Stories about the Deaf community rarely take centre stage in Nollywood. With Èbùn, producer Lucy Oigbochie, also known as Abena, set out to change that, not by making deafness the focus, but by telling a coming-of-age story about empathy, family, and the universal desire to be understood.
Oigbochie began her filmmaking journey in 2020 after working on a music video featuring Afrobeats stars Davido and Focalistic, her first experience on a film set. She went on to work on several other music video productions before enrolling at the EbonyLife Creative Academy in 2022 to pursue filmmaking professionally.
A graduate of the University of Lagos, where she studied Creative Arts (Theatre Arts), Oigbochie has since produced Stupid Finder (2022), The People’s Court (2023), In Her Place (2025), and most recently Èbùn (2026). Written and directed by Ekeh John, the coming-of-age short follows a young deaf girl navigating Lagos’ relentless noise who longs to hear. When she finally does, she makes an unexpected choice.
The film earned its first festival selection at the Lift-Off Global Network’s Filmmaker Sessions Vol. 7, marking another milestone for a producer committed to telling stories that are often overlooked.
In this exclusive interview with The Nollywood Reporter (TNR), Oigbochie discusses producing Èbùn, portraying the Deaf community with dignity, the realities of funding an independent film, and the legacy she hopes to build through Abena Productions.
Why Èbùn Had to Be Made
Oigbochie says the inspiration for Èbùn came from observing the people around her and realising how many quietly carry burdens they rarely speak about. The film became her way of asking difficult questions while inviting audiences to reflect on empathy, family, and human connection.
“I chose to tell Èbùn because some stories refuse to leave you alone, and this was one of them.”
Beyond telling a compelling story, she wanted to shine a light on the Deaf community, one that is often present but not always seen or understood. For her, Èbùn became an opportunity to explore humanity, connection, and the importance of communication beyond spoken words.
“I wanted to challenge the way we think about disability and remind people that being deaf doesn’t make someone’s experiences, dreams, or emotions any less valid.”
As a filmmaker drawn to stories that create empathy and spark meaningful conversations, she hopes Èbùn encourages audiences to look beyond differences, embrace inclusion, and recognise that everyone deserves to be heard, even when they do not communicate in the ways most people are accustomed to.
Beyond Representation
Oigbochie’s relationship with the Deaf community did not begin with Èbùn, but making the film deepened her understanding of their experiences.
Growing up, she encountered students with disabilities at different stages of her life. She recalls a family whose son was deaf and struggled to make friends. She also remembers interacting with visually impaired students at Queen’s College and hearing about the experiences of deaf students through her younger sister, whose school had a dedicated programme for them.
Those experiences stayed with her and shaped her understanding of disability long before Èbùn.
“I realised how often deaf people are expected to adapt to the hearing world, while very little effort is made by the hearing world to meet them halfway.”
That realisation influenced not only the story but also the way she and her team approached every character, choosing dignity, authenticity, and empathy over pity.
For Oigbochie, however, the emotional heart of Èbùn extends beyond deafness itself.
“It’s about the universal desire to be understood, accepted, and loved.”
She believes those emotions resonate with everyone, regardless of whether they are deaf or hearing.
Challenging Misconceptions
For Oigbochie, one of the biggest misconceptions about deaf people is the assumption that because they cannot hear, they are somehow less capable of participating fully in society.
In reality, she argues, the greatest barrier is often not deafness itself but the lack of understanding, accessibility, and inclusion from the hearing world.
Making Èbùn also challenged her own assumptions.
“It reminded me that communication goes far beyond spoken words. There is so much emotion, intelligence, humour, resilience, and love that can be expressed in different ways, and I wanted the film to reflect that truth.”
Rather than trying to speak for the Deaf community, Oigbochie says Èbùn creates space for audiences to see deaf people as complete human beings, with dreams, fears, relationships, strengths, and flaws.
“If viewers leave the film with more empathy and a greater willingness to understand and include others, then I believe we’ve achieved something meaningful.”
Protecting the Story
As producer, Oigbochie says the role required her to balance two responsibilities: protecting the story while ensuring the film remained financially and logistically achievable.
For Èbùn, however, she was unwilling to sacrifice its emotional core for commercial appeal. At the same time, she recognised that the film still had to be accessible to audiences.
“So we made creative decisions that served both the artistic vision and the audience. Every budget decision, casting choice, and production decision was guided by one question: Does this strengthen the story?”
She believes audiences ultimately connect with honesty more than trends.
“The commercial side of Èbùn wasn’t about chasing trends. It was about creating a film people would genuinely want to watch, talk about, and recommend because it resonates with them.”
Paying for the Story Herself
“Èbùn was self-funded,” Oigbochie says.
Like many independent filmmakers, she found herself wearing multiple hats while trying to protect the integrity of the project. Funding, she says, remains one of the biggest obstacles facing filmmakers, particularly those telling socially relevant stories.
“It’s not just about raising money; it’s about finding people and institutions that believe in the value of the story you’re telling.”
To finance the film, she launched a GoFundMe campaign but raised less than half of her target.
“I needed to tell this story and how inclusion is important.”
Eventually, she made personal sacrifices to complete the project.
“I used my house rent and cancelled all my trips to make the film.”
Despite the challenges, she has no regrets.
“Making Èbùn reminded me that resilience is just as important as creativity. Every obstacle reinforced why this story needed to be made, and I’m proud that we found a way to bring it to life.”
The Place of Advocacy Films
Oigbochie believes films like Èbùn have an important place in Nollywood because cinema has the power to shape how people understand the world.
“A well-told story can challenge assumptions, build empathy, and start conversations that statistics or headlines often cannot.”
She is quick to add that not every film has to carry an advocacy message.
“We need comedies, thrillers, romances, and pure entertainment too.”
What matters, she says, is that Nollywood reflects the diversity of the society it represents.
She believes there is room for more stories like Èbùn that spotlight communities often overlooked while remaining emotionally engaging.
“Advocacy doesn’t have to feel like a lecture.”
Instead, she says, audiences connect first with compelling characters, allowing the message to stay with them long after the credits roll.
“As a producer, I want to be part of an industry that tells stories with both heart and purpose. If Èbùn encourages even one person to see the Deaf community with greater understanding and respect, then I believe it has already made a meaningful contribution.”
Collaboration With Ekeh John
Oigbochie describes working with Èbùn director Ekeh John as one of the most rewarding parts of the filmmaking process. Their relationship began at the EbonyLife Creative Academy, where John taught cinematography.
She had long admired his work, so when he shared the idea for Èbùn and later sent her the script, she immediately knew she wanted to be part of the project.
“After I read it, I knew I had to tell the story.”
From the outset, they shared a clear vision for the film and agreed that Èbùn should never reduce the Deaf community to stereotypes or invite sympathy. Instead, they wanted every character to be portrayed with dignity, authenticity, and emotional complexity.
“Our collaboration also influenced the film’s approach to portraying the deaf community. We agreed that Èbùn should never rely on stereotypes or seek sympathy. Instead, we wanted to present characters with dignity, authenticity, and emotional complexity.”
That shared philosophy shaped everything from casting to performances and the film’s overall tone.
“I believe the strongest films come from collaboration, where everyone is committed to the same vision but also willing to listen. That’s exactly the kind of partnership John and I had on Èbùn.”
Building Abena Productions
Beyond Èbùn, Oigbochie sees Abena Productions as more than a production company. For her, it is a platform for stories that leave a lasting impact.
“I want it to be a company that is known for telling bold, authentic African stories that entertain, challenge perspectives, and create lasting conversations.”
She believes Èbùn reflects the direction she wants the company to take.
“With Èbùn, we’ve shown that we’re not afraid to tell stories about communities that are often overlooked. I want that to become part of our identity, not because every film has to be an advocacy film, but because every story deserves to be told with honesty, care, and purpose.”
Looking ahead, she hopes to collaborate with writers, directors, actors, and crew members who share that vision while creating opportunities for emerging filmmakers with distinctive voices.
“If Abena Productions can help push Nollywood forward by producing films that are both artistically strong and globally relevant, then I feel we’re building something truly worthwhile.”
Looking Ahead
For filmmakers hoping to tell stories about underrepresented communities, Oigbochie believes the starting point should always be respect and curiosity.
She encourages them not to shy away from unconventional stories simply because they appear difficult to finance or produce.
“If you believe in your story, commit to telling it well.”
She also stresses the importance of patience and persistence, noting that meaningful stories often take longer to reach the screen, but that does not make them any less valuable.
Ultimately, she believes filmmakers have both the privilege and the responsibility to shape culture through the stories they choose to tell.
“Let’s use that privilege to tell stories that expand understanding, celebrate our diversity, and remind people that every life is worthy of being seen and heard.”
