By Bennett Oghifo
“Come On Naija,” a media production company, renowned for its creativity and culturally rich projects, has opened its doors to partnership with brands, institutions, and filmmakers to create bespoke content and entertainment properties that enable them to authentically connect with audiences.
The company which has produced high quality films, features, has restated its determination to showcase the depth of Nigerian narratives, cultural values and artistic excellence while also contributing to the enrichment of the global entertainment industry.
The Chief Executive Officer of the company, Mrs. Olawumi Fajemirokun, said “Come on Naija” operates at the intersection of entertainment, culture, media and the creative economy, transforming compelling Nigerian stories and cultural experiences into professionally developed intellectual property with the potential to reach audiences in Nigeria, across Africa and internationally.
According to Mrs. Fajemirokun, “Come On Naija” has a diversified business portfolio as a multimedia production company covering filmmaking, identifying stories, developing intellectual property, assembling creative and commercial partnerships, producing high-quality content, as well as creating multiple opportunities for audiences, brands, investors, distributors and cultural institutions to participate in the value chain.
The “Come on Naija” boss says the company is out to fill a void in the entertainment industry, adding, “Nigeria possesses one of the world’s richest reservoirs of human stories, traditions, entrepreneurial experiences, historical events, personalities, communities and cultural expressions. Yet many of these stories remain undocumented, underdeveloped or presented to audiences without the scale and production quality they deserve. Come On Naija exists to close that gap.”
The company’s craft and storytelling excellence has already received international validation. “Come on Naija” won three awards at the prestigious Toronto International Nollywood Film Festival (TINFF) in Canada, a recognition that further affirms its commitment to authenticity, high production standards and global relevance.
The company has recorded hit productions including “Afamefuna: An Nwa Boi Story” – the first-ever feature film on the Igbo Apprenticeship System – and “Iwe Ala: An Ojude Oba Story”, both of which drew strong reviews and applause from art lovers for their creativity and authenticity.
“Come on Naija” builds its storytelling philosophy on five core principles: authenticity, excellence, entertainment, cultural preservation, and global relevance. This philosophy is based on the premise that content should be simultaneously local in its identity and universal in its emotional appeal.
Beyond filmmaking, “Come on Naija” is also a cultural preservation agent through cultural research, culture-based films and documentation.
Speaking recently on her movie journey, Mrs. Fajemirokun said: “My journey into storytelling began at a very young age, rooted in the shared cultural experiences of my childhood. I fondly remember gathering around the television with my siblings to watch Tales by Moonlight on NTA. Growing up in a household of six children, television viewership was a collective, intentional experience rather than an individual luxury. We had to align on what we watched, which fostered a deep, shared appreciation for narrative structure and community engagement from early on.
“This early fascination with narrative was further nurtured through literature. While my peers were immersed in foreign classics like Enid Blyton’s Famous Five, I found myself profoundly drawn to indigenous authors, particularly the children’s books written by Mamman Jiya Vatsa. His work deeply resonated with me because it reflected our immediate reality. Discovering at an early age that our own stories could be beautifully documented and celebrated left an indelible mark on me. It shaped my creative vision as an Executive Producer, instilling a lifelong commitment to championing authentic Nigerian and African narratives on the global stage.”
On her defining moment in the industry, she said: “The defining moment was actually born out of a profound disappointment and a distinct lack of support from one of my existing business lines. It forced a sharp pivot, making me realize I needed to look toward a creative area I had quietly thought about since my early 20s. That period taught me the invaluable lesson of accepting failure and refusing to let it become a permanent setback.
“When you look at the beginning of everything, the very first thing God did was creation, and that divine act is intrinsically linked to us as humans. We are built to create. Because of this, I have come to firmly believe that engaging in creativity is one of the greatest works a person can do; fully believing in your creative instincts ultimately leads to the true path of fulfillment.
“This deeply personal realization perfectly aligned with a strategic look at Nigeria’s economic and demographic landscape. Nollywood is a dynamic, highly influential, and rapidly growing sector. When you couple that with the fact that Nigeria has a remarkably young demographic, with an average age of 18, it becomes clear that our youth are actively looking for constructive, creative avenues to express themselves. The film industry is uniquely positioned to absorb and empower this incredible talent. Realizing this, I saw an opportunity to approach storytelling from a fresh, impactful angle. I wanted to create films that bridge the gap between tradition and modernity. Rather than focusing solely on historical epics, my vision is to produce contemporary stories that remain deeply rooted in our shared cultural identity. By bringing these relevant, authentic narratives to global screens, we provide a platform that allows us all to feel immensely proud of our heritage, turning cultural preservation into a viable medium for economic and social impact.”
On her Netflix hit, “Afamefuna: An Nwa Boi Story,” Mrs. Fajemirokun remarked: “Afamefuna is a project that remains incredibly close to my heart. When I reflect on why global and local audiences connected so deeply with it, the answer lies in the way the film mirrors the resilient entrepreneurial spirit inherent in Nigerians.
“From a very young age, most Nigerians are exposed to the mechanics of business. Whether it is an informal micro-enterprise or a major brick-and-mortar operation, commercial ingenuity is embedded in our DNA. We are not a culture that waits for handouts; we do not believe in passivity, and nothing is simply given to us for free. Regardless of gender or background, there is an understood necessity to work hard for your success. Even children as young as ten or twelve are often already brainstorming how to sell books or engage in small trades to contribute and grow.
“Afamefuna speaks directly to this resilience and our capacity for patience while building from the ground up. Audiences resonated with the authentic depiction of our work ethic, our drive to establish enterprises from a young age without requiring massive capital, and the ultimate triumph of building something out of nothing. The film showcased the kind of grassroots success stories that we see all around us every day, and that universal drive for self-determination is what made it so powerful.”
A recurring theme in Mrs. Fajemirokun’s projects is the celebration of culture, identity, and authentic African experiences. For her, it important that Nigerian stories are told from an authentic perspective rather than through borrowed narratives? Mrs. Fajemirokun expatiates: “I firmly believe that our unique culture is exactly what makes us stand out on the global stage. Unfortunately, because of our colonial history, there has been a lingering tendency to borrow foreign narratives and dilute our own stories. This was often done simply to gain acceptance or to meet a perceived bar of globalization, heavily influenced by what is Westernized or traditionally accepted by the West as ‘civil’ and ‘modern.’
“For a long time, there was a misconception that cultural authenticity and global relevance were mutually exclusive— as if leaning into your traditions meant you could not truly be a global citizen unless you conformed to those borrowed standards.
“This is a narrative that has been passed down through generations, and it is an area I am deeply passionate about correcting. By bringing these authentic scripts to life, my goal is to inspire people to feel immense pride in what our culture and traditions represent. When we fully embrace who we are, we naturally command attention.
“Nigerians do not need to blend in or rewrite their identities to fit a foreign definition of modernity; our heritage is our competitive advantage. While some may love it and others may not, the truth is that the global audience will always respect when you stand firmly in your own identity. If you do not stand for something, you will fall for anything, and I choose to stand for the brilliance of our authentic African stories.”
On her biggest lessons in film business, Fajemorokun said: “From an audience perspective, one of the clearest lessons is that viewers naturally crave high-stakes narrative momentum. Audiences appreciate a thrilling trajectory, they want to be captivated, and they love a well-crafted cliffhanger. Even within a deeply dramatic feature, weaving in elements of tension and strategic pacing is essential to keep viewers thoroughly invested.
“On the economics side, filmmaking is inherently a high-risk venture. Because the financial stakes are so elevated, the most critical currency in the modern market is visibility. Success relies on maximizing visibility, marketing, and market penetration at every stage of the project. Because of this high-risk framework, long-term commercial sustainability relies heavily on strategic partnerships.
“We are constantly identifying and aligning with corporations, brands, and institutional organizations that can support our financial structures. Cultivating these strategic alignments is what mitigates risk and ensures that high-quality African cinema remains both culturally impactful and commercially viable.”