These Nollywood films have not only reflected the societal norms and cultural values of Nigeria but have also influenced the way stories are told and the types of stories that are told.
By Joseph Jonathan
Over the years, the Nigerian film industry, popularly known as Nollywood, has continued to captivate and entertain audiences worldwide with its distinctive brand of storytelling. During this time, the industry has experienced significant growth, transforming from a small, local market into a global phenomenon. With over 2,500 films released annually, Nollywood has cemented its place as one of the most prolific film industries in the world.
Despite the sheer volume of films produced, a select few have had a profound impact on the industry, initiating trends that continue to shape Nollywood today. These films have not only mirrored Nigeria’s societal norms and cultural values but have also influenced both the way stories are told and the kinds of stories that are chosen to be told.
In this listicle, Afrocritik presents 21 Nollywood films that have paved the way for subsequent trends, highlighting their lasting influence on the industry and their role in shaping the future of Nollywood.
Living in Bondage (1992)
Centred on the story of Andy Okeke (Kenneth Okonkwo), a man who sacrifices his wife in his pursuit of wealth, this supernatural thriller about greed and its consequences is the film that gave birth to what is now known as Nollywood.
What is perhaps more remarkable, yet often overlooked, is that Living in Bondage was the first Nigerian film to be subtitled in English. This contributed to its nationwide success, allowing people from different ethnic backgrounds to watch and understand it. Even today, subtitles remain an integral feature of many Nollywood films.
Glamour Girls (1994)
Produced by Kenneth Nnebue, this film follows a group of women whose pursuit of money, power, and sex in the bustling city of Lagos leads them to establish a high-profile prostitution ring.
At a time when the industry was still finding its footing and most films were made in local languages, Glamour Girls stood out as the first Nollywood film with dialogue entirely in English. This decision set a lasting trend, breaking the language barrier that had previously limited Nollywood’s reach. By adopting English as its medium, the film became accessible to a wider audience, extending its appeal beyond Nigeria’s borders.
Lagos Na Wa (1994) and Yogo Pam Pam (1998)
The success of Lagos Na Wa and Yogo Pam Pam charted a course for comedy flicks in Nollywood. They enjoyed so much mainstream success at a time when comedies in the industry were limited to just regional success.
Lagos Na Wa revolves around the humorous experiences of native Lagosians and bewildered visitors to the bustling metropolis. Yogo Pam Pam, a sequel to Pam Pam, not only outshone its predecessor but also became a major hit, paving the way for a new wave of comedies that would captivate audiences across the country.
Osuofia in London (2003)
Directed by Kingsley Ogoro, this comedy classic follows the story of Osuofia (Nkem Owoh), a Nigerian villager who travels to London to claim an inheritance left by his late brother.
This film was arguably ahead of its time, as its hilarious portrayal of cultural clashes became a blueprint for blending Nigerian humour with international settings. Osuofia in London pioneered Nollywood’s exploration of cross-cultural comedy, a trend that persists today in films such as American Driver (2017), Christmas in Miami (2021), and Postcards (2024).
Irapada (2006)
Kunle Afolayan’s directorial debut tells the story of Dewunmi, who suffers a mysterious tragedy after refusing to perform a ritual. As he and his lawyer friend seek answers, they uncover the circumstances surrounding the spell that triggered the tragic event.
The film marked a pivotal moment in Nollywood’s history as the first to be released in cinemas, heralding the New Nollywood Era. In doing so, Irapada initiated the trend of theatrical releases, allowing Nigerian films to reach a broader audience and gain greater mainstream recognition.
Jenifa (2008)
Starring Funke Akindele in her breakout role, Jenifa follows the story of a village girl navigating life in the big city, leading to a series of humorous misadventures as she tries to find her footing.
The film became a cultural phenomenon, evolving into a massive franchise with sequels and the widely popular TV series Jenifa’s Diary (2015). This marked a milestone in Nollywood history, as Jenifa was the first film franchise to successfully expand into a television series.
As a trendsetter, Jenifa showcased the potential of cross-platform storytelling, inspiring other filmmakers to explore similar ventures. Notably, Odunlade Adekola’s Samuu Alajo (2017) followed this path, later being developed into a comedy series in 2020.
Domitilla (1996)
Directed by Zeb Ejiro, Domitilla tells the story of a young woman struggling to make ends meet in Lagos. By day, she works as an office clerk, but by night, she moonlights as a prostitute.
Domitilla pushed uncomfortable conversations around sex work, starting a trend of films that explored mature themes and socially sensitive issues. The film was such a blockbuster at the time, that “Domitilla” became a colloquialism for prostitutes or for a woman of loose morals.
Mortal Inheritance (1996)
Directed by Andy Amenechi, Mortal Inheritance follows Kemi, a lady with sickle cell anemia who defies the odds of her condition, and upon reaching adulthood, falls in love with Chike. However, their love is put to the test when Kemi discovers Chike’s genotype, leading her to make a difficult decision about their relationship.
Aside from winning multiple awards and catapulting Omotola Jalade Ekeinde to stardom, Mortal Inheritance played a significant role in raising awareness about sickle cell anemia, a complex and often misunderstood health issue. The film’s impact extended beyond entertainment, paving the way for future health-themed movies in the industry.
The Wedding Party (2016)
Kemi Adetiba’s romantic comedy follows the chaotic and comedic events surrounding the lavish wedding of Dunni (Adesua Etomi) and Dozie (Bankole Wellington), as their families’ vastly different cultures and social statuses threaten to tear them apart.
This star-studded film remains a huge trendsetter in Nollywood as it ushered in an era of big-budget films designed for both local and international audiences. It also pioneered a trend in Nollywood: comedy films revolving around a single, significant occasion.
Moreover, it set the standard for depicting exotic, lavish weddings in Nigerian cinema, a trope that has since been emulated by numerous other films.
Karishika (1998) and End of the Wicked (1999)
The release of Karishika and later, End of the Wicked marked the beginning of a trend in Nollywood where supernatural dramas heavily incorporated Pentecostal themes and motifs.
These films, with their depiction of spiritual warfare, demonic possessions, and divine interventions, resonated with Nigeria’s burgeoning Pentecostal movement.
However, the impact of End of the Wicked was particularly profound, and also controversial. The film’s graphic portrayal of witchcraft and demonic possession was so influential that it was blamed for a rise in witchcraft accusations against children in the 1990s and early 2000s, highlighting the complex and sometimes fraught relationship between film, culture, and society.
The success of both films paved the way for a wave of similarly themed films that explored the struggles between good and evil, faith and doubt, and the supernatural and the mundane.
Igodo: The Land of the Living Dead (1999)
Directed by Andy Amenechi, Igodo tells the story of a village plagued by evil spirits and sorcery. The villagers believe that the only way to vanquish these malevolent forces is to retrieve a powerful sword from the evil forest and as a result, they send seven brave warriors to the land of the living dead to find this weapon that can save their kingdom.
At a time when epics were not the norm, Igodo’s massive success helped popularise the genre, making it a desirable and aspirational style for filmmakers.
King of Boys (2018)
Directed by Kemi Adetiba, the film follows the relentless pursuit of power by Alhaja Eniola Salami (Sola Sobowale), a ruthless businesswoman and philanthropist whose rising political ambitions force her to navigate treacherous alliances and uncertain loyalties.
King of Boys redefined the political thriller genre in Nollywood and since then, films like Gangs of Lagos (2023), Brotherhood (2022), and The Black Book (2023) have followed suit.
Saworoide (1999)
It would be fitting to say that Tunde Kelani’s masterpiece was ahead of its time, tackling themes that remain eerily relevant today.
Saworoide takes place in the fictional town of Jogbo, where the new king, Lapite, makes a pivotal decision that sets off a chain of events.
As Lapite’s reign unfolds, the town of Jogbo is thrown into turmoil, and the people begin to resist the oppressive forces that surround them. With the fate of the town hanging in the balance, the mystical Saworoide drum holds the key to the delicate balance of power between the ruler and the people.
The influence of this film extends far beyond its time, as it offers a poignant commentary on Nigeria’s and many other African countries’ current political situations. Saworoide set the standard for subsequent political dramas and period films, making it one of Nollywood’s most important films.
Lionheart (2018)
Genevieve Nnaji’s directorial debut follows Adaeze Obiagu (Nnaji) as she navigates family dynamics, gender stereotypes, and corporate challenges when her ailing father, Chief Ernest Obiagu (Pete Edochie), appoints her uncle, Godswill (Nkem Owoh), to lead the company. This forces them to collaborate to save the business from debt and a hostile takeover.
As Nigeria’s first Netflix original film, Lionheart set the trend for major investments in Nollywood by global streaming giants like Netflix, Prime Video, and Showmax. Since then, more Nollywood films have landed distribution deals with the aforementioned streaming platforms.
State of Emergency (2000) and Issakaba (2001)
The release of both films marked a significant turning point in Nollywood’s history as they set the tone for our gritty crime thrillers.
Both films enjoyed huge success, with Issakaba’s raw portrayal of violence and corruption resonating with audiences, and State of Emergency’s intense action sequences setting a new standard for the genre.
The success of both films ushered in a new wave of crime thrillers, which spawned films like Formidable Force (2002), Django (2005), The Captor (2006) and Desperate Ambition (2006).
Living in Bondage: Breaking Free (2019)
The film revolves around Nnamdi Nworie, the driven and ambitious secret son of Andy Okeke, the central character of the original Living in Bondage, born to his second wife, Ego.
Nworie’s life takes a dramatic turn when he catches the attention of Richard Williams, setting him on a perilous path that eerily mirrors his father’s – one marked by unrelenting ambition, sacrifice, and the allure of blood money.
The success of this film paved the way for reboots and remakes of various Nollywood classics, some of which include Rattlesnake: The Ahanna Story (2020), Nneka the Pretty Serpent (2020), Glamour Girls (2022) and Domitilla (2023)
King of Thieves and Anikulapo (2022)
The release of these two films in 2022 marked a pivotal moment in Nollywood’s narrative landscape, signalling a renewed interest in historical epics. Both films achieved remarkable success, with King of Thieves grossing ₦320 million and Anikulapo garnering 8,730,000 global views within just 11 days of its release.
Their success sparked what film critic, Seyi Lasisi, cheekily refers to as the “epic pandemic”, inspiring a wave of similarly themed films such as Jagun Jagun (2023), Orisa (2023), Beast of Two Worlds (2024), House of Ga’a (2024), Seven Doors (2024), and many others.
Joseph Jonathan is a historian who seeks to understand how film shapes our cultural identity as a people. He believes that history is more about the future than the past. When he’s not writing about film, you can catch him listening to music or discussing politics. He tweets @JosieJp3.