Nigerian filmmaker Kunle Afolayan, widely celebrated for his contributions to the Nigerian film industry, recently shared an intriguing and somewhat humbling experience from his career. During the third edition of the Reel Circle event, hosted by the KAP Film & Television Academy, Afolayan revealed that he once directed a film without fully understanding its storyline. The revelation captivated the audience, shedding light on the often unpredictable and challenging nature of filmmaking.
In his speech, Afolayan explained how the project, which he described as unconventional and perplexing, tested both his creativity and adaptability. “I was asked to direct something I know nothing about,” he said, recounting the beginning of the project. “I tried to bail out, but I was convinced that I could do it. But I knew I didn’t know what I was going to do. I didn’t understand the storyline.” He emphasized how the experience pushed him out of his comfort zone, forcing him to rely on his instinct and creative problem-solving skills.
Afolayan went on to explain the complexities of the film’s structure, revealing that it was an “installation film,” a concept that was unfamiliar to him at the time. “It is an installation film; even at the time, I did not know what the installation film was,” he shared, admitting that he had no prior experience with such a genre. As the director, he found himself in a challenging position, unsure of how to proceed with a project that defied conventional narrative filmmaking.
The filmmaker recalled his initial confusion when he read the script. “I read the script and I did not understand it,” Afolayan said. To make sense of the material, he reached out to friends and colleagues for guidance. He specifically mentioned calling the late Biodun Aleja, a respected figure in the Nigerian film industry, who read the script and responded, “This is crazy.” This candid feedback from Aleja highlighted the daunting nature of the project.
Despite his reservations, Afolayan continued to push forward, hoping that a deeper understanding of the producer’s vision would help him make sense of the project. “I spoke to the person who introduced me to the project and said, ‘Can I meet with the producer? Maybe if she shares her vision, I would get it,’” he recalled. This led to a meeting with the producer in London, where Afolayan hoped that a clearer vision would emerge.
However, the conversation only added to his confusion. “She showed me her showreel, and I knew there was a problem because the showreel didn’t make sense,” Afolayan said, recalling how the footage was completely abstract. “It was a complete abstract installation; people just doing weird things, and I am a narrative director,” he added. This left him even more uncertain about how to approach the film, as his expertise lay in traditional narrative filmmaking, not experimental or abstract forms.
Despite his growing doubts, Afolayan was urged to continue with the project. “But he was like, ‘You have to do it; they are paying you $40,000,’” Afolayan said, explaining how financial incentives played a role in his decision to go ahead with the film. However, Afolayan still felt out of his depth, suggesting an adaptation of a scene instead. “Let us do an adaptation of a scene,” he proposed, but even then, he confessed that he wasn’t sure what exactly to adapt.
At this point, Afolayan turned to Aleja again for support. “Biodun Aleja was there—he studied Performing Arts, so his literature is stronger—and I was like, ‘Look, we have to find a way.’” With Aleja’s guidance, Afolayan agreed to move forward with the film. He explained that the production would take them to various countries, including Miami and Chicago. “They are flying us to Miami and Chicago; we cannot turn that down,” he said, acknowledging the opportunity to work on an international scale.
The production itself proved to be another daunting challenge. Afolayan described the filming process as chaotic, with large-scale equipment and tight logistics. “They filmed in like the oldest museum,” he recalled. “I was the director, and there were five trucks of equipment. It’s like someone throwing you into the ocean and asking you to start swimming.” The scale of the production, combined with his lack of understanding of the material, made the process even more overwhelming.
Despite the confusion and obstacles, Afolayan pushed forward, directing the film as best as he could. However, even after the project was completed, he remained unsure about the final result. “Up till now, I did not understand the story. There was no story,” he admitted. “If I watch it again, I am like, ‘What was the story?’” His candid reflections about the project reveal the complex and sometimes unpredictable nature of filmmaking, where even experienced directors can be thrust into challenging and confusing situations.
Ironically, despite his confusion about the storyline, the film found success on the international stage. Afolayan revealed that the film was shown in multiple countries and even premiered in five different cities across the globe. “They flew me in business class to five countries to premiere the film in 2007,” he said, noting the unexpected success of the project despite its unconventional nature.
The filmmaker’s story serves as a reminder that, in the world of film, not every project is straightforward or easy to understand. Afolayan’s experience highlights the importance of creativity, flexibility, and collaboration in navigating complex and sometimes ambiguous projects. “You just have to trust your instinct and keep pushing forward,” he concluded.