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Drawn from a chapter in my current book project on Afropolitan Humanism, a term I use to designate the humanist vision that informs Femi Odugbemi’s cinematic output as a leading Nollywood film director/TV producer, my article demonstrates the humanitarian uses to which Odugbemi has put his screen media work as a socially committed filmmaker. Focusing specifically on his documentary, Makoko (2016), I argue that the film is a visual account of urban victims of postcolonial misgovernance. I suggest that what the documentary unveils is a Nigerian state that subjects its citizens to the power of social death. I contend that the real victims of Nigeria’s necropower that the film documents are the innocent and vulnerable children in the Makoko slum in Lagos. I also argue that as a social purpose documentary, Makoko documents and bears witness to a suffering humanity tucked underneath the underbelly of the resplendence of Lagos as a postcolonial megacity, and that the film is indicative of Odugbemi’s passionate and relentless socially conscious artistic efforts to challenge a failed postcolonial system that is indifferent to human suffering and other forms of social anguish.