With the release of Moses Inwang’s The Devil Is A Liar, this opinion piece critiques Nollywood’s reliance on star-studded casts and examines how celebrity-driven films are hurting the industry.
Why “The Devil Is A Liar” Exposes the Flaws of Nollywood’s Star-Packed Movies”
These days, you know a Nollywood film is coming when its poster is flooded with faces you recognize. It often feels like a reunion of stars, but relying solely on star power is no longer enough. Consistent star-studded films risk undermining Nollywood’s creative depth.
Relentless director Andy Okoroafor once explained why he plans to make only eight films in his lifetime. If a director has such a clear vision, do actors? Do they carefully select roles, or do they accept any part just for visibility?
In many star-heavy films, established actors are often reduced to minor roles, serving fame rather than story. This dilutes their craft, detracts from the film’s quality, and limits opportunities for emerging talent.
Old Nollywood, Classic Stories
In Nollywood’s early years, budget constraints meant story mattered most. Talent was discovered and nurtured, giving rise to cinema powerhouses. Kenneth Okonkwo and Nnenna Nwabueze’s breakout roles in Living in Bondage are prime examples.
Star power existed, but usually one lead carried the film. Regina Askia-Williams in Festival of Fire (2002), Omotola Jalade-Ekeinde in Scores to Settle (1998), and Nkem Owoh in Osuofia in London (2003) are examples of films where the story centered on one magnetic character. Ensemble casts appeared only when integral to the plot, such as in Tchidi Chikere’s Blood Sisters (2003) with Omotola and Genevieve Nnaji.
These star-studded attempts often produced critically acclaimed classics, even if not commercial hits. Some inspired remakes like Living in Bondage: Breaking Free (2019) and Glamour Girls (2022), though they rarely matched the originals.
New Nollywood, Plot Holes
Modern Nollywood prioritizes commercial success over critical acclaim. Star-studded films with weak plots are increasingly common. Moses Inwang’s The Devil Is A Liar illustrates this. Starring Nse Ikpe-Etim, James Gardiner, Erica Nlewedim, Nancy Isime, and Mercy Aigbe, the film’s potential is diluted by a crowded cast. Aside from Nse and Gardiner, many actors have minor roles that limit opportunities for emerging talent. Plot holes, including misrepresentation of Double Jeopardy under Nigerian law, are hard to ignore.
Funke Akindele’s Everybody Loves Jenifa also demonstrates the problem. Some roles seem included just to feature familiar faces, resulting in a disjointed story. Titles like Glamour Girls and Chief Daddy 2 share this fate — big names, small substance.
Downsides and Suggestions
Story remains the soul of filmmaking. Dialogues, actions, and characters leave an impression only when given space to shine. Star-studded casts can overshadow the story, making films feel hollow despite commercial success. Marketing now often relies on actors’ social media popularity rather than the story itself.
Budgets skewed toward cast fees leave less for script development and production value, resulting in rushed scripts and performances struggling to carry the narrative. In Everybody Loves Jenifa, Patience Ozokwor’s screen time was limited, underplaying her talent.
Filmmakers should invest in tighter scripts that balance ensemble casts, giving both emerging and established actors meaningful roles. Let the story determine the cast, not the other way around. Films like Mami Wata and My Father’s Shadow show that stories can resonate without excessive star power.
Too much reliance on commercial gimmicks erodes storytelling depth. Star power dazzles viewers, but the strength of the story leaves the impression. Nollywood should remember that a single well-developed character can carry a universally grounded story better than a dozen familiar faces.