STATEMENT

Writing the script of My Father’s Shadow with my brother Wale become some of my favorite days. Even though we’re both involved in that world, the idea of making a film seemed somewhat far-fetched. What I would do is force us to go on ‘mini holidays’ with each other, so we could concentrate fully on writing. (…) Neither of us are technically trained as writers, but we’d just throw out ideas and debate each one. We’d look at pictures, or watch films and listen to songs, and then that would inspire us.

We knew that we would be including our own grief. Within the film, there is a lot about nurture – paternal nurture, specifically. A big thing about what my brother and I have experienced is the absence of a father figure. But we decided to make a film that revolves around a father, (…) even though our mother has been probably the single most important person in our lives.

Folarin probably represents the archetypal Nigerian man and father – someone who is charismatic and charming but who is also hardworking and has a sense of obligation to his family. Folarin presents this very strong exterior, but he is probably very soft inside and very emotional. (…) Folarin is trying to perform masculinity in a certain way but keeps meeting with obstacles.

I left Nigeria when I was 12 or 13, and because I left at that age, I really romanticize it. That’s always stayed with me – I want to cater to my younger self. Cinematically, children give you permission to dream, to make, I wouldn’t say magical realism, I’d say supernatural drama. A child’s perspective allows you to go into dreamlike vignettes, since kids are so curious about everything.