Ardent fans of African historical drama are incredibly excited to see content that delves into local history and culture rather than constantly relying on Hollywood to provide Medieval, Greek, Viking, or Mongolian stories. The upcoming Netflix film "House of Ga'a" fills this gap by bringing such rich history of the Old Oyo Empire, located in parts of present-day Nigeria, to life. But as with any ambitious project, there are areas where it could be improved. A Filmaker and Netflix Cinematographer, Eddie Azanami, via Elon Musk’s X platform, formerly Twitter, offers some constructive critique of the visuals presented in the trailer in a long thread, from a theatrical and historical point of view.

Embracing Local History

First and foremost, it is heartening to witness the emergence of films that explore our local historical narratives. Historical movies act as time machines, transporting us to the past, allowing us to experience how people lived and how their actions shaped our society today. This makes accuracy in such films paramount.

Aerial Views and City Layout

The aerial view in the "Bashorun Gaa" trailer is impressive. Previous films like "Anikulapo" and "Jagun Jagun" lacked such extensive and informative aerial shots. However, upon closer inspection, there are areas for improvement. At certain points, it becomes difficult to distinguish between the huts and trees. Additionally, the round huts’ roofs appear too uniform. In a historical city, the farmer’s house would differ significantly from a merchant’s house. Furthermore, traditional African compounds typically housed extended families, and these compounds should be evident in the aerial shots. Despite these issues, the VFX team deserves applause for their depiction of Old Oyo.

Attention to the Household and Women

The trailer does a commendable job of portraying Bashorun Gaa’s household, paying special attention to the women. Historically, the harems of powerful African men were central to the household, a fact that is often overlooked in films. This inclusion adds a layer of authenticity to the story.

Backdrop and Depth

The backdrop in several scenes, such as the palace court entrance, market, and Bashorun’s sons’ lair, is predominantly bush. Showing the city as a backdrop would have conveyed the simultaneous bustling life as the story unfolds, a technique commonly used in high-budget Hollywood films. This would have enhanced the narrative, providing a richer context for the events on screen.

Artistic Depictions and Set Design

The use of graffiti in historical films is often misplaced. Our ancestors employed high and low relief art forms, which are still studied in art schools worldwide. Simply painting on walls diminishes the value of the set. For instance, the graffiti on the outer wall in one of the frames should not have been there. It’s crucial to improve our storytelling by adopting these traditional art forms rather than relying on modern graffiti.

VFX and Realism

While the VFX team has done an impressive job, some elements appear too crisp. Buildings, such as those on the left in one frame, resemble structures from the Obudu Cattle Ranch rather than the Old Oyo. The walls have sharp edges, and slight aging of textures could have enhanced their realism. This issue is also evident in Ogundiji’s house in "JagunJagun," where the entrance looked contrastingly sharp. Authenticity in set design is crucial, especially when depicting ancient times.

Depth of Field and Set Construction

Depth of field is often neglected in our films. In "The Woman King," the interiors appeared bulky and real, whereas our films tend to have flat walls with fewer columns, arches, and levels that create a grand set impression. Improved set construction, even with larger budgets, can enhance the visual storytelling. Historical films should avoid sets that look like they could be toppled by a gust of wind. Depth in structures also improves lighting, adding to the scene’s realism.

Historical Accuracy in Costumes

The costumes depicted in the trailer raise questions about historical accuracy. Did the Nupe’s dress like this going to war? The Oyo warriors, including the Bashorun, should have distinctive headgear, charms, amulets, snail shells, feathers, and animal skins. The current depiction seems inaccurate, resembling modern interpretations rather than historical reality.

Eddie’s Final Thoughts

Despite these critiques, "Bashorun Gaa" promises to be an amazing film. It is a significant step in the right direction for our film industry. Having been on film sets, I understand the Herculean task of filmmaking, and no film can be perfect. However, I am confident that my generation of filmmakers will continue to improve and eventually perfect our storytelling. I eagerly await more films from BAP, Kunle Afolayan, Femi Adebayo, and others.

And a plea to Nollywood

When will we see a film about the ancient Benin Empire? The empire that made the British so envious they sought to destroy it deserves to be portrayed on the big screen. As a future filmmaker, I dream of bringing this story to life. Until then, let’s continue to push the boundaries of our historical narratives.

Many X platform users have found the thread educative and entertaining in how Eddie broke down each scene in understandable language. We, at TheACE find it an objective critique coming from a professional in the visual storytelling space. Let us know your opinion about it.