There are many kinds of filmmakers, each driven by different motivations. Some gravitate toward pure entertainment, while others choose to tell personal, often uncomfortable stories that push conversations beyond the screen. In Nigeria where issues affecting the girl child are frequently overlooked or reduced to plot devices, filmmaker Chisom Ifeakandu takes a deliberate, unflinching approach. Her short film, The Moral High Court, confronts these realities head-on, exploring the daily injustices women endure.
“As women, we carry stories, our own and those we witness. So the film naturally reflects that,” Ifeakandu says. But for her, the film reaches beyond personal experience. “It’s also a commentary on the systems we live in and the silent battles so many women fight every day.”
In this exclusive conversation with The Nollywood Reporter, she shares the inspiration behind the project and why it matters to tell stories like this.
The 24-minute film, written by Ozioma Ogbaji and directed by Ifeakandu, is simple in style yet weighty in subject. It dives straight into its message, echoing stories audiences may recognize while questioning why justice remains elusive for so many Nigerian women.
Set entirely in a courtroom, The Moral High Court unfolds through the testimonies of five women—Tosin Adeyemi, Adekanmbi Nimi, Kanyin Eros, Celestina Aleobua, and Darasimi Nnadi. Each recounts a version of systemic discrimination and abuse: sexual harassment, rape, widow maltreatment, disinheritance, and exclusion from leadership. The stark black-and-white visuals mirror the bleakness of their experiences, while the eventual transition into color signals hope, truth, and reclaiming power.
“The black and white represents the way we approach conversations around gender-based violence. People often say these issues are not black and white, but they are, because harm is harm,” she explains. “It also reflects the heaviness of the women’s experiences. The transition into color in the third act is a shift into hope, truth, and reclaiming power. Seeing it come alive exactly the way I imagined reminded me why I love directing.”
Her directorial approach was intentionally measured. “I wanted the film to be powerful yet respectful. These things happen every day in our society, so I didn’t want to sensationalize them. I let the emotional truth carry the story instead of relying on shocking visuals. The performances, sound, and pacing did the work, and the audience feels the weight without needing to see everything.”
Already screened at festivals including AFRIFF 2025, the film has struck a chord with audiences. Ifeakandu says the distribution plan was intentional: “We started with festivals to build credibility and find the right audience. The journey has been exciting. Seeing how people respond always reminds me why we made the film. The next steps are more festivals, wider distribution, and ensuring it reaches communities where these conversations matter most. I also plan to release it on YouTube because the goal was always to create a tool to combat gender-based violence. And as we approach the 16 Days of Activism, it just makes sense to put it out there.”
Beyond The Moral High Court, the film reflects Ifeakandu’s broader philosophy as a filmmaker. “I’ve always loved storytelling, especially stories that make people feel, think, and question the world around them. My interest comes from wanting to capture human experiences honestly while still entertaining people.”
Her passion also extends to supporting emerging filmmakers. “The Film Maven started from my frustration with how heavily information in the industry is gatekept. I wanted to build a space that educates, guides, and supports new filmmakers. It’s been rewarding so far, building it slowly and intentionally into a platform that will eventually grow into a full ecosystem.”
Reflecting on the film’s impact on her personally, she says, “I’ve become more confident in my voice and the kind of stories I want to tell. I’m more intentional about centering women and pushing for gender-equitable storytelling. The project stretched me, taught me patience, and reminded me that impact is more important than noise.”
Looking ahead, Ifeakandu is already developing new work. “I’m working on a few documentaries—one on women’s relationships with their bodies, and another on the ‘what next?’ pressure people face after major achievements.”
With The Moral High Court, Chisom Ifeakandu has crafted a film that is intimate, urgent, and grounded in emotional truth. It confronts uncomfortable realities while offering hope, echoing her larger vision: to tell stories that challenge norms and create space for women’s voices in Nollywood.