A Bold Leap Into Storytelling At TIFF: Omotola Jalade Ekeinde’s Directorial Debut

BY BABAJIDE FADOJU 

Known to millions as a magnetic actress, Ekeinde has long been a household name, her face synonymous with the emotional depth and cultural resonance of Nigerian film.

But her latest chapter, unveiled at the 2025 Toronto International Film Festival (TIFF) with her directorial debut, Mother’s Love, marks a switch, not just for her career but for the broader narrative of African cinema. This transition from star performer to visionary director is not merely a career pivot; it is a testament to Ekeinde’s relentless ambition, her deep-rooted passion for authentic storytelling, and her courage to step into uncharted territory.

Ekeinde’s journey to the director’s chair, as revealed in her candid interview, is a story of resilience, instinct, and an unwavering commitment to craft. For 30 years, she has navigated the complexities of Nollywood, an industry she helped elevate from its grassroots origins to a global phenomenon. Her resume boasts over 300 films, collaborations with countless directors, and a quiet but significant role behind the scenes as a scriptwriter and consultant. Yet, Mother’s Love represents something profoundly personal: a chance to wield her creative voice in a new way, to move beyond the spotlight and shape stories that resonate with universal truths.

The TIFF screening of Mother’s Love was a milestone, not only for Ekeinde but for Nollywood’s growing presence on the world stage. The film, inspired by her own life and the intricate dynamics of mother-daughter relationships, delves into themes of grief, resilience, and self-discovery. It’s a bold choice for a debut, tackling the psychological weight of familial bonds and the African approach to unresolved trauma. Ekeinde’s decision to anchor the story in real-life experiences, her own complex relationship with her mother and the loss of her father at a young age, lends the film an authenticity that transcends cultural boundaries. At TIFF, a festival known for championing diverse voices, Mother’s Love was a show stopper.

What makes Ekeinde’s directorial journey so compelling is the sheer audacity of her leap. Directing, as she describes, was not a premeditated move but a “baptism by fire.” The production of Mother’s Love was fraught with challenges: a collapsed national power grid, fuel scarcity, and the pressure of balancing dual roles as director and lead actress. Ekeinde’s initial reluctance to act in the film, she had cast another actress for the role, speaks to her humility and her desire to prioritize the story over her star power. Yet, when her team insisted she take the role, she embraced the challenge, navigating the mental and physical strain of embodying both the creative visionary and the emotional core of the film. This duality, while daunting, underscores her versatility and her willingness to push beyond her comfort zone.

Ekeinde’s reflections on the process reveal a filmmaker who is both introspective and fiercely determined. She admits to moments of doubt, fearing that the film, shot with her own money and minimal pre-production, might never see the light of day. “I kept telling myself, what’s the worst that can happen?” she said. “If I don’t like it, it’s my money. Nobody would ever get to see it.” This mindset, born of necessity, allowed her to silence the perfectionist within and take the plunge. The result was a film that not only made it to TIFF but earned praise from peers and audiences alike, with directors like Obya Malaya suggesting her debut was worthy of study at Harvard. Such accolades are not just personal triumphs; they signal a shift in how Nollywood is perceived globally, moving from a niche industry to a force capable of producing nuanced, festival-worthy cinema.

The significance of Mother’s Love lies not only in its narrative but in its cultural and industrial implications. Ekeinde’s focus on the mother-daughter dynamic—particularly the fraught relationship between a strong, independent mother and her first daughter—challenges the stereotypes often perpetuated in African cinema. Too often, mothers in Nollywood are reduced to archetypes: the suffering matriarch or the villainous figure. Ekeinde’s portrayal is more complex, depicting a woman who is both a pillar of strength and a source of tension, reflecting the real-life intricacies of familial roles. By drawing on her own experiences, she crafts a story that resonates with first daughters worldwide, particularly those who grapple with the weight of expectation and unspoken grief. The film’s exploration of African approaches to trauma, where silence often prevails over therapy, adds another layer of depth, inviting audiences to confront universal themes through a distinctly African lens.

Ekeinde’s directorial debut also highlights her role as a trailblazer in Nollywood’s business landscape. Her interview reveals a keen awareness of the industry’s systemic challenges, particularly the precarious position of producers who often bear the financial brunt of filmmaking. As an actress, she was shielded from these realities, but as a director, she confronts them head-on. Her advocacy for fair contracts, royalties, and sustainable practices, evident in her creation of Tefest, a festival focused on the business of entertainment, positions her as a reformer. Ekeinde’s insistence on royalties, a rarity in Nollywood, and her refusal to take loans or grants reflect a principled approach to filmmaking. She is not content to simply create; she wants to build a system where artists and producers can thrive without compromising their integrity.

The TIFF screening was a moment of validation, but it was also a beginning. Ekeinde’s plans for the future, continuing the Mother’s Love series, tackling heavier true-life stories, and launching a food app inspired by a character in the film, demonstrate her multifaceted vision. She is not just a filmmaker but a cultural entrepreneur, blending art with business to create lasting impact. Her decision to release Mother’s Love in Nigeria on Mother’s Day in March 2025, followed by a global rollout in May, reflects her strategic approach to reaching audiences while honoring the film’s emotional core.

For aspiring filmmakers, Ekeinde’s journey offers a powerful lesson: success lies on the other side of fear. Her advice to “start doing afraid” resonates deeply in an industry where reputation and expectations can paralyze creativity. By embracing her vulnerabilities and leaning on her 30 years of experience, Ekeinde has crafted a debut that is both personal and universal, raw and polished. Her presence at TIFF, a festival that has launched countless cinematic careers, is a reminder that African stories, when told with authenticity and courage, can captivate the world.

Amid the excitement of the film’s journey at TIFF in Toronto, I found myself craving the familiar comfort of home after days of exploring Canada’s curious cuisine. My taste buds yearned for Naija flavors, despite the generous efforts of my sister, Seun and my good man, Chef Baron Bada, who kept me stocked with swallow foods (Okele). But as they say, the heart wants what the heart wants. Enter Foluke Odunlami, the dynamic Lead of Mother’s Love TIFF Toronto Ground Operations. Upon arriving for a meeting, she welcomed us with an irresistible spread of Naija iyan (pounded yam) and a variety of soul-warming soups. I dove into the meal with such enthusiasm, you’d think I’d been away from home for a year.

For those craving a taste of home in Toronto, head to Stevag Restaurant and Bar at 46 Eddystone Avenue, North York, Toronto, M3N 1H4, Canada (416-742-9967). Owned by the warm and wonderful Funmi Adeyinka, affectionately known as Mama Femi, this spot is a haven for authentic Nigerian cuisine. As Mother’s Love continues to shine on the global stage, it’s these moments of cultural connection and heartfelt hospitality that remind us of the power of storytelling, both on screen and around the table.

Babajide FADOJU writes from Toronto