Abstract
Nigeria’s filmmakers are challenging the censorship board one breast at a time. The result is both provocative and engaging, writes
Rooted in a complex interplay of culture, religion and the lingering influences of colonisation, the continent’s conservatism towards sexuality has historically sought to restrict and regulate everything that connotes sex or is overtly sexual. As institutions and laws were created to relegate discussions and portrayals of sex to the boudoir or the realm of taboo, an unintended consequence of silence emerged - one that would quietly govern how art, particularly the medium of film, was created, portrayed and consumed.
As a result, African filmmakers have long grappled with the challenges of censorship, compromising the authenticity of their narratives.
In Nigeria, one criterion a film or video submitted to the National Film and Video Censors Board (NFVCB) must pass with flying colours is that it “does not promote blasphemy or obscenity nor depict any matter which is indecent, obscene or likely to be injurious to (public or private) morality or likely to incite or encourage public disorder or crime or is undesirable in the public interest”.
The agency has demonstrated a proactive stance in promptly enforcing regulations pertaining to nudity in films, effectively ensuring compliance and upholding societal norms.
In a notable turn of events, the highly-anticipated release of the film adaptation of Chimamanda Ngozi Adichie’s renowned novel Half of a Yellow Sun faced a delay in 2014. While initial reports suggested a complete ban by the NFVCB, industry insiders paint a different picture. FilmOne Distribution, a prominent distributor for the film, clarified that “the movie was not banned”, emphasising that the delay stemmed from the need to obtain proper certification for public release. Set against the tumultuous backdrop of the Nigerian civil war in the 1960s and 1970s, this powerful adaptation explored themes of warfare, violence and sexuality. A scene filmed with Thandiwe Newton’s breast exposed marked a significant step in Nigeria’s cinematic expression of nudity.
Two years later, Netflix invested $148 million in film production in Africa. While this was mainly in South Africa, some of the money did go into Nigeria, signalling a transformative era and more good news for nudity in Nigeria.
Òlòtūré (2019), an intriguing film that delves into the harrowing world of human trafficking, marked Nigeria’s tentative exploration of nudity with a subtle and sparingly depicted scene showcasing various derrieres. However, it was not until 2022, through the collaborative efforts of filmmaker Kunle Afolayan and Netflix, that nudity truly made its triumphant return to Nigerian cinema in the form of Aníkúlápó - a title meaning “one with death in his pouch” in the native Yoruba language.
In a controversial scene, lead characters Arolake (Bimbo Ademoye) and Saro (Kunle Remi) were depicted in a sexually intertwined manner, with Arolake’s breasts and Saro’s buttocks prominently displayed. This watershed moment sparked a powerful and transformative chain reaction, fuelling the growth and inclusivity of nudity in the vibrant world of Nollywood.
The boundary-pushing nature of Afolayan’s film has fostered a renaissance in Nollywood, inspiring filmmakers to delve into previously uncharted territory and shatter preconceived notions. The inclusion of nudity as a powerful storytelling tool has added a new dimension to African cinema, enhancing its authenticity and providing audiences with a more immersive and honest cinematic experience. Elesin Oba, The King’s Horseman (2022), Shanty Town (2023), A Sunday Affair (2023) and Ijakumo: The Born Again Stripper (2022), among an array of remarkable releases, stand as poignant testaments to the fruitful collaborations between African filmmakers and Netflix.
Amazon Prime Video, having entered the Nigerian market in 2020, has made remarkable strides in positioning itself as a prominent destination for top-tier Nigerian films. The streaming platform has not only offered a diverse selection of content but also delved into original productions, exemplified by the exclusive premiere of Gangs of Lagos earlier this year. This 18+ film, featuring a scene of borderline nudity, weaves the captivating narratives of a group of friends navigating their destinies amidst the vibrant streets of Isale Eko.
A still from the film Oloture, featuring Ikechukwu Onunaku (top) and Sharon Ooja (bottom)
CREDIT: Everett Collection Inc / Alamy
While Gangs of Lagos marks its inaugural venture into original content, it is premature to anoint Amazon as a full liberator in the realm of nudity depiction. The responsibility for portraying nudity in a story still primarily resides with the directors, rather than being solely dictated by the streaming platform’s choices. The evolving landscape of Nigerian cinema sees streaming services playing an influential role, but the artistic vision of the directors remains paramount in shaping the storytelling experience.
“The landscape has changed. The filmmaking process involves robust branches - the executive producer, the producer and the director - who keenly focus on the bottom line: return on investment. If the appetite calls for nudity, they will incorporate it, regardless of how the story is told,” Comfort Booth told Index.
Booth - a lawyer, a cast member of The Real Housewives of Abuja and writer of Netflix film Love, Lust and Other Things - agrees that Nigeria’s film industry is pushing boundaries.
“There is definitely a shift in the industry’s approach to nudity - there’s an increase and almost a desperation to incorporate the scenes. I am guessing for ‘acceptability’ on an international platform where anything goes,” she said.
However, despite the writer’s awareness of the growth of nudity in Nollywood, in what she calls “almost a desperation to incorporate”, she’s conservative towards letting that influence her creativity. She said: “I will remain true to who I am and my principles. I don’t believe in using nudity as a means to make the film real.”
Comfort Booth is skeptical about Nollywood’s embracement of nudity
Her stance that “nudity is often used for exploitative purposes and to cater to viewers’ guilty pleasures” is a qualm expressed not only by the writer. The nudity scenes shown in Anikulapo were greeted with considerable criticism - so much so that Remi took to Instagram to address the claims that the sex scenes in the film were “unnecessary”. Remi said the scenes were the most “vulnerable moments for the characters” and a depiction of their love.
The eventual revelation that a prosthetic bosom was used instead of the actor’s real breasts in the nude scenes opened a new artistic dimension to Nigerian cinema. Once deemed unfathomable, this technique, coupled with “nuancing” approaches, challenges censorship guidelines and fosters creativity. Beyond enhancing storytelling, it generates job opportunities for the production team and bolsters Nollywood’s standing. Moreover, it ignites conversations among audiences, infusing the industry with a bold and dynamic spirit.
As Nigerian filmmakers continue to explore these avenues, they unravel the potential of unbridled creativity. This newfound artistic delight empowers the industry to embrace diverse narratives and thought-provoking discussions, cementing its place on the global stage. The future of Nigerian cinema shines brightly, powered by innovation and unapologetic storytelling.