ma'ami // tunde kelani

vveteran director tunde kelani (above, with a sexy red camera) is shooting a new film. ma’ami is a story about a young football star, kashimawo, who returns to nigeria from the u.s. on the eve of the world cup and leads the super eagles to a (fictitious) victory. set in abeokuta and lagos, written in english and yoruba, the film mines the memories of kashy’s childhood growing up with an absent father and fierce, determined single mother.

i visited set today to see mr. kelani--or tk, as most call him--at work, and got drafted as an extra in a couple of scenes. the set visit was really a chance for me to network and see how filmmaking works in nigeria, since all my experience has been in the nyc student/independent scene. in the course of the day, i asked a lot of questions, kept my eyes and ears open, and pored over the script in my down time.


the biggest difference i saw between tk’s work and the filmmaking i’ve done was in the lighting. (now i will get a little technical here, so please bear with me.) he used daylight kinos with mostly no diffusion, no flags, and no duvetyne. no matter if it was the lead character, a supporting character, an extra, or an ashtray, inside or outside, everything was lit bright as day.

i was completely surprised by this because i’d heard he was a lighting guru. what i observed, however, was flat in effect (and affect). not to say that the shots weren't still beautiful, but losing the shadows took the depth out of the scenes and made them almost theatrical. i'd heard that he was a direct descendant of the yoruba traveling theater tradition and all that, but the lighting choices didn't seem to work for film (or, rather, digital video).

my professors always taught me that the essence of a filmmaker is to shape light, and that the emotional content of a scene is communicated by shadows. in short, a filmmaker "plays in the light and lives in the shadows," as my cinematography prof always said. there certainly weren’t any shadows today. i’m not sure what that means, but i’m interested in seeing what the final product is. i'm sad to have missed their two-week shoot in abeokuta, especially since the set stills looked really amazing.

read part II of this blog here. find out more about the film here and here. read fulbright scholar bic leu's recent article on ma'ami here. and below, watch some behind-the-scenes flip vids i shot while on set. --AL.