Taiwo Egunjobi Talks Thrillers, Collaboration, and Tayo Faniran’s Unconventional Performance in “The Fire and the Moth”

Taiwo Egunjobi has emerged as one of Nollywood’s most distinct filmmakers, known for his exploration of genre storytelling with a focus on restraint, atmosphere, and social commentary.

His previous films, “In Ibadan” (2019),” All Na Vibes” (2021), and “A Green Fever” (2024) resist easy categorization, blending slow-burn drama with nuanced insights into Nigeria’s social landscape.

Yet, as he steps into the realm of political thrillers with “The Fire and the Moth,” Egunjobi brings an entirely new level of tension and existential inquiry to his work.

Set in 1990s Nigeria, the film follows Saba (Tayo Faniran), a smuggler tasked with delivering a stolen Ife Bronze head. As Saba finds himself pursued by those willing to kill for it, Egunjobi’s direction focuses not on the spectacle, but on the emotional and psychological toll of the character’s situation.

“I wanted a story that wasn’t just about the corruption in Nigeria; it’s about what that corruption does to the individual,” Egunjobi explains. “I’m more interested in how it wears down a person. Saba doesn’t have the luxury of making jokes or connecting with people. He’s just trying to survive.”

While “A Green Fever” relied heavily on metaphor and restraint, “The Fire and the Moth” leans into the darkness and dread of its premise. It marks a departure from his previous works, but Egunjobi insists that his core interests remain intact. “What I always look for is a story where you ask yourself, ‘What would I do in that person’s shoes?’ It’s about facing uncomfortable truths about the world, and about yourself.”

The film, set to be released on Prime Video in May 16, reunites Egunjobi with his long-time writing collaborator Isaac Ayodeji.

In this exclusive interview with The Nollywood Reporter, Egunjobi takes us behind the scenes of “The Fire and the Moth.” He discusses how the script came to life, the casting of Tayo Faniran, and the dynamic between him and Ayodeji.

Through this conversation, Egunjobi reveals how his approach to genre filmmaking is evolving and what he hopes the audience will take away from this darker, more intimate story.

Inspiration and Thematic Drive

Taiwo Egunjobi is all about creating films that take audiences somewhere they haven’t been before. “I wouldn’t watch a film that I have seen before,” he says, highlighting how crucial it is for him to bring fresh experiences to the screen. He’s driven by the idea of telling stories in new, unexplored contexts, stories that haven’t been done to death. It’s about bringing something unique to cinema, where the world and the backdrop are as much a character as the people.

With “The Fire and the Moth,” this drive led him to explore the world of smuggling in western Nigeria. But it wasn’t just the crime aspect that caught his attention; it was the cultural and historical elements tied to it. “I’d been interested in that community for quite a while,” he explains. That interest, combined with the desire to tell a story that felt raw and authentic, shaped the narrative. For Egunjobi, finding this fresh context is key, and he was drawn to the intersection of smuggling and cultural artefacts because it is a theme that hasn’t been fully explored in Nigerian cinema before.

This search for something new is what makes his films stand out. “It just became a very good mix of some of the elements that we already enjoy,” he says, acknowledging the blend of themes and backdrops that resonated with him and his collaborators. But it’s not just about what works for them; it’s about challenging themselves to create something the audience hasn’t seen. He’s aware that the premise itself is a departure from the usual, and that’s part of the excitement.

Beyond the narrative, Egunjobi’s work is also deeply connected to the social issues that matter to him. His previous films like “A Green Fever” have tackled big themes like societal upheaval and now, cultural exploitation in “The Fire and the Moth.”

His background and training as a filmmaker have made it impossible for him to not engage with the world around him through his work. For Egunjobi, filmmaking isn’t just about entertainment; it’s a way to question, reflect, and sometimes challenge what’s happening in society. “We must tell stories that fire us up,” he says.

While he enjoys genre films and blockbusters, there’s a part of him that can’t help but gravitate towards serious, thoughtful storytelling. “I just can’t get away from looking at my society and using my cinema to interrogate it,” he admits. It’s almost like an instinct for him, a way to make sense of the world through the lens of film.

Building the Story: A Collaboration with Isaac Ayodeji

For Taiwo Egunjobi, his partnership with screenwriter Isaac Ayodeji is more than a creative collaboration; it’s a daily conversation that has been going on since 2015. “We talk every day,” Egunjobi shares. “Films, stories, politics, culture, religion, Nigeria – it’s constant. We’ve never had an argument about the work we do, but we’ve had plenty of debates, especially about football,” he laughs. “That’s the synergy between us: it’s deep, it’s personal, and it’s driven by a shared passion for storytelling.”

The dynamics between Egunjobi and Ayodeji is built on mutual respect, trust, and a shared goal: to bring their stories to life. While Egunjobi often provides the broader strokes of the idea, the overarching concepts, the backdrops, and the conflict engines, Ayodeji fine-tunes the details, adds polish, and offers new perspectives that elevate the narrative. “Isaac is much more of a screenwriter than I am,” Egunjobi notes. “He’s able to critique, refine, and suggest new angles that I hadn’t thought of.”

For “The Fire and the Moth,” Egunjobi brought the initial concept to the table: a story about a smuggler, a backdrop that had long intrigued him. “I had always wanted to explore that world of smuggling,” Egunjobi recalls. “The idea of a man caught between forces bigger than him, it’s compelling.” But it was Ayodeji who suggested adding a key element: the stolen Ife Bronze head, a plot device that would give the story additional weight and complexity. “Isaac suggested the bronze head, and from there, we began to see how it could inform Saba’s character and the decisions he makes.”

Their process is collaborative, iterative, and constantly evolving. “It’s always a conversation,” Egunjobi explains. “We debate the characters, their motivations, how they’d react to certain situations. We started with a story called “One Good Turn” – the early draft of what would become “The Fire and the Moth” – and kept refining it, often by watching films that might inspire us or challenge our approach.”

This ongoing dialogue – combined with a system of working on multiple projects at once –has allowed them to continuously push their craft. “We always have three projects in development at any given time,” Egunjobi adds. “Before “A Green Fever” even wrapped up, we knew what our next steps would be. We had a rough skeleton of what “The Fire and the Moth” would become. It’s about building a storytelling universe, expanding on themes and characters we care about, and ensuring that each project is part of a larger vision.”

The creative process is structured yet flexible, allowing both Egunjobi and Ayodeji to continually explore, refine, and challenge each other. “We know where we’re headed,” Egunjobi says. “But we’re also open to what the story demands as we move forward.”

Crafting the Thriller Genre in a Nigerian Context

In “The Fire and the Moth,” Taiwo Egunjobi takes the audience into the rarely explored world of smuggling and cultural artifacts in Western Nigeria, a setting seldom seen in Nigerian thrillers.

When asked what drew him to such a specific theme, Egunjobi talks about his desire to tell fresh stories. “For me, it’s all about telling stories that feel fresh, I want to experience something new; stories set in worlds we haven’t seen realized on screen yet,” he explains. This drive for uncharted storytelling is central to his creative process. It’s about going beyond typical narratives and diving into contexts that haven’t been fully explored.

The challenge, he says, is the expectation that genre films in Nigeria must follow a certain mold. “The moment we started developing the story, we knew we were creating something different. It’s not the typical thriller or crime drama you’re used to seeing,” he explains. “And that’s the whole point. We want to surprise the audience, challenge them. We want them to come into the film expecting one thing but leave with a deeper, more nuanced understanding of the world we’re presenting.”

This desire to challenge the audience is also part of a broader shift he’s noticing in Nollywood. “There’s a movement happening within the industry, and “The Fire and the Moth” is definitely part of it,” Egunjobi says. “Filmmakers are starting to take more risks, telling more diverse stories. It’s not just about what’s popular or commercially viable anymore; it’s about pushing the boundaries of what genre films can be.”

He sees Nollywood moving toward a new kind of genre filmmaking, one that balances entertainment with social commentary. It’s still in the initial stages, but it could redefine what Nigerian cinema offers on the global stage.

However, Egunjobi acknowledges the industry faces hurdles, particularly with distribution. “Distribution is one of the biggest hurdles we face,” he points out, noting the difficulty of getting slower, more experimental films to the right audience. “How do you distribute a film that doesn’t fit the usual fast-paced, commercial mold? We need to find better ways to get these films seen, not just by local audiences, but by a global audience as well.”

He also highlights the need for more film education and training, especially for filmmakers and producers willing to take risks. “We need to keep pushing for more comprehensive film education. It’s essential for the growth of the industry, especially when it comes to finding the right stories and ensuring they get the attention they deserve.”

Despite these challenges, Egunjobi remains optimistic about the future of genre cinema in Nigeria. He believes films like “The Fire and the Moth” will play a key role in Nollywood’s evolution. “We’re not just making films to entertain,” he says. “We’re making films that challenge, that ask questions, and that make people think. The more we do that, the more we create an industry that feels alive, dynamic, and relevant to today’s global conversations.”

Interpreting Saba: Casting and Character Evolution

When it came to casting Saba in “The Fire and the Moth,” Egunjobi was intentional about choosing a fresh face who could truly embody the world the film was set in. “I wanted someone who hadn’t carried too much performance baggage from previous roles,” Egunjobi explains.

“I needed a character who could blend into this world naturally.” Tayo Faniran, who’s from Ibadan in Oyo State, was the perfect fit. Not only did his background give him a natural connection to the story’s setting, but there was also an added layer of personal familiarity. “Interestingly, Tayo and I had some overlaps in our relationship,” Egunjobi notes. “He had been close friends with my other brother, and, at one point, they were like family. This made it easier for him to relate to the world we were building on screen.”

Faniran’s ability to connect with the film’s cultural context was essential, but it wasn’t just his roots that made him ideal for the role. He brought a mix of qualities that Saba needed. The character, as originally envisioned, required someone who could portray both physical strength and a quiet intensity. “There was a bit of running, a bit of aggression that wasn’t over the top, but that the character had to embody,” Egunjobi explains. “Tayo was able to bring all of that to the role.” This combination of physicality and emotional depth made him the perfect choice, and Egunjobi felt confident that Faniran would execute the vision without the baggage of previous roles weighing him down.

Saba was originally conceived as a darkly charismatic figure – a quick-witted trickster with an emotional edge, someone who thrived in the shadows of his world. He was supposed to be a manipulator, using his charm and intellect to navigate the dangerous world of smuggling and crime. But Faniran’s take on the character shifted things in a surprising direction. Instead of the fast-talking, quick-witted trickster Egunjobi and screenwriter Isaac Ayodeji had envisioned, Faniran brought a more emotionally repressed version of Saba to life.

“Tayo’s interpretation was a bit different,” Egunjobi admits. “We had envisioned Saba as someone who would be darkly funny, always quick with a quip, a joker who would exploit people emotionally. But Tayo saw the character as someone under immense pressure, someone who couldn’t afford to be joking around. He wasn’t interested in connecting with others; he just wanted to survive and get through the day.” This shift in interpretation changed not just Saba’s character but also the emotional tone of the entire film.

By grounding Saba in a more emotionally repressed state, Faniran brought a level of realism and internal conflict that made the character feel more human. Instead of a larger-than-life trickster, Saba became a man under pressure, struggling to navigate a world that demanded more from him than he was willing to give. “It really changed the emotional tone of the film,” Egunjobi reflects. “It made the story much more grounded, much more realistic than we initially conceived it.”

This evolution of Saba’s character had a profound impact on the film. What started as a story about a charismatic, enigmatic figure became a more nuanced portrayal of a man under tremendous emotional and psychological strain. Faniran’s subtle performance brought real depth to the role and, in turn, gave “The Fire and the Moth” a more intimate, human-centered focus. The result was a film that was less about spectacle and more about the internal struggles of a man caught in a world of crime and pressure.

Release Expectations and Cultural Reflection

With “The Fire and the Moth” set to hit screens this month, Taiwo Egunjobi hopes the film offers more than just suspense. For him, storytelling isn’t just about the plot; it’s about sparking conversation. He’s especially drawn to stories that explore Nigeria’s complex moral terrain, and this one is no exception. Set against the backdrop of cultural repatriation and personal survival, the film raises uncomfortable questions about complicity, identity, and the tough choices people make when none of the options feel right.

Egunjobi doesn’t want to preach, but he does want to provoke. “Just think about, you know, when you watch it—what will you think about yourself?” he says. That moment of self-reflection is the emotional core of the film. He hopes the movie leaves viewers not only entertained but also forced to confront their own instincts: would they betray, protect, or simply survive?

It’s a delicate balance: entertaining an audience while making them sit with ethical discomfort. But it’s one Egunjobi embraces. Citing the work of Tunde Kelani and Yasujiro Ozu, Egunjobi explains how storytelling that tackles serious national concerns can still remain accessible and even thrilling. He’s not interested in using genre to obscure the truth but to sharpen it. “We must tell stories that fire us up,” he says. “And for me, that means finding coherence in the narrative, staying deliberate, but still making something people can enjoy.”

Ultimately, “The Fire and the Moth” is Egunjobi’s way of asking the audience to look inward while reflecting on the country’s history. He wants people to feel immersed, intrigued, and maybe even unsettled. But above all, he wants them to pay attention. “I think it’s something different,” he says. “It isn’t the cookie-cutter thriller out there. And there’s nothing wrong with making cookie-cutter thrillers, you know. This one promises you a unique experience. it’s a different backdrop. The choices are starker, are much darker. And there are things to think about.”