Akinola Davies Jr on My Father’s Shadow: “We don’t see enough nuanced representations of fatherhood, especially Black fatherhood”

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Even though Akinola Davies Jr.’s new film, My Father’s Shadow, won’t be available in the UK until February, he’s already having a very successful year.

Davies is enjoying a remarkable 2025, marked by several significant achievements: a premiere in the Un Certain Regard section of the 2025 Cannes Film Festival – a first for Nigerian cinema; a leading twelve nominations at the British Independent Film Awards; and a current residency at Somerset House.

As a huge cinema fan, I was thrilled to hear that Davies has been selected for the 2025 BAFTA Breakthrough group – it’s supported by Netflix, which is fantastic! He said it’s a real honour to be recognised, and honestly, he absolutely deserves it.

You know, as a critic, I’ve been following this filmmaker’s work for nearly fifteen years, and it’s clear this award is the culmination of a long journey. To see BAFTA finally recognize their talent feels incredibly satisfying, and honestly, just hearing them express how happy they are is really heartwarming. It’s a huge moment, and well deserved.

Over the past 15 years, Davies says he’s faced a lot of challenges, but he’s always persevered. He’s had moments where he almost gave up on his work as a director and filmmaker, but he managed to push through those difficult times.

I recently saw “My Father’s Shadow,” the impressive feature debut from a director who’s clearly got a knack for visuals – they’ve previously done work for musicians and fashion brands. It stars Ṣọpẹ́ Dìrísù and is set during the incredibly tense 1993 Nigerian presidential election. The story centers on two brothers spending a day with their father in Lagos, and it’s a really moving film about how they begin to see him not just as ‘Dad,’ but as a complex individual. It’s a quiet, character-driven piece, and I found it incredibly compelling.

This film is genuinely touching, captivating, and funny, hitting all the emotional notes perfectly. It features brothers Godwin and Chibuike Egbo, both new to acting, and their real-life bond shines through on screen and in the filmmaking process. The film’s creator, Davies, co-wrote the story with his older brother Wale, who first came up with the idea.

You know, I really connected with this filmmaker, Davies. We just seemed to think alike and share a lot of the same passions. But he told me about this short film he made years ago, called ‘My Father’s Shadow.’ It was a really moving idea – basically imagining what a single day with our fathers would have been like, since we both lost ours when we were little. He actually made that film over ten years ago, and the whole concept has stuck with him – and me – ever since.

I remember when “Lizard,” a short film directed by Davies, really started turning heads. It premiered at Sundance and London in 2020, and even earned a BAFTA nomination – then it won the Grand Jury Prize at Sundance! That’s when the Davies brothers realized they might actually have a shot at turning Wale’s screenplay into the full-length feature they’d been dreaming about.

Davies recalls having a strong emotional response when he first read his brother’s script. He knew immediately what the film should be about. He felt it was important to create something that truly honored their upbringing, family, and country, recognizing that opportunities to make films aren’t always plentiful. They wanted to make something meaningful and impactful, something that went beyond just their own interests.

Having a sibling isn’t always easy, and Davies honestly portrays that in their relationship with Wale. Davies acknowledges that Wale is very precise and articulate, while he himself tends to think more creatively and visually. He describes himself as being “more abstract” and better with images than words.

We work really well together, balancing each other’s strengths and weaknesses. Collaborating with my sibling is challenging but also rewarding and enjoyable. We’re comfortable debating ideas while still respecting each other’s opinions, which ensures we thoroughly consider every aspect of our work. Since we’re self-taught filmmakers, we prioritize efficiency in our storytelling and spend a lot of time discussing every decision to make sure we get it right.

Being the younger brother, one of the best things about working with my brother is feeling safe enough to really experiment and be creative. He’s always been a huge supporter of my ideas, and I’m the same for him! We built a great working relationship on the ‘Off Lizard’ project, and honestly, we’re hoping to keep that going for as long as we can. It’s just a really comfortable and encouraging dynamic.

Viewers will likely find themselves drawn into the way “My Father’s Shadow” is structured and how the film builds suspense through the passage of time. The 1993 presidential election plays a significant role in the story, and this film may be the first to vividly portray the events of that eventful year on screen.

Davies and his brother intentionally explored the father-son relationship within the story. As Davies explained, they wanted to offer a more complex and realistic portrayal of fatherhood, particularly within the Black community, because these kinds of depictions are often lacking.

There are a lot of preconceived notions about Black men, so we wanted to portray the men we are, the men we want to be, and the men we’ve known throughout our lives. Growing up surrounded by strong women has also given us, for better or worse, a wider range of emotional understanding, and that’s something we’ve consistently seen in the men around us, he says.

We really wanted to offer a different view of what it means to be a man. Traditionally, this topic hasn’t gotten enough attention or diverse representation.

The film doesn’t explicitly state why Dìrísù’s father isn’t around much, but it’s clear he’s often away working to support his family, and this means he misses out on time with his sons. The director, Davies, believes many viewers will relate to this situation, but feels the theme isn’t fully developed. He simply aimed to show a more balanced portrayal of working-class fatherhood.

Beyond the film’s compelling story, My Father’s Shadow is visually stunning, though director Terence Davies shares the credit for that with Jermaine Edwards, the director of photography. This was Edwards’ first feature film, and Davies highlights him as a remarkably talented Jamaican-British artist who deserves more recognition. He explains that Edwards has often been noticed, but hasn’t yet been given the opportunity to fully showcase his skills.

Davies described the filmmakers who inspired the visual style of his film, calling them his personal ‘Mount Rushmore’ of directors. He mentioned the early work of Spike Lee and its portrayal of Black skin, Nigerian filmmaker Genevieve Nnaji, Rungano Nyoni’s On Becoming A Guinea Fowl, Mati Diop’s Atlantics, and the films of Steven Spielberg he enjoyed growing up. He also highlighted Senegalese director Ousmane Sembène, whom he considers the founder of African cinema and a major influence for all filmmakers in the field.

After meeting American filmmaker Julie Dash, Davies realized they both seem to approach filmmaking in a similar way, focusing on themes of spirituality and mythology.

It’s obvious Davies has a deep understanding of filmmaking, gained from hands-on experience in every aspect of the industry. He’s worked as an assistant to many directors and collaborated with friends, which also gave him insight into how storytelling works in fashion. When I asked if he always dreamed of being a filmmaker, he admitted that wasn’t necessarily the case.

Eva Yates from the BBC and Rose Garnett were the first people to suggest I make a feature film, and I initially thought it was a ridiculous idea,” Davies says with a laugh. “It felt so unexpected coming from them! I resisted and decided to make a short film, ‘Lizard,’ instead. After that was well-received, it honestly felt like the film industry was more open to my work.

I’ve always appreciated creativity in fashion and music videos, but often, my own ideas weren’t well received or understood by others.

According to Davies, Garnett, the former head of BBC Film, consistently championed filmmakers from underrepresented groups. Davies explains that supporting women, people of color, and those from diverse backgrounds is a key responsibility for a publicly funded organization like the BBC. He believes this commitment is both courageous and essential, and having leaders who prioritize diversity makes him feel empowered to take creative risks.

Davies explains that even before his film, My Father’s Shadow, was chosen for the official selection at Cannes – a first for Nigerian cinema – discussions about Nigerian and African filmmaking were already happening and viewed favorably.

Davies believes there’s a growing interest, especially among younger people, in connecting with their family history and sharing those stories. Those of us who are first or second-generation immigrants are using modern tools to highlight these narratives and build connections with the film industries in our countries of origin, even while working remotely.

For a long time, people of color have been used to seeing European and American stories on screen. We’ve become familiar with those narratives, but it’s now our responsibility to create and share our own. We already understand European history and culture, so it’s important that we take control of our storytelling. This allows us to represent ourselves authentically and avoid being defined by stereotypes.

Independent films are important because they often don’t have the large budgets of mainstream movies. However, there’s plenty of talent and compelling stories available. What’s needed is more collaboration between countries – like Nigeria and the UK, as we saw with the successful film My Father’s Shadow – where everyone involved is passionate about bringing those stories to life.

The film has now had its premiere in Nigeria, and the reaction has been overwhelmingly positive, according to Davies. He emphasized the importance of showing the film to a Nigerian audience first, explaining that for many – particularly those in the diaspora and younger generations – it was their first time learning about this period of Nigerian history, as it wasn’t taught in schools during the military dictatorship. He described the response as deeply moving and impactful.

For older Nigerians, seeing their past experiences portrayed on screen has been incredibly moving and healing. The film has sparked conversations between generations that we never thought possible. Nigerians are deeply proud of the movie and have been captivated to finally see their stories visualized on film.

Looking ahead, we’re excited for the UK release of My Father’s Shadow. It feels like it’s been a long wait, especially since the film has been generating a lot of positive buzz within both community and film groups for a while now.

Beyond the excitement of his new project, Davies wants to keep collaborating with his brother and, more broadly, hopes his success can inspire others who share his background. He’s eager to see more South Asian representation and opportunities within the UK creative industries, but also stresses the importance of gaining industry knowledge and experience, as he did himself.

Having creative ideas is great, but it’s equally important to identify who supports your work and who can help you share your stories with the world.

After having success with films, a lot of people will want to work with you. But sometimes, they’ll want you to tell their story, or what they think your story is. It’s important to find collaborators who are genuinely interested in your vision and the stories you want to share. It should be a partnership, and I hope we see more of that.

He added that, in his opinion, the most impressive films he’s seen this year – and he attends many film festivals – have been international productions. He believes they’re so powerful because they offer a window into different cultures and reveal the common threads in our histories and experiences, reminding us of our shared humanity. He contrasted this with the often divisive nature of the news, suggesting that film has a unique ability to connect people and foster understanding. Ultimately, he hopes to see more opportunities for diverse stories to be told and shared.

Davies understands that many film directors struggle with the realization they’re in charge. What he appreciates most about filmmaking – and what he believes others often overlook – is that it’s a collaborative process, a true team effort.

I’m here today because I genuinely care about my colleagues, and thankfully, that feeling is mutual. Their support allows me to bring my best work to the screen. This project involved a lot of new talent – a first-time cinematographer, a first-time writer, even my brother – alongside incredible producers. It’s important to remember all the dedicated people who contribute behind the scenes but often don’t get the recognition they deserve.

I see a director’s main job as helping everyone shine, so they can build successful, lasting careers, and we can continue to collaborate for years to come.

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2025-11-25 20:41