For years, Nollywood has gravitated toward Lagos — and occasionally Abuja — for production. Despite Nigeria’s wealth of diverse landscapes and tourism gems, many filmmakers have hesitated to explore further, often wary of extra costs and logistical hurdles in unfamiliar terrain.
But that tide is turning. In an exclusive interview with The Nollywood Reporter, filmmakers Taiwo Egunjobi and Seun Sonoiki, known professionally as Seun Sheffy, explained why Ibadan is not just a backdrop but a rising star of Nigerian film locations.
Breaking Away from the Norm
Recent productions have begun breaking free from the Lagos mold. Wingonia Ikpi’s The Lost Days filmed in Abeokuta, and several projects in Kano and Plateau show what’s possible when filmmakers embrace underused locations. The payoff is creative freshness, reduced costs, and new visual textures that enrich storytelling.
Ibadan: More Than a Backdrop
Among these emerging hubs, Ibadan stands out. Just an hour away from Lagos, the Oyo State capital offers rustic charm with its famous brown roofs, a rich historical pedigree, and a growing modern scene. It’s a city that feels both authentic and cinematic.
For Sheffy, who filmed his film Pink Butterfly in Ibadan, the city shaped the story as much as the actors did.
“I chose Ibadan for ‘Pink Butterfly’ because the city mirrors the film’s duality — historic yet modern, serious yet playful,” he said. “Bodija’s bustle gave us authentic chase sequences, Jericho’s upscale vibe contrasted with the grit of Challenge, and Apata’s grounded community spirit anchored the humor. Ibadan became more than a backdrop; it became a character. From a production side, the city was incredibly welcoming. Unlike some places where homage fees disrupt filming, Ibadan allowed us to shoot freely and stay on budget.”
A City Filmmakers Can Call Home
Egunjobi, whose work has become synonymous with Ibadan-based productions, also sees the city as a natural extension of his storytelling. He has shot four films there, including “In Ibadan,” A Green Fever, and The Fire and the Moth, which recently premiered on Prime Video.
“I grew up in Ibadan, so naturally the stories I tell are written with the city in mind,” he said. “I understand the spaces and have contacts across the city that make filming easier. Comfort is key for me, and Ibadan offers that. It doesn’t have the traffic issues of Lagos, and in many cases it’s cheaper. Locations are more accessible, and they often come with character.”
Sonoiki added that Ibadan gave him both accessibility and diversity.
“Beyond its beauty, Ibadan offered me landscapes that spoke directly to the emotions I wanted to capture,” he explained. “From the vibrant energy of its streets to the quiet intimacy of its neighborhoods, I found spaces that rooted my story in a Nigerian reality while still presenting visuals that feel universal.”
Looking Beyond Lagos
For Sonoiki, the bigger lesson is simple: filmmakers should not be afraid to explore.
“Lagos is vibrant, but Nigeria is full of untapped stories waiting to be told through its landscapes and people,” he advised. “Exploring places like Ibadan, Kano, Enugu, or Jos gives you rhythms and narratives that bring freshness to your film. Don’t be afraid to immerse yourself in those cultures, collaborate with locals, and let the environment shape your story.”
This approach, he added, is not just about aesthetics but impact: creating films that feel new while driving local economies and showcasing Nigeria’s cultural wealth.
For Nollywood’s next generation of storytellers, the path to fresher narratives may just begin with looking beyond Lagos — and letting cities like Ibadan claim their place on the cinematic map.