Director Dare Olaitan
Photo Credit: Victor Lopez

In Ile Owo, Dare Olaitan aims to capture the horrific by exploring social hierarchies, poverty, class politics, and religion in the Nigerian society.

Director Dare Olaitan talks about his filmmaking process and his attempt to re-educate the audience on the impact of unchecked capitalism.

Dare Olaitan was 26 when his first feature film, Ojukokoro: Greed,, was released in the cinemas. The crime thriller, which was released in 2016, received positive reviews and was nominated for the Africa Movie Academy Award for Best Nigerian Film in 2018. Knock Out Blessing, his second film, also got an AMAA nomination the following year. Dwindle, his third, — which is coming to Netflix later this month — was co-directed with Kayode Kasum last year.

In his latest film, Ile Owo, Olaitan aims to capture the horrific by exploring social hierarchies, poverty, class politics, and religion in the Nigerian society. The psychological trailer stars Immaculata Oko, Tina Mba, Akin Lewis, Bisola Aiyeola, Efe Iwara and a host of others.

In this interview with OkayAfrica, Olaitan talks about his filmmaking process and his attempt to re-educate the audience on the impact of unchecked capitalism.

Ile-Owo screenshot two women

Photo Credit: Victor Lopez

Ile-Owo is your fourth film, but the first horror. What drew you to this genre and why did you decide horror was the most fitting form to tell the story?

I think horror movies are a great way to deal with social issues by motifs and metaphors to illustrate things that I am concerned about at the moment. I am also interested in the global interest in the horror genre and its ability to travel. I would say Ile Owo isn’t a true horror film. It’s closer to a psychological thriller.

Of course, horror is not new in Nigerian films, and quite a number of millennials, including you, who grew up in the country can attest to watching them. Was there something you wanted to do differently?

I feel like horror exploded in the Nigerian film industry as a reaction to the dictatorship of [Sani] Abacha in the early '90s. This made our films metaphors for the social problems with evangelical and pentecostal churches and movements growing in that time. Ile Owo is a retread of those thoughts and feelings. Just updated for 2022.

It's interesting you mentioned religious movements. Ile Owo confronts social hierarchies, hardship, and the ways religion serves as succor for many. How much can relate to that?

I think it’s impossible to grow up in a third world country and not witness the impact economics has on many people. Religion creates some sense of structure and safety in a chaotic environment. The worse the economic situation of a region the higher the religious fervor.

Can you talk a bit about your technique, particularly on evoking fear on the big screen?

I knew my limitations and the limitations of the crew, so I tried to evoke fear in the mind of the viewer. By creating situations where the audience’s imagination completes the scare thus making it all the more personal.

And did you achieve that? Do you think the audience had enough material to work with?

I think to an extent. There is always room to grow. I learned lessons, I can say that much.

What lessons?

What Nigerians like to watch and how to structure things better. In terms of production, I’ve never done anything of this magnitude. I learned more about VFX.

You've spoken in the past about your interest in making seven films based on the seven deadly sins, which will be titled after each sin. You've made Ojukokoro (Greed). Where does Ile Owo come in? And why is exploring these themes important to you?

The seven deadly sins are an important thematic element for me. They represent some commonality in the human experience. Things people in every culture can relate to and have experienced in their daily lives. Ile Owo is not part of the seven. Igberaga (Pride) is the next one on the slate.

Ile-Owo screenshot man in car

Photo Credit: Victor Lopez

What exactly did you want to say in Ile Owo?

Ile Owo is really a film about the subjection of Nigerian women in the traditional marriage structures, how they are exploited by the expectations of culture and lose their lives and youth to support men who use them for personal gain. That was the nugget that informed the writing and creation of the story. I just had to obfuscate through metaphors and motifs.

Past conversations on social media have shown that some key players in Nollywood don't take criticism very well. How do you navigate unpleasant remarks about your work?

I can only speak for myself but I know I have no problem with well-intentioned criticism. I make art so it’s nice to get the thoughts of the people it was created for. I think the problem comes in with poorly-intentioned criticism. I have gotten reviews that called me stupid or foolish. I don’t think reviews like that help anyone and make it harder for creatives to express themselves.

How does your background in Economics and Business Management influence your work as a filmmaker?

It experiences the way I view life as it was the first viewpoint I used to parse reality. It’s evident in all my work as my subject matter almost always covers inequality and the rising gap between the rich and the poor. I think capitalism has become unchecked and I am doing my little part to re-educate the audience.

I recall a character hallucinating in Ojukokoro. There's a similar element in Ile Owo, portrayed by the protagonist's father. You seem keen on exploring the intersection of mental illness and the supernatural.

What is mental illness and what is supernatural? Are they not two shirts cut from the same fabric? I am not sure to be honest. I just like to mess with themes that are interesting to me. I think there is a thing among indigenous creatures where people who have mental illnesses are seen to be closer to the supernatural. Perhaps this is an extension of that.

Director Dare Olaitan

Photo Credit: Victor Lopez

As the writer and director, you must have had the most influence on the outcome of this film. What other factors impacted the production? If you could change anything in the process, from ideation to premiere, what would that be?

Nigeria. Making films in Nigeria is very hard. Filmmaking is akin to war. We must conquer the reality and bend it to our will in order to for 90-120 minutes, capture the audience in disbelief and play them to our wishes. Nigeria makes this hard as life here is already war. Budgetary concerns, technical inability to accomplish some of our goals are things that will always impact production. I wish I had more time and money.

What are the three things filmmakers just starting out should bear in mind?

Your message. Your reasons for doing it. Your tone. These things will guide you and stop you from missteps. I wish I had that knowledge when I started.

It's fascinating how you're able to move across different genres: crime, comedy, and psychological thriller. You're a big fan of Quentin Tarantino, and that's evident in your work. Who are some of the filmmakers that have had the most influence on your work and why?

Robert Rodriguez. Martin Scorsese. [Francis Ford] Coppola. These are the people whose films I look up too. We might have the same content in terms of premise but I like to see what they do to navigate problems because as a director all you are doing is really solving problems and translating ideas into images. I watched a lot of their film commentaries when I started out, so their voices sort of guide me.


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