As Tunde Apalowo’s All the Colours of the World Are Between Black and White continues to gather acclaim all over the world, it’s important to make the connection between the contemplative romance drama and other Nigerian films that have enjoyed similar success. CJ Obasi’s Mami Wata and Damilola Orimogunje’s For Maria are two of many films that have crossed over to the global stage with themes, visual choices, and narrative styles that are considered fresh and alive. For too long, Nollywood has attempted to etch an identity by leaning too overtly into the noisy bigness of Hollywood culture. While the argument remains about how productive this is, it’s refreshing to see filmmakers taking a step back from the noise to mold identities that feel more natural.
Gone is the overfamiliar three-act structure, the rote emotional arching of central characters, and the misrepresentation of realities. In its place, we have stories that shine the light on Nigerian people and cultures that never make it to the mainstream. These untold stories have the advantage of novelty and the filmmakers are thoughtful enough to document these worlds intimately. We get to know these people and cultures. We get to experience them in their reality. We get to see that these people are just like us, with wants, fears, and needs that are all too familiar. That’s the beauty of good filmmaking. It’s not always about the noise. Sometimes it’s about telling people that you’re not alone, that there are people going through the things you’re stuck in, and this is how they attempt to survive.
Film Kaku spoke to Tunde Apalowo about his critically acclaimed film, the making of it, the reception of it, and his filmmaking philosophy. The interview has been edited and condensed for brevity and clarity.
FK: Congratulations on the successful festival run of your film – All the Colours of the World Are Between Black and White
TA: Thank you.
FK: Let’s talk beginnings. Was there a specific time in your life that was most crucial to shaping your love of cinema?
TA: I think it started when I was quite young, to be honest. It didn’t start with cinema, of course. It started with stories. My grandmother used to tell me ‘Alo,’ and I couldn’t get enough of them. My fascination with stories grew further when I started seeing films. It felt, at the time, that the stories I’d been told were brought to life.
The very first film I watched was an old Yoruba film titled Abobaku. While I’m not sure if it significantly contributed to my appreciation of the art form, I did watch the film countless times until the tape was destroyed. Growing up without easy access to movies, I had to consume every film I could get my hands on. The format didn’t matter. If I had to watch through a window, I did. These early experiences cultivated my initial appreciation for cinema. However, a deeper understanding of the art form truly developed when I was introduced to foreign cinema, particularly Hollywood films. All this was before I embarked on my journey as a filmmaker. This new direction came with a decision to be deliberate about the films I chose to watch. It was during this time that I discovered Asian cinemas like “In The Mood For Love” and “Yi Yi.” These films profoundly influenced my perception of the art form and expanded my understanding of what cinema can be. Subsequently, I revisited African cinemas, but by then, I already had preconceived notions about cinema.
FK: You started your career as a writer and editor. How did you make the transition to directing? And what did it feel like when you became the one behind the camera?
TA: It was a natural progression for me as I delved deeper into the craft and gained a comprehensive understanding of storytelling through visual language. The decision to become a director was driven by my desire to have full creative control over the vision I wanted to bring to life on screen. Writing wasn’t enough for me, as you will quickly realize that it’s a long journey from writing to the screen, and many things tend to get lost in the process.
I liked the sense of responsibility that comes with being the director, specifically the aspect of articulating the vision and communicating it to the entire team. I enjoyed the collaborative process that helped bring the vision to fruition. The cap was heavy, but it just felt right.
FK: Well said. Talking about directing, how did your influences in cinema- like In The Mood For Love and Yi Yi- influence your work?
TA: Mood. All of Wong Kar Wai’s films captivated me with their exquisite visual aesthetics and nuanced storytelling. The film’s meticulous attention to detail, evocative cinematography, and atmospheric use of colour inspired me to explore the power of visuals to convey emotions, and narratives. My study of mood taught me the art of subtlety and restraint in storytelling. The unspoken emotions and the restrained yet intense performances of the actors. Wong Kar Wai encouraged me to embrace the power of silence, subtext, and the unsaid in my work. Yi Yi, on the other hand, is a poignant exploration of human relationships and the complexities of everyday life. The film’s naturalistic approach and its ability to capture the intricacies of human behavior fascinated me. I grew up on Hollywood films which are quite loud and are always larger than life. What films like Yi Yi did to me was to keep me grounded in my approach to storytelling.
FK: A lot of arthouse sensibilities, I see. Would you call yourself an Arthouse filmmaker?
TA: I see myself as a filmmaker, first of all. And while I have a lot of arthouse inspiration, I don’t want to put myself in a box.
FK: Or are you simply just telling your stories in the most conducive language to you?
TA: Indeed, the approach to telling a story should be determined by the unique nature of each narrative. As a filmmaker, I find that the stories I am drawn to are often of an arthouse nature. As a result, I naturally gravitate towards creating arthouse films.
FK: What kind of education should a director or filmmaker seek, especially on the pathway to discovery?
TA: The only viable education is to watch films. The good, the bad, and everything in between. And then make films. It’s in the making that you grow. You can’t discover who you want to be without first making mistakes. So, while film-watching is an integral part of a filmmaker’s education, it is the combination of hands-on experience, continuous practice, and learning from both successes and failures that truly shape a director’s vision and help them find their creative identity.
FK: Well said. Your film is one of several films currently having a big festival run and this, to me, is part of a big revolution happening in Nigerian film history. What do you think is pushing this new experience in Nigerian film?
TA: I think it’s driven by economics basically. An increase in investment and funding has allowed for the production of higher-quality films that have shattered the glass ceiling. This only proves that the talent has always been there. There is also a focus on diverse and authentic stories – which resonate with audiences both locally and internationally. And I think we are just at the beginning of the revolution because more filmmakers are now willing to experiment with the form and push the boundaries of traditional storytelling techniques. This spirit of experimentation will undoubtedly contribute to the continued growth & evolution of Nigerian cinema.
FK: Coming back to your work, you had directed a short before this. How much confidence did you have going into production on your debut feature, and how did your partnership with ace director Dami Orimogunje come through?
TA: I approached the production with a mix of confidence and awareness of the challenges inherent in the process of making a feature film. I was quite realistic about things, and I decided to manage my expectation. I was fully prepared but also understood that unforeseen obstacles are common in filmmaking, especially in Nigeria. I had a vision to protect, but I also knew compromises were inevitable. Maintaining a balance was all that mattered as I started the project.
I chose to collaborate with Dami Orimogunje, a director/producer and long-time friend because we share artistic sensibilities. Our partnership brought together complementary skills and a shared understanding, making the production process more efficient and collaborative.
FK: Finally, what are your plans for distributing All The Colours In The World Are Between Black and White? And also, what are you working on next?
TA: We are still focusing on the festival circuit for now, but we already have theatrical distribution deals in some selected countries in Europe. The plan is to screen it in Nigeria eventually, one way or the other. I also have a couple of ideas I’m exploring for my next project, but I am also very careful of what I do next, as following up All the Colours is going to be daunting.
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