The Significance of Son of the Soil in Nollywood's Global Reach

On a recent evening at the AMC Empire 25 in New York, a distinctive cinematic experience took place. Attendees were not just there to view a film but to discover a new cultural perspective that many had never engaged with before: the bustling, vibrant streets of Mushin, Lagos.

The film showcased was Son of the Soil, an action thriller directed by Chee Keong Cheung, an acclaimed filmmaker of British-Chinese descent whose works have garnered recognition globally. Co-written by British-Nigerian actor Razaaq Adoti, the storyline follows Zion Ladejo, a former special operations soldier from Nigeria, who, after the tragedy of his sister’s passing, finds himself caught in a tumultuous fight against organized crime upon returning home.

Yet, this screening transcended the typical debut of an action film. It was a cultural translation that brought the essence of Nollywood from Lagos' streets to a theater brimming with individuals experiencing it for the first time in New York and across other U.S. regions.

I had the unique opportunity to moderate a Q&A; session following the film, which offered a glimpse into the rare situation where Western audiences engaged with Nollywood not merely as a novelty, but as a cinematic powerhouse. Dylan Brewer, a first-time viewer of Nollywood films, expressed his astonishment immediately after, encapsulating the wonder of discovering an industry more intricate and technically proficient than he had ever imagined.

"I really enjoyed it. The first Nollywood movie I’ve ever seen," said Dylan, beaming. "I was particularly a fan of the music as well. The storyline had a lot of great aspects. I loved the music selections and the casting. When we learned that it took 18 days to shoot, everyone gasped, including myself. It’s incredible to witness such a film come together so well."

Revisiting Mushin

For me, what resonated most was not just the audience's newfound awareness but also the memories it stirred of a place I once knew from a vastly different perspective. While many in attendance were discovering Mushin for the first time, I was able to view it once more, informed by years of reporting on the area.

My journey as a journalist began as a crime reporter in Lagos in 2010. After sixteen years, watching a film set in that same city I once covered brought a fresh illumination.

The scenes depicted—crime, drugs, violence—were well dramatized in Chee Keong Cheung’s work, allowing for significant contemplation. This reflection stemmed from the film's portrayal of the environment. The cinematography depicted the raw vitality of Mushin’s streets with an authenticity that blends cinematic art and documentary realism. The camera focuses on narrow alleys, rusted rooftops, and illuminated nightlife, offering a representation of Lagos rarely seen on global screens.

The realism evoked strong reactions, long after the film had concluded. One filmmaker present, Rafia Ansari, who had previously viewed the film, returned for a repeat showing. For her, the intensity remained. "I saw Son of the Soil, not for the first, but the second time, and just like the first, I was amazed. I felt like jumping out of my seat. I highly recommend people watch it. The actors were authentic, making you feel as if you were part of the film, to the point that you forget you're merely viewing it."

Others in attendance also had their own surprises as they experienced Nollywood closely for the first time, sharing their impressions after the showing.

Kimberly D’Anna, another audience member, shared that she came with curiosity but left deeply impressed. Invited by a friend to experience something novel, she found herself unexpectedly immersed, noting, "The performances were astonishing, and the film left a strong mark on me."

She encouraged others, "If you want to experience a true Nollywood film, seek out Son of the Soil and watch it immediately."

A Film Without Borders

The production epitomizes international collaboration. Directed by Chee, known for Redcon-1, and produced through a partnership between UK and Nigerian companies, it features Nollywood stalwarts like Patience Ozokwo and Ireti Doyle alongside budding talents, fusing the pacing and grandeur typical of global action films.

The outcome is a hybrid that merges Nollywood’s essence with the dynamism and spectacle found in international action cinema.

Audience member Digger Mesch remarked, "As a director and artist, I found Son of the Soil to be outstanding. It was intensely visceral. I've heard many mention Africa as a great filming location, and this film reinforced that notion. It was vibrant, gritty, and powerfully genuine. The timing in the film was incredible, and the lead actor's performance was superb."

Another viewer, Tom, emphasized the film’s technical skill: "I really enjoyed the movie. I found it completely gripping. The camera work was exceptional; it drew you into the moment. The lighting was stunning. Jack did an excellent job. I would definitely recommend this film to others."

This technical achievement is even more striking when considering the film was shot in less than three weeks.

A Pioneering Nollywood Action

Among the standout performances is Ijelu Folajimi, a young actress portraying Remi, a street girl navigating survival. Her moments infused humor and emotional depth into the film.

In a hospital scene where she casually tells Zion, played by Adoti, "Oh, you are old," the audience erupted with laughter. The lead actor later expressed admiration for her formidable performance. Such moments remind viewers that beneath the action lie relatable human stories. They also highlight the promise of future African narratives.

Chee has been forthright about his interest in African storytelling and his commitment to nurturing the next wave of talent. As an expert in action films with experience across continents, his collaboration with Nigerian actors suggests a transformative model for African filmmaking. The prospect of Nigerian institutions teaming up with international filmmakers to enhance action filmmaking, stunt choreography, and genre storytelling could expand possibilities for Nollywood.

Audience Reactions

What resonated most during the screening in New York was not just the applause but the palpable discovery among the attendees.

Ronel, another audience member, encapsulated it by saying, "The film was impressive. I truly appreciated it. The cinematography was absolutely stunning. The colors, the lights, the overall shooting style were magnificent. I really enjoyed the writing. The characters were deep. I left the theater feeling inspired by the brilliance of this movie, and I sincerely thank the cast for their exceptional work."

African attendees echoed sentiments of pride. Bright O. Yeboah, a media executive from Ghana, succinctly remarked, "Son of the Soil, a masterpiece! I love it!"

Nigerian Dan Solomon reflected on the storytelling quality: "Son of the Soil offered something unique. The shooting quality, character development over time—it's impressive. I adored Remi’s performance, and I hope to see more films that explore diverse stories from Africa."

Beyond the Film

Son of the Soil is currently showing in select U.S. cities, including New York, Washington, Atlanta, Chicago, Houston, and Dallas, while also streaming across Africa.

The release of this film symbolizes more than just a milestone for a single project; it indicates a shift in the landscape of action cinema. Films such as Son of the Soil demonstrate that dynamic storytelling can originate from anywhere, including the hectic yet vibrant streets of Mushin. For those who have reported on those streets, witnessing their depiction on a cinema screen in New York carries a profound significance.

Ultimately, the discourse around Son of the Soil may extend far beyond conventional action thriller expectations. Audience reactions revealed that the film initiates a larger cultural dialogue, inviting viewers to perceive African stories through an alternative cinematic lens while fostering collaboration between filmmakers from different parts of the globe. Listening to viewers encountering Nollywood for the first time made it clear the film serves not only as entertainment but as a bridge: between industries, cultures, and audiences who may not otherwise share a cinematic experience.

In this respect, Son of the Soil feels like a prologue rather than a conclusion. It opens the floor for broader conversations about the future of global storytelling as African narratives, international collaborations, and new audiences converge on the same screen. Witnessing this moment unfold was truly delightful, raising anticipation for the exquisite partnerships that could arise from similar encounters.