Tunde Kelani, (A.K.A. TK), a Nigerian filmmaker, is a graduate of London Film School. He worked with WNBC, Ibadan, the Nigerian Television Authority, Lagos, BBC TV, and Reuters in different capacities at different times. He has produced and directed many films that nurtured many young talents – some of them have become important figures in the Nigerian Film industry today. Perhaps because he was transplanted from the bubbling Lagos metropolis to his local hometown in Ogun state at a young age, he grew up with the mind of using the film medium to answer some of the questions gnawing his young mind. A voracious reader, Tunde Kelani fell in love with photography at a young age. In addition to his love for books, he has eyes for good stories. His love for books and good stories has led him to adapt so many stories into the film medium. In this conversation with Kolawole Olaiya of Nollywood In Review in Abeokuta, Ogun state of Nigeria, Tunde Kelani spoke on various topics that would interest both students, teachers and scholars of Nigerian movies. The conversation covers a wide area of film theory and practice, the adaptation of books into films and that of films into books, the place of women in Yoruba culture, and the representations of women in Nollywood movies. The issues discussed in this three-part interview series raise important questions for students and scholars of Nollywood movies
Interview with Tunde Kelani – Part 1
1–2 minutes
3 responses to “Interview with Tunde Kelani – Part 1”
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Well done,sir.👏
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Thanks for the interview with this great artist, an icon, actually, Mr Tunde Kilani!
The works chunned out by Mainframe Studios are top-notch!
I love his x-ray on our marginalised, but core stakeholders in the family unit, especially in the days of yore!
However, most of the contemporary women have sadly missed this, especially when it comes to the moral upbringing of their ‘several children’. Are there still “many mothers” out there? Can we get back to those Master Tunde Kilani days? Can we really get a sane society without the women’s input? What is missing now?

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