In The Presidency, a new political drama directed by Sampson Afolabi-Johnson and written by Esther Kokori, Durodola, played by Arikmun Mallum, returns home to a country on the edge, only to be entangled in a battle that is both personal and political. His mother, Ireti—embodied by Fadekemi Olumide—a formidable leader in the UPM party, is at war with Progress Circle, a rising force seeking to dismantle the status quo. What follows is a gripping story of deception, ambition, and patriotism, unfolding against the backdrop of a nation’s struggle for leadership.
The title ‘The Presidency’ was a result of careful deliberation. Originally titled ‘Mr. President’, the team sought to reflect a woman’s role in a male-dominated space. “We wanted to see a woman winning in a man’s turf,” Afolabi-Johnson explained. However, with the title already in use, they settled on ‘The Presidency’ to capture the film’s themes more directly.
The filmmakers also made a deliberate choice to avoid direct references to Nigeria, opting instead to create a fictional political world. “Beyond increasing global appeal, we were trying to be as diplomatic as possible,” the director shared.
At its core, ‘The Presidency’ explores women in leadership and their challenges in political spaces. The film aims to highlight the potential and resilience of female leaders while addressing the barriers they face. “Women have unique gifts that complement men’s strengths. A balanced leadership is what our society needs,” said lead actress Fadekumi Olumide.
The film also touches on the dynamics of family and power. Ireti and Durodola’s relationship is at the heart of the story, emphasising personal stakes in political ambition. “We didn’t just want to tell a political story,” Afolabi-Johnson noted. “We wanted to tell the story of a mother and son in a political arena.”
Beyond political drama, ‘The Presidency’ includes action sequences, including a stunt where a character jumps off a bridge. Director Afolabi-Johnson collaborated with action specialists to execute these scenes within the constraints of the budget. “We did what our resources could afford, and even within Nollywood’s teething stage in action sequences, we’re getting there,” he said.
Balancing dialogue-driven drama with engaging action was another challenge. “Dialogue scenes can be slow, but you need conflict to drive action. The key is having a clear vision and actors willing to bring that vision to life,” he added
Unlike traditional political dramas, ‘The Presidency’ focuses on the intersection of power and personal relationships. The story is not just about political ambition but about family dynamics within that space. This approach sets the film apart, offering a different perspective on leadership and legacy.
With plans to take the film beyond Nigerian audiences, ‘The Presidency’ aims to spark discussions on governance, leadership, and family in the political arena. “Everywhere there’s a big screen, we want ‘The Presidency’ to be there. This is just the beginning,” Afolabi-Johnson concluded.
