For decades, Nollywood — Nigeria’s bustling and prolific film industry — was largely known for its fast-paced, low-budget dramas packed with romance, melodrama, religion, and supernatural twists. With production rates reaching up to five films per day, it was often viewed as Africa’s answer to Hollywood, albeit with more chaos and less polish. But that narrative is shifting.
The 2025 Cannes Film Festival marked a historic moment for Nigerian cinema, as My Father’s Shadow, directed by Akinola Davies Jr., became the first Nigerian feature to be officially selected for the prestigious event. Shown in the Un Certain Regard category — a section renowned for highlighting unique voices and global perspectives — the film didn’t just break boundaries; it captivated audiences with its emotional depth and stunning visuals.
The semi-autobiographical story follows two brothers, Akin and Remi — played by real-life siblings Godwin Egbo and Chibuike Marvellous Egbo — as they spend a transformative day with their estranged father, Folarin (played by Ṣọpẹ́ Dìrísù, known from Gangs of London). Set against the backdrop of the pivotal 1993 Nigerian coup, the story unfolds in Lagos during the annulment of Nigeria’s historic presidential election, an event that led to the dictatorship of General Sani Abacha.
This moment of political betrayal forms the emotional undertow of the film. As protests swell and political unrest looms, the boys and their father attempt to create a sense of normalcy, visiting beaches and amusement parks in an effort to bond. The day becomes a poignant meditation on fatherhood, memory, and hope, made all the more powerful by the children’s quiet yearning for connection and stability.
Davies Jr., whose short film Lizard won Sundance’s Grand Prize in 2020 and earned a BAFTA nomination, uses this debut feature to explore a deeply personal story. Though he and co-writer Wale Davies were raised primarily by their mother, My Father’s Shadow focuses on the complicated relationship with a father figure — a choice that gives the film its raw, tender core.
Visually, the film is a triumph. Cinematographer Jermaine Edwards brings Lagos to life with poetic compositions that contrast the innocence of childhood with the chaos of the adult world. The result is a deeply immersive experience that, while rooted in a specific Nigerian moment, resonates universally.
Yet this cinematic success is more than just an artistic milestone. This achievement marks a significant milestone for Nigerian cinema on the international arena. “Getting into competition for the first time ever shows that Nigerian cinema has come of age,” said Prince Baba Agba, cultural advisor to Nigerian President Bola Tinubu. Agba was present at Cannes and emphasized that My Father’s Shadow is not an isolated success.
Recent years have seen Nigerian films gaining momentum internationally. Editi Effiong’s The Black Book soared to number one globally on Netflix, even topping charts in South Korea. Other notable works like Shine Your Eyes and Eyimofe (This Is My Desire) have made waves at major film festivals, with the latter now part of the Criterion Collection.
While Nollywood still produces a wide range of content — from $10,000 quick-turnaround films to million-dollar prestige projects — it is clear that a space is emerging for high-quality Nigerian storytelling with international appeal.
Streaming platforms have played a vital role in this evolution. Netflix’s investments during the pandemic brought global attention to titles like Blood Sisters, Man of God, and Ayinla. However, setbacks remain. Amazon’s Africa exit and Netflix’s slowed momentum have left gaps in the market, which local powerhouses like Mo Abudu’s Ebonylife Group are eager to fill. Abudu, recently named the most influential woman in international film by The Hollywood Reporter, is launching a dedicated platform for Nigerian content and a cultural hub in London.
Still, challenges persist. Nigeria currently has only about 150 cinema screens — compared to over 3,000 in Brazil, a country with a similar population. Most Nollywood content is consumed on mobile phones due to infrastructure limitations. Proposed tax incentives for filmmakers, currently under review in parliament, could significantly change this landscape by making local productions more sustainable and globally competitive.
As Nigeria leans into its cultural exports — from Afrobeats to globally recognized cinema — My Father’s Shadow stands as both a breakthrough and a beacon. It shows what is possible when local stories are told with sincerity, craft, and ambition. And as audiences at Cannes have now seen, Nollywood is no longer just the world’s most prolific film factory. It is a rising artistic force.
