“KM17” Marks New Chapter for Nollywood Thrillers

Two months after its release on Prime Video, the Nigerian thriller “Kilometer 17” (KM17) continues to generate discussion about the evolution of Nollywood’s thriller genre.

Directed by Lyndsey Efejuku and produced by Trino Motion Pictures, the film represents an attempt to diversify the industry’s offerings beyond its traditional comedy and drama fare.

KM17 follows Chika, a young woman searching for her missing sister after losing confidence in the police. The plot takes an unexpected turn when Chika encounters a dangerous taxi driver, setting the stage for a tense narrative.

In an interview with The Nollywood Reporter, Efejuku shared insights into the film’s production and her approach to directing. “When I saw the script, it reminded me of ‘American Psycho,'” Efejuku said. “I also thought of ‘Psycho,’ where the character’s mom died, and he took on her personality. I used that as my inspiration for directing the film.”

The production of KM17 was not without its challenges. Efejuku and her team faced the daunting task of shooting most of the film at night to maintain the story’s timeline. “We did face some challenges, but we kept pushing every day to ensure we got the best out of the project,” Efejuku explained. “Most of the film was shot at night because the story takes place over one day. That had its own challenges, like staying awake all night for several weeks. It was tough because, as you know, humans aren’t meant to stay awake only at night, so that was one of the key challenges we dealt with.”

Efejuku emphasized the importance of the actors’ performances in maintaining the film’s tension. “The film is very actor-driven,” she said. “It’s a performance-based film, so the tension and everything else had to come from the actors. There’s nowhere for them to hide—no sets to rely on—so it was all about their performances.”

The cast, featuring Toni Tones as Chika, alongside Blossom Chukwujekwu and Kelechi Udegbe, rose to the challenge. Efejuku worked closely with the actors to convey the complex emotional landscape of their characters. Speaking about Tones’ portrayal of Chika, Efejuku said, “I wanted the audience to really understand the struggle she was going through, especially in the scene where she talks to her sister, who is locked in the trunk of a car, while also worrying about her mom hearing what she was saying.”

She continued, “We needed Toni Tones to connect with that kind of tension. The emotion I wanted her to convey was pressure—keeping her emotions hidden from her sister, so her sister wouldn’t realize the full extent of the situation, and making sure her mom didn’t find out what was happening. I aimed for this back-and-forth with emotions so the audience could feel every emotion Chika was experiencing.”

KM17’s release on Prime Video reflects the growing importance of streaming platforms in the Nigerian film industry. “For a long time, Nigerians didn’t really take to thrillers—they preferred comedy and drama,” Efejuku noted. “But streaming platforms have been great for filmmakers to get their content out there and recoup their investments.”

However, this broader reach is not without its challenges. “Premiering on Prime Video was beneficial because it reached a wider audience. Online streaming allows people all over the world to see and enjoy the film, and they can share their opinions, whether positive or negative,” Efejuku noted. “It’s a double-edged sword, though—more people see it, but that also means more opinions. However, it’s helping the industry grow by attracting more investment and encouraging filmmakers to create content that makes sense.”

Beyond its thrilling plot, KM17 carries deeper themes that resonate with contemporary Nigerian society. “For me, the film is about family—how far you’d go when a family member is in trouble or danger,” Efejuku explained. “It’s also a cautionary tale, especially for women, about being mindful when out at night and avoiding situations that could become dangerous. I want people to watch it and think, ‘I know someone who’s been in this situation,’ or ‘I need to be more mindful when I’m out at night.'”

As Nollywood continues to expand its repertoire, filmmakers like Efejuku are looking to explore new territories. “I’ve done romantic comedies, drama, and now a thriller,” she said. “I’m currently working on ‘Last Giddy Cops,’ which is a crime series drama. I’d like to explore fantasy genres next. I’m a big fan of that kind of content, and though I consume all sorts of media, I’d love to try my hand at creating fantasy films.”

The production of KM17 also sheds light on the collaborative nature of filmmaking in Nollywood. Efejuku praised the team’s efforts: “Some of the crew members were new to me, but overall, it was a good experience. I’ve worked with Trino Studios before, so I didn’t face any major issues. The team had a clear idea of what they wanted, which made it easy to work with them. They were pretty easygoing.”

KM17 is Trino Motion Pictures’ second venture into the thriller genre, following the critically acclaimed “Sylvia.” The production company has also found success with comedies like “The Razz Guy,” and their recently released film “The Weekend” was selected for the TRIBECA Festival, indicating the company’s diverse approach to filmmaking.

As Nigerian cinema continues to evolve, films like KM17 although far from being perfect based on the reviews, serve as markers of the industry’s progress and ambition. While audience reception remains to be fully gauged, the film’s production and release highlight Nollywood’s ongoing efforts to expand its storytelling range and technical capabilities in the thriller genre.