There’s no denying that the Surreal16 Collective, founded in 2016 and comprising arthouse filmmakers Michael Omonua, Abba Makama, and C.J. Obasi, is transforming the template of Nigerian Cinema and challenging its established values. Like abstract art, the Collective’s films aim to probe beliefs as well as to inundate with pleasure, employing various materials, ranging from the most orthodox to the entirely unorthodox, infusing them with their surreal style.
From the onset, their mission was to disrupt. Inspired by the Dogme 95 “vow of chastity,” the Surreal16 Collective’s manifesto comprises 16 governing rules—an attempt to topple the glossy, generic entertainment and perfunctory style of traditional Neo-Nollywood filmmakers.
One of the most remarkable aspects of the Collective is its collaborative ethos. Each member brings a unique perspective and voice to their projects, yet they manage to create a unified and cohesive cinematic experience.
“That’s the very essence of collaboration,” Obasi said to Akoroko. “It doesn’t work otherwise. Everyone has their own unique voice and point of view, and the collective thrives and grows when each person’s unique set of skills thrives and grows. The cohesion is organic. You can’t force it. It just is.”
This philosophy is evident in their films, where the distinct styles of the trio blend seamlessly, creating an avant-garde tapestry that is both diverse and unified.
The Pragmatic Poetic Cinema of Omonua
Michael Omonua brings the mood of everyday life to his films. His works are elegant, nuanced poetry with significant expressions. His pensive purism, eloquent shot use, clarity in character development, subtle social commentary, and humor make him a cinematic poet and a trance filmmaker.
“In finding stories, I tend to look to ordinary people. There’s a sense among cinema types here to make films about the elites, to show Nigeria in a good light. I think we’re here as filmmakers to reflect society as it is – good or bad, Omonua explained his filmmaking ideology. “When it comes to the films I make, I experiment with the forms of cinema. I’m trying to find new ways of doing the same thing. In terms of Nigerian Nollywood cinema, there’s also a tendency towards the dramatic.”
A careful examination of Omonua’s filmography confirms his status as an innovative auteur. His films, often seeming uneventful, leave a profound impact when the credits roll.
“Rehearsal,” Omonua’s latest short, blurs the boundaries between theater and cinema to explore false miracles, deceit, and sexual assault by a Nigerian ‘Man-of-God’. Chatting with Omonua on X (Twitter), he told Akoroko that he remembered going to church with his mother years ago, and the Pastor touched his forehead forcefully on stage, expecting him to faint but he didn’t. Instead, the pastor forcefully brought him to his knees in pain. On their way home, he discussed it with his mother, and she told him that he should have fallen to the ground. This experience highlighted the theatricality in the church audience-stage relationship, inspiring his exploration of church vs theater in “Rehearsal.”
Set and shot at the National Theater in Lagos, the 14-minute short delves into the intricate world of Nigerian Pentecostal churches, exposing the behind-the-scenes efforts to stage well-curated miraculous healings. The characters navigate various processes of casting, experimenting with various scenarios, refining performances, and discarding less convincing ones. The film raises touching questions as a pastor’s harassment of a female church member blurs the lines between faith and credibility.
As the narrative unfolds, “Rehearsal” offers a thought-provoking exploration of the complexities inherent in the intersection of spirituality and theatricality within the context of contemporary religious practices, challenging the traditional boundaries separating church and theater.
The film’s theatrical setting and use of Nigerian pidgin English add to its naturalistic appeal. After premiering at Berlinale Shorts 2021, “Rehearsal” has been shown at several festivals, winning the Grand Prize for Best International Short Film at Kurzfilmtage Winterthur.
“Galatians,” an extension of the short, is currently in development, with Omonua aiming to examine further the deceptive practices in Nigerian Pentecostalism.
The Complex Cinema of Makama
For Makama, understanding a film is not necessary for appreciation. His unique imagery, artistic visions, and structuring often obscure the narrative of his films, which are open to diverse interpretations. Though his films may ignore certain narrative film conventions, they retain some established narrative elements with virtuosity.
“I’m influenced by surrealism, dreams, unconsciousness, dark humor, and social commentary and depth,” Makama told Akoroko. Makama’s mumblecore filmmaking style pushes the ideology of oblique and whimsical narrative. His films’ paradoxical nature relates to the revolutionary, cinéma vérité, and guerrilla movement–marginal cinema with radical aesthetic innovations.
Makama, like Salvador Dali, David Lynch, or Moussa Sène Absa, blends art with cinema, bridging the gap with his painted filmmaking experiment. His paintings and films possess inherent psychological intricacy, depicting physical and interior suffering.
His sophomore film, “The Lost Okoroshi,” is playful, comical, and flamboyant. The satire is rooted in Makama’s surrealism and aims to transform Nollywood’s perception of satirical films. It guides us through the subconscious paths of dreams before plunging us into mysterious sequences.
“I’m a comedian and humor is my way of accessing the world,” Makama said about his style. “Even in my work, there is comedy in everything and it is very specific…It is nuanced with a lot of inside jokes, sarcasm, and irony.”
The movie is a captivating exploration of dreams, governmental corruption, and the clash between traditional beliefs and modernity, exploring Franz Kafka’s ideology of existentialism, alienation, and the absurdity of bureaucracy. A security guard named Raymond (Seun Ajayi) is disheartened and troubled by incessant dreams of the ancestral spirits of the Okoroshi masquerades. He wakes up one day to discover he has morphed into a purple Okoroshi masquerade. Shortly after his transformation, instead of being revered and worshiped, he becomes a pop culture iconography that everyone wants to package, monetize, and own.
Makama’s portrayal of dreams as a gateway to cultural identity adds depth to the storyline, which reflects a sense of isolation and the struggle of individuals against incomprehensible and oppressive systems.
The film’s critique of governmental corruption in Nigeria is subtle yet potent. Makama uses the Okoroshi, a traditional masquerade, as a symbol of resistance against a corrupt system. The juxtaposition of ancient rituals with contemporary issues highlights the persistent struggle for justice in a society grappling with political misconduct.
The clash between old religious beliefs and modernity is a central theme. As the Okoroshi navigates the challenges of a rapidly changing world, the film raises thought-provoking questions about the preservation of cultural practices in the face of technological advancements, capitalism, and Westernization. “We wanted to start a debate about cultural identity, and themes like Westernization and modernity,” Makama said. “I think it’s a question we’re even still wrapping our heads around.”
Makama believes that masquerades have the prospect of answering deeper or hidden life questions and uncovering new paths for humans. “Each masquerade has its own story,” he explained. “We’re sitting on something so amazing here.”
“The Lost Okoroshi” is thought-provoking cinema that’s a must-watch for those seeking a compelling and insightful experience.
The Scary Mind-Boggling Cinema of Obasi
Obasi made a cosmopolitan, stylish, and earnest entry into Nollywood with “Ojuju,” a zero-budget film with a delirious story of the undead. Inspired by George A. Romero’s “Night of the Living Dead,” “Ojuju” aimed to reform Nollywood’s horror genre rules by merging gruesome gore with acute social commentary, breaking ground for improvement. In an industry steeped in specific asceticism, Obasi’s film inspired a new wave of arthouse horror flicks and enlivened worn-out horror tropes.
Obasi’s latest film, “Mami Wata,” unfolds in the imaginary West African community of Iyi, where the inhabitants have chosen to embrace traditional beliefs in the titular water spirit, personified on Earth by the faith-healer and political figure, Mama Efe (Rita Edochie).
Things fall apart when a child’s avoidable death occurs. This event disrupts Mama Efe’s family, prompting Zinwe to openly question the river deity’s supposed strength, mirroring her mother’s assertiveness.
Meanwhile, Priscilla, Zinwe’s adopted sibling, takes a more subtle approach by quietly doubting the deity’s power. As scrutiny grows around the river deity, Jabi (Kelechi Udegbe), a villager, spearheads a populist movement advocating for political change and modernization in Iyi’s traditional practices.
Shot in lustrous black and white, the film explores universal themes of love and hate and subverts genre to tell a story of spirituality and the reclamation of faith. When Mama Efe loses her spiritual power and the village is attacked by a usurper called Jasper (Emeka Amakeze), Zinwe and Prisca strive to defend their people and reclaim the glory of the water goddess of their land.
Jasper strategically positions himself as the new leader of Jabi’s rebellious group, deftly navigating the political and spiritual conflicts prevalent in Iyi.
The screening of “Mami Wata” at Sundance made Obasi the first homegrown Nigerian filmmaker to clinch a coveted slot in the World Cinema Dramatic competition at Sundance. Besides being critically acclaimed, “Mami Wata” won the World Cinema Dramatic Special Jury Award for Cinematography.
After a successful run at Sundance, “Mami Wata” toured the international film festival circuit, drawing near-universal critical acclaim and accolades, culminating in the film’s official selection as the Nigerian entry in the International Feature Film (IFF) race for the 2024 Oscars.
“Visions” and “Juju Stories” Anthology
The Surreal16 Collective films serve as a lens for audiences to explore complex societal issues, seamlessly weaving symbolism into storytelling and addressing contemporary challenges. This prompts deep reflection on the human experience’s intricacies.
Their notable collective entrance into Nollywood was marked by “Visions,” their debut anthology film. This collection of subversive short films, centered on occult themes, is built on dreams and visions. It comprises three shorts that intricately explore a young woman’s identity, relationships, and spirituality.
Authored and directed by various collective members, each film showcases their diverse creative talents and perspectives.
The Collective’s latest offering, “Juju Stories,” embodies revolutionary themes: Disrupt, Rearrange, Inspire. It marked a first in Nigerian cinema, bringing an anthology to mainstream screens. The films in “Juju Stories” evoke a paradoxical mix of emotions — infatuation and hatred, sanity and insanity, loveliness and ugliness. The filmmakers adeptly construct narratives that plunge characters into confusion, culminating in tragedies like heartbreak, insanity, and death.
This iconoclastic approach challenges the traditional boundaries and guidelines of Nollywood filmmaking. Their creative risks and innovative approaches inspire new filmmakers to explore diverse styles and forms, and signify a paradigm shift from Nollywood’s anachronistic approach.
Surreal16 Film Festival
Beyond disrupting the industry, the Surreal16 Collective actively contributes to it. They established the Surreal16 Film Festival in 2021 as a platform for arthouse, eccentric, and guerrilla filmmakers globally to showcase their talents.
The festival also facilitates discussions on various emotive and thought-provoking topics.
In the 2022 edition, which blended art installation with cinema, veteran Nigerian filmmaker Tunde Kelani was honored. The festival featured “The Story of Tunde Kelani – A Nigerian Cinema Retrospective,” showcasing his artifacts and filmography. The screening of his film “Saworoide” at the Old Federal Government Printing Press in Lagos highlighted its enduring relevance.
The 2023 edition of the festival (December 7-10) highlighted the Collective’s commitment to showcasing a wide range of African cinemas, emphasizing its goal of promoting diverse and artistically minded films.
Senegalese filmmaker Ramata-Toulaye Sy’s “Banel & Adama” opened the festival, which closed with Congolese-Belgian filmmaker Baloji’s “Omen.” Both titles premiered to critical acclaim at the Cannes Film Festival in May and will compete for slots in the International Feature Film category at the 2024 Academy Awards.
The festival has seen growth in attendance and participation, indicating a successful reception of its vision of fostering a unique cinematic experience.
Its past successes and the collective’s dedication to expanding the boundaries of Nigerian cinema suggest that its growth will continue, as it establishes itself as a significant annual event for filmmakers and enthusiasts alike.
Inspiration to New Wave Cinephiles and Filmmakers
The Collective’s films are lauded for their ability to evoke a broad spectrum of emotions, creating unique cinematic experiences that linger in viewers’ minds. Audience reactions are varied; some relish the challenge of deciphering layered narratives and intricate symbolism, fostering intellectual engagement.
Others perceive the films as pretentiously artistic or confusing.
Nevertheless, the Collective has ignited important conversations and cultivated a niche following among cinephiles and artists who appreciate the depth and thought-provoking nature of their work, catalyzing a transformative shift in industry trends, and encouraging a departure from conventional tropes.
“The trio works with different styles and proclivities,” filmmaker Taiwo Egunjobi said to Akoroko. “It’s difficult to quantify how exactly their approach has affected Nollywood, but it is safe to say that there’s been a gradual acknowledgment of arthouse cinema in Nigerian exhibitions and by the Nigerian public.”
Egunjobi also explained that the collective creative defiance goes against the grain while being unashamedly African and anti-cliche, and their encouragement is a call to arms for anyone working outside mainstream Nollywood.
“From ‘Ojuju’, ‘Juju Stories’, ‘Lost Okoroshi’, and now ‘Mami Wata’, you can sense a paradigm shift. Brilliant films like ‘For Maria’ and ‘Eyimofe’ display arthouse cinema.”
The Collective’s innovative storytelling and aesthetics have even influenced the Naija New-wave section at the Internationale Kurzfilmtage Winterthur, Switzerland’s major short film festival, offering insights into Nigeria’s diverse cinematic landscape. The programmers of this section aim to captivate and challenge audiences, reflecting the dynamic spirit of contemporary Nigerian filmmaking.
Embracing Authenticity for Global Resonance
The Collective’s work is not just an exercise in storytelling innovation; it’s homage to the global cinematic legacy. This respect is evident in their subtle nods to iconic films, directors, and genres, showcasing a profound understanding and appreciation of world cinema history.
“We never saw a need to navigate a balance, simply because we always believed and still believe that authentic African stories will work with a global audience,” Obasi said. “Cinema is cinema, period. And we’ve always approached filmmaking with that ethos.”
This philosophy underpins their approach to filmmaking and has endeared them to audiences worldwide. By embracing authenticity, the Surreal16 Collective demonstrates that African cinema, rich in narratives and perspectives, resonates universally, challenging the notion that African stories must be specifically tailored for international consumption.
As we anticipate their future projects, one thing is certain: the Surreal16 Collective will continue to defy odds, break boundaries, and reshape cinema, one authentic story at a time.
And as other filmmakers continue to draw inspiration from this trailblazing collective, the ripple effects of their influence are poised to redefine the essence of Nigerian cinema.
Michael Kolawole is a screenwriter, playwright, poet, and cultural journalist. Follow him on X (Twitter) at @mykflow.