Things and Normal People won awards for Akinola Davies Jr.'s feature debut, My Father's Shadow, and Harry Lighton's feature debut Pillion. Davies Jr. received the Caméra d'Or Special Mention at Saturday night's Cérémonie du Palmarès for his film - the first Nigerian film in Official Selection in the festival's history - and is the first Nigerian Director to be honoured with the award. Lighton was awarded 'Best Screenplay during last night's Un Certain Regard awards ceremony. Hippo the Dachshund, the dog who stars in Pillon, also received a special mention, winning the 'Mutt Moment' award at the Palm Dog contest. The news marks the fourth prestigious win in two years for Element Pictures, with Jesse Plemons winning Best Actor for Kinds Of Kindness and Rungano Nyoni winning 'Best Director' for On Becoming A Guinea Fowl at the 77th Cannes Film Festival in 2024. My Father's Shadow is a semi-autobiographical tale set over the course of a single day in the Nigerian capital Lagos during the 1993 Nigerian election crisis and was described as "A thrillingly vital account of the moment when everything changes" by Screen Daily review. Commenting on the award, the film's producer Rachel Dargavel said: "It's hard to express the pride I'm feeling that My Fathers Shadow has received this accolade. "It was made with so much love and energy and with an ambition to create something that resonated on an emotional level with anyone who took the time to watch it. "For it to have been received in this way is all at once so validating of the human spirit and all at once mind blowing - the first Nigerian film in official selection and the first Nigerian Director to be honoured with the Caméra d'Or Special Mention. "Thank you Cannes Film Festival and the Jury for shining a light on our beautiful film, I couldn't be more proud of Akinola." Pillion tells the story of "a timid man (Harry Melling) who is swept off his feet when an enigmatic, impossibly handsome biker (Alexander Skarsgard) takes him on as his submissive". Reacting to the Best Screenplay win, the film's producer Emma Norton notes "This is the most amazing end to a remarkable festival experience. We've all been so blown away by the reception of Pillion and this recognition for Harry's work - from the Un Certain Regard jury - is such an honour. The icing on the cake!"
CNN
10-04-2025
- Entertainment
- CNN
Nigeria marks Cannes Film Festival first with ‘My Father's Shadow' selection
Nigeria is going to Cannes. In what is understood to be a first in the film festival's near-80 year history, a movie from Africa's most populous nation has been chosen as part of the Cannes Film Festival's Official Selection. 'My Father's Shadow,' written and directed by Akinola Davies Jr. and co-written by his brother Wale Davies, stars Ṣọpẹ́ Dìrísù ('Slow Horses,' 'Gangs of London'). The film is set in Lagos in the aftermath of the 1993 presidential election and follows Dìrísù's father and two sons Remi and Akin, as they attempt an odyssey across the city amid the election's turbulent fallout. Davies Jr.'s semi-autobiographical debut feature, produced by Element Pictures in association with Fatherland Productions and Crybaby, already has strong support in the form of distributor MUBI, which snatched up the rights to the film in North America and other territories long before the news of its Cannes debut was announced – lending additional hype to an already buzzy title. The movie will screen in the Un Certain Regard strand – a competition for debut and ascendant filmmakers. Fatherland says it will be the first Nigerian film to do so. Reacting to the announcement, Davies Jr.' told CNN in a statement, 'This is a testament to everyone dedicated to telling authentic Nigerian stories: from crews, to the countless technicians who power our film industry. 'It honors all those – past, present, and future – who laid the foundation for Nigerian cinema. I'm excited to be an ambassador for arthouse film in Nigeria, and even more excited for our cast and crew, whose talent and hard work truly deserve this spotlight.' Co-producer and founder of Fatherland Productions CEO Funmbi Ogunbanwo told CNN, 'It's an incredible feeling to see our fully Nigerian story – rooted in Wale and Akin's experience of losing their father at a young age – come to life on a world stage. 'We wove in Yoruba, Pidgin, familiar street names from Lagos and Ibadan, capturing the essence of our home. I feel both excitement and a weight of responsibility, representing independent Nigerian filmmakers who create against the odds. We hope people who watch this film will discover who we are as a people, understand where we come from, and see that this is only the start of how far our stories can go.' The Cannes Film Festival announced it had screened 2,909 feature films to curate its 2025 lineup. Of those selected, 'My Father's Shadow' won't be the sole representative from Africa this year. Also in Un Certain Regard is 'Aisha Can't Fly Away' by Egyptian filmmaker Morad Mostafa, about a Somali woman working in Cairo, and 'Promised Sky' by French Tunisian Erige Sehiri. Meanwhile, Swedish director Tarik Saleh, who has Egyptian heritage, is in competition for the Palme d'Or with 'Eagles of the Republic' telling the story of an adored Egyptian actor who falls into disgrace. The US-set 'The History of Sound,' starring Paul Mescal and Josh O'Connor, is directed by South African Oliver Hermanus. African cinema, particularly from Francophone nations, has a long history at Cannes, the world's most prestigious film festival. Directing giants including the late Djibril Diop Mambéty of Senegal, the late Souleymane Cissé of Mali and Chadian Mahamat-Saleh Haroun all made the festival a home from home. Recently, a new guard of young filmmakers has emerged – notably, with more women – including Welsh Zambian Rungano Nyoni, French Senegalese Mati Diop (niece of Djibril), Senegalese director Ramata-Toulaye Sy and Tunisian Kaouther Ben Hania. But despite having the continent's largest and most prolific filmmaking industry, Nigeria has had little representation at the festival. Nigerian productions have appeared in festival sidebars like the International Critics Week (where 'Ezra' by Newton I. Aduaka screened in 2007). But a search of the festival's online archives shows no evidence a Nigerian movie has ever been a part of Cannes' Official Selection – comprising the competition for the Palme d'Or, Un Certain Regard, Cannes Premieres, Special Screenings, Midnight Screenings and Cannes Classics. Thierry Frémaux, general delegate of the festival, said at the press conference announcing the 2025 lineup on April 10 that the festival would be checking to confirm if indeed 'My Father's Shadow' marks a historic first Nigerian feature. Nigeria will have a big presence at Cannes this year. At the festival's international village, Nigeria is back with its own national pavilion. There, the Ministry of Arts, Culture, Tourism and the Creative Economy will launch Screen Nigeria as part of the 'Destination 2030; Nigeria Everywhere' campaign – a broad plan to create 2 million jobs in creative and tourism industries, and contribute $100 billion to Nigeria's GDP by 2030. The goal is to showcase the nation's talent and promote international collaboration and attract foreign investment. With the likes of 'My Father's Shadow' and other recent festival titles like 'Mami Wata,' the first Nigerian film to premiere at the Sundance Film Festival in 2023, there are signs that Nigeria's film industry is diversifying. The 78th Cannes Film Festival runs from May 13-24. The premiere date for 'My Father's Shadow,' and its theatrical release date, are yet to be announced.
