Emmanuel Igbekele, one of Nollywood’s leading cinematographers, has opened up about the creative process behind shaping the emotional and visual language of Iwe Ala: An Ojude Oba Story.
Speaking with The Nollywood Reporter (TNR), Igbekele revealed that one of the central challenges in building the film’s visual identity was finding a balance between authenticity and visual poetry.
According to him, the film is deeply rooted in cultural, emotional, and spiritual themes, making it important for the cinematography not to feel overly stylised or distracting.
He explained that every frame needed to carry atmosphere while still reflecting the emotional journey of the characters.
“To achieve this, the approach didn’t lean heavily on big light setups but embraced natural light, earthy color palettes, and thoughtfully composed imagery that remained true to the environment and its cultural context,” he says.
Still discussing his creative process, Igbekele noted that the production embraced the natural textures and qualities of each location to create depth and mood. Camera movement, he added, was used intentionally and restrained during intimate, character-driven moments so performances could take centre stage.
“This approach helped establish a visual language that feels grounded yet expressive, ultimately serving the story without overpowering it,” he adds.
For Igbekele, working on Iwe Ala was both a personal and professional extension of a journey he had already begun through culturally rooted storytelling. He referenced Afamefuna, which explored the Igbo apprenticeship system, as one of the projects that shaped his interest in stories grounded in tradition and lived experience.
“With Iwe Ala, the focus shifted to what happens behind the scenes of Ojude Oba, a culturally significant festival in Ijebu, Ogun State,” he says.
That context, according to him, strongly influenced his approach as it required deeper sensitivity to tradition, symbolism, and representation. Professionally, he says the project reinforced the importance of approaching every frame with cultural awareness and respect to ensure the visuals felt immersive and honest.
On a personal level, the cinematographer says being part of stories like Iwe Ala goes beyond simply capturing beautiful images.
“It wasn’t just about capturing images, but about preserving and interpreting cultural identity in a way that feels both authentic and emotionally resonant,” he explains.
“That responsibility shaped every creative decision, from composition to lighting, and ultimately strengthened my commitment to telling culturally rooted stories with care and intention.”
The AMVCA-nominated cinematographer, recognised for his work on The Serpent Gift and The Herd, believes Iwe Ala is an important story because it reveals the layers beneath a widely celebrated cultural experience.
“At its core, the film explores family, forgiveness, and the pursuit of unity in the face of personal and collective challenges,” he says. “It highlights how individuals navigate relationships, reconcile differences, and come together in the hope of achieving something meaningful and beautiful.”
Speaking on his collaboration with director Adeoluwa Owu, popularly known as Captain Degzy, Igbekele says their working relationship played a major role in shaping the film.
The project marks their second collaboration on a culturally rooted story following their work on Adire (2023). According to him, what made the collaboration significant was the level of trust and creative understanding they had already built.
Compared to Adire, Igbekele says Iwe Ala was a bigger and more ambitious project for both of them. The scale of the story demanded more intentional visual choices, stronger world-building, and a deeper exploration of the cultural elements at the heart of the film.
As audiences prepare to see Iwe Ala, Igbekele says he hopes viewers notice how natural and unobtrusive the cinematography feels.
“My goal was never to show off with flashy camera work, but to support the story and keep viewers engaged with the characters and emotions,” he says.
He adds that if the visuals help audiences connect with the film without distracting them from the story, then the team has done its job well.
