For the third time in five years, the Nigeria Official Selection Committee (NOSC) has issued the same dispiriting verdict to the world:
“We have nothing to offer. No film. No submission. No chance.”
This announcement, despite six Nigerian films being considered, is more than just a cautious artistic decision. It is a troubling admission of systemic failure. At a time when Nollywood claims to be evolving into a global force, this repeated retreat exposes how far behind we remain.
A Cycle of Disappointment
The NOSC was established to select Nigeria’s official entry for the Academy Awards’ Best International Feature Film category. Its role is to ensure that Nigerian cinema is represented on the most prestigious stage in world cinema. Yet, almost every year, the committee has left us disillusioned.
• In 2019, Nigeria made its first Oscar submission with Genevieve Nnaji’s Lionheart. The film was disqualified for not meeting the Academy’s non-English dialogue rule, a controversy that could have been avoided with proper preparation.
• In 2020, The Milkmaid was accepted but failed to progress beyond the preliminary stage.
• In subsequent years, bold and ambitious films like CJ Obasi’s Mami Wata and the Hausa epic Mai Martaba were either submitted and rejected or sidelined by the committee.
• Now, in 2025, six films were considered, but the committee concluded that none had the “creative and technical depth” to compete globally.
This recurring pattern has become a symbol of stagnation rather than progress.
The Deeper Problem: A Structural Deficit
It is easy to blame the committee, but the truth runs deeper. Nigerian filmmakers often aspire to global recognition without the infrastructure to support it. We speak of “technical depth” and “global standards,” yet few steps are taken to build them.
• Training and Mentorship: How many structured programs exist to train Nigerian filmmakers in advanced editing, sound design, cinematography, and post-production? Too few to count.
• Investment in Infrastructure: How many studios in Nigeria can deliver the level of quality demanded by the Academy? Most filmmakers still outsource key processes abroad.
• Strategic Campaigning: An Oscar run is not just about the film itself; it requires lobbying, publicity, and networks with distributors and international partners. Nigeria has not built these alliances in any consistent way.
What we are witnessing is not just artistic hesitation. It is the result of years of underinvestment in the structures that make world-class cinema possible.
Why the Oscars Matter
Some argue that Nollywood does not need the Oscars to validate its success. While it is true that Nigerian films enjoy wide popularity at home and in the diaspora, the global stage offers more than prestige.
An Oscar presence affirms credibility. It signals that Nigerian stories can meet international benchmarks of storytelling, technical polish, and cultural resonance. It opens doors for global partnerships, co-productions, and distribution opportunities.
By repeatedly withdrawing from the race, we are telling the world that Nigerian cinema is not ready to compete. That narrative, if left unchallenged, risks cementing a reputation of mediocrity.
The Way Forward
This cycle can be broken, but only through deliberate action. Nigeria needs to treat global cinema as a serious industry, not a hopeful lottery.
1. Structured Development Programs: Government, guilds, and private investors must fund consistent mentorship schemes to elevate technical and artistic skills.
2. Post-Production Investment: Cutting-edge facilities for editing, sound, color grading, and visual effects must be built and sustained locally.
3. Oscar Campaign Infrastructure: Partnerships with international distributors, festival curators, and PR strategists must be established so our films are not abandoned after submission.
4. National Film Policy: A cultural policy that prioritizes global competitiveness in cinema should back Nollywood the same way countries like South Korea, India, and Mexico have supported their industries.
Conclusion
In my own conclusion,the repeated declaration of “no film” should no longer be accepted as routine. It is not just an artistic judgment; it is a reflection of systemic neglect.
Nigeria has the stories, the talent, and the ambition. What it lacks is structure. Until that gap is addressed, Nollywood will remain a giant at home but a hesitant participant abroad.
If Nigerian cinema truly desires to stand tall on the world stage, then the time for excuses has passed. We must build the systems that ensure our best films do not just exist, but excel. Only then will the NOSC have no choice but to say yes.
Written by: Adesina Kasali
