A Ranks Africa Magazine Spotlight Publication
The Man Behind the Lens
There is a particular kind of filmmaker who does not simply make films. He builds worlds, nurtures talent, and asks the uncomfortable questions that most people would rather leave unanswered. Akinnayajo Babatunde, known across Nigeria’s creative industry as Mr Tunez, is that kind of filmmaker.
A producer, director, and creative entrepreneur, Babatunde has carved out a distinct identity within Nollywood, one defined not by noise or spectacle, but by a steady, deliberate commitment to stories that matter. His work sits at the intersection of emotional truth and cinematic craft, drawing from the texture of African life to produce films that feel lived-in, urgent, and honest.
His journey through the industry has been one of quiet accumulation. Directing and producing cinema releases such as Midnight (2019) and Arinfesesi: A Day of Misfortune (2023), alongside television features like Whirl (2020) and the recent Tears of the Night (2025) amongst others. Babatunde has demonstrated a range that spans drama, thriller, and socially reflective storytelling. Each project adds another layer to a filmography that speaks consistently in one voice, even as the subjects shift.
What makes his work particularly notable is the consistency of its moral centre. Whether exploring love, betrayal, ambition, or the quiet erosion of human resilience, his films return again and again to the home, to the family unit, to the private spaces where society is first formed and sometimes first broken.
PhotoSceneLenses Africa: Building the Next Generation
Beyond his own productions, Babatunde is the founder of PhotoSceneLenses Africa, a creative training and mentorship platform dedicated to developing emerging filmmakers and producers across the continent. Through workshops, masterclasses, and structured industry programmes including the “Producer’s Blueprint,” he has invested considerable energy into the generation of storytellers that will follow him.
This is not a side interest. It reflects a clear-eyed understanding that the future of African cinema depends not on one or two celebrated names, but on a broad, capable, and disciplined creative workforce. Babatunde has positioned PhotoSceneLenses Africa as a practical bridge between raw talent and professional readiness, emphasising both creative excellence and the business literacy that sustains long careers.
His entrepreneurial instincts have allowed him to approach capacity building the way a studio might approach development: with structure, scalability, and a long view. He is building an ecosystem, not a following.
Mr Tunez’ Fury: A Film Africa Needs to Watch.
Babatunde’s most anticipated project is Fury, a film that takes on one of the most underexamined subjects in African domestic life: postpartum depression and its effect on marriage, intimacy, and the wider family unit. Adapted from a true life story, Fury has already earned nominations for Best Actress, Best Social Message, and Best Sound at the 2025 BON Awards, before its full release, a sign that the film has struck something real and unignorable.
In a conversation with Ranks Africa Magazine, Babatunde spoke openly about why this story demanded to be told.
Fury centres on the emotional and psychological struggles many African women face after childbirth. What brought you to this subject, and why now?
“First and foremost, the home is the most important unit of the society. If a nation or a life will be shaped, it starts from the family. The society is what it is today because of dysfunctions in the home, and some of these issues stem from broken marriages, traced to infidelity, communication gaps, weak sexual intimacy amidst societal pressure and expectations.
This story is crucial at this point because the world needs to pay attention to what the effects of postpartum can cause to marriages and to society at large. This story is an adaptation of a true life story and it is worth sharing for the world to see and learn from.”
The film has been described as a mirror of real situations in many African homes. What realities shaped the direction of the narrative during your research?
“The sad reality is that many husbands and wives are affected after the delivery of their child. Many relationships are strained and sexual intimacy is hugely affected. This is a sad reality in many homes across the world today, and the discourse on how it should be approached and handled is not readily available as much as it should be.”
The film features a cast that blends veteran performers with contemporary television stars. What guided your casting decisions?
“As much as we wanted popular faces, we wanted to tell a story that is very relatable, and that can only be done by talented actors who could interpret the role. Our decisions were guided by talent more than fame.”
The BON Award nominations arrived before the film even reached full release. What does that early recognition mean for you and for socially conscious storytelling in African cinema?
“We are excited about the early recognition even before full release, because this means that there is something striking about our story and the jury could feel or relate to the reality our story painted. This means a whole lot to us and we know this would positively impact millions of people who watch the film.”
SekiApp is involved both as a brand partner and within the storyline itself. How do you see that kind of collaboration shaping the relationship between filmmakers and technology platforms in Africa?
“SekiApp collaborated strategically because they understand that art and tech can coexist perfectly while reaching respective goals. Aside from the fact that SekiApp was actually a part of the story and played a key role, they are also one of our sponsors on the project. They are the GOAT of fast payment.”
A Vision Larger Than Any Single Film
What distinguishes Akinnayajo Babatunde from many of his contemporaries is the breadth of what he is working toward. He is not simply building a filmography. He is working to establish structures, platforms, and standards that can elevate African cinema as a whole.
His projects ask real questions. His training programmes develop real careers. His partnerships demonstrate that African film can operate with the same professional sophistication found in any mature creative industry in the world.
Fury is the most concentrated expression yet of what this filmmaker is capable of when commercial instinct, social conscience, and cinematic craft align. The nominations are a beginning. The release, by all indications, will be something considerably larger.
Akinnayajo Babatunde, Mr Tunez, is not arriving. He has been here, building quietly. Nigeria’s film industry is beginning to catch up with what he already knew.
Ranks Africa Magazine celebrates African creative voices shaping culture, industry, and identity across the continent.
