At the 2026 Golden Globe Awards, Paul Thomas Anderson described writers as “magpies,” drawing inspiration from the words and experiences of those around them. He kind of emphasized that writers are often the soul of a film, since without their vision, the story would not exist at all. There is really something remarkable about someone who can imagine entire worlds in their mind and then see those worlds brought to life on screen by actors, transforming these ideas into stories that feel both powerful and relatable.
Tomi Folowosele is a filmmaker who has managed to do this successfully. She has conjured beautiful worlds in her head; ones that reflect average Nigerians like her directorial debut, Service Charge, to ones that showcase the harsh realities of life like Africa Magic’s Irora Iya and Kadara. She has come a long way from her debut short film, Hours Before, to now working on a series, developed by an international institution; The Red Sea Series Lab Project.
“When I wrote my first short film, Hours Before (which we shot on an iPhone XR, by the way), I was terrified. It wasn’t conventional. I felt like I was exposing my raw thoughts to the world. But looking back, I’m glad I took that risk because it taught me that my voice matters.”
In this exclusive interview with The Nollywood Reporter, Tomi Folowosele discusses her love for filmmaking from her debut film to feature and short films and series developed by international intuitions as well as her experience being a debut director with her award winning film, Service Charge, which has also been selected for international festivals like Joburg Film Festival 2026.
Reflecting on her journey which she believes has made her grow. “I’ve come really far and saying I’m grateful to God feels like an understatement. I’m more confident now, but also more honest about what I don’t know. I’m grateful for collaborators who challenge me, for programs that take African stories seriously, and for timing. Timing is everything, and I don’t take it lightly.
As a young girl whose love for filmmaking developed through watching classic films like The Sound of Music and Escape from Sobibor, which were inspired by real life events, showed her how much exists in everyday life. “I’ve always loved films and storytelling. I started writing stories and from there, sparked my curiosity about how films were actually made.”
Even though she began her career in the industry as an actor, she began fully writing in 2020 going on to write films successfully since then. “Writing has always been home.”
One pivotal part of her career is her journey with Africa Magic as she was the lead writer on the hit Africa Magic shows, Kadara and Irora Iya.
“Africa Magic has been a huge part of my journey, and I’m grateful for their commitment to telling authentic Nigerian and African stories.”
She continues. “Moving up was both validating and terrifying. It came with more responsibility, more voices to manage, and more decisions that actually mattered. Projects like Kadara and Irora Iya sharpened my leadership. They taught me how to protect a story without ego, how to listen, and when to stand firm.”
She was also one of the two Nigerians selected for the Red Sea Series Lab and it was through this experience combined with the rest of her journey that made her well equipped for her first role as a director with her short film, Service Charge for an initiative called Filmmakers Mart and Rollpay Africa, where they called for people to make a short film on how they see Nigeria. The film wasn’t only selected and screened but it also won Best Film at Nigeria Through My Lens.
“When people think of Nigeria, they often think of death and violence, which is our reality no doubt, but it takes intention to put emotion aside and tell that truth intelligently. I chose satire because, for me, it’s the most effective way to tell a Nigerian story to an already exhausted and frustrated audience.”
On directing, she affirms that the win only solidified her belief that she belongs behind the camera, “Directing felt like a natural next step, not necessarily a detour. I’ve always wanted to direct my own films and after attending a directing masterclass with Spike Lee, I felt even more certain about stepping fully into that role.”
“Directing is a different muscle, and I’m glad I got to flex it. Working behind the scenes was challenging but deeply rewarding. Service Charge winning Best Film at Nigeria Through My Lens was encouraging, but the real win was confirming that I belong behind the camera.”
Apart from the Red Sea Directors Lab Program, her project, Till Death Do Us Part was selected for the Red Sea Souk Project Market. She reflects that the experience is quite a surreal but affirming feeling. “Such a surreal, and affirming feeling. The Red Sea Series lab was an exhilarating process and I’ll forever be grateful for it. On a personal level, it reminded me that the dream is possible. As a filmmaker, it raised my storytelling bar permanently.”
Although the series is still in development, it is a soulful series which explores intimacy, grief, survival and unsettling. “It follows a woman who loses her husband early in her marriage and discovers a funeral home that offers her one final goodbye. The story shows how far grief can take you if you give in.”
She continues, “We currently have a pilot ready. Right now, the focus is further development, packaging, and finding distribution partners who understand the tone and aren’t afraid of complexity. The goal is global reach without watering down its Nigerian core.”
Speaking on what these opportunities like Red Sea Series Lab and Project Market means to her as a Nigerian filmmaker. “They are refreshing because they prove that you can tell your story on a global stage without flattening your voice or over patronizing. If we don’t tell our own stories, others will tell them for us, often inaccurately. These kinds of opportunities crack the ceiling for us. They create access, and once access exists, excellence becomes the responsibility.”
Also speaking on the impact of film festivals on her career, she acknowledges that film festivals are a great way to share your film globally without breaking a bank. “I always say film festivals are powerful spaces for making the world hear your voice. Having also directed a pan-African festival myself, I understand how important they are. Festivals helped me share my work globally without breaking the bank. For Nollywood, festivals widen the lens. They remind the world that we’re not a monolith.”
For any hopeful filmmaker who hopes to be selected in prestigious international festivals like Folowosele, her advice is simple. “Don’t chase festivals blindly. Make the film you truly believe in, then find the festivals that speak the same language.”
As a filmmaker she considers her highest accomplishment has been trusting herself while letting fear take the back seat. “Writing gave me a voice, but directing demanded courage. Making that transition and being taken seriously in both spaces is something I’m deeply proud of.”
Through the whole experience, she has learned to be more international about her voice and the kinds of stories she wants to tell. “Talent may open the door, but clarity is what keeps it open.”
Beyond her current projects, she will be doing more directing and braver writing with stories that linger long after the screen fades to black. “I’m currently in pre-production for my second short film. So if you love authentic stories, and you’d like to fund one…I’m always open.”