In all of this, it is important to note that Nollywood has always managed, dispute its many failings, to produce unforgettable modern classics. And just as the music side of the culture is growing, Nollywood - which has always had its own small global popularity -is making claims to a bigger global audience through audacious stories like Blood Sisters. To understand Afrobeats music is to understand the movies made around this culture, the books written around it, and the cultural meaning behind its global ascension. Afrobeats culture, in this sense, is a metonym that represents the various aspects of Afrobeats: the films, the books, the cultures, and the socio-cultural politics that define the music and ultimately define the people. We can tell these really exciting and thrilling stories.”Īside from being a great series, Blood Sisters represents one of the many vibrant creative exports coming out of Africa today, of which Afrobeats music and Afrobeats culture are huge contributors. understand that yes, this is storytelling that depicts some of the evils in the world but it's to say Africa's not left out of that. “What you often get is a one-sided view of Africa when our stories are being told, but we need to take a holistic view. To see that this is how the rich live, and this is how the poor live,” Mo Abudu, the executive producer said in a recent interview with Digital Spy. Our reality is that in every society, this does exist and it is important for people to understand and to see that. “When you watch Blood Sisters, you see the entire economic divide of Nigeria. When the series was released, the #BloodSisters hashtag trended for weeks on Twitter, generating 32,633 tweets between May 4 and May 21. The result is an incredibly compelling piece of work. In Blood Sisters, the filmmakers refuse to moralize or cast anyone as inherently good or bad, while simultaneously maintaining a firm stance against domestic abuse and portraying a sinister, even more nuanced view of it. And when one considers the religious and deeply conservative influences behind these morals, these films tended to promote misogynistic, homophobic, or sexist ideals. Nigerian filmmakers have always built narratives suffused with and often crippled by a need to establish a moral arc, a clear demarcation between good and evil, the morally bankrupt and upright. Historically, Nigerian cinema has relied on telling didactic stories as its primary selling point. Nope, you won’t find that in Blood Sisters. Characters who are ostensibly good and whose lives are uncomplicated enough to help the filmmakers create a sharp contrast between good and evil. What is incredibly fascinating about this series, which I think makes it one of the most important pieces of media to come out of Nollywood in the past few years, is its refusal to create characters with binary moral compasses, as is typical of Nollywood. The show goes on to uncover devastating secrets in the lives of the characters, the rot in the Nigerian police system, and most importantly the role institutions and even family members play in enabling domestic abuse. The murder, happens on the day of Sarah’s introduction ceremony, a traditional Nigerian marriage tradition where families of new couples are formally introduced to each other. The series follows two friends Sarah (Ini Dima-Okojie) and Kemi (Nancy Isime) who are on the run for the murder of Sarah’s abusive groom-to-be. Each episode, while offering moments of tenderness and calm, is packed with upheaval and the seemingly failing attempt at resolving it. Executive produced by media mogul Mo Abudu and co-directed by legendary Nigerian filmmakers Biyi Bandele and Kenneth Gyang, Blood Sisters is an expertly constructed story told in six heart-stopping episodes.
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