Lancelot Imasuen Celebrates 30 Years of Filmmaking

 

Veteran Nollywood filmmaker Lancelot Oduwa Imasuen

Veteran Nollywood filmmaker Lancelot Oduwa Imasuen is marking a major milestone—three decades of dedication behind the camera. Known for classics like Issakaba, Adesuwa, and Invasion 1897, the Edo-born director has produced over 500 films and is preparing to reintroduce Issakaba to a new generation, 24 years after it first made waves.

In a recent conversation, Imasuen reflected on his remarkable journey, which began when he was just nine years old. Officially, he considers his career in commercial filmmaking to have started in 1995 with the release of Adaku, his first film, despite having worked in television and film since 1987. From directing a religious drama in Bendel State in his early years to working with industry pioneers like Chris Obi Rapu (who directed Living in Bondage), his path was carved through passion, persistence, and early exposure to the craft.

He also recalled directing in languages outside his native tongue, including Igbo, Yoruba, and Ibibio, proving his versatility. His career took him around the world—to festivals, film sets in Hollywood, and collaborations across continents.

Why Celebrate 30 Years?

Imasuen believes in honoring the contributions of those who helped build Nollywood from scratch. He warns that if pioneers don’t tell their stories, others might rewrite them. “Where are the founding fathers?” he asks. Many early contributors have been forgotten while others enjoy the fame the industry gave them.

He calls on stars like Omotola Jalade-Ekeinde, Genevieve Nnaji, Emeka Ike, and others to give back to Nollywood, reminding them that before the industry, they were unknown. “Nollywood made all of us,” he says, and feels strongly that its early heroes and builders should not be sidelined.

His new film Area Command features Nollywood veterans such as Afeez Oyetoro and Charles Awurum—proof, he says, that audiences still want to see the original stars. Imasuen criticizes the labels “Old Nollywood” and “New Nollywood,” calling them divisive. “There is only Nollywood,” he asserts, regardless of when you joined the industry.

Looking Ahead: The Next 30 Years

Now 54, Imasuen isn’t slowing down. Through his Benin Film Academy (affiliated with Igbinedion University), and as founder of the International Student Film Festival, he’s actively mentoring the next generation. He also plans to release a book titled A Trip in Motion in November, documenting his journey.

He envisions a future where Nigerian filmmakers are recognized globally not just as entertainers but as cultural diplomats. He’s already seen his work discussed in academic settings around the world, with students writing theses on his unique style of storytelling.

On Lessons Learned

Over the years, Imasuen has learned that consistency is key. No matter the challenges, he has stayed true to filmmaking, producing at least one movie every year for three decades. “Whether it’s good or bad, I remain a filmmaker,” he says.

Old vs New Nollywood: A False Divide

Imasuen firmly rejects the notion that there's a division between old and new Nollywood. Drawing from experiences in the U.S. and his role as one of the founding members of the Directors Guild of Nigeria, he says no such labels exist elsewhere. For him, every filmmaker contributes to the industry’s growth, regardless of when they join.

He recalls how earlier filmmakers built Nollywood from the ground up without corporate support, and how even international filmmakers once tried—and failed—to tell African stories better than locals. "Respect the labor of those who came before you," he advises.

On YouTube and Streaming Platforms

Imasuen supports the rise of platforms like YouTube and streaming services, calling it a “democratization of distribution.” But he cautions against abandoning traditional forms of distribution like DVD and cinema entirely. “Not every film is for streaming. Not every film belongs in the cinema,” he says.

He acknowledges the massive contributions of local marketers and distributors from areas like Idumota, Upper Iweka, and Alaba, who helped finance and distribute early Nollywood films before corporate players entered the scene.

Final Words

As he marks 30 years, Imasuen celebrates not just his own journey but the resilience of Nollywood. From humble beginnings and homemade effects to global stages and Hollywood sets, his career reflects a deep love for storytelling and a commitment to preserving the legacy of Nigerian cinema.

He urges today’s filmmakers to appreciate the foundation they’re building on and to ensure that all voices in Nollywood—past and present—are heard and valued.