Released in late 2020, For Maria: Ebun Pataki was met with critical acclaim from all over the world. Special praise was reserved for the handling of its adult themes and the acting performances of lead actors, Gabriel Afolayan and Meg Otanwa. Director Damilola Orimogunje admitted to doubts about how his debut effort would be received, especially back home. This was a story that was outside mainstream Nollywood and markedly different from even the supposed arthouse entries. It was not a comedy, not a thriller, or anything suited to the confines of any generic box. This was a story about regular Nigerians, told by artists with something to say, presented with uncommon honesty, and with visual ideas that were foreign to our garish preferences. A lot of these highly acclaimed visual ideas can be traced to David Wyte, a cinematographer with a serious relationship with the craft. David is a quiet…

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Cinema is defined as the art of moving images. This movement, intended to tell a story, is recorded by the Director of Photography or cinematographer who works in tandem with the Director of the film to make visual decisions on scenes and sequences that are in line with the established vision of the movie. Cinematography in Nollywood has evolved over the years to become one of the finest in the continent. Our films are no longer accused of “not looking good”. One of the many players driving this renaissance is Barnabas ‘Barny’ Emordi and FilmKaku got a chance to chat with him. FilmKaku: Can we meet you sir? Barnabas: My name is Barnabas ‘Barny’ Emordi. I am a young filmmaker, a cinematographer and a nation-builder based in Lagos, Nigeria. I have a rich body of work consisting of DoD, Elevator Baby, The Prophetess, Her, Wheel, Namaste Wahala and so on.…

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Daniel Ehimen, DP, Director and Colorist, is one of the most exciting filmmakers working in the Nigerian film and television industry today. We get to take a look at his favourite movies and what filmmakers can learn from them Inglorious Basterds Written and directed by Quentin Tarantino, this film is a revisionist take on the second world war. In Nazi-occupied France during World War II, a plan to assassinate Nazi leaders by a group of Jewish US soldiers coincides with a theatre owner’s vengeful plans for the same. Laden with typical Tarantino moments: long, tense dialogues followed by brief, intense action, he also pays homage to the spaghetti western, with the score and operatic camera work.   Tip:  This film is an experiment in dramatic lighting says Daniel Ehimen, as the DP Robert Richardson teamed with Tarantino to formulate the unique look for this film, going for an epic look with high…

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In a crowded market of Directors of Photography(DP), Daniel Ehimen stands alone. Daniel Ehimen has lensed some of the most visually stunning commercials and films in the mainstream. These include titles like Countdown, Coming From Insanity, When Love Happens Again and others. His directorial credits include films like Sergeant Tutu and In The Name of Love. Also an assured colourist, Daniel Ehimen has shown a predilection for sharing knowledge freely on social media and is slowly gathering a following. Filmkaku sat down with him to discuss his work, his approach to cinematography, cameras and every other thing. FilmKaku: How did you get into shooting films? Daniel Ehimen: I was fascinated with cameras as a child. I’m one of those kids that had “still” cameras growing up. My dad gave me a Yashica or Kodak still camera when I was in secondary school and I used them to take cool pictures…

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