Fatherland’s “My Father’s Shadow” is a visually stunning, nostalgic film that accurately captures the complexity of fatherhood. We spoke to one of the producers, Funmbi Ogunbanwo, about the process of creating it.
Set in the tense political climate of 1993 in Nigeria, the feature film “My Father’s Shadow” is the latest Fatherland Productions project. Written by Wale Davies, directed by (his brother) Akinola Davies and produced by Funmbi Ogunbanwo, the film follows the story of two young boys who travel to Lagos with their typically absent father.
Folarin, a handsome and charismatic man (played by Sope Dirisu) who has been absent for most of his sons’ (played by real-life brothers Godwin Chiemerie Egbo and Chibuike Marvellous Egbo) lives, suddenly turns up and takes them with him to Lagos. In the ensuing trip, the trio bond as they face difficulties navigating their way to and from the capital. The story unfolds from the boys’ point of view, with visually stunning stills that capture their child-like wonder of experiencing a new place — and their father for the first time. For Wale Davies, the writer, the setting of 1993, particularly June 12, was a metaphor of Nigeria’s inability to provide for its citizens, directly alluding to absent fathers who are simply not there for their kids.
The makers of “My Father’s Shadow” talk about it
For the Davies brothers, it was a deeply personal film that was reminiscent of their own relationship with their father, who passed away when they were young. For Akinola Davies, making the film reinforced the belief that Nigeria, for all its difficulty and chaos, is the most beautiful place to capture on camera. It strengthened his belief that all Nigerians are looking for a fair chance at life, at work, and to be paid a fair wage. Above all, to be treated with a certain level of dignity and honour in their craft. For Wale Davies, their set was a reflection of how they also want to be treated: with a certain level of respect. For him, Nigerians are some of the most naturally talented people in the world, but that talent will only see us through to a certain level. Nigerians are creating regardless of the lack of resources and infrastructure. He believes that we’re achieving in spite of, not because of. If we had the right conditions, resources and environment, Nigerians would excel.
The film, shot in Lagos and Ibadan, is deeply tender, moving and nostalgic. It’s the first Nigerian film to be selected and to win at the Cannes Film Festival, also receiving a special mention. The film has also screened at the Toronto International Film Festival, and is already getting rave reviews, deservedly so.
In an intimate conversation, we spoke to Fumbi Ogunbanwo, the producer of the film. She spoke about producing the film, the challenges faced, and why such stories must be told by Nigerians for Nigerians.
Read also: Blessing Uzzi is charting a course for authentic filmmaking in Nigeria
What is your favourite scene in the film?
I have two, and they have similar sequences: the very first scene. The scene with Baba, played by Ayo Lijadu. The second was the kids on the rides at the amusement park. There’s a purity in the way the kids are playing that you almost enjoy the scene with them. For me, it was reminiscent of my childhood because I was such a playful child.
What was the moment you knew that your production agency Fatherland was going to bring “My Father’s Shadow” to life?
From inception. Wale, Akin and I are all partners at Fatherland. After “Lizard” and its success, we were curious about the world of feature films, so it was obvious. When I first saw the script, I read it as a short film. I particularly loved how specific Wale was in describing Lagos. Lagos is more than just a place or city; it’s a character. The pulse, energy and rhythm of it. People always say Lagos is like some other cities in the world, but I don’t agree because there’s no other city in the world like Lagos. The juxtaposition of chaos and beauty, the horror and the absolute bliss that you can experience in Lagos. You’re literally on two extremes at the same time, all the time. That was what made me excited to explore making this film.
You are one of the co-founders at Fatherland. How did it come about?
First of all, I was already familiar with Wale from SDC. However, I met him at my brother’s set about seven years ago. My brother is a photographer, and he was shooting and wanted Wale to co-direct with him. I used to manage my brother and produce his body of work.
We met and just hit it off and stayed in touch. By the time I started to dabble in production, we always traded off; like if I had a project, I’d call him for help and vice versa. And we just kept each other in the know. He always tells the story of what made him move into a formal partnership with me. It was a client he had introduced to me a few months prior who came to Nigeria to shoot something. He wasn’t in the country, so he introduced the client to me, and then I was freelance, so I did it. Eventually, the client came back to Nigeria again to work with me and asked Wale for drinks. He was surprised, expressed that and asked why the client didn’t call him. The client expressed that he wasn’t sure if Wale was still into production, but then asked him to speak to me. So when Wale asked if he could work with me on the project, I was like, “Of course.” It was a no-brainer for me. He always references that, for him, was something that made him feel like he could partner with and trust me.
What was it like working on an intimate film like “My Father’s Shadow” with your co-creators, Wale and Akinola Davies?
It’s a mixture of self-awareness, knowing each other’s strengths and relying on those strengths collectively forms the whole. There are things Wale is great at; things Akinola is excellent at that I don’t have the time of day for, and vice versa. It’s also about character — if I can trust you with small things, then I can trust you in big things, like negotiating. The last thing is our shared vision and alignment. We ultimately believe in the same thing: Nigeria has incredible talent, Nigerian stories deserve a place and should be resonating globally. And the way to do that is not by pretending to be anything other than Nigerian. It’s by standing in who we are and baring ourselves.
You have over 8 years of experience in the film industry. Do you feel like working on “My Father’s Shadow” taught you anything new, or reinforced a belief system?
There’s a belief on the higher level and then a personal level. When Wale and I first met, we bonded over and used to laugh about these stories because we used to see repetitive things repeatedly, and that frustrated us. For me, what it reinforced is the belief that the mundane, the seemingly ordinary, is universal. Zooming in on a father and his two sons and their relationship, you can bring out so much that is both culturally specific and universally appealing at the same time.
On a personal level, it also reinforced that there’s a difference when all your collaborators care about the same thing. It’s a pulse, an energy that you can see. You don’t have to marshall people into uncomfortable situations; they willingly go the extra mile. For instance, the scene we shot in Ibadan, where Folarin and the boys were walking on the red clay road, was hot and dusty. People were acting like everything was okay, but it was not okay. When I came back to Lagos, I was dusty and dirty and even fell a bit ill after that. Doing this project taught me that I want to be specific and I only want to do things I care about. But that’s the beauty, when people care about something, it’s magic.
“My Father’s Shadow” is doing very well on the film festival circuit. Congratulations on the Special mention at Cannes! You’ve done the Cannes Film Festival in May and now the Toronto Film Festival — how do you feel?
Grateful, super humbled, excited for what it means for Nigerian cinema, stories and storytelling. Excited for the crew that worked on it — every single person. Very aware that this moment and what it has done cannot be taken away. “My Father’s Shadow” was the first film to be officially selected and to win. It shouldn’t be the only one. It should usher in more stories.
Read also: Ms. Kanyin: A not-so-horror film that took me back to my boarding school roots
Did you face any challenges producing this film in Nigeria, and if you did, how did you come up with a solution?
Most people in Nigeria are creators, and it’s a shame that we do not have a systemised way that works. Shooting across Lagos and Ibadan is no small feat, not just the travel alone. For many on the crew from South Africa, Kenya, and the UK, it was their first time in Nigeria. We had to create a soft landing for them because Lagos and Nigeria as a whole can be intense. Despite the odds that are stacked against us, we still keep putting out excellent work, and it’s inspiring. Another challenge is money, financing your projects.
“My Father’s Shadow” covers topics on the Nigerian 1993 political uproar. How important do you think it is to feature conversations on politics in Nigerian cinema?
For me, it grounded it in the authenticity of our history as a people. Again, baring yourself. June 12 is something important in Nigerian history, and most young people who aren’t aware of the story would most likely just refer to it as Democracy Day. However, it’s more than just Democracy Day. It carries the historical context of that moment.
Again, I really want us not to bury our history; we should put it in our music, fashion, art, and films. I think art and fashion do that well, but when it comes to film, it’s always glossed over. And that’s what I hope this film does. Part of making this film and releasing it in Nigeria is about awakening that consciousness and having those conversations. Like Wale said, it’s the juxtaposition of a father and the nation as a father. My very first core memory of my father crying was the annulment. I will never forget how he raced home in his Bluebird with a branch. He turned on the TV and saw the news about the annulment, and he cried. A 30-something-year-old father of three. He describes it as cold water poured on hot coal. He said all he could think of was his children and how he would provide for them. And still, here we are.
What advice would you give to a Nigerian filmmaker in the distribution stage of their film?
It starts with financing. It’s very complex. On the distribution side, be very aware of the infrastructural challenges that exist in the ecosystem that you’re trying to distribute in. When you can, leverage partnerships. If there are people who are better at this thing than you, leverage those relationships. In Nigeria, you might need to work harder since the ecosystem is not fully developed, and few players exist in the distribution pipeline. Mentally prepare yourself for the work, and don’t be too hard on yourself if it feels like you’re not getting far. Do the work you can and let every result you get be a lesson and learning moment. Also, honestly, some of the best kinds of distribution exist outside of the existing models, so explore that.
In conclusion, Funmbi Ogunbanwo’s journey in bringing “My Father’s Shadow” to the screen is a testament to the power of authentic Nigerian storytelling. Through intimate conversations, she revealed the deeply personal connections, collaborative spirit, and unwavering belief in Nigerian talent that fuelled the film’s creation.
“My Father’s Shadow” not only captures the complexities of fatherhood against a significant historical backdrop but also serves as a poignant reminder of Nigeria’s rich narratives and the global impact it deserves. As the film continues its successful run on the festival circuit, it stands as a beacon, ushering in a new era for Nigerian cinema and inspiring Nigerian filmmakers to tell their own stories with dignity and honour. The film will premiere in Lagos, Nigeria, on 19 September 2025.
Read more: Nigerian films debuting at TIFF’s 50th edition remind us that our stories matter
