The Directors Guild of Nigeria (DGN) has urged the Federal Government to provide incentives in form of grants and tax relief to encourage filmmakers to use their works to showcase and preserve Nigeria’s history and cultural heritage.
The guild’s National President, Uche Agbo, made the call during an interview on Thursday in Abuja.
According to him, cinema is a vital archival tool to document, promote and preserve Nigeria’s history, indigenous languages, and cultural heritage.
He, however, said that high cost of film production and limited commercial returns on documentaries could discourage filmmakers from documenting the country’s rich history.
Mr Agbo said government intervention was necessary to support films about Nigeria’s historical sites, monuments and cultural traditions, particularly projects whose primary purpose was educational rather than commercial.
“Government has to find a way to fund these things because they are national treasures and you use film to preserve them,” he said.
He explained that while historical and cultural narratives could be incorporated into commercial feature films, documentaries remained important for giving historical subjects the depth and educational value they deserved.
“Documentary films are primarily for educational purposes,” Mr Agbo said.
He added that such projects were often not commercially viable in cinemas.
According to him, grants and support from donor agencies are important for the production of documentaries.
Mr Agbo said the guild was exploring opportunities to attract grants and partnerships with donor organisations to support members interested in producing documentaries.
“We try to see how we can secure funding, secure grants for them, because that’s one way,” he said.
He called on the government to create funding mechanisms for such projects, noting that public support could help filmmakers preserve historical accounts for younger generations.
The DGN president also advocated tax incentives and reduced import duties on equipment used in film production, saying the measures would lower production costs and improve filmmakers’ access to essential technology.
“Government can subsidise the tax for importation of the gadgets that we use to make films,” he said.
He noted that government support could take different forms, including direct grants, tax concessions and partnerships with international development agencies.
Mr Agbo added that government should create a more conducive operating environment for filmmakers by reducing financial and regulatory burdens on the industry.
He said filmmakers who struggled to recover their production costs might prioritise commercially profitable projects over stories with significant historical or educational value.
“If there is no way the government is subsidising anything, whether it is in tax, concession or grants, then filmmakers would rather focus on what gives them money than telling historical stories,” he said.
The DGN boss maintained that film remained a powerful medium for projecting Nigeria’s cultural identity internationally and urged filmmakers to portray the country’s diverse experiences and cultural perspectives more effectively.
“Film, for me, has always been one of the best channels, not just to promote, but to market and sell our culture across the world,” he said.
He said Nollywood filmmakers should recognise their responsibility as storytellers, noting that the portrayal of social institutions, cultural practices and everyday life could influence how audiences perceive Nigeria.
“Every story is political,” Mr Agbo said, urging filmmakers to present a balanced portrayal of Nigerian society rather than focusing only on negative images.
Mr Agbo said DGN, in partnership with MultiChoice Talent Factory, recently organised a regional masterclass in Abuja to strengthen professional skills and improve business opportunities for filmmakers.
He said the workshop series was designed to address skills gaps and equip practitioners with the knowledge required to compete with film professionals internationally.
Mr Agbo said the overall objective was to develop a better-skilled film industry capable of producing quality work while creating sustainable opportunities for practitioners.
(NAN)
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