After decades of defining Nigerian cinema through narratives with cultural authenticity, the veteran filmmaker opens up about his latest work, the challenges of modern filmmaking, and why he believes today’s generation has lost touch with their roots.
Tunde Kelani on Culture, Legacy, and the Long Road to “Cordelia”
Tunde Kelani remains one of Nigeria’s most revered filmmakers and, at 77 years old, he remains the man whose lens has captured the essence of Yoruba culture and Nigerian identity for over four decades. From his groundbreaking work in television to his influential Nollywood productions like “Saworoide” and “Agogo Eewo,” Kelani has consistently championed true storytelling rooted in indigenous narratives.
His last release before “Cordelia” was the 2021 musical biopic “Ayinla,” a film that celebrated the life and times of Apala music icon, Ayinla Omowura. Directed by Kelani, produced by Jadesola Osiberu, and written by Ade Derek Adeniji, the film was released in Nigerian cinemas on June 18, 2021, according to IMDb.
The film earned ₦91.4 million at the box office against a ₦50 million budget. Although it slightly missed the 100 percent mark of returns on investment (ROI), yet the film’s commercial success reinforces Kelani’s commercial and artistic relevance in modern Nollywood. Interestingly, “Cordelia” was also shot in 2021, though its post-production journey would stretch over three years before arriving in cinemas.
Now, “Cordelia” marks a significant milestone. It is not just because it is an adaptation of Femi Osofisan’s compelling novella, but as what Kelani, who is affectionately called TK, describes as “number one of the last set of work in my career.”
The film, which hit cinemas nationwide on July 18, 2025, represents a three-year journey fraught with unprecedented challenges that tested even this veteran filmmaker’s resolve.
In an exclusive interview with The Nollywood Reporter, Kelani reflects on his cultural awakening, the evolution of Nigerian cinema, and why he believes the current generation of filmmakers has lost its way.
The Making of a Cultural Custodian
Kelani’s journey as a storyteller began at age five, not in the bustling streets of Lagos where he was born, but in the traditional community of Abeokuta where his father sent him to live with his grandfather. This early displacement, though initially traumatic, became the foundation of his artistic vision.
“I cried every day, but I discovered that in the community, especially in the house, there are many mothers,” he recalls. “They took me up, and everybody wanted to tell me a story. That’s how I started in oral tradition. Everybody has a story to tell me.”
This immersion in Yoruba oral tradition, combined with exposure to diverse religious practices within his compound, shaped Kelani’s understanding of cultural fusion. “We had Christians, we had Muslims – we are Muslims. We had our own festival. The culture got fused into me in a sense, and I loved every bit of it.”
His connection to the Egungun masquerade tradition runs particularly deep. “My preference is, I love the Egungun – masquerade because we came from that lineage. We are basically Egungun performers; we came from Ogogo Kulodo Nigbori until maybe my great-grandfather converted to Islam. But even then, we still kept our culture.”
From Film School to Nollywood Pioneer
Kelani’s formal training at London Film School equipped him with technical expertise, but it was his cultural grounding that distinguished his work. After returning to Nigeria, he spent nearly two decades in television, making documentaries and newsreels on celluloid before the economic realities of the Structural Adjustment Program forced a transition to video.
“The chemical process by and large ended with SAP, where we couldn’t find the foreign exchange to pay for post-production services abroad,” he explains. “So we had to find a way, and video came in handy.”
While many trained filmmakers initially resisted the shift to consumer-grade video, Kelani adapted. Providing an insight into his motivations, he says: “For me, the story is the most important thing. So, I adopted video but changed certain things. There was not much difference as far as I was concerned – only the camera. Every other thing was still standard.”
This pragmatic approach to technology, combined with his commitment to storytelling excellence, set his work apart in the emerging Nollywood landscape. Films like “Kosegbe” and “Ti Oluwa Ni Ile” weren’t just entertainment; they were cultural documents that elevated the medium’s artistic standards.
The “Cordelia” Challenge
Kelani’s latest film, “Cordelia,” presented what he describes as “the greatest challenges of my life and my entire career.” The project’s complexity stemmed from multiple international collaborations and its ambitious scope.
The film’s genesis traces back to a 2010 meeting with Femi Osofisan, when Kelani initially sought permission to adapt “Cordelia” but was instead drawn to “Maami.” He successfully directed Tunde Babalola’s adaptation of Osofisan’s novel of the same title as a football story timed with the 2010 World Cup in South Africa. “Cordelia” remained, since then, in his cabinet for over a decade.
The opportunity to work on “Cordelia” finally emerged through an unexpected source – the University of Delaware. Speaking on this catalyst, Kelani retraced the moment. “A delegation from the University of Delaware came to Nigeria and met me in Abeokuta. They were embarking on a project called Cultural Fusion, and they asked me to donate one of my previous films so they could compose new music and play it live while the film is being projected.”
Instead of offering an existing film, Kelani proposed creating something new. “I said, ‘No, no, we are not going to use a previous film. We are going to make a new film.’ I brought out my Cordelia and said, ‘This is the book I would like to adapt for this project because it’s so dramatic. It has the drama that would inspire a robust orchestra and score.'”
Military Cooperation and Production Hurdles
The film’s military setting required unprecedented cooperation from the Nigerian Army. “I didn’t think it was going to be easy to make a full story without the blessing of the Nigerian army,” Kelani admits. After applying through proper channels, he received permission and was assigned to work with the 81st Battalion in Mokola, Ibadan.
However, logistical challenges mounted. “Midway, the army had not supplied us with the uniforms we requested, and most of the gun props had not been released to us. So we actually stopped filming for a while and then came back to continue to finish the film.”
The international collaboration added another layer of complexity. After shooting, the University of Delaware’s 75-member orchestra performed live accompaniment to a rushed version of the film in October 2021. Grammy winner Andrew Mayer handled the final recording, which was then sent back to Nigeria for the complete sound mix.
“Post-production had to take longer time and things like that. So basically, it had crossed the ocean in production. It took everything to bring it to life,” Kelani chuckles.
Directing a New Generation
Working with younger actors like William Benson, Yvonne Jegede, Omowunmi Dada, and Keppy Ekpenyong required a different approach from Kelani’s usual methods. “What makes it work is I had carefully selected them close to the roles they were going to cast,” he explains.
His directing philosophy emphasizes actor autonomy: “I don’t dictate to actors how they should do anything. I just look at them in a way, give them a lot of room to explore, and they could use their own range. And if it’s going well, I just encourage them. If it’s going the other way, I’ll say so.”
The casting proved inspired, with each actor bringing specific strengths. William Benson’s stage background, Omowunmi Dada’s previous collaboration on “Ayinla,” and Keppy Ekpenyong’s commanding presence all contributed to the film’s success.
Literature as Superior Art
Kelani’s commitment to literary adaptations stems from his belief that “literature is superior art than cinema itself.” His extensive reading habit, developed in childhood, continues to fuel his creative process.
“If you were reading a story and the writer had said, ‘In front of the king’s palace, there was a huge crowd,’ everybody who reads the book would visualize what’s the size of that crowd is. Some people might think it is 500. Some people might think it is 1,000, or 2,000. So there’s no limit to your imagination.”
This perspective drives his adaptation process: “My work is just like an extension of the writer’s work. Because I take it and interpret it in a way that the writer never even imagined.”
However, he worries about declining literary engagement among younger filmmakers. “I’m worried that the present generation are not reading at all. You cannot do adaptation without loving literature. You cannot do adaptation without loving books.”
The State of Modern Nollywood
Kelani expresses concern about contemporary Nigerian cinema’s direction, particularly regarding cultural authenticity. “They have lost their culture. They have not made it,” he observes about many young filmmakers. “There have been quite a lot of influences from outside, and some of them are split along religious lines. I think they have not paid attention to or know nothing about their own culture.”
This cultural disconnect manifests in their work, he argues: “If that kind of situation arises, then you can inspire all sorts of films, especially all sorts of ideas that are not necessarily African. Some of them are trapped in the sense that they want quick money and they are just willing to do anything to get the money.”
Despite these concerns, Kelani acknowledges positive developments. Some young filmmakers are showing interest in continuing classic franchises, with projects like “Oleku” remakes and “Thunderbolt” sequels in development.
Technology and Accessibility
The rise of social media has fundamentally altered how stories reach audiences, Kelani observes. “You don’t have to wait till Sunday before you go to the cinema. You don’t have to sit among people you don’t know. It is right in your pocket. It’s available 24/7.”
While this democratization has benefits, it also presents challenges: “Most of what we see on social media are probably not true. So it has its own disadvantages as well.”
Cinema’s reach remains limited primarily to urban areas, though “neighborhood cinemas are springing up in different places.” This accessibility gap represents both a challenge and an opportunity for the industry’s growth.
Legacy and Responsibility
When asked about legacy, Kelani deflects personal significance. “I don’t see myself having a legacy or anything like that. I’m just doing my work the best way that I would like to express myself. Whether it’s legacy or not legacy, I don’t know.”
Instead, he emphasizes audience appreciation: “My responsibility is to the audience, and I’m lucky and blessed in so many ways because, when you think of the success of Nollywood really, the credit belongs to the audience who buy these things.”
His commitment to mentorship remains unwavering: “As long as I live, and for as long as there are willing young people who want to know and learn, it’ll be irresponsible of me not to share what I know due to my training and my many decades of practice.”
The Future of African Cinema
Kelani believes African filmmakers carry unique responsibilities: “We are faced with problems of corruption, poor governance, and all the social ills. And, so, what are we going to do about it? We should look inwards. And while entertaining people, not teaching them, we could infuse some of these things into our work.” Is he advocating satire?
His definition of tomorrow’s successful filmmaker emphasizes adaptability: “A smart filmmaker of tomorrow must be ready to adapt to a quickly fast-changing technology. Otherwise, they will be obsolete in no time at all.”
Looking Ahead
With “Cordelia” now in cinemas, Kelani’s attention turns to potential future projects. “Saworoide 2” remains in development, with two drafts already completed, but its production depends on “Cordelia’s” box office performance.
“What we are concerned with now is “Cordelia” getting good box office returns. That will push us to start serious work on Saworoide,” he explains.
Despite describing “Cordelia” as part of his final creative phase, Kelani shows no signs of slowing down. “I have piles and piles of books that I haven’t even touched,” he says, suggesting more adaptations may follow.
For a filmmaker who has spent decades documenting and preserving Yoruba culture while pushing the boundaries of Nigerian cinema, “Cordelia” represents both a culmination and a continuation. It demonstrates that even in an industry increasingly driven by commercial considerations and foreign influences, there remains space for thoughtful, culturally grounded storytelling.
For now, Kelani waits to see how audiences respond to his most challenging project yet. The filmmaker who once worried a five-year-old wouldn’t survive without his mother in Abeokuta has spent a lifetime proving that some stories are worth every struggle to tell.