Nigerian filmmaker Ozioma Ogbaji is the screenwriter behind the romantic comedy success Kambili: The Whole 30 Yards, currently seen on Netflix. But the 31-year-old writer is much more than that. Her love for storytelling has led her to create Hillcrest Studios in Nigeria with the goal of becoming Africa’s largest production company. She is determined to defy all odds against her as a female filmmaker in a country where sexual harassment is part of the game. We spoke to Ozioma Ogbaji from her hometown of Lagos, Nigeria about her career plans.

You are not only a screenwriter; you are also the Chief Executive Officer of Hillcrest Studios. What are your business goals?

The business goals for Hillcrest Studios include telling stories that are Afro-centric yet globally relatable so that someone from another continent or country could watch and enjoy our movies. Our goal is also to create opportunities for young filmmakers to bring their work to light by building capacity, which will, in turn, grow our film industry here in Nigeria and take it to the world.

Do you find you have special challenges being a woman in the film business?

There are so many challenges that women face. Sexual harassment is one. Some men easily objectify women; when they see you, all they see is your sexuality. And I’m thinking, “I am here to do business, why are you talking about my body?” Oftentimes, you want some of these people to fund your projects, but if they do not see you for who you are and for the value you bring – a businesswoman, who wants to do business and help them make a profit – that is a challenge.

Also, we often have to fight to get reasonable pay for our work. I know that men typically earn more than women, and sometimes the results that some women, including myself, bring are more valuable. I think that this is because women are more sentimental when negotiating their fees. There are no set standards for fees in our industry so it is a case of “every man for himself;” you negotiate what you can, and if you price yourself cheap, you find out months later that your colleagues earned much more for doing a similar project or much lesser one.

You started your career as a screenwriter in 2016, sold your first script in 2017, and then wrote, directed, and produced your first short film, Stuck, in 2018. In 2020, you started your production company. What is it that drives you?

For the past four years, I have been focusing on screenwriting. I have also been focusing on other aspects of filmmaking, such as production and directing. I worked for an advertising agency for two years as a producer, and that gave me some experience in film production. Last year, I decided it was time for me to get incorporated and by doing that, get more opportunities and become a bigger brand. It is still new, but I am working towards having it become one of the best production companies out of Africa, not just Nigeria.

What drives you and what inspires you?

What drives me is my passion for storytelling. When I was growing up, my Dad was a lecturer in the English language in a college, so he would drop me off at the library and I would read so many books, like Shakespeare. The adults used to look at me funny and wonder what I was doing there instead of playing with the other kids. I think that this is where my passion for storytelling started. Over the years, I have been building and growing my passion. I am inspired by life, my experiences, and what I have been exposed to, as well as by other people’s stories.

In your film Stuck, in which a man and two women are stuck in an elevator, the male character asks why he should be the one to act just because he is a man and accuses the women of behaving like damsels in distress. Whose voice is speaking here?

I have spoken with a good number of male friends who made me understand that it can be overwhelming being a man. Society expects so much of them and they easily get depressed as a result. This aspect of the film was me telling the story from a male point of view. Sometimes they just want a break. He is rude about it though.

“The stranger you think is nobody could, in fact, be somebody,” is a statement made in your short film. Why was this an important message to you?

I believe that empathy goes a long way. That is one of the things I was portraying in the film: it does not cost you a thing to be kind or nice to somebody. The male character is rude to these women, and when he finds out that he needs something from one of them, he has already burned that bridge. I am not saying we should be kind because we want to get something from others, we should be kind because it is the decent thing to be. People are going through a lot and could do with a little kindness.

You have written Kambili: The Whole 30 Yards and have writing credits on Fate of Alakada and Gaslight. Do you think you write with a distinctly female voice?

No, I don’t – or maybe I do. It dawned on me one day that I have written more stories with female leads, so I delved into writing more male characters for a change and to test my skills. I have recently written a buddy story about two male friends. Gaslight also has a male character as the lead. I don’t think that my gender determines what kind of characters I can write. However, I think because I am a woman, my female characters are more relatable because I add a little bit of myself when developing them.

 

Kambili: The Whole 30 Yards is about a woman who dreams of getting married before she turns 30. You are 31 yourself, so are you writing about your own generation. Is this something your generation dreams of?

It is a story that I can relate to because, at some point, I really wanted to get married. I was surrounded by friends who were all obsessed with getting married. They would do anything to get a ring on their finger. That is what inspired the story of Kambili: The Whole 30 Yards. Now that I am older and wiser and still not married, I am still happy with my life. I have found myself and I know what I want in a relationship – and I am not just talking about marriage for the sake of it. The quality of the relationship, with or without marriage, is more important. So, I hope that when young women watch the movie, they will feel understood and seen, and realize that you don’t just marry anybody because you want a ring on your finger or because society expects you to get married while you are still in your 20s. You get married because you want it for yourself, you want to build a partnership and companionship with your significant other. And who says you have to get married in your 20s? You can get married in your 30s, 40s, 50s or 60s. Don’t waste time pining. Life is beautiful. Just enjoy it and its little or great pleasures.

The main character wants to live up to the image of what her boyfriend wants her to be. Do you think a lot of women seek to transform into what men want them to be or are women more independent?

I think it is a little bit of both. There are women who live their lives on their own terms, and there are women who live through their partners. For women who don’t live on their own terms, I believe it is part of their journey to come to the realization that it is their life. That was my experience. I was in relationships where I felt like I had lost my identity, so I decided to step back and go on a journey of self-discovery. And because I did, I was able to find myself – a better version of myself.

How did you become so strong and independent?

I was always independent growing up: I think that most middle children are. I left home when I was 22 for the one-year compulsory national service that every Nigerian graduate must undergo. After my one-year service, I did not go back home but stayed in the western part of the country, where I have been working ever since. I have always done what I wanted to do and dreamt what I wanted to dream. I have always had a mind of my own.

Do you consider yourself a feminist?

I have not immersed myself into reading/learning about feminism like I would love to, but whatever cause that makes society better for women, I am solidly behind and have always been. So yes, I am a feminist.

What is your main advice to young women who would like to work in the movies?

My advice would be to keep learning about the business of filmmaking. Network with other filmmakers and learn from them. Enter competitions. Go to school and learn about the craft, if you cannot afford film school there are resources on websites that you can easily find. Also, protect your intellectual property to avoid theft. Women should not be afraid to ask for better fees and better opportunities. Do not be afraid to turn down a project if you do not believe in it. And don’t overwork yourself and get burnt out. I have said no to a lot of projects because I needed a rest. Learn to take a break, refresh and come back stronger.