Journal of African Cinemas - Online First

Nigeria is one of the nations in which same-sex relations are still criminalized. Reflecting this sociopolitical and cultural context, Nollywood, Nigeria’s film industry, has traditionally portrayed homosexual characters in largely villainous roles. However, the industry seems to have undergone shifts from staunch heteronormative narratives with unease towards homosexuality to tolerance and even open-ended film stories. This article explores the various characterizations of LGBTQ+ persons in Nollywood to underscore the advances in the industry’s narration of LGBTQ+ individuals in Nigeria. The article engages in a qualitative study of select Nollywood films focusing on the changing thematic, characterization and narrative views of homosexuality. This article provides insights into how Nollywood cinemas may offer a glimpse into the evolving understanding of queerness in Nigerian society.

The conceptualization of gender from Old to New Nollywood seems to shift between rigid masculinities alongside subjugated females and assertive females confronting masculine aggressions, respectively. This article articulates New Nollywood’s approach to representing gender-related issues like violence and sexual exploitation and challenging women’s silence in corporate and domestic spaces. The paper argues that the narration of gender archetypes in Kunle Afolayan’s Citation and Biyi Bandele and Kenneth Gyang’s Blood Sisters – both New Nollywood films – challenge the African patriarchal context in the corporate and domestic spaces where the films are set.