Akinola Davies Jr., a British-Nigerian filmmaker, made history at the 2025 Cannes Film Festival. His first feature, “My Father’s Shadow,” was formally chosen for the festival’s esteemed roster, making it the first Nigerian film ever to do so.
Davies, however, said that wasn’t his goal. He told Africa News, “I never set out to be the first in anything.”
He added, “We certainly didn’t know this would be the first Nigerian film in the official selection. Nigerians have understood the significance of this moment — and for me, representing Nigeria is a true badge of honour.”
According to the creator, the film was inspired by his Nigerian heritage.
My Father’s Shadow, which is set in Lagos in 1993, is a touching reflection on brotherhood, nationalism, and fatherhood. During a rare day spent with their estranged father, the movie follows two young brothers as their father shows them the difficulties he encounters in providing for his family by taking them on a trip across Lagos. The film essentially pays tribute to the father Davies and his brother Wale hardly knew.
Before making the fictional version of their father, Davies and his brother had to cast their minds back on who their father was while listening to stories and doing research. Davies got to know that he was 20 months old when his father died while his brother Wale was four years old. Their father developed epilepsy and died during a seizure, according to the AP.
The film delves into themes of accountability, memory, and generational separation, all set against a background of a politically significant moment in Nigerian history, when Gen. Ibrahim Badamasi Babangida had taken over power in a coup and did not want to accept the results of a democratic election.
“I was in Nigeria at the time, as was my brother,” Davies recounted. “We were probably too young to grasp the politics, but we could sense something was happening. Through research, we realised how formative that period was. Yet, it hasn’t been deeply documented until now.”
Davies is particularly glad to contribute to the continually evolving structure of Nollywood, which he views as “incredibly rich” in originality, technical expertise, and talent. While Nollywood is frequently associated with its large commercial production, My Father’s Shadow presents an alternative perspective, one more closely aligned with arthouse cinema.
“I hope this paves the way for more space for nuanced dramas and auteur-driven stories,” he said. “Audiences are hungry for this kind of storytelling.”
The film was recorded entirely on 16mm film. According to Africa News, My Father’s Shadow is both a visual love letter and a historical portrayal of Lagos. Davies’ decision to film on celluloid was not only aesthetically pleasing, but, political and sentimental.
“I love the pace and imperfections of film. It allows you to spend more time with the actors and the crew. Lagos is incredibly cinematic, and I wanted to see the city I grew up in captured on the most beautiful medium possible,” he explained. “There were logistical challenges; no film labs on the continent meant we waited nearly a week to see dailies. But it was worth it.”
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Much effort went into making the ground-breaking movie. My Father’s Shadow, which was co-produced by a Nigerian production company and mainly financed in the UK, exhibits Nigerian talent in both front of and behind the camera. With partners including MUBI, Element Pictures, Match Factory, Fremantle, the BBC, and the British Film Institute, Davies was keen to recognize the opportunities and support he received.
“Not every filmmaker has access to these kinds of resources,” he remarked. “But I hope this film shows what’s possible and that with the right collaboration and groundwork, more of us can get here.”
The Cannes selection represents a major turning point for African film and a larger trend toward more complex, internationally relevant African stories.
As Davies’ debut receives glowing reviews, it also serves as a reminder of just how important it is for African filmmakers to take back their stories and present them in their own unique ways.
“For Nigeria to truly realise its potential, we need to tell our own stories — not through an external lens, but in a way that’s meaningful to us,” he said. “This film is a step in that direction.”
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