When Abdul Tijani-Ahmed began researching for ‘Red Circle’, where he served as both screenwriter and producer, his search history got suspicious. “I had to research journalism,” he says with a smirk. “And, obviously, how to dispose of one or two bodies.”
It is this sort of unnerving curiosity one might expect from a thriller writer. But beneath the grit and suspense of ‘Red Circle’ lies something more personal: a deep, abiding trust in friendship. That trust, it turns out, is the story behind the story.
Directed by Akay Mason, ‘Red Circle’ is a blockbuster about secrets, betrayals, and the murky grey between right and wrong. It stars Folu Storms as Fikayo Holloway, the journalist at the helm of uncovering these dark secrets. Supporting her performance is an epic lineup that includes Tobi Bakre, Timini Egbuson, Omowunmi Dada, Femi Branch, Lateef Adedimeji, Ibrahim Suleiman, Mike Afolarin, and Bukky Wright. It also features Detola Jones, Adebowale Adedayo (Mr. Macaroni), Shamz Garuba, and William Benson.
To hear Ahmed talk about it is to understand that the narrative was always meant to reflect something else: the strength of community. “The idea of a ‘circle’ of friendship, of found family, was always central,” he says. “Every time I’ve grown, I’ve done it with a friend.”
The film, produced with close collaborators—Nora Awolowo and Akay Mason, who directs—marks Ahmed’s first foray into producing, and it’s no coincidence he chose to make that leap alongside people he trusts. “This is my first time producing, and I’m doing it with my friend,” he says. “From ‘Brotherhood’ to this, my career has always moved forward with friends by my side.”
When asked which character in ‘Red Circle’ he connects to most, Ahmed doesn’t hesitate: “Fikayo”. “She makes questionable choices,” he says. “Some are wrong, even chaotic—but they come from a place of love. Her heart is good. She loves her friends fiercely, and I relate to that so much. My friends mean the world to me.”
However, writing certain characters wasn’t so easy. Otaru, the hard-nosed detective with a moral compass skewed somewhere between ambiguous and absent, was particularly difficult to write. “He’s a douchebag,” Ahmed says candidly. “I had to stop myself from judging him. I swore at him while writing.” Ironically, the character is named after a real-life friend—one who is, according to Ahmed, “the complete opposite” of Otaru.
Like most writers, Ahmed draws from everything around him, including what he watches. “I watch at least three films a day,” he says, laughing. “I don’t care if it’s good or bad. I just want to see. Whenever I’m working in a specific genre, I’ll binge two or three titles to get into that space. But ‘Red Circle’? I wrote it a while ago. I’ve watched too much since then to remember what exactly influenced it.” That kind of cinematic immersion keeps his storytelling muscle flexed. It also hints at the discipline behind the creative chaos.
In a world that often glorifies lone genius, Ahmed advocates for a different model, one built on collaboration. “I know everyone wants to work with the big names,” he says. “But no one will be as invested in you as your peers. The people growing alongside you, they’re the ones who will ride with you.” It’s more than sentiment. It’s strategy.
His breakout writing credit on ‘Brotherhood’ came about because he was creating consistently with his circle. “While you’re waiting for Steven Spielberg to find you,” he says half-jokingly, “you need to be doing something. Put your work out there with your friends.” He’s living proof that it works.
‘Red Circle’ is more than a title. It’s a metaphor for everything Abdul Tijani-Ahmed stands for: storytelling that’s bold, character-driven, and built in the trenches with the people who know you best.
As the conversation comes to a close, he reflects on the importance of not doing it alone. “Community is everything,” he says simply. “It’s how I started, and it’s how I’ll keep going.”
