Nollywood Star Stephanie Linus Criticizes My Father’s Shadow Oscars Submission
Veteran filmmaker and actress Stephanie Linus recently sparked conversation within the Nigerian film industry by raising concerns about filmmakers who use Nigeria’s name to promote their projects without fully engaging with the local industry.
Speaking at the fifth edition of the Peace Anyiam-Osigwe Nigeria Digital Content Regulation Conference, Linus was a panellist in a session titled “From Volume to Value: The Future of Nigerian Motion Picture Industry in the Digital Age.” During her submission, she addressed what she described as the selective association some filmmakers have with Nigeria.
Linus specifically mentioned the film My Father’s Shadow, directed by Akinola Jr. and Wale Davies. She said the film does not fully represent the Nigerian film industry but uses the country’s identity to gain attention internationally.
The film has been celebrated as the first Nigerian movie to appear at the Cannes Film Festival. However, Linus clarified that while it tells a Nigerian story, it is not technically a Nigerian production. She argued that the distinction between “Nigerian story” and “Nigerian film” is important in accurately representing the industry on the world stage.
Adding to the controversy, Linus revealed that the filmmakers bypassed the Nigerian Oscar Selection Committee (NOSC). Despite calls for official submissions, the directors reportedly chose to enter their film through another country for consideration at the Oscars, sidestepping Nigeria’s formal process.
Her statements have reignited debates within Nollywood about national identity, accountability, and the responsibilities of filmmakers representing Nigeria internationally. Many industry observers argue that filmmakers should collaborate with Nigerian institutions like NOSC to ensure that international recognition also supports and promotes local industry growth.
Stephanie Linus’ comments underscore the need for greater engagement with Nigerian cinematic institutions and raise questions about how Nigerian films are defined in global contexts. Her remarks serve as a reminder that telling a Nigerian story alone may not suffice if the film does not contribute to the development and representation of the local industry.
