Entertainment
Nigeria Failed My Generation 38 Years Ago – Lancelot
Popular film maker, Lancelot Imasuen, may not have known his ‘true worth and greatness’ as a film maker. But after rolling out the drums recently to celebrate his golden age, the Edo State-born cultural advocate now knows better.
The quintessential film maker is known to be the rallying point for the propagation of the customs and traditions of the Benin race using the medium of the tube.
Over the years, the ‘Guvnor’ as he’s fondly called by his colleagues and fans has produced classical films that not only drew from the rich repertory of Benin culture, imagery, music and dance but such that stressed the need for the sustenance of our dying indigenous languages.
As a matter of fact, his epic films including 2014 “Invasion 1897” and “Adesuwa” produced in 2012, are still being held in high esteem as a reference point in most institutions of higher learning and cultural establishments across the globe.
Perhaps, it was not out of place therefore, when the drums were rolled out recently to celebrate the man and his achievements. Following the numerous accolades he has garnered from different quarters since he made his directorial debut in Nollywood, Lancelot’s month-long celebration of his 50th birthday was no less a testament to his true worth and greatness as a foremost film maker from Benin race.
He turned 50 years last Sunday. But activities marking his golden age started way back in May, after he was first hosted by the Directors Guild of Nigeria,DGN, in what was tagged ‘One on One with Lancelot Imasuen. Since then, it has been a potpourri of events spanning more than a month.
However, besides interesting activities that preceded his 50th birthday, the high-point of the celebration was a colloquium held in his honour by the management of Igbinedion University, Okada (IUO), Edo State. The event, held at the institution’s auditorium last Thursday, not only set a new priority for the celebrant, but also, witnessed the launch of the institution’s Nollywood masterclass programme for students pursuing career in arts disciplines to improve their skills in the industry.
Earlier, in his address, the Vice-Chancellor of the institution, Professor Lawrence Ikechukwu Ezemonye, lauded the contributions of the movie icon, noting that there was no amount of recognition or honour bestowed on him, while he’s still alive, that should be considered too great.
Prof Ezemonye said the event provided a unique opportunity for the institution’s Threatre Arts students, to not only come face to face with veterans of creative arts, but also profit from the masterclass that will follow as a major outcome of the colloquium.
Speaking on the theme, “Cultural Revival through the Screen,” guest speakers including, Irene Isoken Agunloye, Professor of African Drama, Gender, Women and Film Studies, University of Jos and Professor Barclays Ayakoroma, Head of Department of Theatre Arts, University of Africa, Bayelsa, collectively emphasised the need to embrace, promote and sustain Nigeria’s rich cultural heritage.
Dean, College of Arts and Social Sciences, IUO, Tunde Agara, said the colloquium was another great feat of the institution that would positively impact and inspire the students.
Meanwhile, shedding tears of joy, while appreciating the honour bestowed on him, Lancelot pledged his support in the area of collaboration to drive excellence in the institution.
He described his 50th birthday celebration as a monumental event that he would take to his grave.
His words: “I feel very young at heart, I am very grateful to God for keeping me alive to celebrate my 50th birthday. It started like a joke. When I realised I was going to be 50, I told my wife that I would like to celebrate it even though I have no money. I’m used to celebrating my birthdays, but this one is significant and I needed to mark my golden age. I was conscious that it is a milestone age”.
I also need to know how I am being perceived by people. So, this is another great taste of my personality and public acceptance of what I represent in the movie industry.
“The celebration has been mind-blowing with activities starting from the 25th of April when the Directors Guild of Nigeria, Abuja chapter hosted me in what was tagged ‘One on One with Lancelot Imasuen.
“On the 16th of April, I held my movie premiere in a church. I have always hoped that I will be able to grow my ministry called The Gospel Entertainment Network. So, my first movie in that direction was premiered in the church. But what was uppermost in my mind was to give back to the society that made me. I had a desire to cut my birthday cake with the less privileged people. This is because I believe that we should not judge a man’s future with any situation he’s facing today. So, I visited two orphanages in Benin and the third orphanage in Abuja.”
Interestingly, having groomed so many top entertainers from Edo, it was not unexpected that they decided to pay back their mentor for his good deeds. Comedians from the state also organized a night of comedy with Lancelot Imasuen, which had in attendance the Deputy Governor of Edo state, Mr Philip Shaibu.
According to Lancelot, the Deputy Governor had to defy the heavy downpour in order to honour him.
“It was unbelievable. I got the shocker of my life when the Deputy Governor of Edo State stormed the venue, while it was raining heavily to honour me as a role model to the Edo youths,” he said.
The film director, however, said he was using the occasion of his 50th birthday to preach peace and unity in the country, adding that he had, as a fallout of his birthday celebration, instituted an Entertainment Clamp Award, which has received the nod of the Edo Deputy Governor. .
He also called on the government to institutionalize role modelling in the country, saying “it is what has destroyed our social family.”
According to him, “my 50th birthday opened many doors for me. Having been showered with so much love, I see my 50th birthday as a re-dedication of my life to the service of humanity. I want to use this medium of my golden age to preach peace for humanity, commitment to humanity, love for one another and togetherness. I am calling on Mr President and all the state governors to be our leaders and not our rulers.
Lamenting the deteriorating state of the nation, the popular film maker said “Nigeria failed me about 38 years ago, when I enjoyed dividends of good governance. When I was in school, they gave me books, paid my school fees and we were even fed in schools. But today, it’s a different story with the Federal Government totally disconnected in supporting its citizens.”
A film director, screenwriter and producer, Lancelot Imasuen is best known as one of the founding figures of the Nigerian film industry who has spent over 25 years of his life making stars and bringing happiness to many homes across Africa and beyond.
Entertainment
‘Lie From The Pit Of Hell,’ Family Debunks Pete Edochie’s death Rumours
The family of veteran Nollywood actor, Pete Edochie, has dismissed viral rumours circulating on social media claiming that the film icon is dead.
Reacting to the reports in a video shared on his Instagram page on Tuesday, the actor’s eldest son, Leo Edochie, described the claim as false and malicious.
“I’ve been receiving text messages and calls over the nonsense post by some people that our father, Chief Pete Edochie, is dead. It is a lie from the pit of hell,” he said.
Leo added that the actor is alive and in good health, condemning those responsible for spreading the rumour.
“Our father is alive, hale and hearty. And if you wish someone dead, two things usually happen. The person will live very long and you will die before him. Shame to all of you,” he said.
The rumour had sparked concern among fans before the family’s clarification.
Entertainment
‘Mother’s Love’ Challenges Nigerian’s Film Portray Of Motherhood
Nollywood veteran actress Omotola Jalade-Ekeinde is making her directorial debut with a different and sharper focus. Speaking recently with Newsmen,, the screen icon highlighted a glaring void in the industry’s catalogue, which is the authentic reality of mother-daughter relationships.
“We don’t have too many films that explore or showcase the relationship between mothers and daughters,” Omotola said during the interview, describing the subject as something deeply personal to her.
Speaking honestly about raising her first daughter, she admitted she had only one mode at the time, which was discipline. “I didn’t do a good job,” she said plainly, explaining that she understood motherhood strictly through control, not softness or emotional openness.
At the centre of Mother’s Love is Adebisi, a sheltered young woman from a wealthy home whose life is shaped by her father’s rigid control. Her first taste of freedom comes through NYSC, where distance from home allows her to begin discovering who she is outside her family’s expectations. She forms a friendship with a young man from a more modest background, and through him, starts to see the world and herself differently.
But the emotional core of the film isn’t Adebisi’s rebellion. It’s her mother. Long after being presented as quiet and compliant, she slowly reveals a resolve when her daughter’s safety and future are threatened. As secrets surface and buried grief comes into view, Mother’s Love becomes less about youthful independence and more about maternal sacrifice, unspoken trauma, and the emotional costs of survival inside a patriarchal home.
The Tide Entertainment reports that the film doesn’t shy away from weighty themes by including PTSD, unresolved grief, and social inequality at the centre of the story. It is far removed from the soft-focus sentimentality that often defines Mother’s Day-style narratives.
It also marks Omotola’s directorial debut, a significant moment considering how long she has shaped Nollywood from the front of the camera. She stars in the film alongside a mix of familiar faces and newer talent, including Ifeanyi Kalu, Olumide Oworu, and Noray Nehita.
Beyond the film itself, Omotola’s interview touched on a tension that has been simmering in Nollywood for a while now: how movies are marketed in the age of TikTok. Addressing the growing expectation for actors and filmmakers to create viral dance content to promote their work, she didn’t mince words. The pressure, she said, is exhausting and unnatural.
For her, the industry wasn’t meant to function this way. Still, she was careful not to judge anyone else’s approach. Everyone invests differently, carries different risks, and should be allowed to promote their films however they see fit.
“Do whatever you can do. It’s exhausting, it’s not natural. For me, the film industry is not supposed to be like that. We are encouraging nonsense if we are doing that. It doesn’t mean that whoever is doing it is wrong.”
Her comments arrive not long after the public back-and-forth between Kunle Afolayan and Funke Akindele over marketing styles, a debate that quickly turned into a proxy war between prestige storytelling and viral strategy. Omotola’s stance sits somewhere calmer. She understands the shift social media has brought, but she’s also clear about her own boundaries.
Omotola’s critique about the lack of mother-daughter stories isn’t unfounded. In Nollywood, mothers often exist as symbols rather than people. They’re either saintly figures who pray endlessly for their children or villains whose cruelty drives the plot forward. What’s missing is intimacy, the negotiations, and the regrets. The love that exists alongside resentment and misunderstanding.
Films rarely sit with the emotional complexity of women raising daughters in systems that also failed them. There’s little room for mothers who made mistakes but are still trying, or daughters who love their mothers while questioning the damage they inherited. Mother’s Love attempts to occupy that space, offering a more grounded portrayal that reflects lived experience rather than archetypes.
That’s where the film’s potential impact lies, in the decision to centre a relationship that Nollywood has largely flattened. If it works, it could open the door for more stories that treat motherhood as a lived, evolving reality rather than a fixed moral position.
Mother’s Love, directed by and starring Omotola Jalade Ekeinde, had its world premiere at the 50th Toronto International Film Festival on September 6, 2025. The film is set for a nationwide cinema release in Nigeria on March 6, 2026.
Entertainment
Funke Akindele’s Behind The Scenes Crosses ?1.77bn
Funke Akindele’s Behind The Scenes becomes Nollywood’s highest-grossing film of 2025, earning ?1.77bn in under four weeks.
Multi-award-winning actress and producer Funke Akindele has done it again, and this time, the numbers speak louder than applause.
Her latest film, Behind The Scenes, has officially emerged as the highest-grossing Nollywood film of 2025, pulling in an astonishing ?1.767 billion in less than four weeks.
The Tide Entertainment reports that Funke Akindele Makes Box Office History as Behind The Scenes Crosses ?1.77bn
Earlier in its release cycle, the film’s distributor, FilmOne Entertainment, revealed that Behind The Scenes smashed five opening-weekend records, including the highest single-day gross ever recorded on Boxing Day, with ?129.5 million in one day. That announcement already hinted that something unusual was unfolding.
Reacting to the milestone, FilmOne described the moment as both surreal and communal, crediting audience loyalty for pushing the film to the top spot once again as the number-one movie of the weekend. And that sentiment feels accurate. This wasn’t just ticket sales; it was momentum.
What makes this achievement even more striking is that Behind The Scenes is Funke Akindele’s third film to cross the ?1 billion mark. Before now, there was A Tribe Called Judah, and then Everybody Loves Jenifa, a film that didn’t just open big, but went on to become the highest-grossing Nollywood film of all time. At this point, it’s no longer a fluke. It’s a pattern.
Part of Behind The Scenes’ success lies in strategy. The film enjoyed advanced screenings on December 10 and 11, quietly building curiosity and conversation before its nationwide release on December 12. By the time it officially hit cinemas, audiences already felt like they needed to see it.
Then there’s the cast. The film brings together a lineup that feels deliberately stacked: Scarlet Gomez, Iyabo Ojo, Destiny Etiko, Tobi Bakre, Uche Montana, and several others. Familiar faces, strong fan bases, and performances that kept word-of-mouth alive long after opening weekend.
Still, beyond timing and casting, there’s something else at work here. Funke Akindele understands Nigerian audiences. Their humour, their pacing, their emotional buttons. She doesn’t guess, she calculates, experiments, listens, and refines. That understanding has slowly turned into box-office dominance.
Behind The Scenes crossing ?1.77 billion isn’t just another headline; it’s confirmation. Funke Akindele has moved from being a successful actress to becoming one of the most reliable commercial forces Nollywood has ever produced. Three-billion-naira films don’t happen by luck. They happen when storytelling, business sense, and audience trust align.
And right now, that alignment seems firmly in her hands.
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