In many ways than one, the crowd that thronged the old Oshodi, years before the megacity renovations that changed the landscape of the country’s most populous city, encapsulates the life of the average Nigerian.
“I felt a compulsion to tell stories; it’s the only thing I ever wanted to do passionately,” he said. “I’ve always wanted to tell stories from home because part of being abroad is that you miss home,” Chuko, who has moved back to Nigeria, says. “All the ideas I have are set here at home, there is a lot to talk about, there’s a lot to portray. People know of Nigeria but they don’t really know Nigeria.”It is this love for the country that influences their need to tell stories about it. “When you’re in love with something, you want to express your feelings towards it; good or bad.
Unlike the western media which Chuko says is “obsessed” with the hazardous stories of African immigrants, the film seeks to tell it from the human angle.“There have been a number of stories told about migration from Africa all by non-Africans and they are very much obsessed with the perilous journey, you know, crossing the desert, people crossing the Mediterranean or it’s about them when they are on the other side, about their lives abroad.
Shot on 16mm film, the city serves as the film’s third character and was presented in a warm and colourful format, which Arie says is intentional.
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