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After working on a script for Mami Wata for two years, from 2016 to 2018, and writing “ten shitty drafts,” Obasi figured institutional intervention was due. People had praised the draft, but he felt he had written himself into a genre, that the story lacked an it-factor. “My genre instincts were getting in the way of finding something more. So that’s when I figured I needed help,” Obasi said. Help came in the form of film labs, where he workshopped and developed the story for a year, winning some awards along the way. In South Africa, at the Durban International Film Festival, in 2019, the project won the Durban FilmMart’s Sørfond-Norwegian South Fund Award. It was while at Durban that Obasi met a senior Sundance programmer, to whom he passionately pitched the film. “She said, look C.J., I cannot promise that we will pick the film, but if you make exactly the film that you have just pitched, then you stand a very good chance,” said Obasi.
Uwaifo may have had a flattering opinion about Mami Wata, as do participants of the Vodun festival that takes place annually in the Republic of Benin, where devotion is paid to the goddess. But adoration of the deity is hardly universal: she is bête noire in Nigerian pentecostalism, but has also been demonized as far back as the 1700s, when she was condemned as “devilish” and worship of her was outlawed in Dutch colonies. This is partly why Obasi struggled to procure funding from some Nigerians, the film’s empathetic portrayal of the deity grating against their religious persuasions. “One woman shouted ‘Holy Ghost fire!’ and sent us out of her office,” Obasi said, to which the theater, air-conditioned to boot, warmed with laughter. The other reason that Nigerian investors were loath to open their purses was due to their gloomy prognosis of the film’s financial prospects. Shot in black and white, with none of the strains typical of Nollywood blockbusters, the film did not seem destined to turn a profit.
Obasi was not so much concerned about recasting the goddess for mainstream acceptance as he was about recasting black femininity. It just so happened that the one could not be done without the other. African cinema, according to Obasi, is stuffed with undignified portraits of African women, such that you do not reflexively associate them with “divinity” in the way that you do white women. Part of why he made this film was to change that perception, or as he put it:
“What do you see in African cinema? You see African women raped, tortured, beaten, always going through some suffering, but they are never seen as goddesses. But you can see a white woman as god; you can see her as the Virgin Mary; you see that in every Catholic church. You see a halo over her head. Which is why when we shot Prisca in the final scene, when she became the intermediary, there was a halo over her head.”
To depict black women, black bodies generally, with dignity, Obasi reasoned that only a female director of photography, a woman of color precisely, would do. The demographic’s small size made the search difficult, but he eventually found and settled for the Brazilian cinematographer Líly Soares—”because I was drawn to her works”—who helped to create the kind of super-stylized picture that had long drawn Obasi to such filmmakers as David Lynch and Akira Kurosawa.
In several labs and workshops across Europe and America, Obasi received high praise for his story, but, to his dismay, it did not come with funding. He eventually returned to Nigeria to procure funds with which to begin principal photography. It paid off: he received funding, predominantly from Nigerian private investors but also from an Ifind Pictures of France associate. Starting in January 2021, shooting took place in Benin’s Mono Department, lasting four weeks. It would have been shot in Lagos, Obasi’s adopted home, but for his inability to “find Iyi” in the city: he couldn’t find a place perfectly balanced between rustic life and modernity. Ghana, Gambia and Senegal were equally considered, but Benin was deemed the best option: it was not as costly as shooting in Ghana would have been, not as distant as Gambia, and it did not come with the threat of appropriation that Senegal posed due to its well-developed film culture—Obasi did not fancy the risk of it becoming a Senegalese film. The choice of Benin, a country bordering Nigeria on the west, yielded some eerie coincidences: shooting began around the same time as the Vodun festival, and one of the sets was only a few feet away from an actual Mami Wata shrine.
“I always knew the film was made for Sundance,” Obasi said, adding, “I have had it on my dream board for a long time.” He saw his dream realized, when the film had its world premiere at the renowned festival this January, but the glorious moment could not have happened without some irrational faith and counterintuitive decision-making. Before Sundance agreed to screen the film, Locarno, Switzerland’s film festival, had accepted it, but Obasi, hellbent on his American dream, did not accept the offer, preferring instead to have no bird in hand. As he had established a personal relationship with a Sundance insider while at Durban, he could submit the film’s final cut as early as last February, whereas submissions usually opened to the general public in May. So he believed he would get a response before the official deadline. “It was a stupid thing to do, because no festival gives you an answer privately, but I thought there is one in a million chance that Sundance would, and that’s what happened,” Obasi said.
At Sundance, Mami Wata won the Best Cinematography award, but it has also picked up laurels elsewhere. This March, it won three awards at FESPACO, Africa’s foremost film festival; it participated in the Final Cut at the 78th Venice Film Festival, the first for a Nigerian film; and it has been acquired by Dekanalog for distribution in North America, but also by Cinemalovers for distribution in Germany and Austria. But perhaps the film’s most significant achievement is how it has come to define a period in Nigerian cinema, how it has shown that Nigerian films can be made outside of Nollywood’s established box office formulas and not only compete with films from the world over, but also find appreciation among a sizeable audience, if not in Nigeria, then at least on foreign soil. The film did not fare well when it premiered in Nigeria, through FilmOne, in September, but that was largely because of a less-than-stellar rollout strategy: it screened, for instance, at unfavorable hours.
Mami Wata may not have succeeded in Nigerian cinemas, but it has found favor among one of the country’s highest cinematic authorities. This October, the Nigerian Official Selection Committee announced it as the country’s entry to compete for the Best International Feature Film award at the 96th Academy Awards. No Nigerian film has ever won an Oscar, but, according to Makama, Mami Wata can make history yet again.
“Fingers crossed,” Obasi responded, stoically, as stoic, perhaps, as the Mami Wata medium in his film, with her gentle, patient, talcum-pocked face.
