Authenticity is Nollywood’s biggest advantage — Olawumi Fajemirokun

Entrepreneur, filmmaker and founder of Come On Naija Productions, Olawumi Fajemirokun, tells Faith AJAYI about her career and other issues

Your movie, Afamefuna: An Nwa Boi Story, earned four Africa Magic Viewers Choice Awards nominations, and emerged as one of Netflix’s most-watched Nigerian title. What do you think audiences connected with most in that story?

Afamefuna remains a project very close to my heart. When I reflect on why both global and local audiences connected so deeply with it, it comes down to how the film mirrors the resilient entrepreneurial spirit of Nigerians.

From a young age, many Nigerians are exposed to the realities of business, whether through informal trading or structured enterprise. Commercial ingenuity is deeply embedded in our culture.

Regardless of gender or background, there is an understanding that success must be worked for. Even children as young as 10 or 12 often begin thinking about small trades or ways to contribute economically.

Afamefuna speaks directly to that reality; the resilience, the patience, and the drive to build from nothing. Audiences connected with its authentic portrayal of that journey, the grassroots hustle, and the triumph of creating something meaningful without massive initial capital.

That universal drive for self-determination is what made the story resonate so strongly.

Why is it important to you that Nigerian stories are told from an authentic perspective rather than through borrowed narratives?

I firmly believe our culture is exactly what makes us stand out on the global stage. Unfortunately, due to our colonial history, there has long been a tendency to borrow foreign narratives and dilute our own stories in order to gain acceptance.

This was often driven by the belief that cultural authenticity and global relevance were mutually exclusive; that to be “modern” or “global,” one had to conform to Western frameworks of storytelling and identity. That is a narrative I am deeply passionate about correcting.

By bringing authentic scripts to life, my goal is to inspire pride in who we are and what our culture represents. When we fully embrace our identity, we naturally command attention.

Nigerians do not need to blend in or rewrite themselves to fit foreign definitions of modernity. Our heritage is our competitive advantage. Some may embrace it, others may not, but global audiences ultimately respect authenticity.

What are the biggest challenges you have encountered as a producer, and how have your experiences as an entrepreneur helped you navigate those obstacles?

Securing foundational financing remains the most significant challenge in independent filmmaking. When we introduced Afamefuna, we actively pitched our framework to corporate entities and organisations whose values align with Nigerian storytelling, but we initially received virtually no institutional backing.

Pioneering cultural milestones of this scale requires immense independent drive, as the lack of structural support from established organisations remains a major industry hurdle.

This is where my background as a Nigerian entrepreneur becomes invaluable. In this environment, you constantly hear “no” or “not yet.” Rather than allowing those responses to discourage me, I have used rejection as fuel to build resilience and professional grit.

Entrepreneurship taught me never to view setbacks as final. Instead, I learnt to pace myself, refine my approach, and continuously elevate how I present my ideas. That discipline keeps me focused on pushing forward until the market recognises the value of what we are building.

What drew you to the story of Ojude Oba, and why did you feel it deserved a feature-length film adaptation?

Nigeria is home to an incredible tapestry of cultural festivals, yet very few of these grand traditions have been given the creative depth and cinematic reverence of a feature-length film. I felt it was time to change that narrative by giving proper attention to the scale of our local celebrations.

Among them, Ojude Oba stands out as one of the most vibrant and globally recognised festivals, gaining even more visibility and viral attention after the COVID-19 pandemic. That cultural magnetism was what first drew me to the project.

Beyond the festival itself, I saw an opportunity to challenge long-standing perceptions around certain segments of Nigerian cinema, particularly traditional Yoruba storytelling, which has often been limited by fan-service-driven narratives, clichés or over-reliance on star power rather than strong storytelling.

I wanted to bring a different energy; one that is firmly story-driven and structurally ambitious.

By grounding this project in a sophisticated narrative framework rather than superficial appeal, we elevate the entire genre. Ojude Oba deserved a feature film adaptation because it has become a global point of fascination. People from all over the world are increasingly drawn to its uniqueness.

Bringing it to the big screen was not just about making a film; it was about documenting identity, preserving culture and presenting it through a premium, story-first lens for a global audience.

What were some of the most memorable moments while making the film?

The pressure was intense from the outset. We knew we had to push ourselves creatively because building a compelling narrative around an institution as large as Ojude Oba required precision and strong coordination.

From the script stage, we continuously refined the story and ensured everything aligned with the scale and spirit of the festival. It was challenging, but also deeply rewarding.

One of the most memorable aspects was watching the younger twins perform beautifully on set. Another major highlight was the technical and creative execution involving Owobo Ogunde, who played a dual role in the film, requiring the use of a body double.

The casting and execution were so precise that the double matched him in height, complexion, facial structure and overall presence. There were moments on set where the resemblance was so convincing that it became difficult to tell them apart.

It was fascinating to watch the director, Adeoluwa Owu, carefully stage and capture both actors to create a seamless visual illusion.

How did you balance cultural authenticity with the demands of creating a commercially successful film?

I have always believed that when a film achieves true cultural authenticity, commercial success follows naturally. In today’s cinematic landscape, authenticity is rare and valuable.

For me, authenticity is also a way of reigniting cinema culture; creating films that demand to be experienced on the big screen and encouraging audiences back into theatres.

Balancing both simply means respecting the process. Authentic storytelling cannot be rushed or mass-produced. It requires time, structure and deep cultural understanding.

It also requires a more specialised team capable of handling historical and cultural nuance correctly. This is not the kind of project that can be rushed in a few months.

When you respect the timeline and invest in the right creative minds, you naturally create a high-value, distinctive product that resonates with audiences and performs commercially.

What role do you believe Nollywood should play in shaping the world’s perception of Africa?

Nollywood is still scratching the surface of its true potential. Unlike afrobeats, which has already made significant global impact, we in film still have a long way to go.

That also means we carry a major responsibility to actively shape how Nigeria and Africa are perceived globally. We cannot afford to wait, nor should we allow outsiders define our narratives for us.

For too long, African stories have been told through distant lenses by people who have never lived our realities or understood our complexities. Nollywood must bridge that gap by telling authentic stories from within, with ownership and clarity.

You wear many hats as a businesswoman, philanthropist and. How do you maintain balance across these responsibilities without compromising excellence in any area?

There is a particular phrase that guides my life: “Character over competence.” While technical competence and professional ability are essential in everything I do, character is the foundation of who I am.

Every day, I strive to become a better version of myself. That continuous commitment to personal growth is what keeps me grounded. To maintain true balance across all these roles, I anchor myself in contentment rather than in the endless pursuit of more titles or material achievements.

True excellence is not about accumulating accomplishments; it is about consistently refining your character. That internal discipline is what ultimately brings peace, fulfilment, and the ability to manage every responsibility I have been blessed with.

What is your long-term vision for your work in film production, and why is it important to tell more indigenous stories?

Our long-term vision at ComeOnNaija is to consistently bring authentic, indigenous Nigerian stories to life.

So many powerful narratives have already been beautifully captured in books but have not yet transitioned to film or television. We are actively sourcing and developing these rich materials, especially as forward-thinking institutions begin to recognise the value of cultural storytelling.

There is growing confidence in how we structure, respect and authentically tell our own stories, and that trust is helping us scale our work.

Are there other untold Nigerian stories or cultural traditions you plan to explore in future projects?

Absolutely; we are just scratching the surface.

There is an endless archive of Nigerian culture and traditions that we are eager to bring to screen. I encourage everyone to stay tuned, because what lies ahead is rich, exciting and deeply reflective.

Just as we did with Afamefuna, Iwe Ala and the story of Ojude Oba, our forthcoming projects are designed to evoke real human emotion, such as laughter, reflection, perhaps tears, and above all, pride.

There is a unique power in telling our own stories. You cannot watch a foreign film and feel that immediate, almost cellular connection because you are viewing it from the outside in.

But, when we tell our own stories, the resonance is instant. You look at the screen and think, “Yes, this is me. This is ours.” That is the beauty of authentic African storytelling.

When people reflect on your legacy, what would you like them to remember the most?

I have always viewed legacy through the lens of fulfilment. There is a timeless quote by Winston Churchill that captures how I see the relationship between these roles: “We make a living by what we get, but we make a life by what we give.”

It is almost a spiritual principle that in giving, we receive. Like a teacher who imparts knowledge and, in doing so, deepens their own understanding, giving back ultimately becomes a source of fulfilment.

True contentment centres you. And when you are centred on giving, it unlocks deep joy, meaning and purpose.

Decades from now, I do not necessarily need people to remember the titles or accolades. I want them to remember the heart behind the work.

How has your role as Yeye Otunba of the Ifewara Kingdom deepened your appreciation for Nigeria’s traditions and influenced your creative vision?

When I became the Yeye Otunba of the Ifewara Kingdom, it felt like I was being traditionally baptised and anointed into our heritage. It immediately deepened my sense of responsibility and made me reflect on the weight that comes with occupying such a role. A key part of that responsibility is finding meaningful ways to showcase our traditions and culture with grace and intentionality.

It also heightened my concern about the gradual fading of certain aspects of our cultural heritage. I feel a strong personal drive to help bring these traditions back into focus before they are completely lost. Globalisation has made many elements of our identity feel increasingly scarce, often replaced by Western commercial influences.

I refuse to be among those who simply watch cultural relevance fade into the background until it disappears. Culture is profoundly beautiful and grounding; it centres you as a person. While the role did not immediately transform my creative output overnight, it re-centred my artistic direction. It pushed me to explore different cinematic lenses and genres as a way of bringing our stories forward.

For me, culture is a powerful creative asset, especially Yoruba culture, which I understand deeply in terms of its ethos, mindset, and spirit. Because I am rooted in that identity, I am also drawn to learning about the cultural fabrics of other societies.

I know there are many people who want to reconnect with their roots or better understand other Nigerian traditions. Nigeria is a richly woven tapestry of diverse cultures, and no single production company can exhaust its depth. It is a privilege to contribute to telling those stories.

Through the Oladele Fajemirokun Foundation, you have impacted more than 100,000 Nigerians in education, healthcare, nutrition and entrepreneurship. How has your philanthropic work influenced the kinds of stories you choose to tell on screen?

There is a profound Yoruba adage that guided my path long before I began this work: “Olowo ko lo n ṣàánú, aláánú ni ń ṣàánú.” It translates to, “It is not the wealthy who show mercy, but the compassionate.”

This philosophy is the foundation of both my philanthropic work and my creative vision. Beyond its literal meaning, it speaks to the idea that true compassion is a matter of character, not a function of wealth or status.

My work with the foundation has deeply shaped how I see storytelling. Having impacted over 100,000 lives across Nigeria, I have seen firsthand that human value, resilience and empathy exist independently of financial circumstance.

When I choose stories to bring to screen, I am drawn to narratives that reflect that truth; stories that highlight dignity, strength and shared humanity. I am especially interested in characters that embody community, compassion and emotional depth.

For me, storytelling is ultimately about reminding people that our capacity to uplift one another is rooted not in resources, but in who we are.

Your foundation’s Business Innovation and Talent Expression programme has helped nurture young entrepreneurs at the University of Lagos. What similarities do you see between identifying entrepreneurial talent and identifying compelling stories worth investing in?

The core similarity lies in two things: scalability and longevity.

When we assess young entrepreneurs in the BITE programme, we look closely at whether their ideas have long-term value. We ask: is this something people genuinely need, and does it have staying power, or is it just a passing trend?

That same discipline applies when evaluating film projects. I ask whether a story has been told before, and if it hasn’t, whether it has the depth and structure to endure over time. A strong story should continue to resonate with audiences and attract viewership long after its release, especially in today’s streaming-driven landscape.

Ultimately, both entrepreneurship and storytelling require looking beyond immediate appeal to identify ideas that are built to last.