Controversy Surrounds ‘The Herd’ as Arewa Community Calls for Film’s Cancellation

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Lagos – The upcoming Nigerian film The Herd has sparked controversy, with members of the Arewa community calling for its cancellation over claims that it portrays their people as violent. The film, which depicts Fulani herders committing crimes such as armed robbery and kidnappings, has drawn sharp criticism even before its release.

Bashir Ahmed, former spokesperson to President Mohammed Buhari, addressed the controversy, clarifying that the anger is not about denying the reality of banditry in Nigeria. Rather, he said the concern lies in “profiling an entire ethnic group and region that has already suffered immensely from years of insecurity.”

Ahmed specifically pointed to the film’s teaser, which shows Fulani herders crossing a road with cattle before suddenly pulling out guns, shooting, and kidnapping travelers. He described the scene as “facile and dangerously inaccurate,” warning that such portrayals could reinforce harmful stereotypes, increase suspicion, and even incite violence against innocent people.

He further called on Ali Nuhu Mohammed, Director General of the Nigerian Film Corporation, to intervene.

However, critics argue that calls for censorship reflect a double standard in Nigerian cinema. They note that films depicting Igbo characters involved in crime or ritual practices rarely attract similar outcry. Supporters of The Herd maintain that the film reflects real security challenges facing Nigeria today and that art has historically served to provoke thought and confront uncomfortable truths.

While the Arewa community’s reaction has brought national attention to the film, some commentators see the controversy as beneficial publicity, arguing that censoring the movie could set a dangerous precedent and limit bold storytelling in Nigerian cinema.

“The Herd is a necessary film,” Ahmed’s critics argue. “It tells a story millions of Nigerians face daily. It deserves to be seen and discussed, not silenced.”

The debate highlights ongoing tensions over representation, ethnicity, and creative freedom in Nigeria’s growing film industry.

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