- Judith Akatugba
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Nollywood is a huge sector in the Nigerian entertainment industry and one of the biggest film platforms in the world.
Nigerian films, with their improved cinematography and innovative storylines, have become highly accepted and are now one of the country’s most sought-after exports. Today, its films are found on Netflix, ShowMax, and Amazon Prime.
However, there appears to be an Achilles heel: typecasting.
Typecasting was a known problem in Nollywood: Patience Ozokwor, the wicked stepmother; the bad boy, Jim Iyke, and how can one forget the lover boy, Emeka Ike; and the doting “dorling” Tony Umez.
With the evolution, it seemed that producers and directors were moving away from these stereotypes, but a few years in, we are in a loop.
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While we cannot deny that “offer only” serves its purpose, we must acknowledge the importance of a casting call. Casting calls are so treated with caution around the world because this is where actors are made. In fact, it is one criterion for having a successfully interpreted script.
For instance, Ramsey Nouah, a veteran actor once spoke about giving audition opportunities to everyone despite their reputation in the industry.
Yet, recent criticism points to the fact that the new Nollywood is in the typecasting business.
Niyi Akinmolayan, founder of Anthill Studios, wrote on social media platform X, “One thing I’ll never agree with is the idea that one person should be the only guy who does a thing in Nollywood… Let’s not encourage it. Support people with opportunities so they can grow. It’s our collective responsibility as filmmakers…”
I write that there are some reasons this recycling loop occurs:
- Limited pool of established actors: One possible reason is the limited pool of established actors available. Unfortunately, we will never know the capacity of new entrants if their skills are never put into play.
- Familiarity: Audiences often develop a connection with certain actors and actresses, making them more likely to watch films in which their favourite performers are involved. Established actors can increase a film’s chances of commercial success. As a result, filmmakers may rely on familiar faces to attract audiences and maintain consistency, which is both a blessing and a curse.
It is important to note that Nollywood is not a homogeneous entity, and there are exceptions to this pattern. Additionally, with the industry’s continued growth and increasing recognition on the global stage, there might finally be a shift in practices over time.
It is worth mentioning that if viewers push for more diversity, filmmakers may be encouraged to avoid repetition and find new talent.
