Exploring New Frontiers in Nollywood: Reuben Reng on Directing “Katangari Goes to Town” and Reviving the Whodunnit Genre

In a sea of romantic dramas and slapstick comedies, “Katangari Goes to Town” arrives like a suspect in the night—quiet, calculated, and thrillingly unexpected. Released on Jan. 4, 2025, on Amazon Prime Video, the film has successfully become an audience guilty pleasure, blending family drama with the elusive murder mystery genre.

It’s no mystery that the mastermind behind this gem—starring legendary actor Segun Arinze in the titular role—is Reuben Reng, a Nigerian director whose passion for noir and murder mystery classics led to the creation of one of Nollywood’s boldest releases this year.

The film is an initiative by Native Filmworks and Michelangelo Productions, a company dedicated to high-quality storytelling. Their ongoing deal with Amazon Prime Video includes the production of 12 film titles under the First Features program. So far eight films have been released: “Kill Boro,” “Cake,” “Love and Life (directed by Reng), “It Blooms in June,” “At Ease,” “A Father’s Love,” “A Danfo Christmas,” and now “Katangari Goes to Town.”

As the latest release in the First Features program, “Katangari,” centers around a retired police officer and legendary sleuth who is called to solve a murder that strikes a little too close to home.

With a clever script, moody atmospherics, and a cast that revels in every suspicious glance and turn, “Katangari” goes all in, confidently sliding into a genre that has been noticeably sidelined by Nollywood. In many ways, the film is less about solving a murder and more about watching how people unravel when the stakes are blood-level high. By the time the credits roll, one thing is clear: Reng has not just made a film—he has made a statement. The murder mystery genre is alive and well in Nollywood, and it needs the industry’s attention.

The murder mystery genre isn’t very common in Nollywood productions. What inspired you to tell this particular story?

“Katangari” was one of the films slated to be shot by new directors for Amazon Prime Video, and I was fortunate to be a part of it. When I hopped on the project, the story was already written, and the idea was to explore film genres uncommon in Nigeria.

The murder mystery genre, specifically the whodunnit films has always fascinated me because, as an audience member, you actively involve yourself in unraveling the story, unraveling the mystery, and understanding what makes the characters tick.

There wasn’t any specific inspiration behind telling this story; there was just a call for unique stories, and “Katangari” was one of them. Directing was definitely an interesting endeavor.

Were there any Hollywood films that influenced your directing of “Katangari”?

Definitely! Once I had conversations with the producers, and had a good picture of the film’s vision, I watched the 1978 and 2022 adaptations of Agatha Christie’s novel “Death on the Nile,” as well as “Murder on the Orient Express” (2017), and “Glass Onion: A Knives Out Mystery” (2022).

These films stood out to me because their stories were so complex—the characters had different motives for committing murders, and I learned how to drop tiny, but obvious hints to help the audience draw their own conclusions on who might’ve “done it.”

Sadly, during my research, I couldn’t find any Nigerian films in line with the murder mystery genre. I would’ve loved to see them. Regardless, I incorporated what I learned from the Hollywood films and made “Katangari” a lot more grounded. While there were tropes in the genre that I wanted to explore, I didn’t want a film that felt unrelatable to Nigerians, nor did I want it to feel like an imposition.

Written brilliantly by Emil Garuba, “Katangari” was tailored towards the Nigerian perspective. And the titular character being from Ta-Hoss—a village in my home state of Jos—was something I loved because I could root the characters and story perfectly.

Interestingly, Mr Steve Gukas (my mentor) and I went location finding across Jos, and after a full day of searching, we found the perfect setting in Ta-Hoss. The village had it all—stunning scenery, mountains, rocks, and even a resort. It ticked every box for production, and I genuinely loved being there.

Segun Arinze played the unique character of Katangari. How did you get the Nollywood legend on board with the film? What was the experience like working with him?

Watching Segun Arinze as a child and then directing him as an adult was a dream come true. When we were looking for an actor who was deep, versatile, and fluent in Hausa, Mr Gukas suggested him. Immediately his name was mentioned, I was giddy inside. Working with legendary actors is something I have always hoped for.

Once conversations were had, and he was on board with the film, the experience was nothing short of immaculate. Mr Arinze was willing to give his everything to the project. To achieve Katangari’s look, the makeup process took about two hours each day. And every single day of shooting, he was in that chair, fully dedicated to bringing the character to life.

Visually, Katangari reminded me of a very real figure from my childhood—my uncle, Da Gwom Kudo. He lived on the outskirts of my village and, much like Katangari, was often misunderstood. People labeled him a “wizard” simply because he looked different and embraced ways they weren’t familiar with. He wasn’t any of those things—he was just unique, and happened to pick up the ways of the white man.

From a directorial standpoint, I was intentional about using Mr Arinze’s real voice, and not his acting or voice-over ones. It felt more authentic that way. Admittedly, it was quite a challenge at first because these vocal modes were second nature to him, but he was open to adjustments.

He was also willing to bring innovative ideas into the project which I cherished because, as a collaborative creator, I thrive on innovation. Any idea that drives the story forward or helps give it a deeper meaning is always welcomed by me. With Mr Arinze’s wealth of experience in the industry, he always knew what would resonate with the audience—even when it diverged from the script. I learned so much from him, not just as a performer, but as a creative partner. Working with someone of his status truly boosted my confidence as a director. After that experience, I believe there’s no actor out there that I can’t work with.

What was it like working with the rest of the cast members of the film?

Casting for “Katangari” was a precious thing because I was looking for actors who not only looked the part but acted it as well. Looking back, I’m so proud of the choices we made. Madam Ireti Doyle, Munachi Abii, Patience Ujah, Bethel Njoku, Gbubemi Ejeye, Victor Panwal, and the entire cast brought their A-game to set.

Each actor had a deep understanding of their character and performed to the best of their ability. Whenever they were acting, they were so wonderfully immersed in their roles that I could always see the characters in them.

Madam Doyle was particularly fantastic. The character of Ulan was tailor-made for her, and there’s no doubt that she was the perfect choice for the role.

All in all, I was wonderfully pleased with every acting performance.

What was your creative process like from script to screen? Did the story evolve at any time during production?

My creative process isn’t specifically grounded in stone. Typically, after my first read of a story, I dive into research about the world where the characters are based. Since this story was about murder, I had to be fully grounded in the world of murder investigations and autopsies. I had to know what worked for the narrative and what didn’t.

Because Katangari is a retired police officer, I had to research police affairs —learning about the recruitment and retiring process, the various positions within the force, and even the uniforms officers wear on different days of the week. I also explored weaponry in detail: what it takes to be a gun collector, the necessary permits to own a weapon in Nigeria, how guns are made, and the mechanics of shooting one.

Furthermore, I did research some old Nigerian buildings. Coming from Jos, I was familiar with the ATMN mining company and its distinctive buildings. The building where Katangari resides in the film is inspired by those structures: open-styled, isolated from the community, and with a unique character of its own.

As I research, I also keep the audience in mind. When shooting a scene, I ask myself: “What do I want the audience to feel when they see this?” This helps me to understand their affection for the story—whether good or bad.

Every project I embark on serves as a learning curve, allowing me to deepen my understanding of the key subject matter and the various elements that shape its world. Knowing the world of the story is very important —all the pieces come together that way. It’s like having a “Godpower” feeling knowing the story like the back of your hand.

Were there any scenes that were particularly challenging for you to shoot as a director?

Every film has scenes that sometimes prove difficult. For me, it was the death of Audu. In the film, he drowns and ends up floating in the pool. The scene was quite a force; we had to use a body double and getting it right was not easy. We relied on ladders, boxes, and ropes to position him correctly in the water. While it might have looked simple on screen, the technical aspects made it quite a complex scene to execute.

Then, the scenes with all the characters present, especially the dining table scenes, weren’t necessarily challenging in the traditional sense, but they were heavy scenes to shoot. They were dialogue-driven moments—everyone was speaking at the same time, and there were a lot of emotions to process. It took about 4 to 5 hours to film one of those scenes, and I’m not exaggerating.

However looking back, it might have been challenging, but the end result was absolutely beautiful. Now, I really cherish those scenes.

Numerous viewers online have described your film as brilliant. How do the positive responses make you feel?

For me as a filmmaker, the driving force behind my work isn’t just the business of filmmaking, but how the audience feels. And when I create a project and see or hear the audience’s positive reaction—whether it’s applause or praise—nothing brings me more joy. Knowing that they appreciate the effort, see the challenges, understand the idea, follow the story, and genuinely engage with it gives me immense satisfaction.

Of course, not all responses are wholly positive—some have their opinions on what could’ve been different, which is completely fine. But for those who really connected with the film, who saw the idea, the story, and the creative effort behind it, that honestly made my year.

The widely positive reactions from the audience reassured me that the work I put into the film was worth it. It’s a reminder that I’ve created something that resonated, something that people found worth watching. And it inspires me to keep going, to create more stories that continue to engage the audience and hopefully elicit the same positive response.

The biggest plot twist in the film is undeniably when the character of Mima is unmasked. How did it feel to shoot that pivotal scene? Was it your intention to shock the audience?

As I mentioned earlier, one of the most challenging aspects of shooting “Katangari” was the magnitude of certain scenes, especially those with the main cast. These scenes required everyone to be fully engaged, with each actor delivering their lines and reactions.

Without giving too much away for those who haven’t seen the film, I’ll just say that we tried to drop subtle hints about the killer’s identity throughout the story. There are crumbs of information scattered along the way, but part of the fun of a whodunnit is the back-and-forth between possibilities. You may think you’ve figured it out, only for the story to throw a curveball. In this genre, it’s about setting things up and then paying them off, keeping the audience engaged in the mystery.

In the case of “Katangari,” we set up multiple potential suspects, both those you might expect and others who might surprise you. The challenge was making sure the audience couldn’t be completely sure of the killer until the end. That way, when the true culprit is revealed, there’s that moment of realization: “Ah, I should’ve seen it!” This type of plot twist, where the killer is someone you’ve seen all along but didn’t expect, creates the kind of shock and suspense I was hoping for.

For fans of the genre, I think there’s always a 50/50 chance that someone might guess who the killer is, but I wanted to keep them on their toes. By misdirecting the audience with subtle clues, I could give them a chance to second-guess themselves, and when the twist hits, it would have the desired effect. I was really pleased with how that turned out and how it impacted the audience’s reaction.

At the end of the day, my goal was to shock people and make them rethink their initial assumptions about who the killer was. I wanted that moment where the audience thinks, “I didn’t see that coming,” and I believe we achieved that.

What initially inspired your interest in filmmaking, and how has your creative approach evolved over the course of your career?

That’s a very important question. Growing up, I was always surrounded by films and music. When I was in secondary school, I had to decide what career path I wanted to pursue, like most of us do. At the time, it seemed like everyone around me was heading into the sciences—medicine, engineering, and so on—and I thought, “Why not me?” However, despite this, my love for films and music remained strong, and it was always a part of me.

I vividly remember a moment when I had to register for my SSCE. I was talking to my cousin, Tabitha, who shared my passion for movies. She said to me, “You always talk about movies, you love discussing and analyzing films—why not consider making them?” That was the lightbulb moment for me. It was like everything clicked after that, and I realized that filmmaking was what I truly wanted to pursue.

From that point on, I started immersing myself more in films, learning about storytelling, and understanding the intricacies of the craft. I went on to study communications at the university, completed a diploma in filmmaking, and even earned a master’s degree in the same field. Along the way, I kept honing my skills and, to this day, I continue to learn.

Looking back at my journey, I feel I’ve grown tremendously as a filmmaker. My respect for storytelling has deepened, and now, I place great emphasis on understanding my target audience and crafting stories that resonate with them. The question I ask myself now is: “What do I want the audience to feel?” This focus on audience engagement has become central to my filmmaking process.

Additionally, I’ve had the privilege of learning from industry titans like Mr Dimbo Atiya, a renowned television producer, and Mr Gukas as well. They have not only mentored me but also shared their own insights, and surprisingly, they’ve told me they’ve learned from me as well.

Overall, my career has evolved from telling simple stories to crafting more meaningful, audience-driven narratives. It’s been a rewarding journey, and I’m excited about the future.

Are there any upcoming projects you would like to share exclusively with TNR?

Currently, I’m working on a television series for ITK production company.

“Katangari Goes to Town” is still available on Amazon Prime Video.