Stereotypes have become a fixture in Nigeria’s film industry, popularly known as Nollywood. From Patience Ozokwor to Timini Egbuson, both the old and new generations have them aplenty. This, however, doesn’t mean they are necessarily a positive for the industry. Experts spoke to TheRadar on this phenomenon.
Nollywood remains one of Nigeria's biggest exports. It is the second most productive in the world behind Bollywood.
Aside from the behind-the-scenes cast —like directors and producers, actors play a major role in the landscape of Nollywood.
As an artist, actors create art with their bodies. From movements, to gestures, they embody the art of storytelling and the depth of emotions we watch on screen.
The beauty of an actor’s craft shouldn’t end in being imprisoned under a stereotyped character. It is, however, the prowess in mastering diverse characters that unleash his full potential.
Nollywood acts who fall into the stereotypes prison
For most films in Nollywood, when an actor delivers a character exceptionally, it somehow becomes a stereotype in their career.
Can you think of Bimbo Ademoye playing a spy agent outside her stereotyped ‘romance or comical’ roles? Or Patience Ozokwor playing any other complex character other than the ‘wicked stepmother’?
In 2023, Nollywood actor Tobi Bakre, who led the Nollywood notable action thrillers Brotherhood and Gangs of Lagos was interviewed.
Bakre, at the time, was the lead actor for Slum King, a similar action role following his exceptional performances in his previous films.
Sharing his thoughts on being a stock/stereotype character, Bakre said that he saw it as a compliment rather than the fears people share about it.
Similarly, Nollywood has seen actors like Nkem Owoh repeatedly play comical roles that it would be weird to find him serious in a film.
For Timini Egbuson, many times, controversial takes have erupted to argue that he is only better off in his stereotyped romance trope characters.
When he eventually played a hustling taxi driver in Kayode Kasum’s Shina, it only appeared to be an attempt to prove his diversity outside the typical ‘lover boy’ roles.
One may argue that directors should take a share of the blame in always casting actors in similar roles until they become stereotyped. On the other hand, another question is, are these actors also willing to break out of their stereotypes?
What industry experts think of stereotyped characters in Nollywood
To understand what Nollywood stakeholders think about stereotyped characters, TheRadar spoke to actors and directors.
Sharing his thoughts, Nollywood director and filmmaker, Dimeji Ogunranti, described stereotypes as a double-edged sword. He noted reasons why many filmmakers employ it and why it will continue to work.
“Honestly, stereotypes are a double-edged sword. They work because audiences recognise them quickly like the "wicked stepmother," the "corrupt politician," or the "village witch." These tropes resonate because they reflect familiar societal narratives or anxieties.
“They also streamline production, which is crucial in an industry as prolific as Nollywood. It’s easy storytelling. But after a while, it feels lazy. You know what happens? Viewers start predicting every scene. That’s bad for creativity. And it’s not just about the stories, it shapes how people see our culture. If every film repeats the same roles, what does that say about us?” Ogunranti quizzed.
Director and cinematographer, Victor, said stereotyping actors affects those who can do better than they are. He also cites examples to buttress his point.
“First of all, I think Nollywood has a way of stereotyping actors and personally I feel it affects especially those who are capable of more. For instance, Bimbo Ademoye started as a street girl looking for baami. Subsequently, she was getting roles as a street girl but good for her she's breaking free gradually.
“Timini Egboson always gets lover boy or playboy roles he has been ‘systemed’ like that. It would be weird to see Timini play a corrupt police officer in a movie. However, I feel like they could deliver more just like Timini delivered a beautiful performance in A Tribe Called Judah where he played a ghetto boy.”
As an actor, Ezekiel Abayomi begs to differ in believing totally that Nollywood stereotyped actors into playing similar roles repeatedly. For him, it is a matter of choice and these actors are at liberty to take it or leave it.
“I wouldn’t say I totally agree or disagree with the idea of stereotyping actors for certain roles. It’s true that Nollywood has a habit of boxing actors into the same tired characters,the wicked stepmother, the ritualist chief, the comic relief houseboy or gateman, but I also believe stereotyping is, to some extent, a matter of choice.
“Actors find their strengths and sometimes choose to lean into them. At the end of the day, an actor can decide whether to stay in that box or break out of it.
“I remember when I first got inducted into the theatre world in Uni, the very first character I played was Esu, a Yoruba god. And for a while after that, every single role I was offered was somehow Esu-related.
“It was almost like they saw me and thought, ‘Ah! That’s our Esu guy.’ By my second year, I had to make a deliberate decision to step away from that stereotype. I started showing up, pushing for different roles, and proving I could do more. I realised sometimes you just have to fight your way out of the box they put you in.”
Does stereotype undermine an actor’s full potential?
Ogunranti agreed that stereotyping characters in Nollywood always affects the potential of the actors who might have more to offer.
“Absolutely. Typecasting can give actors a foothold. Think of veterans like Patience Ozokwor, whose mastery of "villainous matriarch" roles built iconic careers. But when actors are perpetually confined to one note, their range remains unchallenged. Imagine a comic actor like Nkem Owoh always playing the "goofy character" without ever tapping into dramatic depth.
“Over time, this erodes an actor’s versatility and stifles their artistic growth. Directors and producers often default to typecasting for marketability, but this safety net can become a cage. Imagine being an actor stuck playing the "funny sidekick" for ten years.
“You’re screaming inside to play a lawyer, a grieving parent, a villain with depth. But no, you’re pigeonholed. It’s like teaching a bird to fly but keeping it in a cage. Sure, some actors lean into typecasting for steady pay. But it’s a trap. How do you grow if no one lets you try?”
Victor also corroborated what Ogunrabti said, adding that stereotyping a character inhibits the versatility of an actor.
“Yes, 100% it does undermine an actor's full potential. It does not give room for versatility and exploration.”
Lastly, Abayomi shared his thoughts as an actor, emphasising that when actors don't get a chance to explore their versatility, they become stuck.
“Stereotyping limits an actor’s range, when an actor keeps getting cast in the same type of role, they don’t get the chance to show their full talent or explore their versatility. They become trapped in a creative box, the longer they stay there, the harder it becomes for directors and producers to see them doing anything else, this stunts the actor’s creativity because they are not being challenged to stretch beyond their comfort zone. It also reduces their chances of breaking into diverse projects locally and internationally.”
How can Nollywood break free of stereotypes?
With all said, it is not to diminish the efforts of Nollywood actors but a quest to analyse what their roles are and how they can do better.
Speaking on doing better, the Nollywood experts also proffered their advice and solutions to reduce the stereotyping recurrences in the industry.
They noted that it should be a collective effort beyond the actors to break the stereotypes and give room for them to attempt roles that would surprise the audience every time they show up.
According to Ogunranti, genres could be experimented to break the stereotypes and there should be more emphasis on character development.
“First, writers, directors, and actors should workshop characters together, interrogating clichés. Why must the "village chief" always be a patriarchal authority? What if he’s a young woman grappling with tradition versus progress? We also need to disrupt patterns. Cast a comedian in a tragic role. Let the "stoic action hero" reveal vulnerability.
“This requires trust in audiences to embrace complexity. I also believe we should experiment with genres. Stereotypes thrive in formulaic genres. By blending genres e.g., merging family drama with psychological thriller, we force characters into unpredictable scenarios, breaking molds organically. filmmakers need to take risks. Why not flip the script?
“Let the "village hero" be flawed or the "wicked aunt" have a redemption arc. Lastly, support fresh voices. New writers often bring untold stories. Remember Living in Bondage broke norms in the 90s? We need more of that energy now.
I know that these changes won’t happen overnight. Producers worry about box office safety, and stereotypes sell. But what’s the cost? We’re sitting on a goldmine of stories: real, messy, human ones. Why keep recycling the same roles? Let actors breathe. Let audiences think. That’s how you build a legacy.”
Victor suggested that Nollywood should give new talent more opportunities to thrive. According to him, there is an endless pool of talents that casting directors can choose from.
“like that there are various and dynamic choices and casting even becomes easy,” he said.
For Abayomi, Nollywood needs to start seeing actors as artists beyond entertainment. He also opined that there should be a trust system that allows directors to try out actors to unleash their full potential.
“Nollywood has to realize that actors are not just entertainers, they are artists, and artists thrive on variety, exploring. When directors and producers keep actors in stereotypical roles, we are not just limiting the actors, but limiting the stories and emotions we show on screen.
“Directors need to trust actors more. When a director truly trusts an actor, it opens up a creative space where both parties can take risks, experiment, and discover new sides of a character and the actor themselves. That trust allows actors to break free from typecasting and show something fresh,” Abayomi added.
Idris Elba controversy: A reminder that Nollywood needs ‘whale’ investments
Meanwhile, TheRadar earlier wrote an opinion exploring how the controversial takes that erupted because of Idris Elba’s move to play Okonkwo in the Things Fall Apart adaptation series.
The piece opined that the argument, despite being valid, shouldn't be about who should or not play Okonkwo. It should be about how to make Nollywood financially buoyant enough to make such ‘expensive’ book adaptations.
