An industrious mother, Jedidah Judah struggles to raise her 5 sons fathered by 5 men of different tribes. Jedidah’s eldest sons are as responsible as the three youngest boys are notorious for their uncouth behaviour. Amid squalor and depression, Jedidah continues to dote on her boys. When Jedidah’s chronic kidney failure (supposedly from quaffing too much liquor) demands a weekly dialysis treatment costing N400 000, all 5 boys must struggle to reciprocate their mother’s love and save her life, even if it means plotting a robbery. The desperation to save Jedidah’s life sets off a sequence of events that ultimately lends credence to the film’s central theme of unity in diversity.
Jedidah’s story is the plotline of Funke Akindele’s latest offering, entitled “A Tribe called Judah.” Since its release on December 15, “A Tribe called Judah” has accrued more than a billion naira at the box office, blazing the trail as the highest-grossing film in Nigeria’s film industry. Inevitably, the astronomical success has drawn plaudits from actors and politicians alike, including two former presidential candidates.
Yet the film’s wide reception only consolidates the winning streak of female producers, who continue to shine through in an industry that was once largely dominated by men. Women weren’t so celebrated in the pioneer days of Nollywood. As noted in the film credits, the reins of filmmaking and distribution were largely controlled by men. Hence, it wasn’t uncommon for women to take up subservient roles in filmmaking and acting. A helpless widow broken by tradition or a shape-shifting witch banished to the underworld by a male pastor were just among the popular roles foisted on female characters in early Nollywood films, now colloquially called Old Nollywood.
Rather interestingly, the years since 2016 have seen a groundswell of female producers challenging the stereotype with their ambitious storytelling and characterization. In contrast to the clichéd themes of money ritual and supernatural fantasy, the new cadre of films by female filmmakers explores a widening array of themes, from romantic comedy to crime thrillers. Among this class are Tope Oshin, Jadesola Osiberu, and Mo Abudu. More than their ambitious storytelling, for which these female producers are exalted, there’s also their characters and their striking portrayal of their roles. A prime example is Kemi Adetiba’s 2018 “King of Boys,” which follows the story of a businesswoman (played by Sola Shobowale) and her insatiable thirst for political power. The film drew wide acclaim for its uncanny sense of realism, whose story points to Nigeria’s political landscape. Similarly, in “A Tribe called Judah,” Funke Akindele challenges stereotypes, portraying women not as gossipy housewives but as pillars of support for one another.
Beyond the growing success of women producers in Nollywood, the commercial acclaim of A Tribe called Judah highlights the glowing promise of Nigeria’s ever-expanding industry. Since the release of “Living in Bondage,” the industry’s inaugural film on videotape, Nollywood has grown astronomically to become the second-largest film industry in the world, with more than 2000 titles released every year. Living in Bondage sold more than 750,000 copies during its time. And the industry has sustained this prosperous run, becoming one of Nigeria’s highest employers of labour.
“Back in the day, we basically did it for fun but now it’s paying so well, says DonPaul Umana, an independent filmmaker. “There’s a lot of people making good fortune from their YouTube movies.”
As with its booming music industry, Nollywood’s rise to glory has continued with meagre government intervention. In fact, inflation in the country, Umana reckons, may have bloated the box-office figures of “A Tribe called Judah.”
“When the “Wedding Party” made N500m from the box office, tickets were between N1500 and N3000. The naira is so bad that movie tickets at the cinemas are like N7000 to N10000,” he said.
Notwithstanding the odds, the film industry reinvents itself to appeal to a global audience. Certainly, the future is glorious for Nigeria’s creative industry. But does the government see this future too?
Jedidah Judah, a struggling mother of five sons from different tribes, contends with poverty, her chronic kidney failure, and the need for expensive weekly dialysis treatments. As her condition worsens, her sons, each with different dispositions, band together to save her, even contemplating robbery in their desperation. Their story, depicted in Funke Akindele’s film "A Tribe called Judah," underscores themes of unity and showcases the struggles within a diverse family.
Since its release on December 15, the film has grossed over a billion naira, becoming the highest-grossing Nigerian film and receiving praise from various quarters, including former presidential candidates. The success of "A Tribe called Judah" reflects the changing landscape of Nollywood, especially the rising prominence of female filmmakers like Akindele, Tope Oshin, Jadesola Osiberu, and Mo Abudu, who are redefining the industry with more varied and ambitious storytelling.
Historically, Nollywood was dominated by men, and women often played secondary roles on and off-screen. However, since 2016, female producers have gained recognition for tackling diverse themes beyond the traditional Nollywood fare. Akindele’s portrayal of women as supportive and strong in her film is part of this new wave of storytelling.
The booming success of Nollywood, the world’s second-largest film industry, remains independent of significant government intervention. Despite economic challenges, including high inflation affecting ticket prices, the industry continues to flourish, indicating a promising future for Nigeria’s creative sector.
