Omoni Oboli exists at the intersection of film and women. Whether she is breaking misogynistic myths in ‘Okafor’s Law’ or reflecting the harsh realities of Nigerian women in ‘Wives on Strike,’ one thing is clear: women own a piece of her heart.
With a career that spans decades,Oboli has had to work her way up from actress to director and producer. The reins were not handed to her; she had to take them. She saw a loaded table and brought a chair. That decision led her to establish a beloved franchise and a grossing YouTube channel.
In an interview with Nollywire, Omoni Oboli discusses women-centred storytelling, roadblocks women face in Nollywood and how the industry can tackle these issues.
The ‘Wives on Strike’ films resonated with many women by tackling issues like gender-based violence, child marriage, and women’s rights. Looking back, what impact do you think the franchise had, and do you see yourself revisiting those themes in future projects?
I deliberately based ‘Wives on Strike’ about real events because these aren’t abstract problems; they’re lived experiences. When I tackle subjects like kidnapping, gender-based violence, the role of women in governance and child marriage, I’m addressing urgent crises that demand immediate action.
I’ve witnessed firsthand how film can transform perspectives, ignite crucial conversations, and drive tangible change. This is precisely why I’ll continue creating content that confronts uncomfortable truths. The measurable impact of these films confirms what I’ve always believed: storytelling is one of our most powerful tools for social transformation. I’m committed to wielding that tool deliberately and effectively in my upcoming projects.
As a filmmaker, actress, and entrepreneur, you’ve carved a space for yourself in an industry that hasn’t always been the most welcoming to women. What are some of the challenges you’ve faced, and how have you overcome them?
When I started, there were not many female filmmakers in Nollywood. It was virtually barren. The obstacles were concrete and substantial: systematic funding barriers, being routinely dismissed in creative discussions, and navigating the impossible expectations of balancing professional demands with family responsibilities.
I didn’t wait for the industry to make space for me; I claimed it. I developed strategies to secure independent financing, built my own production infrastructure, and established partnerships with people who respected my vision.
You’ve often used your platform to advocate for women’s empowerment. What do you think Nollywood and society at large can do better to support women in both storytelling and real life?
To be very honest, the industry has evolved. I am proud of the many women breaking records and doing great things. However, Nollywood needs to move beyond token representation to structural transformation. We require comprehensive changes.
The industry must acknowledge that women’s stories are universal and profitable. That’s precisely why I’ve launched the Reel Women’s Network. This initiative will help women in the industry network, share ideas, have hands-on technical workshops, and provide structured mentorship for emerging female filmmakers. We’re building a sustainable pipeline of women who will shape the next generation of filmmakers in Nollywood.
Many women in Nollywood, including yourself, are breaking barriers and redefining what’s possible. What do you think has changed the most for women in the industry since you started, and what still needs to change?
The most significant shift I’ve witnessed is women moving from being merely subjects in stories to becoming the architects of those narratives. When I entered this industry, we were fighting for basic visibility. Today, female-directed films are dominating box offices and winning international recognition.
However, the foundation remains unstable. We need institutional investors who specifically fund women’s projects, industry-wide policies that address harassment and discrimination, and equitable pay structures.
Your movies often centre women in strong, complex roles. What’s a story about Nigerian women that you’re eager to tell but haven’t had the chance to yet?
I would love to tell the story of powerful Nigerian women from history. We have so many heroines whose stories have never been told on the big screen, and I think it’s time we celebrate them.
Women in Nollywood are increasingly taking charge as producers and directors, yet there’s still a gap in funding and opportunities. What has your experience been like navigating financing as a female filmmaker, and what advice would you give to women looking to create their own films?
Let me be direct: as a female filmmaker, I’ve faced consistent, systematic discrimination in accessing capital. Investors frequently questioned my business acumen despite my track record of profitable projects. I’ve had to become as skilled in financial negotiations as I am in creative direction.
My advice to emerging female filmmakers is practical: Start with the resources you have while simultaneously building relationships with non-traditional investors. Document every success meticulously—revenue figures, audience metrics—because you’ll need this evidence to counter biases. Form strategic alliances with other female creators to share resources and knowledge. Most importantly, develop multiple revenue streams so you’re never completely dependent on a single funding source that could vanish due to bias.
This year’s International Women’s Day theme is “Accelerate Action.” What does that theme mean to you personally, and how do you hope to see Nigerian women continue to break barriers in the coming years?
For me, “Accelerate Action” is an urgent directive to act. The pace of change for women has been deliberately slowed by entrenched interests. The future belongs to women who take decisive action. I’ve built my career by creating opportunities rather than waiting for them to be offered. That’s the mindset that will drive Nigerian women forward.
