Cultural Storytelling As The New Face of Nigerian Nollywood
Something interesting is happening in the Nigerian movie scene, and it’s not hard to notice. After years of chasing trends and trying to keep up with foreign styles of filmmaking, Nollywood seems to be finding its way back home, back to telling the kind of stories that truly represent who we are as Africans.
More and more, filmmakers are returning to stories rooted in our culture, history, and traditions. And that’s fast becoming the new face of Nollywood.
Unarguably, the Yoruba film industry, which forms a large part of Nollywood, started off on a strong cultural path. In those early days, legends like Hubert Ogunde, Moses Adejumo (a.k.a. Baba Sala), Adeyemi Afolayan (Ade Love) and others built their craft through stage performances known as Alárìnjó. These plays were rich in traditional values, spiritual depth, and everyday lessons. As time went on, these performances transitioned into movies that dominated the 80s and 90s; movies like Ti Oluwa Ni Ile, Arelu, Saworoide, and Koto Aye. These films were not just for fun; they carried deep meanings and stayed true to the realities of African life.
As the years rolled into the early 2000s, the style of storytelling began to change. A new wave of actors and filmmakers came in, most of them younger and more influenced by modern pop culture. And the once-rich cultural scripts gave way to fast-paced dramas riddled with themes like romance, cultism, money rituals, armed robbery, divorce, broken homes and urban decadence.
These movies caught the attention of many, especially the youth, and they did numbers in terms of popularity. But the excitement didn’t last long. With time, many viewers started to complain about how repetitive and unrealistic some of these stories had become. The excessive portrayal of negativity led to public concern, moral debates, and even a clampdown by the National Assembly, which sought to regulate the content being pushed out.
Faced with dwindling viewership and a general call for storytelling that reflects the soul of the nation, Nollywood was forced to re-evaluate its direction and a few filmmakers began to steer the industry back to its cultural essence.
The Return to Cultural Films
Leading this comeback was Kunle Afolayan, whose 2022 epic Aníkúlápó captured the imagination of audiences both locally and internationally. The film told a deeply Yoruba story full of tradition, language, and lessons. From regular Nigerians to international film lovers, many praised it for showing the beauty and power of our local stories.
Right after that, others followed suit. Films like Jagunjagun by Femi Adebayo, Bashorun Gaa, Lisabi, Elesin Oba and other epic blockbusters all came out swinging, bringing back the feel of the old days but with modern quality. These movies weren’t just entertaining; they reminded people of who they are, where they come from, and what their culture stands for.
It is noteworthy to state that this shift in Nollywood isn’t just about going back in time. It’s about reclaiming our voice and telling our own stories the way they should be told. For years, a lot of African stories have been told by outsiders, sometimes wrongly or in ways that paint us in a bad light. But now, Nigerians are taking charge and putting their own truths on screen.
Cultural stories help people, especially the younger generatio,n understand their roots. A lot of young Nigerians today were raised in cities and might not have deep knowledge of their village customs, beliefs, or languages. Movies like these now serve as both entertainment and education. Through them, children and adults alike are learning about their heritage without even realizing it.
Also, these stories bring us together. Whether it’s a tale about a king’s duty, a brave warrior, or an ancient tradition, they spark conversations and make us reflect on how our past still connects with the present. A good example of this is Femi Adebayo’s recently released film Seven Doors, which not only showcased the richness of Yoruba tradition but also featured strong performances from actors across different ethnic backgrounds. The female lead, Chioma Akpotha, an Igbo actress, starred alongside Adebayo in a deeply cultural Yoruba story, and together, they both clinched AMVCA awards for their roles.
Beyond the awards and praise, Seven Doors stands as a clear reminder that culture can be a unifying force. In the film, both Yoruba and Igbo traditional forces joined hands to fight a common evil, proving that when Nigerians come together, we are stronger regardless of tribe or background. It sends a strong message that tribalism and bigotry are not permanent scars on our identity; they can be overcome when we focus on what connects us. Films like this don’t just entertain — they inspire unity and show what’s possible when we choose collaboration over division.
It is also important to mention that the return to cultural storytelling is also opening doors in other areas. Many of these films are shot in real historical places, old palaces, ancient towns, and sacred forests, which brings more attention to those places. As more people watch these movies, interest grows in visiting the locations, which in turn helps boost tourism and support local economies.
In the end, this new direction for Nollywood is a breath of fresh air. It’s a sign that we don’t need to copy anyone to make good films. We have enough rich stories, beautiful languages, and deep traditions to keep our screens alive for generations to come.
Hafsoh Isiaq is a graduate of Linguistics. An avid writer committed to creative, high-quality research and news reportage. She has considerable experience in writing and reporting across a variety of platforms including print and online.
