Critics Anonymous
In the forever-expanding world of international cinema, there is hardly a bad time or place to be a film critic.
Aderinsola Ajao
In the forever-expanding world of international cinema, there is hardly a bad time or place to be a film critic. Being one means I stay informed, enjoy myself (or not), influence the audience’s viewing decision sometimes (and perhaps, earn a living.)
An early introduction to motion pictures influenced my interest in film theory and practice. I became a film “critic“ because I simply could never keep my opinion on films to myself. Working as a culture reporter and editing a film magazine have also greatly broadened my interest in international cinema and film criticism. Notwithstanding the absence of a Film Studies programme or proper appreciation for film critics/criticism, as Nigerian cinema grows, so should I be many steps ahead by providing informed, constructive, critical commentary.
Unfortunately, more film reporters exist here than do full-time critics. Some reporters, rather than appraise the local cinematic art, choose to focus more on celebrity gossip. Some depend more on press releases from a production company, and end up giving every movie a positive, half-hearted review, much to some producer’s wrongful delight. Critical exposure from academic scholars, foreign researchers and critics, who take the time and effort to deconstruct these productions, has however contributed in no small way to a recent spurt of quality productions in Nigerian cinema. This new deviation from primarily commercial films to the arty is an improvement that has resulted in local productions premiering in Nigerian cinemas plus screenings on the international festival circuit: a detour from the era of films going straight to DVD rentals for home viewing.
There remains the argument about whether or not Nigeria’s film industry (popularly called “Nollywood“) constitutes a form of “national cinema“. The indigenous and English language sub-sections take drastically different approaches to representing national issues in their art, refusing to be seen as the same. Nonetheless, each has garnered an impressive following even outside their origins; making an especially huge impact across the African continent and with Africans in diaspora. The sprouting of more locally-organised international film festivals embracing features, shorts animation and documentaries, also gives a wider and better portrayal of nationally-relevant issues in more nuanced productions: better stories and better technique that can compete in a global context.
Despite my critic’s instinct to hunt for the bad and the ugly, I myself have a few favourites. Alas, I remain generally undecided about the greatest movie ever made.
301 Moved Permanently