Skip to main content

(133): Top 10 Kannywood Films of 2020

Muhsin Ibrahim
muhsin2008@gmail.com
University of Cologne

 The article was written for, and published by, the BBC Hausa service. Here is a link to a slightly different Hausa version published on their webpage: Fina-finan Kannywood mafiya shahara a shekarar 2020.

The year 2020 is unlike any other in recent history. The COVID-19 pandemic has changed the world. We now have lockdown in countries; we also have to keep social distancing, wear a facemask, among other protocols. The virus batters the entertainment industries from Los Angeles to Lagos, Mumbai to Mombasa, Cairo to Kano, forcing several cinemas to shut down. Thus, shooting and showing films had to stop. Nevertheless, that boosts TV and video on demand (VoD) content and opens a gate for new ‘genres’ of YouTube series and serials. In northern Nigeria, these include Kwana Casa’in, Gidan Badamasi, Labarina, Izzar So, A Duniya, Na Ladidi, among many others.


Kannywood began the year auspiciously with a box-office hit, Mati A Zazzau. Therefore, the audience expected to see many more similar or better films. Although producers made only a few (movies) eventually, these include the excellent, the good, the bad, and the ugly. Evidently, the pandemic disrupted or ruined several plans in Kannywood, too. Anyway, the following are some I consider above their peers. Please note that the numbering is, in no way, hierarchical. 

1.     Wutar Kara

The film, shown briefly in cinemas in 2019 and released in 2020, deals with a thorny yet unexplored topic of inheritance in Hausa land. Alhaji (Ibrahim Mandawari) is a wealthy, family man with multiple wives and several children. As is often the case in such a house, there is disunity among the family members, some of whom are wayward. He, unexpectedly, dies in a car crash. Serious rancour ensues over the wealth he left behind. Finally, everyone gets their share. Unfortunately, most of them embezzle the inheritance, worth several millions of naira in cash and property, so quickly. Yaseen Auwal directed the movie while Bashir Maishadda is the producer. The performance of Ali Nuhu, Sadiq Sani Sadiq, Aminu Sharif Momoh, Maryam Yahaya, among others, is notable and praiseworthy. Dare I say the film is one of the best to have ever been made in Kannywood.

2.     Mati a Zazzau

As a sequel to Mati da Lado, the film starts from where Mati (Sadiq Sani Sadiq) wanders in an unknown village following his escape from Rimau. He and his brother-accomplice, Lado (Tahir I. Tahir), duped Rimau village people for years by pretending to be Islamic scholars. The townspeople chased them away when they discovered their identity. Mati finds himself in Zazzau, where, coincidentally, his late, rich father had lived and left a substantial treasure in the hands of a confidant. The rest of the story mainly revolves around Mati’s effort if not trickery to get the wealth. Yaseen Auwal directed it while Rahama Sadau & Sadiq Sani Sadiq take the credit of its production. The film is doubtlessly successful as per Kannywood’s box-office record. It, reportedly, pulled out a record audience, thanks to well-calibrated publicity and promotion by Rahama Sadau and her team. Fans of the Mati franchise love the film.

3.     Matar Mutum

The film, also shown in cinemas in late 2019 and released to the wider public in 2020, exposes indiscriminate marriages among Hausa people. Malam Idi (Rabi’u Rikadawa) is a guardsman who marries and divorces women at will. He has lost count of his children, whose mothers are mostly no longer living with them. Two of his oldest children are thieves and drug addicts; another is married to a stingy husband while the other one weds her heartthrob who, quite weirdly, maltreats her after the marriage. Despite all this, Idi uses his daughter’s bride price to marry a widower, Ladidi (Halima Atete). He eventually gets sick, thanks to his countless marriages, after which everyone abandons him. Yaseen Auwal directed and produced this movie. The topic and the action stand out. Daddy Hikima’s role is outstanding. Besides, Idi’s daughters deserve better treatment from their husbands, for, after all, their father’s fault is not theirs.

 


4.     Dafin So

Bashir (Adam A. Zango) is raised by an overprotective mother who spoils him, leading him to drug addiction. He runs away from home and, eventually, becomes somewhat insane. One day, a posh Nabila (Aisha Tsamiya) brings her car for repair close to the refuse site Bashir and his friends live on the heap to smoke and consume drugs. He comes to the garage to beg the mechanics for food as he usually does. When they chase him away, to protect their customer, she feels sorry – or more – for him. Against the odds, she follows him until she finally gets him fully rehabilitated. Typical of such a film, she falls in love with him and asks him to marry her, a choice her father furiously rejects. Her betrothed dumps her after an accident left her wheelchair-bound. Then, the father realises that only a true lover can marry his daughter, and Bashir is one. Though the story is not very novel, its execution is laudable. It’s directed by Sadiq N. Mafia and produced by Abdul Amart. The Zango vs Tsamiya chemistry is indisputable; likewise, their acting flair.

5.     Kazamin Shiri

Alhaji Sammani (Rabi’u Rikadawa) is a wealthy man with a beautiful, happy family. He weirdly falls in love with a married woman, Karima (Bilkisu Shema) who is contented with her low-income husband, Badamasi (Ali Nuhu). She rejects Sammani’s absurd love overture. After a series of pressure coming from her bosom friend, mother, and eventually her husband, she recapitulates. The film is full of intrigue, and is also well directed and acted. Nonetheless, the ending may encourage such behaviour in a society known for its cherished socio-moral and religious values. It’s directed and produced by Sunusi Oscar 442 and Alhaji Sheshe, respectively. Aminu Sharif and Fati Washa did very well. Mr Rikadawa displays his exceptional talent in this drama.

6.     Fati

This film, supposedly, comes with a difference in storytelling in Kannywood. It tells the story of a bipolar Umar (Umar M. Sharif) on psychiatric medical trial. The film’s first frame shows him in a relationship with Fati (Fatima Kinal), who eventually dies. Heartbroken, he struggles to forget her and forge ahead with his life. He continues schooling until he graduates. As an NYSC corps member in Jigawa, he sees the same Fati who, however, like everyone there, have no earthly clue of his identity. He does all he could to remind her of their past life, and so on. Many audiences criticise the plot concept; showing two separate, yet connected, stories from Umar’s psychotic state is, at best, ambiguous and, at worst, incredible. Part of the story also resembles another film, Hafeez, which is also by the same producer and similar casts. Kamal S. Alkali is the director while Bashir Maishadda is the producer.

7.     Voiceless

Voiceless is one of the emergent Boko Haram-inspired movies, set on the dreadful insurgents’ abduction of Chibok schoolgirls. The romantic-thriller tells the story of Goni (Adam Garba) and Salma (Asabe Madaki) – two victims kidnapped by “Sojojin Aljanna” [The Army of Paradise]. Although that moves the plot, their love life is not the main focus. It’s, instead, the insurgency and its attendant consequences. The movie receives critical acclaim from Muslim and Christian viewers for its ‘fair’ treatment of the sensitive topic. Even though the title is in English, the film’s dialogue track is in the Hausa language. While the actors are mostly ethnic Hausa, the filmmakers are not. Robert O. Peters directed it while Rogers Ofime is the producer. Overall, the film is a big challenge to the mainstream Kannywood folks who rely mostly on Bollywood-esque themes at the expense of abundant others in their immediate surroundings.

8.     The Milkmaid

The Milkmaid was also inspired by Boko Haram and the iconic photo of Fulani milkmaids on the back on Nigeria’s 10 naira note. Nigeria submitted it as its entry for the 2021 Oscars in the Best International Feature Film category. The film is the second to have reached that height after Genevieve Nnaji’s Lionheart, which was, quite sadly, rejected in 2019. Set in Taraba state, the movie, as the title suggests, tells the story of a milkmaid (Maryam Booth) whose sister is abducted by Boko Haram terrorists. Though I have yet to watch it, that nomination is a testimony that it more than qualifies to be here. Although non-Hausa filmmakers made it, its dialogue track in in the language (Hausa). From the trailer, the film’s cinematography is impeccable. It is yet another, perhaps more significant, challenge to the mainstream Kannywood film practitioners. It’s written, directed, and produced by Desmond Ovbiagele.

 


9.     Jalil

The eponymous movie tells the story of a couple, Yusuf (Yakubu Mohammed) and Zahra (Maryam Booth), whose only child, Jalil gets sick and the hospital demands 33 million nairas for his operation. The couple does not have that much money even after an online fundraising campaign. Yusuf also refuses to procure the funds via any illegal means, a decision that angers his mother. Zahra is a TV host and has a friend, Jazzy (Sadi Sawaba), who is desperately looking for money to pay a debt. Therefore, Jazzy, his friend and Zahra’s mother-in-law fake an abduction of the latter to extort money from the couple and Yusuf’s wealthy brother who earlier refused to assist them due to a family feud. The film has some issues such as an implausible friendship between Zahra and Jazzy, an unexplained motive for Jazzy’s desperation for money, and lack of continuity in some scenes. It’s, nonetheless, a good film. It’s yet another movie made by non-Hausa producers but in the Hausa language, which also features the majority of Hausa actors. It’s directed by Leslie Dapwatda and produced by Kelly D. Lenka

10.  Gidan Kashe Ahu

The duo of Yaseen Auwal and Umar S. K/Mazugal as director and producer, respectively, came with another very topical, social drama titled Gidan Kashe Ahu. It exposes the consequences of poor parenting through the stories of Hafsat (Maryam Yahaya) and Indo (Amal Umar). Both belong to low-income families where the former suffers at the hands of a cruel stepmother while the latter faces a forced marriage to an elderly, harsh man who divorces women at will. They eventually flee and end up in a brothel. The movie is one of the best in the history of Kannywood for several reasons such as the subject matter, the almost-accurate depiction of its 1980s setting, directorial work, performance, among others. It also contains many lessons for parents, girls, prostitutes, and the rest. I highly recommend it.

Comments

  1. Ma sha Allah!
    This wows me! It's unbelievably written!
    Thanks a billion, Sir.

    ReplyDelete
  2. eventually flee and end up in a brothel?

    ReplyDelete

Post a Comment

Popular posts from this blog

(168): Top 7 Kannywood series of 2023

By  Muhsin Ibrahim & Habibu Ma’aruf muhsin2008@gmail.com As 2023 draws to a close, the closure of Kano Filmhouse Cinema is one of Kannywood’s most regrettable events in the outgoing year. Consequently, there was a significant decline in the number of cinematic releases. Nevertheless, amid this setback, a silver lining emerged as it spurred a notable shift towards series films, with prominent producers and directors venturing into the evolving market. From  Labarina ,  Alaqa , and  Manyan Mata  to  Fatake ,  Amaryar Tiktok  and  Gidan Sarauta , Kannywood’s audience has been captivated by numerous enthralling TV and web series. While the series market faces criticism for potentially fostering second-rate productions, the following list highlights the best seven series films aired in the year. Please note that the numbering is not hierarchical.  1. Labarina Labarina  stands out as a household name among Hausa film enthusiasts. Desp...

(143): On Connection Regrets: My Excruciating Experience

On Connection Regrets: My Excruciating Experience   By Muhsin Ibrahim Khadija, nicknamed Kashe-Kala, who I ‘re-nicknamed’ KKK, was one of my dearest classmates during our undergrad at Bayero University, Kano. Honestly, KKK, a sickle cell patient, was pretty, posh, and from a wealthy family. Hence that sobriquet. So, admittedly, I believed she was out of my league. However, we became so close. Despite our closeness, we disagreed pretty often. About a year after graduation, I met the lady I later married. The day I told KKK about my newfound love, she jokingly bragged that I chose this girlfriend because she’s her namesake: Khadija. On hearing this, some friends thought she loved me. It’s not true; our relationship was platonic. I had visited KKK’s house countless times. I barely missed seeing her at the hospital. Her relatives know me. I can’t forget the day I was riding my motorbike to their house when I stopped by the roadside to answer her call. From nowhere, someone snatch...

(113): Kwana Casa’in: A Short Review

Kwana Casa’in : A Short Review If posh locations, number of cast and crew members, sophisticated camera, etc. are enough indicators for the budget size of a production, then Kwana Casa’in [90 Days], produced by Arewa 24 channel, is doubtlessly an expensive soap opera. Directed by Salisu T. Balarabe, the drama is arguably the best of its kind in the Hausa language. Being funded by foreign, non-profit, non-political bodies, including the MacArthur Foundation, Kwana Casa’in stands out as a socio-political critique of our people and governments. It unmistakably aims to provoke reflection and introspection and to spark conversation and action within and outside the corridors of power. Is it able to achieve that? Set in a fictional town called Alfawa, the drama begins at the peak of governorship electioneering. The current governor, Bawa Maikada (acted by Sani Mu’azu), is highly corrupt and desperate to win re-election in spite of doing very little for the people. The health sec...