At the 2026 Golden Globe Awards, Paul Thomas Anderson described writers as “magpies,” artists who gather from lived experience and scattered observation to build worlds on screen. His point was simple: without the writer’s vision, the film does not exist. There is something quietly remarkable about people who can imagine entire worlds and then translate them into stories that feel both intimate and recognisable.
Tomi Folowosele is one of those filmmakers. Across her work, she has created worlds that reflect everyday Nigerian life, from her directorial debut Service Charge to the emotional weight of Africa Magic dramas like Irora Iya and Kadara. Her journey, which began with the short film Hours Before, has since expanded into international development spaces, most recently the Red Sea Series Lab and Project Market.
“When I wrote my first short film, Hours Before, which we shot on an iPhone XR, by the way, I was terrified,” Folowosele recalls. “It wasn’t conventional. I felt like I was exposing my raw thoughts. But looking back, I’m glad I took that risk because it taught me that my voice matters.”
In this exclusive interview with The Nollywood Reporter, Folowosele reflects on her creative journey, from early shorts to long-form television, international development programmes, and her transition into directing with Service Charge, which has screened at festivals including the 2026 Joburg Film Festival.
The Journey So Far
Looking back, she describes her growth as both grounding and clarifying. “I’ve come really far, and saying I’m grateful to God feels like an understatement,” she says. “I’m more confident now, but also more honest about what I don’t know. I’m grateful for collaborators who challenge me, for programmes that take African stories seriously, and for timing. Timing is everything.”
Her relationship with storytelling began early. Watching films like The Sound of Music and Escape from Sobibor, she became fascinated by how ordinary lives could carry extraordinary weight. “I’ve always loved stories,” she says. “I started writing early, and that curiosity slowly turned into a desire to understand how films are actually made.”
Although she initially entered the industry as an actor, writing became her creative anchor. By 2020, she had fully embraced screenwriting, building a body of work that steadily found its audience. “Writing has always been home,” she says simply.
The Africa Magic Years
A major turning point in Folowosele’s career came through her work with Africa Magic, where she served as lead writer on Kadara and Irora Iya. The experience sharpened both her storytelling instincts and her leadership skills.
“Africa Magic has been a huge part of my journey,” she says. “Their commitment to authentic Nigerian stories gave me room to grow.”
With that growth came pressure. “Moving up was validating, but also terrifying. There were more voices to manage and more responsibility. Those projects taught me how to protect a story without ego, how to listen, and when to stand firm.”
From Writer to Director
Folowosele’s selection as one of two Nigerians in the Red Sea Series Lab coincided with another milestone: her directorial debut. Service Charge, produced under the Filmmakers Mart and Rollpay Africa initiative, asked filmmakers to interpret Nigeria through their own lens. The short went on to win Best Film at Nigeria Through My Lens.
“When people think of Nigeria, they often think only of violence or despair,” she explains. “That’s part of our reality, but it takes intention to tell that truth intelligently. I chose satire because it allows you to speak honestly to an audience that is already exhausted.”
Directing, she says, felt less like a leap and more like a continuation. “It wasn’t a detour. I’ve always wanted to direct my own films, and after a directing masterclass with Spike Lee, that certainty deepened.”
Winning awards helped, but confirmation mattered more. “The real win was realising that I belong behind the camera.”
Red Sea Recognition
Beyond the Series Lab, her project Till Death Do Us Part was selected for the Red Sea Souk Project Market, an experience she describes as both surreal and affirming.
“It reminded me that the dream is possible,” she says. “As a filmmaker, it raised my storytelling bar permanently.”
The series, currently in development, explores grief, intimacy, and survival. It follows a woman who loses her husband early in her marriage and encounters a funeral home that offers one final goodbye. “It’s about how far grief can take you if you let it,” she explains.
With a pilot already written, the focus now is packaging and distribution. “The goal is global reach without diluting its Nigerian core.”
For Folowosele, opportunities like Red Sea matter because they challenge long-held assumptions. “They prove you don’t have to flatten your voice to be heard globally. Access creates responsibility. Once the door opens, excellence becomes the job.”
The Festival Circuit
Film festivals have also played a central role in her career. “Festivals are powerful spaces,” she says. “They allow filmmakers to share work globally without enormous resources.”
Having directed a pan-African festival herself, she understands their value. “They widen the lens on Nollywood. They remind the world that we’re not a monolith.”
Her advice to emerging filmmakers is measured: “Don’t chase festivals blindly. Make the film you believe in, then find the festivals that speak the same language.”
What Comes Next
For Folowosele, her proudest achievement is learning to trust herself. “Writing gave me a voice. Directing demanded courage,” she says. “Being taken seriously in both spaces matters to me.”
The lesson she carries forward is one of clarity. “Talent may open the door, but clarity keeps it open.”
As she prepares for her next projects, including a second short film currently in pre-production, her focus remains steady. “I want to direct more, write braver stories, and make work that stays with people long after the screen fades.”