Lagos, Nigeria – A modern reimagining of Virginia Woolf’s classic novel Mrs. Dalloway, set in Nigeria’s bustling metropolis of Lagos, has secured worldwide distribution through NEON, the independent film distribution company. The film, titled Clarissa, is backed by significant investment from the Africa-based CANEX Creations Inc. (CCInc), a subsidiary of Afreximbank’s Fund for Export Development in Africa (FEDA), signaling a growing trend of intra-African financing for globally-scaled film projects.
Shot on 35mm film in Lagos and Delta State, Clarissa follows the story of a society woman, Clarissa, as she prepares to host a party, unexpectedly encountering former acquaintances and prompting a reckoning with shared memories of love, loss, and ambition. The film boasts an ensemble cast including Sophie Okonedo, a nominee for both Academy and Emmy Awards; David Oyelowo, a Golden Globe and BAFTA nominee; and Ayo Edebiri, an Emmy Award winner. India Amarteifio, Toheeb Jimoh, and Nikki Amuka-Bird also feature prominently.
The project marks a significant step for the Esiri brothers, Arie and Chuko, who jointly wrote, directed, and produced the film. Their previous work, Eyimofe (This Is My Desire), garnered critical acclaim, premiering at the Berlinale and winning five African Movie Academy Awards. Its subsequent release by Janus Films and inclusion in the Criterion Collection – a rare honor – established the Esiri brothers as significant voices in contemporary African cinema.
The investment by CCInc, totaling an undisclosed amount, underscores a strategic shift towards supporting African-led intellectual property with international potential. According to Osahon Akpata, Chief Executive Officer of CANEX Creations Inc., Clarissa “exemplifies the type of globally resonant, IP-driven storytelling that CANEX Creations Inc (CCInc) was established to support.” He further emphasized the film’s combination of literary heritage, high-quality filmmaking, and African production capacity, stating that its acquisition by NEON “validates both the creative ambition of the filmmakers and the viability of Africa-backed financing structures for internationally scalable film content.”
The entirely Africa-based production financing, with contributions from MBO Capital alongside CCInc, highlights a growing capacity within the continent to fund and produce internationally competitive film projects. This is particularly noteworthy given the historical reliance on external funding sources for African cinema.
Chuko Esiri, reflecting on the creative vision behind Clarissa, stated that it was “important to us that Clarissa be both rooted and resourced on the continent where it is set.” He added that the backing from African institutions “reflects a growing confidence that our stories can be produced from within.” The decision to shoot on 35mm film, he explained, was driven by a desire to create a film that would “first feel, then stand next to the great films of modern cinema.”
The acquisition of worldwide distribution rights by NEON, with NEON International handling foreign sales, positions Clarissa for a broad international release, including a theatrical run in the United States. The deal was negotiated by Kate Gondwe of NEON, with the filmmakers represented by UTA Independent Film Group.
This investment in Clarissa aligns with CCInc’s broader mandate to catalyze export-ready creative assets across various sectors, including film, television, music, fashion, and other IP-intensive industries. The company’s focus on “Global Africa” intellectual property suggests a strategic effort to promote and support creative works originating from the African continent with the potential for international success.
The project’s significance extends beyond the financial investment and distribution deal. It represents a growing movement within the African film industry towards greater self-reliance and control over storytelling. By prioritizing African financing and production, Clarissa challenges traditional models of filmmaking and paves the way for a more sustainable and equitable future for African cinema on the global stage. The film’s adaptation of a renowned literary work like Mrs. Dalloway, relocating it to a contemporary Nigerian setting, also offers a fresh perspective on universal themes of memory, identity, and societal expectations.
The success of Clarissa could serve as a blueprint for future African film projects, demonstrating the viability of intra-African investment and the potential for African-produced content to resonate with audiences worldwide. The film’s release is anticipated to further elevate the profile of Nigerian and African cinema on the international film circuit, attracting further investment and fostering greater collaboration within the industry. , marked a pivotal moment for the film, with the announcement of the NEON acquisition.
