Prince Daniel Aboki is building a cultural bridge between Kano and Hollywood, despite the challenges facing authentic storytelling.
Kano’s film scene is evolving, and this evolution is led by a storyteller who is rewriting the rules of Hausa cinema. With Mai Martaba and Kaka, Prince Daniel Aboki blends tradition and modernity, taking a vision from northern Nigeria all the way to the Oscars.
The journey hasn’t been simple. In an industry where commercial formulas often dictate creative decisions, Aboki chose a different path—one that demanded cultural authenticity without sacrificing global relevance. His movies aren’t just films; they’re cultural statements that have redefined what Kannywood can achieve on the world stage.
Inspiration and Vision Behind the Films
From the outset, the project was about more than entertainment; it was a cultural statement. Director Prince Daniel Aboki envisioned films that would stay true to Hausa traditions while speaking to universal human experiences.
“I wanted to explore power, vulnerability, and humanity,” the filmmaker tells The Nollywood Reporter in an exclusive interview, discussing the inspiration behind Mai Martaba. “We wanted to tell a northern story that is culturally grounded and universally relevant.”
For Aboki, authenticity was non-negotiable. “We knew that if we were going to tell this story, it had to be done in a way that honored our identity while still engaging global audiences.” This blend of local authenticity and global appeal became the foundation of both projects.
Building the Vision with Fresh Faces
Assembling the cast required an unconventional approach. “I wanted a cast made up of almost entirely new actors so the story could stand on its own,” Aboki explains. “The focus was on truth and depth, not celebrity faces.”
The strategy created an environment where the story took precedence. On set, even relatively new actors embraced the challenge with enthusiasm, driven by a shared commitment to elevate the material. “The respect for the story and the shared desire to raise the bar made the collaboration truly special,” the team recalls.
Breaking Records and Making History
When news came that Mai Martaba had been nominated for the Oscars, Aboki admits it was unexpected. “It came as a big surprise. It was exciting and deeply humbling. I felt proud of the team and grateful that a story from our part of the world could be heard beyond borders.”
The recognition extended beyond industry circles. Vice President Kashim Shettima and Minister of Art, Culture, Tourism, and the Creative Economy, Hannatu Musa Musawa, received the team to commend their groundbreaking achievement.
The milestones speak for themselves. Mai Martaba stands as the most expensive production in Kannywood’s history and became the first film from the industry ever selected for the Oscars. It pioneered streaming on Virtual-Festival, an exclusive platform for Oscar-submitted films, and secured the first three-year global soundtrack distribution deal for a Nollywood film with Plaza Mayor Company Limited.
The film’s reach continued expanding: it was featured at the prestigious Nollywood in Hollywood showcase in Los Angeles, incorporated into university syllabi in Nigeria, the UK, and Germany, and will soon become the first Kannywood production offered as in-flight entertainment on an international airline—a detail Aboki hints will be announced soon.
Kaka has similarly made its mark, receiving more than thirty-six nominations and awards across five countries, including Best Nollywood Film in the UK and Canada. It was screened at Queen’s University in Ontario, while Mai Martaba featured at the Septimius Awards in the Netherlands, the Africa Movie Academy Awards, and the Africa Magic Viewers’ Choice Awards.
Balancing Tradition with Global Appeal
In creating both Mai Martaba and Kaka, the approach to balancing traditional Hausa values with modern storytelling was intentional. “We stayed true to our cultural values in language, setting, costume, and character behavior,” Aboki says. “But we used modern techniques to make the story layered, engaging, and emotionally compelling for today’s audience.”
Thematically, both films tackle weighty subjects. Mai Martaba explores the burden and complexity of leadership within traditional systems, while Kaka addresses girl-child education, trauma, and the silent struggles many young girls face.
The Future of Kannywood
For Aboki, these successes represent just the beginning. “Both films show that we can tell bold, original stories with depth, relevance, and global appeal without losing our cultural essence,” he explains.
Looking ahead, he envisions a transformed industry. “I see Kannywood evolving into a more refined, globally recognized industry with stronger stories, better structures, and wider reach.” His conviction is clear: the future of African cinema lies in indigenous language films.
While sequels aren’t being rushed, plans for future projects are already taking shape. “The goal is to keep telling bold, relevant stories that push the boundaries of what is possible in Kannywood,” he affirms. “I hope this recognition opens doors for bigger opportunities, partnerships, and funding—not just for me, but for others who want to tell meaningful stories from this part of the world.”