Uzee Usman Takes Nollywood Storytelling Lessons to Toronto Film School

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Nigerian actor and filmmaker Uzee Usman has taken his experience from Nollywood into an international film-school setting, speaking with students at Toronto Film School in Canada about realistic storytelling, the realities of Nigerian filmmaking and the value of stronger creative exchange between industries. The session, held during a period of heightened international attention around Toronto’s film calendar, gave Usman an opportunity to discuss a career that spans both acting and production. Rather than approaching the conversation only as a showcase of Nollywood’s growth, he focused heavily on how stories are built, why authenticity matters and how filmmakers can use their work to bridge cultural differences. Authenticity at the centre of his filmmaking approach Usman told students that realistic storytelling remains central to the way he approaches film. His emphasis reflects one of Nollywood’s enduring strengths: many Nigerian films gain their emotional force from situations, relationships and environments that audiences recognise immediately from everyday life. Authenticity does not necessarily mean that every story must be literal or documentary-like. For filmmakers, it can mean that characters behave in ways that feel emotionally credible, that dialogue reflects the world being represented and that cultural details are treated as part of the story rather than decoration. That principle becomes especially important when Nigerian films travel outside the country. International audiences may not share the same social background as local viewers, but they can still connect with believable characters, family tensions, ambition, humour, grief, loyalty and conflict. Nollywood’s production culture becomes part of the classroom Usman’s appearance also gave Toronto Film School students a direct view into an industry that developed differently from Hollywood and other established Western production systems. Nollywood’s rapid growth was built through distinct financing models, compressed production schedules, entrepreneurial distribution and a strong relationship with domestic audiences. Those conditions have changed over time, particularly with the expansion of cinemas, streaming platforms and larger-budget productions, but the industry still carries a culture of adaptability. Nigerian filmmakers frequently work across languages, regions and audience expectations, often solving creative and logistical problems under tight constraints. Bringing that perspective into a film-school environment allows students to compare production cultures rather than treating one industry as the universal model for how movies should be made. Usman wants stronger cross-border collaboration During the discussion, Usman also spoke about the relationship between Nollywood and the wider international film industry. He expressed interest in stronger collaboration between Nigerian filmmakers and their counterparts abroad, including opportunities for Nigerian and American creatives to exchange ideas and practical experience. Cross-border collaboration can take many forms: co-productions, writing partnerships, technical training, festival relationships, distribution agreements, casting exchanges or simply the sharing of production knowledge. For Nigerian filmmakers, such partnerships can expand access to new markets. For international partners, Nollywood offers one of the world’s most active storytelling cultures and a direct connection to large African and diaspora audiences. The challenge is to ensure that collaboration does not flatten the local identity that makes Nigerian stories valuable in the first place. Usman’s focus on realism suggests he sees international reach and cultural specificity as compatible rather than opposing goals. Storytelling as a tool for understanding Usman also framed cinema as more than entertainment. He spoke about storytelling as a way to help communities understand one another, arguing that people can become more open to others when they encounter their experiences through film. That idea connects with his previous advocacy around peace and greater understanding, particularly in Northern Nigeria. Film cannot resolve political or social conflict on its own, but it can give audiences access to experiences they may never encounter directly. A character’s point of view can make an unfamiliar community feel human rather than abstract. For emerging filmmakers, this creates a responsibility. The stories they choose to tell — and the way they represent people, regions and conflicts — can reinforce stereotypes or complicate them. A different kind of international visibility Usman has already gained international streaming exposure through work including his appearance as Scourge in The Covenant . But a film-school engagement offers a different kind of global visibility from a premiere, festival screening or red-carpet appearance. Instead of presenting a finished project, he was presenting process: how he thinks about characters, how Nollywood functions and what lessons can move between industries. That kind of exchange can have a longer-term effect because students may carry those ideas into their own future productions. Nollywood is entering a more global conversation The timing also reflects a wider change in Nigerian cinema. Streaming distribution, festivals and international co-productions have made it easier for Nigerian films to reach viewers far beyond the country. At the same time, global audiences are becoming more familiar with Nollywood as an industry rather than only encountering isolated titles. That growth raises new questions about how Nigerian filmmakers protect creative identity while working in increasingly international systems. Usman’s message at Toronto Film School points toward one possible answer: stories travel best when they remain emotionally and culturally honest. His classroom appearance therefore carried a simple but significant message. Nollywood does not only have films to export; it also has production knowledge, storytelling traditions and industry experience worth discussing in global creative spaces. By bringing those lessons directly to film students, Usman positioned the Nigerian industry as a contributor to international film education rather than simply a market being observed from outside.