It chronicles Phyllis’s emotional states as she takes the wigs that form such a huge part of her identity on and off. When Phyllis puts her wig on, she’s fine and it takes on a typically Nollywood film vibe. But when she takes her wigs off, her eyes roll back into her head.
According to Saro-Wiwa, who lived and worked in the UK, there’s a ‘syntheticness of Nollywood that I’m appalled by, but also attracted to. I want to represent that, so I invented this character through which I could express my love and hate and fear and loathing of the syntheticness of Nigeria and this practice of wig-wearing… ultimately, Phyllis represents the gap between our true essence and the plasticity… she is ultimately doomed to a cycle of longing and short-term satisfaction.’
‘But people read all sorts of things into Phyllis, and she means different things to different people. I am totally open to interpretation of what this film means. I’m not even sure I know what the film fully means. And I made it.’
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