From childhood folklore to international film festivals, Nnamdi Kanaga’s “Water Girl” explores the Obanje mythology and resurfaces as a defining moment in Afrocentric storytelling.
Nnamdi Kanaga on “Water Girl,” Igbo Myths, and Making Stories That Matter
Long before he ever called “Action!”, Nnamdi Kanaga was already knee-deep in stories. Not screenplays or stories. The kind passed down from mothers and grandmothers, sung over phone calls, whispered around childhood corners. “I grew up surrounded by folklore,” he says. “My mom still sings folkloric songs to me.” The filmmaker, writer, and actor was always a creative child, and he decided from a young age that he was going to make a film that embodies African mythology, especially Igbo mythology.
That early enchantment with myth, combined with a steady diet of classic Nollywood films like Sympathy and Egg of Life, along with the golden age of Hollywood, planted the seed for Water Girl a genre-bending feature that channels the eerie spirit of the Obanje, a figure from Igbo mythology, into a fresh cinematic narrative now grabbing attention across global film festivals.
In an exclusive conversation with The Nollywood Reporter, Kanaga shared insights into his journey and ambitions.
Making Mythology Matter
Water Girl tells the story of a mother who, after several miscarriages, discovers that her child is the infamous Obanje, a spirit child believed in Igbo culture to be cursed to die and be reborn numerous times.
Montana isn’t exactly where one expects an Afrocentric supernatural drama to flourish. “It’s not a very diverse state,” Kanaga admits. “I was afraid. I didn’t know if Americans would get it. I didn’t know if Nigerians would even appreciate it.”
They got it. Festival audiences in Montana, the Caribbean, and soon the UK, Germany, and Canada not only understood the film—they deconstructed it. “Someone told me a scene reminded them of Biblical baptism,” Kanaga recalls, still surprised. “I didn’t even intend that. I’ve been learning things about my own film from the audience.”
His approach to storytelling is rooted in culture, but his vision is global. “I didn’t want to tell this in a way that felt common,” he says. “I wanted it to feel fresh but still rooted.”
Film Festival Success
Make no mistake, Water Girl is making waves internationally. What started as a somewhat quiet film in Montana has become a meteoric storm worldwide, blazing through film festivals and picking up accolades along the way.
The film premiered at the Flathead Lake International Cinemafest in Montana, where it swept three major awards—Best Picture, Best Actress, and Best Original Song—setting the tone for a robust global run. From the Caribbean International Film Festival in June 2025 to the Martha’s Vineyard African American Film Festival in August 2025, the film has earned standing ovations and sparked conversations across continents.
In September, it is slated to appear at the Toronto International Nollywood Film Festival in the Best First Feature (Thriller) category. October brings screenings at the British Urban Film Festival in London, Afrika Film Festival in Cologne, the Urban Film Festival in Miami, and the African Diaspora International Film Festival in Florence, Italy. The film has also been warmly received at the Africa International Film Festival in Saskatchewan, where it picked up nominations for Best Feature, Best Director in a Feature Film, and Best Sound.
Now, Water Girl is at the center of some hush-hush conversations around distribution. “I’ve been getting offers—some in Europe, some in Nigeria—but nothing concrete yet,” Kanaga shares. “One wants me to do a theatrical release in Nigeria, which honestly scares me. You know how cinema culture is here.”
His concerns are valid. December in Nigeria belongs to the blockbuster comedy circuit and big filmmakers who have already made their mark at the box office. Kanaga admits penetrating the box office at that time of year as an independent filmmaker is challenging. “I’m being talked into the positives of doing a theatrical release in December,” he quips. “But I’m praying for the right platform to meet the project.”
For now, he’s considering a January 2026 release—possibly theatrical, possibly streaming. “Man proposes, God disposes,” he adds. “There have not been any formal conclusions yet.”
A Defining Moment (But Not the Turning Point)
Kanaga is clear on one thing: Water Girl is not his turning point. That honor belongs to The Hail Mary, his 2020 directorial debut and the first film in Montana to feature an all-Black lead cast. “That inspired me to chase my dream,” he says. “But Water Girl reminded me why I do this. It affirmed that I’m on the right path. It is my pat on the back as a filmmaker rooted in Afrocentric storytelling of Black voices. Nigerian voices. Igbo voices.”
Next Stop: Acting
Amid Water Girl’s festival triumphs, Kanaga is also returning to his first love: acting. He stars in Revelations, a new film that premiered in Nigerian cinemas on August 15, 2025, produced by screen legend Richard Mofe-Damijo and international filmmaker Tanya Price. Shot in Utah and Nigeria, Kanaga plays Kofi Paul, a Ghanaian-Nigerian character he describes as “meant for me.”
“I didn’t even audition. They saw my picture and cast me,” he says, still sounding a bit stunned. “It’s the first time Nigerians will really see me act. People know my younger brother, Kanaga Jr., but they don’t know I’ve been acting too.”
Before directing, Kanaga tried everything to break into Nollywood—makeup, special effects, and auditioning for multiple roles at a time. “They’d say, ‘You’re good, but…’ Always a ‘but.’” He eventually pivoted to directing and writing and found his lane, but acting never left his heart.
Now, with Revelations, that full-circle moment has arrived. “I want Nigerians to see I can act,” he says. “And maybe I’ll take a break from directing to explore this side again.”
And About the Oscars…
When asked if he’d consider submitting Water Girl as Nigeria’s official Oscar entry for Best International Feature Film, Kanaga hesitates. “I don’t know how it works. Do they reach out? Do we submit? I don’t know. But never say never.”
Considering how far Water Girl has come; from folklore to film, from Montana to Saskatchewan never say never might just be Nnamdi Kanaga’s cinematic mantra. And it works, big time.