Tag: Mami Wata

CJ Obasi, a visionary Nigerian filmmaker and a dynamic voice in African cinema, has spent his career breaking boundaries and crafting stories that both honour and reimagine the rich tapestry of African folklore. With an unflinching commitment to exploring the mystical and spiritual dimensions of his cultural heritage, Obasi has created films that speak to the depths of ancestral legacy whilst challenging Western expectations of African storytelling. His latest project, ‘Mami Wata’, a stunning monochrome meditation on the myth of the titular water deity, took seven years from conception to its premiere at the prestigious Sundance Film Festival in 2023.

In ‘Mami Wata’, Obasi employs a distinctive black-and-white aesthetic that, whilst unconventional in contemporary African cinema, he describes as a natural reflection of his early experiences with cinema, which shaped his perception of storytelling. His creative approach echoes his unique perspective on Yoruba and broader African folklore—celebrating traditions whilst also reinterpreting them for global audiences. For Obasi, ‘Mami Wata’ is not merely a cultural artifact but an offering that transcends national and ethnic borders, inviting viewers into the intricate world of West African spirituality.

[youtube=https://www.youtube.com/watch?v=FPWBaKBYUfw&h=315]

Beyond ‘Mami Wata’, Obasi’s inspirations span a diverse array of African filmmakers and genres. From the seminal works of Souleymane Cissé to the boundary-pushing artistry of the Surreal16 Collective, a movement he co-founded, Obasi remains a central figure in championing African voices in global cinema. His work, though deeply rooted in his Nigerian identity, has garnered international recognition, leading him to collaborations with Creative Artists Agency (CAA) and positioning him as a cultural ambassador in spaces like the Locarno Film Festival.

In this interview, Obasi opens up about his journey from a Computer Science student to an acclaimed filmmaker, the challenges of realising his creative vision, and his ongoing mission to produce works that heal and inspire. Through his lens, we gain insight into the inner workings of a filmmaker deeply devoted to his craft and the evolution of African storytelling on the global stage.

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Richardine: Before you released it, how long would you say it took to create ‘Mami Wata’ from inception to release to the public?

CJ Obasi: I received the vision in February 2016, and we premiered the film at Sundance in 2023. That’s seven years in the making.

[youtube=https://www.youtube.com/watch?v=hDInqRafFlk&h=315]

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Richardine: Were there any ideas meant to be part of the story that didn’t make it into the final script?

CJ Obasi: Ideas, not exactly. I think the ideas I had for the film were fully realised. But loads of scenes were taken out in the edit.

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Richardine: What made you go with black-and-white?

CJ Obasi: The black and white wasn’t a choice. This was how I received the film. Actually, seeing the film in colour was the real challenge. Through the years, I would later realise that it had a lot to do with my childhood and the relationship I had with cinema growing up, watching films on our black and white TV, and the connection I forged with stories through that aesthetic.

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Richardine: For audiences who aren’t familiar with Yoruba deities or African folklore, how would you explain the term “mami wata”? Could one liken it to Oṣun or The Little Mermaid?

CJ Obasi: ‘Mami Wata’ is only connected with Oṣun as far as they are both Mermaid deities. But ‘Mami Wata’ is rooted in both Anglophone and Francophone West African cultures while also transcending West Africa. And it’s not specific to any particular ethnic group, the way Oṣun is specific to the Yoruba. And where The Little Mermaid is just a cartoon or movie, ‘Mami Wata’ is real to millions of adherents in West, Central and Southern Africa, and beyond – in the Americas.

Richardine: Aside from ‘Mami Wata’, what else should we check out? Share a brief synopsis. What are they about?

CJ Obasi: Check out ‘Yeelen’ (1987) by Souleymane Cissé – If I had one singular inspiration for ‘Mami Wata’ (even though it’s a different film) or for cinema in general, it would be this film. It’s a film I keep going back to for its singular vision, and its homage to West African storytelling, and just how Cissé was able to seamlessly imbibe that folklore poetry into the visual medium of cinema.

[youtube=https://www.youtube.com/watch?v=GRlNG9lJ6rs&h=315]

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Richardine: Are you friendly with other African filmmakers? If so, who should we support and why? Which films should we watch?

CJ Obasi: I’m friendly with anyone who makes films. Especially if they make it from a place of love and ambition. First, I would say – support my comrades of the Surreal16 Collective – Abba T Makama and Michael Omonua, for braving through what they brave through, especially in an increasingly hostile environment where singular voices are hardly rewarded. I’m quite close to Rungano Nyoni, and I think she’s a genius filmmaker, and I hope she gets her flowers soon in world cinema. Look out for her ‘A24’ film, ‘On Becoming a Guinea Fowl’. Sean Baker is a true champion of indie cinema, not just in words, but in action. He’s been a great supporter of several filmmakers like myself and he deserves all the flowers he’s getting right now. Everyone should go see his Palme D’Or winning film, ‘Anora’. There are several other filmmakers doing great work. I obviously can’t mention all, but I was a jury member at the just concluded Locarno Film Festival, and the work there was beyond inspiring, such as – ‘Hanami’ by Denise Fernandes, ‘Kouté Vwa’ by Maxime Jean-Baptise, ‘Invention’ by Courtney Stephens, and ‘Holy Electricity’ by Tato Kotetishvili. Those are the ones I can think of right now. They gave me itchy fingers and made me want to go make something.

Richardine: What else are you working on that you can talk about?

CJ Obasi: I’m working on loads of things. But on the front of my slate is the feature titled ‘La Pyramide: A Celebration of Dark Bodies’ – its a mystical Diaspora cinema voyage that takes places in Salvador, Brazil, New Orleans, Louisiana and Senegal. Right now, we are in the casting and funding stage of the process.

Richardine: Interestingly, you created comic books as a child. Do you think your imagination was stronger back then, or has it transferred to your films?

CJ Obasi: I had a stronger imagination as a child for sure. I literally used to be able to check out of “Earth”, so to speak and find myself somewhere else. With adulthood comes bills and responsibilities, so you start to lose that ability, which is a tragedy really. But yes, in a lot of ways film helped me reclaim some of that “magic”.

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Richardine: You hold a degree in Computer Science from the University of Nigeria (UNN). How easy was it to tell your peers that you were leaving that behind to follow your passion as a filmmaker?

CJ Obasi: (Laughs) It wasn’t difficult at all. If you interview anyone I went to school with, they would probably tell you I was insufferable. All I ever talked about was films and being a filmmaker.

Richardine: After ‘Ojuju’, the film you made with zero budget propelled you into an incredible space as a professional director represented by CAA. Take us through that journey. Did CAA discover or approach you through your work?

CJ Obasi: Yes. CAA discovered and approached me through my work. ‘Ojuju’ specifically. And the first deal CAA handled for me was an option and acquisition deal for the series adaption of ‘Ojuju’ with one of the major studios.

[youtube=https://www.youtube.com/watch?v=w04umSkXvNo&h=315]

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Richardine: If CJ could do one thing that he hasn’t been able to do yet, what would it be?

CJ Obasi: Make a film that heals the world. Or one that starts that process of healing. Something idealistic – because we’ve all become too cynical in this world, and it’s not doing us any favours.

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