Fidelis Duker is a prominent figure not only in the Nigerian entertainment industry but also on a global scale. As one of the pioneers of the Nigerian film sector since the early 1990s, he is credited with organizing the first independent film festival in West Africa: the Abuja International Film Festival.
Currently in its 22nd year, the festival has hosted numerous celebrities and high profile local and international delegates, becoming a benchmark for the Nigerian film industry. AJIBADE ALABI, the society editor of The Daily Monitor newspaper, was a guest at Duker’s recent gathering, celebrating the significant date of May 29 in Nigeria, where he engaged in this exclusive interview.
Excerpts:
Q: The discussion of film festivals in Nigeria, or even across Africa, would be incomplete without mentioning your name. Could you share your thoughts on the film festival scene in Nigeria?
A: Film festivals in Nigeria are here to stay. I remember when we first started years ago—you were there as well, recalling your presence in 2006 during our second edition of the festival. We initiated Nigeria’s first independent film festival in 2004 and set the foundation for the country’s film festival scene. If my memory serves me correctly, we have seen the emergence of approximately 40 to 50 film festivals in Nigeria since our inception. Initially, we were the only festival around, but over the years, the number has grown to about eight to ten additional festivals. This growth is encouraging because it offers people a variety of festivals to attend based on their interests. Just recently, I returned from the Coal City Festival in Enugu, and we also have festivals in Kaduna, Ibadan, Abeokuta, Port Harcourt, and several other cities across the country. There’s even a festival dedicated specifically to women! This versatility contrasts sharply with the situation 22 years ago when the Abuja International Film Festival was the only festival in Nigeria.
Q: Do you feel threatened by the increasing number of film festivals springing up in the country?
A: No …… Not at all. I find it gratifying. Why would I feel sad about that? It indicates that we have inspired the creation of many film festivals in Nigeria, and we still consider ourselves the “parents” of Nigeria’s film festival movement. This development reflects our success, not only within Nigeria but also internationally. When people mention film festivals in Nigeria, the Abuja International Film Festival is the first to come to mind. This recognition alone affirms our contributions to the film festival landscape in Nigeria.
Q: In Nigeria, we have various associations for film directors, producers, and marketers. Is there a body for film festivals in Nigeria?
A: Yes, there is. In fact, I am the chairman of the board of trustees for the Nigerian Film Festival Association. Our current chairman, Uchenna Agbo, will complete his tenure in September 2025.
Q: Reflecting on the 22 years since the Abuja International Film Festival debuted in Nigeria, what can other film festivals learn from your pioneering efforts?
A: There are many aspects they can emulate. We have not only established a film festival; we have also created a marketplace. A film festival encompasses much more than just screenings—it includes exhibitions and marketing opportunities. By marketing, I mean providing a platform where filmmakers, television stations, and radio stations can engage and discuss their work, significantly increasing the festival’s visibility. You were present in Abuja in 2006, and you have witnessed firsthand the extensive media coverage we have garnered. Our film festival serves as a venue for exhibiting and acquiring content, making it a vital platform for emerging filmmakers. Notable names in the industry, such as Kunle Afolayan, Desmond Elliot, Femi Adebayo, Moses Inwang, Opa Williams, Zeb Ejiro, Omoni Oboli, Kate Henshaw, RMD amongst several others have showcased their films at our festival. One of our primary objectives is to foster collaboration among industry players, and while we have made progress, we recognize that our journey is ongoing. We aim to use the festival to empower more young filmmakers, as this was one of our key goals upon its inception 22 years ago. Our festival seeks to ensure that filmmakers from all regions, not just from Lagos or Onitsha, have the opportunity to showcase their work. We take pride in having created an annual event that has become an essential part of Nigeria’s film landscape.
Q: Twenty-two years ago, when you decided to venture into the film festival scene, did you see it as a risky endeavour, or were you simply looking to do something different from your work as a film producer?
A: You may be right even though we were optimistic; but we certainly had our fears, and many people around us were pessimistic about it. In 2003, my co-founder, who is also my wife, Temitope Duker, and I approached the then Nigeria Film Corporation Management on the need to partner with them because we believed that a film festival could not succeed without their involvement. They had organized a film festival two years prior in 2002 as the second edition after the first one in 1992… making it a 10 years gap. It showed that promise to host the festival annually was not feasible as no festival happened in 2003. So, we decided to fill this lacuna of a 10 years film festival interval in Nigeria with the Abuja International Film Festival. In fact, it was our festival that inspired the creation of the Zuma Festival. The Africa Movie Academy Awards (AMAA) and BOBTV respectively were all influenced by our efforts. Many awards have emerged since our inception. The main point I want to make is that when we created the film festival, our aim was to establish a platform for people to come together. We weren’t pessimistic or afraid of failure; we recognized that while many things were happening in the film industry, one key element was missing—a film festival—and that’s where we stepped in.
Q: How have you managed to balance your roles as a film producer, director, and co-founder of the annual Abuja International Film Festival?
I don’t wait until a few months before the festival to start preparing. For us, preparation begins as soon as the previous festival ends. We have distinct teams for different tasks; one team handles production, while another focuses on the film festival. Moreover, the festival isn’t solely about my team and me; I collaborate with stakeholders, journalists, and other filmmakers as well. It’s worth noting that you were once a part of the media team during the festival’s early years. Thus, organizing the festival each year isn’t a Herculean task. With the unwavering support of my co-founder, Temitope Duker, we always stay on top of things. In 2007, I filmed “Senseless” and “Dada Oni Paki” in Ibadan, and both projects proceeded smoothly. The film festival hasn’t adversely affected our primary work, as we’ve structured the entire FAD Media Group ecosystem to allow each department to operate independently. We even managed to participate in the Calabar Festival in 2015 without it impacting our ongoing work for the Abuja International Film Festival. We have learned to maximize our time and effectively delegate tasks. Although the initial stages were challenging, we ultimately succeeded.
Q: What Impact has film festivals had on the Nigerian Film Industry?
Film festivals have significantly impacted the Nigerian film industry in numerous ways. Beyond the glitz and glamour of entertainment, they serve as vital platforms for training and development. Many filmmakers have benefited from these festivals, which often feature workshops and opportunities for capacity building. Additionally, film festivals provide a platform for distribution of films to distribution companies and commissioning editors. The Abuja International Film Festival also enhance the global visibility of the Nigerian film industry. For instance, the Abuja International Film Festival has an international reach, meaning that any Nigerian film showcased there has the potential to reach audiences worldwide. The film festival not only supports the industry; it is an integral part of it. While the benefits may not be immediately apparent, their impact will become increasingly evident over time. The participation of major industry stakeholders at the Abuja International Film Festival underscores its significance.
I often tell people that film festivals can be used as a revenue-generating mechanism for countries. Take the Cannes Film Festival in France, for example; despite its relatively small size land mass compared to Epe or Lekki, it attracts hundreds of thousands of visitors each year. If you don’t book hotel accommodations in advance, you’ll likely struggle to find a place to stay during the festival. The French government benefits significantly from the economic activity generated by the Cannes Film Festival. There’s no reason Nigeria can’t do the same. The government could focus on a festival in Abuja, one in the East, and another in Lagos, directing resources and attention to these events. I believe the government has yet to fully grasp the importance of film festivals, but I remain hopeful that one day they will recognize their integral role in Nigeria’s development.
Q: Comparing Nollywood: Then and now…
I’m glad you’ve asked that question—it’s a fantastic one. I made my first film, a Yoruba title called “Ese Atijo” (Old Sins), back in 1993, which was 32 years ago. Many of the actively working actors in the industry today were either not born or very young when I started. However, I don’t harbor any resentment toward them; the industry has naturally evolved and improved. For me it is their time to shine and we must support them. Interestingly, Technology has transformed the film industry; many aspects have changed significantly. The advent of advanced cameras and the influx of young talent with innovative ideas have reshaped our narratives.
Q: How do you assess Nollywood then and now, especially with young filmmakers?
While younger filmmakers may not always be great storytellers, they have used technology to enhance their work. In my opinion, stories from thirty years ago often had more depth than many we see today. For those in their 40s to 70s who have watched films like “Asewo To Re Mecca,” “Toluwanile,” “Nemesis,” original “Living in Bondage”, “Not My Will,” or “Silent Night,” it’s clear that those films possessed a certain depth.
Q: Are you saying technology has changed filmmaking?
Not in that context …… my point is that many current actors have trained professionally, and technology has made filmmaking much easier compared to when I started. In the past, we didn’t have WhatsApp groups to communicate, organize meetings, or share information. We had to share a single microphone for all dialogue, whereas now everyone can have individual microphones.
Q: How do you see the online platforms?
Despite the technological advancements that have greatly aided the industry, I believe that depth in storytelling has diminished. Although film has evolved, it has reached a point where even those who were part of the industry decades ago might struggle to comprehend it today because of technology. However, the impact of online platforms Netflix, Amazon and YouTube has transformed the landscape; it’s common to hear filmmakers claiming to spend hundreds of thousands of dollars on a making a film. While the industry has certainly changed with respect to technology, we still need to focus on improving our script development. No story is entirely original or real, but the way a story is crafted is crucial to telling the story.
What is your opinion about a young man who claimed recently he created the name Nollywood?
I would not want to dignify that young man …The young man claiming to have coined the name “Nollywood” is misguided and delusional. He is attempting to appropriate credit he has no legitimate claim to, disregarding the collective efforts of countless individuals who contributed to the industry’s growth. Many of us remember him solely as a production assistant in Nollywood, making his assertion all the more questionable. Such a claim not only dilutes the rich history of Nigerian cinema but also undermines the achievements of others who have truly shaped it. It is best to ignore his assertions and focus on honouring those who hold rightful credit in Nollywood’s evolution. As a foundation member of Nollywood, I cannot make such claims …his comment is laughable.
