By admin Film director and actor, Jide Oyegbile, popularly known as JBlaze, takes us behind the scenes of his award-winning short film, “Brukaci”, which won Best Short Film award at the recent Africa Magic Viewers’ Choice Awards (AMVCA). In this interview by ADERONKE ADESANYA, JBlaze shares the incredible journey that led to his boldest work yet—a fantasy film set in an entirely fictional world with its own culture, language and spiritual rules.
First of all, congratulations on winning Best Short Film award at the AMVCA. What was going through your mind in that moment?
Initially, all I could think about was whether “Is that really my name?” I needed to confirm it wasn’t some kind of prank before acknowledging that they were calling out my name. Afterward, I got up quickly and began moving at a brisk pace. In that instant, everything felt surreal; there was an overwhelming mix of adrenaline and thrill as this marked my first ever AMCVA award. Despite feeling rather calm under pressure, delivering the acceptance speech still came naturally to me.
For those just getting to know you, who is Jblaze, and how did your journey into the world of filmmaking begin?
It’s been quite an extensive journey for me, starting from when I began acting at age seven in church plays at Orita Mefaa Baptist Church in Ibadan. Afterward, I performed with Mount Zion before continuing my acting career at Bowen University where Damilola Mike-Bamiloye was also studying.
In 2014, I created my first film, but I felt no pride in it since I lacked knowledge at the time. I had to quickly assemble a team from scratch as this was uncharted territory for me. Afterward, I kept pursuing acting roles and have appeared in numerous productions such as “King of Boys” and “House of Gaa,” among others. Additionally, I work as both a filmmaker and director, aiming to create projects that align with my personal style. This is why I am currently working on “Brukaci.”
Let’s talk about Brukaci, what inspired the story behind this powerful short film?
Brukaci draws inspiration directly from my daily experiences and thinking beyond conventional boundaries. Working on significant projects such as “To Kill a Monkey,” directed by Kemi Adetiba, exposed me to exceptional talent. However, collaborating with Oscar Heman-Ackah on his film “Finding Messiah” opened new horizons. This particular work marked Nigeria’s debut feature where a distinct language was developed—though not mine. Witnessing “Finding Messiah” come together clarified that achieving my aspirations wasn’t outlandish; indeed, anything imagined can be realized.
One day, pondering over how to craft something impactful, I envisioned making a film set in a non-existent realm—one both surreal yet utterly convincing. Incorporating themes like infertility and marital betrayal helped ground the narrative before layering additional components onto it. Developing an entire society entailed inventing its customs, vernacular speech, environmental backdrop, dietary habits, iconic artifacts like gold masks, interactions with wildlife, profound connections with natural surroundings, along with extrasensory communication—all rooted in fiction rather than reality. Crucially, this utopian community lacks governmental structure, focusing instead on spiritual governance. The protagonist aims at mastering scriptural knowledge within this framework.
Although crafting numerous facets may seem daunting for a brief cinematic piece, preparations are underway to expand it into full-length format—the initial installment serves merely as validation of our creative vision.
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The title is intriguing. What does “Brukaci” mean, and how does it tie into the message of the film?
What Brukaci implies is “Bracket” as expressed in the language featured in the film. Consequently, within this movie, themes of desolation and unfaithfulness prevail; thus, the narrative revolves around how these two principal families become entrapped between those issues.
What themes or actual life situations did you aim to investigate in Brukaci?
The themes are infidelity, child bearing, immorality and as much as it’s a world that does not exist and you can always create your own laws and also the telepathy means your partner can see if you’ve been unfaithful and the punishment is death. So I’m relating it to our real world where adultery is really frowned upon if caught. So as much as it is fantasy, it is not fallacy.
Which scene proved to be the toughest to film, and what standout moment makes you feel the proudest?
The most challenging scene to shoot was when I had to hold the crocodile and walk towards my friend. It was a real crocodile and was told by the animal handler to hold its neck and not let go. But thinking deeper, another challenging scene would be the last scene because there were a lot of monologues in that scene that had to be said in the language and the accent while we were running out of time and everyone had to move. The proudest moment for me in the film was when we wrapped up filming cause I had told my friends and co-actors that I didn’t think we were not going to be able to finish and also that everyone believed in the madness that was that project. As an actor, you have to become the character, you can’t fake it, you have to know the line so I was grateful that people believed in me and gave it their best.
Could you take us through your creative journey—how did Brukaci evolve from an idea to a finished project onscreen?
The creative process just started with me saying I wanted to create this world but had to have elements that would attract Nigerians which is why the story is based on religion. So after getting my story, I moved on to the community like how do they behave in this world? It had to be consistent and right. For example, the ladies had to have natural hair, the guys had to shave some facial hair, the ladies needed to have gold clips and everyone had to look as natural as possible and be comfortable with their insecurities. I wanted the attire to also be as African as possible even though the world is a mixture of medieval and modern just to push the African heritage so they can know the person that made the movie is African. That was pretty much the creative process. I also had to create the language, first written in English and then translate to the language. Brukaci is a massive project.
What was the duration of time required to create the movie, and which were the most significant challenges encountered during production?
Creating a movie isn’t just about production; it involves pre-production, actual filming, and post-production. So, I’d estimate around one year of active work, though our overall planning spanned three years as the concept existed well before then. The most significant challenge we faced was managing time constraints. Since we developed a new language for the film, ensuring accurate pronunciation and accents took considerable effort. This led me to remove two scenes due to insufficient time. One such deleted segment involved someone eating animals, which we omitted both for lack of time and logistical issues.
Can you describe the auditioning process and your approach to collaborating with performers to develop their roles?
Casting process was a bit biased. I wanted people that believed in my dream and compulsorily knew how to cut because I do not joke with performance. They also had to be okay with handling animals. From the start, I thought of Charles Born cause I knew he is a fantastic actor and he was so excited that it even gingered me too so that spurred me on. It’s the first fantasy film in Nigeria that I can point out that looks like that and he was really committed so my casting process was based on people with similar reactions and commitment. So I said that people I cast must know how to perform. Then I jumped on Folu Storm who I’ve always wanted to work with. She’s quality and dedicated and I really stressed her. In fact, the first rehearsal we did, Folu got the lines way better than I did. Charles Born too. I didn’t even have to do an audition because going by the work these actors had done before and the rehearsal, everything was seamless. Also in the movie, they had to pray topless which was more of an ask from the women than the men and Folu had no issues with that. So seeing how dedicated she was made it easier for me. I also reached out to Martha Ehinome and she was fanstastic. If they don’t believe in your project, they won’t come. It wasn’t even about the money. The money I paid them was not even enough for the work these people did. So I had to teach them intonations and all, about the animals and all, I made sure the animal wrangler was ok set to handle the animals as well.
What does this AMVCA win mean to you as a filmmaker and storyteller?
The AMCVA win, I’m particularly grateful to God, Multi Choice and MTN who sponsored that particular award. It’s an accreditation of the fact that I’m doing something and I’m doing it right.
Receiving this award thrusts me into uncharted territory and allows the global community to recognize who I am. Essentially, it signifies that I created the top-tier short film across all of Africa, which I view with utmost seriousness. Additionally, it simplifies discussions regarding cinema. Personally, it indicates that I can present proposals and secure the necessary support for the extended version of “Brukaci,” since our current financial requirement stands at one billion naira. Gaining such substantial backing hinges upon others trusting both my vision and capabilities; hence, winning this accolade bolsters confidence in the project’s viability.
In what ways has this acknowledgment influenced your perspective or future project ambitions?
I believe I’ve become more demanding nowadays since having superior skills is crucial for crafting movies. Although hiring skilled professionals can be expensive, witnessing the positive reception of my work has made me realize that sacrificing quality isn’t an option; instead, I must keep producing distinctive content. These high standards have elevated my expectations, turning me into a bold director who stands out both behind and in front of the camera. Even as an actor, people often comment on how distinct my approach is.
It appears that Brukaci conveys a significant social or cultural message. What kind of dialogue would you like it to initiate?
I just want people to believe that once you think it, it’s possible. I was literally speaking “jargon” but I sold feelings to the audience and they bought it. Brukaci stands as a testament – asides the whole moral aspect – to say that once you think outside the box, you can break boundaries.
How do you see short films like Brukaci contributing to the broader African cinematic movement?
Short films is a testing ground to be honest. If you get some funding, see what you can do with it and all. It also lets them know how good of a filmmaker the person is and then when you do well with a short film, they’ll trust you with bigger and especially for people with short attention span, they’ll be able to trust your work and jump to it.
What’s next for you, any upcoming projects we should be excited about?
Next work from me as a filmmaker should be the visual (longer) length of Brukaci to be honest but I do have other movies I’m working on as well. I can’t say the names for reasons personal to me but there’s one that has to do with two characters in the bush and it’s personal to me. I can’t wait to be done with that. As an actor, I also have about two movies I can’t disclose because of the contract but at the end of the day, just keep the name JBlaze Oyegbile in mind cause you’ll be seeing a lot happen from me.
What single piece of advice would you offer to up-and-coming filmmakers, particularly those based in Africa?
Consider alternatives beyond conventional limits, utilize available resources, persistently refine your narrative, and once financial gains begin flowing in, avoid complacency. Never assume success is final; true effort begins here instead. Continue exploring innovative approaches and embrace boldness. Recognizing the constraints imposed by current regulations, strive nonetheless to distinguish yourself through exceptional efforts.
Where can audiences watch “Brukaci” or stay updated with your future projects?
Currently, Brukaci isn’t available for general audiences since it’s still being developed in terms of its visuals. You can catch it at select film festivals where it might be shown. Staying updated with my projects is simple—just follow me on Instagram @itsjblaze or on YouTube @Jide_JBlaze_Oyegbile.
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