Accomplished film-maker, Tolu Ajayi, in in this interview, discusses the rise of African filmmaking, the role of representation, and how a generation of creatives found their voice and audience through MultiChoice. ROTIMI IGE presents excerpts.
Looking back on your career so far, what would you say has been the biggest turning point?
My career has spanned quite a journey. I started out in advertising, working as a producer. One of my early proud moments was producing work for Guinness. My friend, Baba Blue and I handled a lot of physics-heavy concepts in that campaign. But the real turning point came in 2008 when I began directing at Tinsel. That was the start of a new chapter. I had spent years producing, but transitioning into directing, especially for TV series, marked a significant shift. That journey is still unfolding today.
The Nigerian film and TV industry has grown significantly over the last decade. What shifts have you observed that excite or challenge you as a filmmaker?
For me, one of the most exciting things is the pace at which storytelling is evolving here. We’re now participating on a global scale. Our films are traveling beyond Nigeria and Africa. There’s strong interest in the kinds of stories we’re telling, which speaks to the validity and richness of our narratives. Initially, the global audience engaged with Nigerian stories mostly through our literature. But now, film is driving that engagement. We’re touching people not just through actors, but through the full creative process — producers, directors, writers. And importantly, we’ve built a movie industry that emerged from television. That’s a big part of what has allowed us to generate this level of global interest.
You’ve had projects featured on major platforms and networks. How much of a role does distribution play in shaping a filmmaker’s reach and voice?
Distribution is crucial. It’s what gets your work in front of audiences. In my experience, we’ve been fortunate with great distribution partners. My debut feature, ‘Over the Bridge’, actually had its first distribution interest from the UK. And my series Princess on a Hill was commissioned by Showmax, so distribution was guaranteed from the start. Over the Bridge was picked up by Picturehouse Cinemas in the UK, which helped take it to festivals and wider screenings. The ability to reach people has largely come from the keen eye and support of those partners. So yes, distribution plays a huge role.
You mentioned Showmax. How have partnerships with platforms like Showmax, Africa Magic, and MultiChoice as a whole influenced the scale or type of stories you’re able to tell?
It’s been amazing. My journey with MultiChoice started when I became one of the first four indigenous Nigerian directors on Tinsel. They had a South African director for Season one, but we joined in Season two. The ambition of that network was and still is impressive. They didn’t just want African stories, they wanted big, authentic African stories. Years later, when my company, Sagasity Source Studios, partnered with Bloom Studios, we worked on a show about a powerful man who hires a woman to be his corporate agent and stir up all kinds of mischief. It’s the kind of story you’d typically expect from HBO or a top-tier Netflix drama. But it was commissioned and funded here. That’s not something you take for granted. Platforms like Showmax and Africa Magic have made it possible for these stories to be created and seen across the continent.
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As a storyteller, what does it mean to you to create content that reflects Nigerian culture, identity, and nuance?
That’s exactly why I do this. I spent a lot of years telling brand stories, so the real joy for me now is telling human stories, especially African stories. There’s so much richness here. Our everyday lives are filled with stories that matter, and I believe we should stop running away from them. I tell my students all the time: instead of trying to escape into other people’s worlds, why not ground your story in something real, something local? Tell that romantic story, but make it an African one, rooted in our economy, our customs, our reality. It’s not about anger or struggle. Even hopeful, humorous, or cautionary tales can reflect our world honestly. That’s the kind of storytelling I’m committed to now.
What role has MultiChoice played in not just helping Nigerians see themselves more clearly on screen, but also in growing the creative economy?
Without a doubt,the role MultiChoice has played is hard to quantify. Since 2008, they’ve helped grow a generation of producers, directors, and storytellers. Their structure, their openness to collaboration, and their commitment to quality storytelling have all helped to elevate the industry. They’ve given people access. The kind that allows you to walk into an office, pitch an idea, and get support. Events like the AMVCAs provide a space for the community to gather, network, and celebrate. They’ve filled a massive void. The need for Africans to see themselves. That’s powerful.
I remember a moment from my advertising days in South Africa. I was in Pretoria staying at a mostly white hotel, and I ran downstairs to buy a toothbrush. The black woman working at the store asked where I was from. When I said Nigeria, her face lit up. She started naming Nollywood actors and said, “You Nigerians are so rich. We love how you dress.” This was in the early 2000s, when Nollywood stories weren’t exactly polished but they were emotionally powerful. She lived in the township, and those films were shaping her perception of Nigerians. That’s soft power. That’s narrative influence. That’s the kind of emotional impact we sometimes underestimate.
How does it feel knowing your work not only resonates with Nigerians but travels across Africa and beyond?
It’s an amazing feeling. Just last week, I was in Nairobi for the theatrical release of ‘Over the Bridge’. It also showed in Kigali. Watching the film with audiences there, hearing their reactions, having real conversations afterward, that was something special. Storytelling across Africa feels more effortless because we share similar emotional codes. Our grief, our joy, our love stories, they exist on the same wavelength. That connection is deeply rewarding. You don’t need to over-explain. Whether it’s weddings, funerals, or everyday joys, we get each other. And when you realise your work is connecting people that way, it’s deeply fulfilling.
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