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Fathia Williams receives Backlash for new movie ‘Efunroye: The Unicorn’

Nollywood filmmaker, Faithia Williams Balogun has addressed the controversy around her new movie, Efunroye: The Unicorn.

The actress took to X on Wednesday, October 23, 2024, to announce the release of her movie, Efuronye: The Unicorn. Captioned, “Power, Trade, Legacy,” the official film poster that she released caught the attention of netizens.

Journalist David Hundeyin, tweeting, criticized the movie, alleging that Tinubu was an “ultimate slave trader.”

His tweet, among others, read, “A deliberate decision was made to fund a Nigerian movie lionizing not just ‘a’ slave trader but the ultimate slave trader, as in the Efunroye Tinubu herself. The one who decided she would rather sink a ship loaded with a cargo of kidnapped African human beings than reduce their asking price to the European buyers. That Efunroye Tinubu. This would be like getting Tyler Perry and Spike Lee to produce and direct a movie titled ‘Robert E. Lee: The Unicorn.’”

Also, the 2023 Labour Party’s governorship candidate in Lagos State, Gbadebo Rhodes-Vivour, wrote, “The Yoruba were the biggest victims of Madam Tinubu’s kidnapping, human trafficking and enslavement network. In the British attempt to end human trafficking and her ruthless opposition to it, she was exiled from Lagos. When Nigerians do DNA test like 23 and me, etc., they will see the number of unknown relatives they have scattered all across the Americas and the West Indies. They will realize how close and how deep this chapter of our history is. Unfortunately, Nigerians are still dealing with a ruthless elite that amass their fortune at the detriment of their people.”

Amid the backlash on the yet-to-be-released biopic movie, the actress clarified that there was no political intention behind the movie production. She was more than a warrior, she was a ruler who rewrote history. ‘Efunroye: The Unicorn’ is coming to your screens soon! Are you ready?” the post said.

The post sparked a lot of controversy especially because the movie is about Efunroye Osuntinubu, born in 1805, a Yoruba aristocrat, merchant, and slave trader in pre-colonial and colonial Nigeria.

She is said to have used her connections to establish a successful trade network with European merchants in slaves, tobacco, salt, cotton, palm oil, coconut oil, and firearms and allegedly owned well over 360 personal slaves.

As a wealthy woman, Madam Tinubu was able to influence economic and political decisions during her time. She had a massive security force composed of slaves, and she sometimes executed orders usually given by political leaders during the colonial era.

Fathia Williams, however, took to her social media to address the controversy around the film

“Firstly, “Efunroye: The Unicorn” is not a promotional piece intended to glorify or whitewash a divisive historical figure like Madam Efunroye Tinubu. Nor does it carry any political intent or affiliation. This film is purely a work of artistic interpretation and storytelling. As a filmmaker, my goal is to bring Nigerian stories to life on screen, and this is no exception. The movie attempts to present Madam Tinubu’s life in a balanced and nuanced way, showcasing her triumphs, challenges, and the complex legacy she left behind. It is not an effort to reshape or glorify the historical narrative. “Like all historical figures, Madam Tinubu’s story is layered, and this film aims to capture both her strengths and controversies,” the post said.

She also stressed that the movie is inspired by true events and added that it is important to explore our history.

“As with any artistic work, it draws from history but takes creative liberties to make the story more engaging for modern audiences. I believe that through this film, we can explore important parts of our history, but it is important to understand that it remains a work of fiction inspired by real events,” she concluded

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Bovi To Replace IK Osakioduwa as hosts for 12th edition Of AMVCA, Ending 11-year Run

After eleven consecutive editions under the same host, the Africa Magic Viewers’ Choice Awards is changing the face of its stage.

The organisers have announced Nigerian comedian and actor Bovi Ugboma and South African actress Nomzamo Mbatha as co-hosts for the 12th edition, scheduled for May 9, 2026, at the Eko Hotel and Suites in Lagos, bringing to a close IK Osakioduwa’s unbroken run as the face of the ceremony since its debut in 2013.

Osakioduwa has been a fixture of the AMVCA since the awards launched, hosting every edition across more than a decade. His departure from the role marks the most significant change to the ceremony’s presentation since its inception.

In his place steps Bovi, one of Nigeria’s most recognised stand-up comedians, known for his sharp wit, storytelling, and stage command. Joining him is Nomzamo Mbatha, whose profile extends well beyond the screen. The actress, producer, and UNHCR Goodwill Ambassador gained international recognition through her role in Coming 2 America and currently stars as Queen Nandi in the acclaimed epic drama series Shaka iLembe, for which she also serves as Executive Producer.

The organisers described the pairing as “a master of wit and narrative, and a global icon of screen and advocacy,” promising a night where “mastery meets African excellence.” Bovi, speaking on his appointment, made clear he understands the significance of the occasion.

“The AMVCA stage is one of the biggest in Africa, and I don’t take that lightly,” he said. “I want to bring the energy, the laughs, and the magic that this night deserves. African storytelling is at an all-time high, and it’s an honour to be the one holding the mic while we celebrate the best of it.”

Veteran actress Joke Silva has been named head judge for the 12th edition.On the nominations front, Gingerrr and The Herd lead the pack with nine nods each across acting, directing, and technical categories. To Kill A Monkey follows with eight nominations, while My Father’s Shadow, from the Davies brothers, earned seven across various categories.

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Adekunle Gold surprises Simi with Mercedes-Benz GLE and diamond ring for her 38th birthday

Afrobeats hitmaker Adekunle Gold marked his wife Simi’s 38th birthday on April 19 with a surprise gift of a brand new Mercedes-Benz GLE and a diamond ring, in a moment that has since circulated widely across social media.

A video shared by Adekunle Gold on his Instagram page captured the moment the award-winning singer Simi walked out to find the luxury vehicle, visibly overcome with emotion, before embracing her husband. The clip spread rapidly online, drawing warm reactions from fans and fellow entertainers.

The gesture comes at a particularly eventful period for the couple. Just days after welcoming their second child in March, Adekunle Gold had made headlines for acquiring two new Mercedes-Benz vehicles, which he named “Taye” and “Kehinde”, the Yoruba terms for twins.
The birthday gift to Simi follows in that vein, reflecting what has been a notably celebratory season for the household.

Simi, for her part, had taken to social media earlier in the day to mark the occasion independently. In a post, she described the past year as “a pretty big, long, heavy, blessed year,” expressing gratitude for her faith and the people closest to her. The surprise that followed appeared to be entirely unscripted.

This is not the first time Adekunle Gold has made a public gesture of this nature on his wife’s birthday. On her 35th birthday in April 2023, he presented her with a multimillion naira customised diamond necklace bearing her name, a moment that similarly trended online. The pattern has come to define how the couple marks the date each year.

Their relationship has been a fixture of public interest since they first came to prominence as a couple. The two began dating in 2014, maintained a private relationship for five years, and married on January 9, 2019.

They celebrated their seventh wedding anniversary in January 2026 and welcomed their second child the following March. Despite sustained public attention and periodic online speculation about their relationship, the couple has remained a consistent presence in each other’s lives and work.

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Kanayo O. Kanayo demands lifetime streaming royalties for Nollywood stars

Veteran Nollywood actor Kanayo O. Kanayo has stirred up a conversation the industry has been quietly avoiding for years. The award-winning actor and lawyer recently proposed that the Actors Guild of Nigeria (AGN) implement a policy mandating lifetime royalty payments for all Nigerian actors and actresses featured in films uploaded to streaming platforms.

He also called for a dedicated agency to oversee and enforce compliance nationwide, arguing it would ensure performers earn from their craft long after the cameras stop rolling. The timing of the proposal is telling. Stories of financial ruin among once-beloved Nigerian actors have become alarmingly common.

Last month, veteran actor Abiodun Ayoyinka, widely known as Papa Ajasco, spoke openly about his financial struggles despite decades in the industry.

Two years prior, Hanks Anuku made headlines with public pleas for financial assistance after falling on hard times post-Nollywood.

Patience Ozokwor recently put it bluntly: “The reason why Nollywood actors and actresses are poor is that we don’t get royalties for what we do, we only get paid for our appearance at the shoot.” Her words, along with the others, show a consistent pattern of demand.

The proposal has drawn mixed reactions from industry figures. Writer-director Jadesola Osiberu responded with sarcasm, suggesting that if actors want royalties, perhaps they should also contribute to covering a producer’s losses proportional to their screen time, a dig at the one-sided nature of the demand.

Producer and actress Bolaji Ogunmola was more direct: if actors want backend earnings, they should negotiate equity stakes and invest in projects upfront rather than seek guaranteed payouts after the fact.

It’s a fair challenge. The music industry comparison many have reached for doesn’t quite hold up here.

In more structured film industries, residuals are tied to carefully negotiated distribution contracts and enforced by unions, organisations built over decades with legal infrastructure and industry-wide buy-in.

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