Filmmaker Chris Ihidero’s Debut Film Set for 2026 Première

Chris Ihidero, a respected Nigerian filmmaker known for his extensive work as a writer and showrunner for major television dramas, is poised to make a significant leap to the big screen with his feature film debut, “Aloma.” Slated for a 2026 première, the film is drawing attention not only for its powerful narrative ambitions but also for its rare institutional financing, signalling a maturation in the Nigerian film industry, often known as Nollywood.

Produced by PinPoint Productions and supported by a consortium of investors led by MBO Capital, the film is structured as a contemporary urban thriller centred on themes of economic inequality and resistance. Mr Ihidero, who also wrote and directed the project, has framed “Aloma” as a “love story in a time of war,” a statement that captures the tension between the film’s gritty socio-political backdrop and its central romance.

The plot follows the title character, Aloma (played by Shawn Faqua), a local figure in an urban Lagos ghetto who adopts a latter-day Robin Hood persona, redistributing wealth by robbing the powerful rich to aid the poor in his community. The primary conflict escalates when corrupt political and financial forces described by the production as “gatekeepers to poverty” move to seize a contested parcel of land, planning to displace the residents for their own agenda.

It is here that the emotional drama emerges, with Aloma’s fight to save his community complicated by his growing feelings for a potential enemy masquerading as a friend.

Mr Ihidero’s transition to the director’s chair for a feature film of this scale is noteworthy. His background includes serving as the chief operating officer of Amaka Igwe Studios and acting as head writer for major M-Net series like Hush and Forbidden. He is also the founder of the Lagos Film Academy.

Mr Ihidero has expressed high confidence in the film’s potential impact, asserting that “Aloma” will be the “most important film of 2026” in Nigeria. This bold claim suggests a film intended not just for entertainment but as a critical piece of social commentary designed to resonate widely across the continent and with global audiences interested in authentic, high-calibre African narratives. The financial backing, a rarity for this kind of dramatic genre in Nollywood, suggests the film will benefit from a robust distribution and marketing strategy in line with its ambitious cultural goals.

Principal photography is reportedly complete and the film is moving into post-production in South Africa.