At a time when Funke Akindele was blaring the internet with her record-breaking production of the highest-grossing Nollywood movie ever, “A Tribe Called Juda”, Rahma Sadau was also scripting a success saga with “Mati a Zazzau,”propelling the first-ever Kannywood film into Netflix. This seems to usher a wave of protruding cinematic success for northern Nigeria’s movie industry.
One might have expected this news to be a social media sensation – as Funke Akindele’s movie was in other parts of Nigeria, particularly among northern population who often decry lack of platforms for their “untold stories.” Unfortunately, it did not. Ironically, if Rahma Sadau had found herself embroiled in a new controversy – as it has often been – it would have undoubtedly sparked a social media fire.
This says a lot to about how genuine the northern population care about their so-called “untold stories.” But most importantly, this unveils the difficult curtains of the internal operations between the key players in the northern Nigeria’s movie industry.
An industry like Kannywood, which has churned out films – though many of questionable quality – for decades, there’s a valid debate on whether we should celebrate its inaugural appearance on Netflix in late 2023, or decry its lateness. Though there was an attempt in 2020 by a Kannywood producer (published by the Daily Trust), but seemed unsuccessful to take the ship to the sea. What, therefore, makes it imperative is to acknowledge – beyond social media trends and hashtags – that Rahma Sadau first hawked the industry into Netflix, which currently and probably in the next not-so-long future, remains the measure of cinematic success. Applauded or not.
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For a busy audience with limited time and multiple options, the triumph of “Mati A Zazzau” is a testimony of how quality can be a basis for cinematic success.
The film unfolds each scene well-crafted to showcase Northern Nigeria’s culture. From its sets that carry the fullness of life to the majestic palaces adorned with colourful carvings, every frame of the film is an invitation letter to the region’s heritage. With actors such as Sadik Sani Sadik, Tahir. I. Tahir, Rahma Sadau, Adam Zango, Umar Gombe and other strong faces, it serves as a reminder of how much northern stories can go with collaboration in creating “quality stories” rathern than competing to “outshine.”
As it is obvious now at a time when every actor and producer is producing a Youtube series, I may not mistake saying these Youtube series in the dozens, with their weak plots and shabby storylines, coming out daily, are confusing the audiences than ever.
For “Mati a Zazzau” to create this seeming paradigm shift in northern filmaking is a key element. A balanced understanding of this is a reminder that the scriptwriter of Mati A Zazzau, Dr. Yakubu M. Kumo is himself a creative writer, a sharp contrast with most of the Kannywood films written by producers and directors with lesser creative flair.
In my previous essay, The Conscious Reawakening of Northern Storytelling, I suggested a progressive collaboration between Kannywood filmmakers and northern creative writers. A collaboration that can marry the rich creative traditions of northern Nigeria – through quality stories – with the technical prowess of modern filmmaking. This could see the birth of the industry’s colourful and remarkable future.
More so, the success of “Mati A Zazzau” opens doors to the industry’s widest opportunity. It reflects how the industry should view things from an entirely different perspectives while raising questions that must be answered by the Kannywood key players.
Similarly, it dismissed the Kannywood key player’s perception of “small, growing and still crawling” mindset for the industry. If after about three-decades, Kannywood still wakes up every day with the perception that it is “an up and coming” industry, then it is almost impossible for the industry to produce films beyond those within “up and coming” standards.
For everyone who cares about northern Nigeria’s stories, it is difficult to dismiss the fact that Kannywood stories have shaped the world’s view about the region. Maybe unintentional about the “purpose” in the past, but now, as Kunle Afolayan produced Aníkúlápó with “purpose”, and as Funke Akindele produced A Tribe Called Juda with wild ambition, Kannywood’s belt needs more tightening about intentionality of their stories.
Whether applauded or not, wether perceived as “Rahama Sadau’s success” or “northern Nigeria’s film industry’s success”, she has scripted this bold shift which the industry will grow from. With this feat, she has challenged the system, its players and the audiences, and we together at this name – late or early – will judge what our stories will be told like.
Now, the questions are: when will Kannywood films be consumed by non-Hausa speaking audiences globally? What did Rahma Sadau do differently from the usual? If the northern audiences are ready to consume Kannywood, how much quality can they rely on the industry – no matter how few – that can brush shoulders with global hits? How can the next highest-grossing Nigerian movie come from Kannywood?
These questions are endless. And until answered, the coin will only give a head or tail.
Sa’id Sa’ad is a Nigerian Writer and Journalist based in Germany. He is the winner NFC Essay Prize 2018 and Peace Panel Short Prize 2018. He can be reached directly at [email protected]
