After three years away from directing, the veteran filmmaker reemerges with a political drama.
Tunde Kelani, one of Nigeria’s most respected filmmakers, is back with a new project.
His latest film, “Cordelia,” will begin screening in cinemas on July 18, marking his first directorial release since 2021’s “Ayinla.” With a reputation built on deeply rooted stories and socially relevant themes, Kelani’s return is drawing attention for good reasons.
“Cordelia” is set during a period of campus unrest, following a reclusive professor who offers shelter to a student nursing gunshot wounds. What begins as a moral decision quickly takes on political weight when he learns she is the daughter of a man involved in a failed military coup. That discovery sets the stage for a quietly escalating drama of power, loyalty and conscience.
The film’s cast includes Yvonne Jegede, Omowunmi Dada, William Benson, Femi Adebayo, and Keppy Ekpenyong. It’s based on a story written by Professor Femi Osofisan, a longtime collaborator of Kelani’s whose work has influenced Nigerian theatre and literature for decades. For followers of both men, this collaboration offers a meeting point between two generations of political storytelling
Kelani has always had a thing for stories that take their time — ones that draw strength from stillness and human contradictions. From “Ti Oluwa Ni Ile” to “Maami”, “Saworoide”, and “Ayinla”, his films often revolve around institutions in crisis: the family, the town, the monarchy, or the state. With “Cordelia”, he continues that exploration through the lens of a quiet man caught in a very loud situation.
Though the film hasn’t yet screened widely, early viewers — particularly those who saw previews or festival cuts — note its restrained pacing and sparse use of dialogue. That approach has always marked Kelani’s work: a reluctance to over-explain or over-sentimentalise, and a preference for visual cues, cultural references, and patient storytelling.
It’s also no small deal that this is his first major cinematic project since “Ayinla”, which was not only a commercial success but also widely praised for its craft. Set in the 1980s, “Ayinla” was a biopic of Apala musician Ayinla Omowura, filled with music, period detail, and strong performances. It introduced a new generation to a key figure in Yoruba music history — and cemented Kelani’s gift for blending fiction with memory.
With “Cordelia,” he turns from musical folklore to a more intimate, politically charged narrative. The move feels natural for a filmmaker who has long kept one eye on Nigeria’s political temperature. While “Saworoide” and “Agogo Eewo” were more overt in their critiques of governance and traditional power, Cordelia seems quieter — more about what happens when individual morality is challenged by external forces.
Kelani’s decision to adapt a Femi Osofisan story also underlines the political undertone. Osofisan, known for plays like “Women of Owu” and “Morountodun”, has a track record of critiquing society through allegory and adaptation. His stories don’t moralise, but they ask questions — about complicity, about power, about the role of the intellectual. “Cordelia” takes those themes and folds them into a character-driven drama set during a familiar period of tension.
This marks Kelani’s return not just to film, but to a larger conversation around the role of the filmmaker in a fragile democracy. As Nigeria continues to navigate the fallout of protests, insecurity, youth disillusionment, and public mistrust of authority, “Cordelia” seems like a timely, if subtle, contribution. It doesn’t attempt to speak for everyone — but it tells a story that may feel familiar to many.
Kelani, now in his late seventies, has spent most of his career resisting the impulse to speed things up. In a fast-moving industry chasing trends, he’s held firmly to a filmmaking style that favours deliberate storytelling, cultural specificity and a respect for craft.
This has earned him both respect and distance from Nollywood’s more commercial wings. While many filmmakers have embraced hyper-stylised drama, fantasy, or fast-paced thrillers, Kelani has continued to work with writers, stage directors and cultural custodians. He has never been particularly interested in spectacle. His lens is trained on people, on place, and on history.
That vision has made him one of Nigeria’s most recognisable cinematic voices. Beyond his films, Kelani has played a crucial role in developing a national film culture not only as a director and cinematographer, but as a mentor and advocate. Through Mainframe Productions, he has supported and distributed works that may otherwise have struggled to reach audiences.
In recent years, he’s also been less visible — a fact that makes his return with “Cordelia” feel more significant. Since “Ayinla”, there has been curiosity about what he might do next. His health has been a concern in some quarters, and there were whispers about whether he might be stepping back entirely. But with this film, Kelani reminds audiences that he still has stories to tell and still wants to tell them his way.
Whether “Cordelia” will connect with a wide audience remains to be seen. It’s not built like a blockbuster, but it arrives at a time when cinema-goers in Nigeria are more open to films that challenge and reflect. As younger viewers encounter Kelani’s style for the first time and older ones revisit a familiar voice, “Cordelia” offers a reminder that a filmmaker’s legacy isn’t measured by volume but by the questions they continue to ask.
“Cordelia” opens in cinemas nationwide on July 18, 2025.