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Collision Course: Excitement grows as Netflix debut approaches
As its Friday September 1, 2020 Premiere date on Netflix approaches, excitement and anticipation are building up around Collision Course, the hard-hitting film by Bolanle Austen-Peters.
Last Saturday August 20 highlighted how much the movie is well-anticipated when actors and crew members on the film as well as select guests gathered in Lagos for a private viewing of the movie, which explores the impact of rogue law enforcement officers on Nigerian society and how their unenviable harsh personal lives is sometimes a factor in their official duties. inspired by the October 2020 anti-police brutality protests in Lagos, Abuja and many other cities in southern Nigeria, the film has only been shown to a privileged few last November when it premiered as the closing film at the All Africa Film Festival (AFRIFF), which held at Landmark event centre in Lagos.
Echos of Year 2020’s #endsars protests reverberates through Collision Course as a reminder on how many Nigerian youths took to the streets to demand an end to what they called endemic police brutality. The protests, especially in Lagos, ended on a brutal and tragic note when armed soldiers reportedly opened fire on unarmed protesters on the night of October 20 2020.
Saturday’s special private screening brought back the import of the 75-minute film as a topical, intensely-detailed and well-acted film about a police officer struggling to make ends meet and his encounter with an aspiring musician whose worlds collide.
Brilliantly played by Kelechi Udegbe, the police officer sets up a roadblock to extract gratification from drivers as troubles at home grew, only to encounter the frustrated young artist with a pregnant wife.
After accidentally shooting dead the musician, the plot sets in motion a chain of events that leads to emotional trauma, arrest and a note-worthy commentary on the state of affairs within the police force.
One of the guests at the screening, Catherine Bickersteth, an educationist and development leader, said the film’s director deserves an applause “for crafting a great production about an important social issue so brilliantly.
Collision Course is an indelible film on several levels:
The storyline: topical and emotive but balanced.
The script: delivered the multilayered messages in succinct language freely and smoothly flowing from good grammar to pidgin English and local dialect.
The Acting: superbly evoked both visceral and intellectual reactions from unforgettably skilled characterization.
The locations: perfectly enhanced the narrative. For local viewers because the locations were not made-up sets, they emphasised the reality of the lives the characters were portraying.
The music: heightened the rollercoaster of emotions of the film.
Austen-Peters, who personally picked the Best Film (West-Africa) award for the film at the Africa Magic Viewers Choice Awards (AMVCA) earlier this year, said Collision Course seeks to show some of the underlying issues that forces someone to turn against the very same people he swore to defend.
“I found out that every single person in the story had a back story that we all needed to understand, and at the end of this when you watch this movie you begin to understand that we are all victims, we are all brutalized by the system that we live in,” she said.
Aside its AMVCA award, Collision Course also earned Udegbe the Best Actor award at last year’s AFRIFF and picked two out of the four it was nominated for at the last African Movie Academy Awards (AMAA).
The film hits Netflix for global streaming on September 2, 2022.
Basketmouth accuses Nollywood producers of mismanaging streaming funds, claiming it affects Nigerian film quality and transparency
[dropcap]N[/dropcap]igerian comedian and filmmaker Basketmouth has criticised Nollywood producers for allegedly mismanaging funds provided by global streaming platforms.
Speaking in a recent interview on Arise TV, the entertainer claimed that this malpractice has led to a decline in the quality of Nigerian films.
Basketmouth alleged that many producers misuse substantial portions of the budgets allocated for movie production, diverting funds for personal gains rather than investing in quality filmmaking.
“When the streaming platforms came in, they gave money to these producers… these producers would take the money—$1.5 million or whatever they give them—and use about 10% of that money to make the movie,” he stated.
He further alleged that the streaming platforms, upon discovering these practices, implemented measures to ensure transparency by paying actors directly.
However, producers reportedly found a way around this by coercing actors into returning part of their pay.
“Even to the point where the streaming platforms stepped in and said, ‘You know what? We are going to be paying the actors directly,’ these guys would still go behind and tell the actors to pay half of that money back to them. You can verify the information anywhere,” Basketmouth revealed.
The filmmaker argued that this mismanagement has significantly affected the quality of Nollywood films, particularly epic productions, which he described as often resembling stage plays rather than high-budget movies.
“So, when you do that and expect your movie to be 100%, it can’t. It’s impossible. But these guys? They’ll cut, buy houses, buy cars,” he alleged.
@freelanews BasketMouth wan start to yearn again o…🎼🎹 #foryou #fyp #trending #foryoupge #goviral #AncestorsChallenge ♬ original sound – Freelanews
Lagos, Nigeria – May 10, 2024 – The Premium Breadmakers Association of Nigeria (PBAN) proudly announces the successful conclusion of its Annual General Meeting (AGM) and Executive Committee (Exco) Elections held on May 9th, 2024, in Lagos, Nigeria.
The AGM, a hallmark event in the breadmaking industry, brought together esteemed members and industry leaders to reflect on the achievements of the past year and chart the course for the future. The assembly provided a platform for robust discussions on industry trends, challenges, and opportunities, fostering collaboration and innovation within the sector.
One of the pivotal highlights of the AGM was the democratic process of electing the new Executive Committee to lead PBAN into its next chapter of growth and excellence. With a commitment to transparency and accountability, members cast their votes to elect passionate and visionary leaders who will steer the association towards its strategic objectives.
The newly elected Executive Committee comprises dynamic individuals renowned for their dedication to the breadmaking industry and their unwavering commitment to advancing its interests. Their diverse expertise and collective vision promise to propel PBAN to new heights of success, innovation, and sustainability.
Names and positions of the Executive Committee:
1. Emmanuel Onuorah – President
2. Abayomi Awe – Deputy President
3. Emmanuel Onyoh – General Secretary
4. Abayomi Okikiola – Assistant General Secretary
5. Kene Mbuba – Treasurer
6. Babalola Thomas – Public & Industrial Relations Officer
7. Ekaette Okoi – Assistant Public & Industrial Relations Officer
8. Adijat Olaniyi-Olopade – Financial Secretary
9. Adebiyi Adebowale – Auditor
10. Oludare Oladeji-Ojo – Compliance & Provost Officer
11. Abisola Dejonwo-Tokan – Welfare Officer
“We are thrilled to have successfully concluded our AGM and Exco Elections,” said Emmanuel Onuorah, President of PBAN. “The enthusiastic participation of our members reflects their dedication to the growth and prosperity of the breadmaking industry in Nigeria. With our newly elected Executive Committee at the helm, we are confident in our ability to navigate challenges, seize opportunities, and drive positive change for our members and stakeholders.”
PBAN extends its gratitude to all attendees, participants, and volunteers whose contributions were instrumental in making the AGM and Exco Elections a resounding success. The association reaffirms its commitment to serving the interests of its members, promoting excellence in breadmaking, and contributing to the socio-economic development of Nigeria.
A Nigerian actress and movie producer, Toyin Abraham Adeyemi, has revealed that it took her just two months to produce her alleged N500 million budget movie, Malaika.
Also read: Tinubu hails Funke Akindele, creative industry
She made this revelation during a chat with the media while addressing the disturbing thread of piracy in the Nollywood industry.
A victim of piracy herself, Toyin, as she simply called, lamented how her N500 million budget movie was leaked on Telegram and how she was able to salvage it with the help of her team.
“If you look at me, I’m actually not okay. I’ve to come from the hospital; I’ve been having panic attacks. It’s not easy shooting a movie for close to N500 million and just seeing it out there.
“I saw my movie and another movie, and I thought I was dreaming, and they said, ‘No, you’re not dreaming,’” she said.
She went on to disclose that the hackers announced on Telegram that they were going to upload the movie by 12, which they eventually did.
When asked how long it took her to produce the movie, Toyin responded that it took her almost two months.
“I shot Malaika for two months, almost two months,” she replied.
By a comparative analysis, on average, Hollywood studio movies are shot within 30 to 120 days, with outliers falling below or above this range. The length of principal photography depends greatly on the scale, genre, and length of a film.
“Lift,” the new Kevin Hart-led heist thriller now streaming on Netflix, took approximately five months; between March and July 2022 to be precise, for filming with a $100 million budget.
Toyin further disclosed that her advocacy against movie piracy isn’t about her interests alone but for the general good of the industry.
“This is not about Malaika or any movie in the cinema; it is not about tribe. It’s about the creative industry; it’s about the entertainment industry. Because this is the only thing we do,” she stated.
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