At a transformative time when Nigerian cinema is reshaping its narrative structure and aesthetics, a new generation of filmmakers is stepping forward with bold, intimate storytelling.
One of them is Wingonia Ikpi, a rising director whose debut short film, The Lost Days, has struck a resonant chord with audiences and critics alike. The film, a tender, evocative meditation on memory, aging, and reconciliation, signals Ikpi’s arrival as a filmmaker willing to confront the complexities of the human experience.
Before stepping into the director’s chair for her first feature, Wingonia Ikpi was already a seasoned player in the Nigerian film industry. Her journey, driven by persistence and intentionality, has seen her wear multiple hats as a screenwriter, producer, and content development specialist at FilmOne. She also founded her production outfit, Boxonia Blueprint, a move that speaks volumes about her commitment to shaping narratives from the ground up.
Her earlier work, particularly the haunting short film “Otana” (2020), earned her a coveted spot on the First Features Project and solidified her reputation as a director with a unique voice, now joining the ranks of a new generation of female Nigerian directors reshaping Nollywood.
In a candid conversation with Netng, Wingonia Ikpi shared profound insights gleaned from her multi-layered journey. “One of the most important things I’ve learned is that audiences are not passive. They are co-creators in the storytelling process,” she revealed.
This philosophy was particularly evident with “The Lost Days,” which, despite its nuanced narrative, drew some unexpected reactions. “We’ve received some backlash; some viewers felt we missed the opportunity to tell a love story from beginning to end. But that was never the story we set out to tell,” she explained, embracing the diverse interpretations as a natural part of artistic engagement.
Ikpi also emphasised the often-underestimated power of sound design. “The camera is the ultimate storyteller, but other elements like sound design are powerful support systems. Sound can either elevate your story or completely distract from it, so it’s important to use it intentionally.” Perhaps the most crucial lesson for Ikpi, however, is the communal nature of filmmaking.
“Collaboration is everything. Film is a communal medium. You need a village to make it work. And ideally, you want to work with people you genuinely like or at the very least, deeply respect. I’ve found that creating art with people you enjoy being around makes the process richer. Sometimes, that chemistry behind the scenes can even be felt in the final film.”
“The Lost Days” was not a story Ikpi initially sought out; rather, it found her through the First Features project. “Honestly, this story chose me. It was handed to me as part of the First Features project, and I worked within the framework of what was already written,” she stated. Her role, then, became one of interpretation and visual support, bringing emotional depth to an already complex script.
Initially, the script for “The Lost Days” didn’t immediately resonate with her. Coming from a background of directing horror, as seen in “Otana,” Ikpi admits her natural inclination is towards more visually expressive genres like horror, action, and fantasy, where she can create heightened realities and immersive worlds.
“That’s why my next project is action-based. I’m a visual director, and The Lost Days is much more grounded, more subtle,” she explained. Yet, she embraced the challenge, recognising that “sometimes the stories that find you are the ones that help you grow the most.”
Wingonia Ikpi’s career trajectory has seen her navigate both independent filmmaking with her company, Boxonia Blueprint, and the structured environment of a studio system like FilmOne.
This dual experience has provided her with a unique perspective on creative freedom and its accompanying challenges. “I’ve had the benefit of experiencing both sides, working independently and then within the studio system at FilmOne, and I’ll say this: everything comes with its pros and cons,” she noted.
Her foray into the studio system was intentional, a strategic move to understand its intricacies, creative restrictions, and advantages. At Boxonia Blueprint, Ikpi is consciously building a hybrid model, aiming to combine “studio-level professionalism and the fluidity of independent thinking.” She credits her creative team for understanding this vision, often giving them the autonomy to ideate and lead.
“The beauty of independence is the freedom; you’re not answering to endless chains of approval. That opens up a world of creative expression. But the challenge is structure,” Wingonia Ikpi observed. While the studio system might impose constraints, it offers invaluable organisation, access to resources, and standardisation.
For her, the ideal lies in striking a balance: “I value the freedom that allows ideas to breathe, but I also appreciate the discipline that the studio system instils. At Boxonia, we’re trying to embody both the heart of indie filmmaking with the engine of a well-oiled studio.”
What truly excites Wingonia Ikpi about working behind the magic is the profound sense of fulfilment derived from contributing something meaningful to the world, even if her name isn’t emblazoned on every poster. She recounted a recent experience where she overheard a lively discussion about “The Lost Days” at a small gathering, with the participants unaware of her role in its creation.
“That’s the beauty of being behind the camera: hearing unfiltered feedback from people who are engaging with the story without knowing who’s behind it. It’s honest. And it reminds you that the work really matters,” she shared.
For Wingonia Ikpi, the impact of her work is the ultimate reward. “Not everyone will serve from the front. Those of us behind the scenes take pride in crafting stories that can travel, work that speaks for itself long after the final cut. That impact is powerful. You see your film ripple through conversations, culture, even across borders, and that’s something truly fulfilling.”
When asked about the types of stories missing from Nollywood, Ikpi offered a compelling perspective: “I don’t think the stories are missing, I think we’re just not telling them boldly enough. We need to do more genre-bending. Stories that stretch beyond the familiar terrain of drama and romance.”
She advocates for a greater embrace of genres like horror, sci-fi thrillers, and grounded mythologies, suggesting that any hesitance might stem from a misconception about audience readiness.
“But sometimes, audiences are just responding based on what they’ve been fed for so long. We’ve conditioned them to expect a certain type of narrative, so when we try something nuanced, the response can be dismissive, even if the story is rooted in truth.”
Wingonia Ikpi is particularly drawn to narratives that challenge moral binaries and explore complex emotional truths, drawing inspiration from real places, hometowns, villages, and unspoken histories. She believes Nollywood should delve deeper into trauma stories and high-concept ideas, asserting that “The world of Nollywood is vast, and I believe we’ve only scratched the surface.”
One of the biggest misconceptions about bringing a Nigerian film to life, according to Ikpi, is the idea that it’s an easy feat. “People often underestimate the sheer complexity behind the scenes,” she emphasised. She cited the intricate process of clearing music rights, which can involve approvals from numerous individuals, as just one example of the hidden complexities.
Another pervasive myth is the notion that the industry is awash with money due to reported box office successes. “Yes, there’s some money being made, but not nearly as much as people think, especially compared to the actual costs and energy it takes to make a quality film,” Wingonia Ikpi clarified. The work, she stressed, is layered, expensive, and often underappreciated, encompassing not just shooting scenes but also navigating logistics, rights, partnerships, and expectations while maintaining creative integrity.
Cinematic masters deeply influence Wingonia Ikpi’s artistic approach. She cites Quentin Tarantino as a major inspiration, particularly his approach to storytelling and character intensity. Akira Kurosawa also holds a significant place in her influences, with his masterful use of framing, movement, and silence in storytelling serving as a constant source of study and incorporation into her own visual style.
