She recently revealed this on her Instagram page, and Nigerians have been reacting.
According to her, she recently made a movie with a scene where a masquerade slept with someone, but real masquerades are currently threatening that she would die in the next seven days.
Seyi added that she really needs the prayers of movie lovers right now because she would never look down on Nigeria’s heritage and rich culture.
Her words, “I would never look down on our heritage and rich culture. The movie Asiri Pepe was produced to enlighten people on religious realities beyond the altar and in fact, the impact of looking down on the African religion.”
Nollywood is a sobriquet that originally referred to the Nigerian film industry. The origin of the term dates back to the early 2000s, traced to an article in The New York Times. Due to the history of evolving meanings and contexts, there is no clear or agreed-upon definition for the term, which has made it a subject to several controversies.
The origin of the term “Nollywood” remains unclear; Jonathan Haynes traced the earliest usage of the word to a 2002 article by Matt Steinglass in the New York Times, where it was used to describe Nigerian cinema.
Charles Igwe noted that Norimitsu Onishi also used the name in a September 2002 article he wrote for the New York Times. The term continues to be used in the media to refer to the Nigerian film industry, with its definition later assumed to be a portmanteau of the words “Nigeria” and “Hollywood”, the American major film hub.
Film-making in Nigeria is divided largely along regional, and marginally ethnic and religious lines. Thus, there are distinct film industries – each seeking to portray the concern of the particular section and ethnicity it represents. However, there is the English-language film industry which is a melting pot for filmmaking and filmmakers from most of the regional industries.
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