Movie as a Tool for Creation and Sustenance of Nigeria’s Positive Image: A Case Study of 93 Days

Citation: Adedina, F. (2024). Movie as a Tool for Creation and Sustenance of Nigeria’s Positive Image: A Case Study of 93 Days. Tasambo Journal of Language, Literature, and Culture, 3(1), 15-24. www.doi.org/10.36349/tjllc.2024.v03i01.002.

Movie as a Tool for Creation and Sustenance of Nigeria’s Positive Image: A Case Study of 93 Days


(Associate Professor of Creative Writing and Film Studies)
Department of Theatre Arts,
Lagos State University of Education,
Oto/Ijanikin, Lagos.
Call- 07021457979
E-mail- adedinafa@lasued.edu.ng


I mage matters whether it concerns a nation or an individual. The image of the Nigerian and the Nigerian nation in the media, both national and international, leaves so much to be desired. Daily, we are bombarded with negative stereotypes and images in the media: of Nigerian armed robbers in Dubai; Yahoo Yahoo and Yahoo plus experiments and; credit card fraudsters in the UK and other European nations. These images do not help in projecting the real potential and the endowments of the nation both in human terms and natural resources. This paper investigates the genuine practise and patterns of Nigerian workers, especially as it is represented in the Nollywood film "93 Days" which is a film that shows Nigeria in a positive light over an incident that was well handled by the Government. This, however, is one of the rare films that showed Nigeria in good light. There are many in Nollywood and even Hollywood that show the country in negative image such as District 9 and Shanty Town. This paper examines how films could be used as tools in creating and sustaining positive images for Nigeria and the Nigerian nation. It will also explore how, through the use of themes and characterisation, films can be used to create positive images for the nation. It will then suggest steps that could be taken to increase the number of Nollywood films that could help in rebranding the nation's image positively. Negative representation in Nollywood harms the country's reputation because there is no telling how far the films go. The theoretical framework for this paper is Jean-Louis Baudry's Apparatus theory. The theory avers that cinema (film) is ideological; its mechanics of representation are ideological because films are created to represent reality. It also adopts a literary method of analysis to answer the question posed on the reality of the effectiveness of the Nigerian sectors. From the analysis, the aplomb nature of the Nigerian health workers is revealed. In a period that is evidently challenging for everybody, especially health workers, outdid themselves and protected the people.

Keywords : Apparatus theory, Image, Nollywood, Stereotypes, Yahoo plus, Yahoo-Yahoo


Globally, people watch films for different purpose s and reasons. F ilms serve as source s of entertainment and relaxation, while cinephiles see films from a more critical point of view. Rather than just watching for the fun of it, they critically analyse films intending to demystify their content s. Films are made to represent, mirror and report the happenings in the society and the lives of the people in the society. "Film is a reflection of society, both present and past" (Ehisweety, 2013). In making films, the writer can decide to tell a real story, a fictional story or distort a real occurrence with bits of unreality. Regardless of what the writer and the producer decide to do, the crux is that films are made to tell stories for a target audience. The audience of some films is not general because they need censoring due to their content, hence the classification of films . In a case where a film is made to retell a real-life story or a n event that has happened sometime in the past, it gives the audience an avenue to be in the know about the particular event. Sometimes, it is not enough to read about an occurrence; watching a film is more consumable than reading a book because "Reading can push your imagination cause you will be a part of the story, yet a movie helps you visualise the situation easily" (Liandro, 2021).

Since films recreate realities and fantasy, there are times when it is true events rather than imagination that birth a film. A good example of this type is the film under study. It is a n instance of recreation of reality in films . "93 Days," produced by Steve Gukas in 2016, can be regarded as a docudrama because it is a dramatised feature film based on a real event. The event was the incursion of the Ebola virus into Nigeria and how a courageous medical doctor worked against its spread. The movie gives an account of how the Ebola virus came into Nigeria and the solid efforts of Nigerian health practitioners, especially Dr Stella Adadevoh, in preventing the virus and spreading more casualties. 93 Days is based on the true story of men and women who risked thei r lives and made sacrifices to save Nigerians from the consequences of an outbreak of the deadly Ebola virus in Nigeria. Th e producer stated that " 93 Days celebrates the act of doing what is right, selfless service and making a difference in the world." (Encomium, 2016). In giving the particulars of the Amazon who deflected the Ebola virus from her compatriots, a scholar informed us that "Dr Ameyo Stella Adadevoh graduated from the College of Medicine of the University of Lagos as a medical doctor in 1980. After completing a fellowship in endocrinology in London in 1993, she returned to Lagos, Nigeria, and joined First Consultants Medical Centre (FCMC). She worked there as the lead consultant physician and endocrinologist for 21 years" (Soleye, 2019).

She died of the virus because she had contracted it from Patrick Sawyer, a Liberian-American lawyer who arrived in Lagos on July 20, 2014. Sawyer, already in a sickly state, had travelled to Nigeria to represent the Liberian government in a conference. She diagnosed him with the Ebola virus and refused to discharge him despite the opposition she faced from colleagues and the government. Her decision protected a lot of Nigerians from contracting the virus. If she had given in to the pressure, Sawyer would definitely come in contact with some Nigerians, and they would have contacted the virus and then transferred it to other Nigerians. The magnitude of the tragedy that would have been ensured could only be imagined if one realizes that Lagos City is a megacity with more than twenty million inhabitants. Dr Adadevoh is dead, but her name and her legacy live on. The struggle and puissance of the Nigerian health workers are replicated in the film. Unlike the make-believe reports of some media houses and Nollywood films that the health sector in Nigeria is filled with mediocre practitioners, 93 Days gives a different evaluation of these workers. Nigerian films with negative representation include King of Boys, Shanty Town and The Setup. A film reviewer in his review opines that the film shows that not all Nigerian health workers are bad, he further asserts that 93 Days honours the efforts of others who worked with Dr Adadevoh. People like nurse Justina Echelonu, who joined First Consultant Hospital the same day Sawyer was admitted and was pregnant at the time; Dr Morris Ibeawuchia and Dr Ada Igonoh, two of the 11 survivors of the 20 Nigerians who contracted Ebola and; Dr Benjamin Ohiaeri, First Consultan t' s CMD, who witnessed his staff members suffer with Ebola" (Sanginga, 2021).

The image or perception of an individual is the way or picture that a person or group have of the particular individual or group of individuals in either a nation or a society. Image can be referred to as identity that answers the question "Who are you?" (Vigrotes, 2017). Images or identities can be positive or negative in the eye of the beholder when it concerns an individual or a nation. The effect of negative image portrayal in Nollywood is boundless. It destroys the reputation of the country and its citizens. It discredits the sweat of workers who are true to their jobs and struggles. To sustain a positive image is difficult compared to creating it. It is not a fabrication that there are some Nigerians who exhibit differently visible, unhealthy and unacceptable behaviours nationally and internationally. These negative rather than positive facts and assumptions are what permeate the Nollywood industry and even the media. The effect of this is uncontainable; no one can predict how far the negative information gets and how long they are in circulation. It leads to overgeneralisation from people and corporate bodies within the country and in the diaspora. As a result, maxims like "Nigerians are criminals", "The Nigerian health sector cannot do anything right", and many more fly around and form the basis of the treatment of Nigerians by others. There have been cases where people rant on social media. After all, they were denied gainful employment and other opportunities because they were Nigerians. To these people who do not want to associate with Nigerians, all Nigerians are criminals, and this is partly because of what they have heard and seen in Nigerian films. When people incessantly hear negative comments and reviews about a country and its people, it registers in their subconscious to be wary of them.

Image matters whether it concerns a nation or an individual. The image of the Nigerian and the Nigerian nation in the media, both national and international, leaves so much to be desired. Daily, we are bombarded with negative stereotypes and images in the media of Nigerian armed robbers in Dubai, Yahoo Yahoo and Yahoo plus experiments, Nigerians are convicted and condemned to death in Malaysia and other Asian countries, in Saudi Arabia, Dubai and are mostly known as credit card fraudsters in the US, UK and other European nations. These images do not help in projecting the real potential and the endowments of the nation, both in human terms and natural resources. However, the negative images pushed daily into the media are not the total sum of what Nigeria and Nigerians are. They are what Adichie (2009) called the Single-Story Syndrome. Ironically, some of these negative images are spread by Nigerian films and the video film industry. Some Nollywood films, in their depiction of the nation and its inhabitants, tend to conform to the negative images people have of Nigeria. To repair the status quo of Nigeria's image, positive representation should be enjoined. Nollywood serves as a major depiction of the happenings in the country. When people watch Nollywood films, they can make reasonable deduction s about the type of people in Nigeria and the happenings in the country. As a result of the prevalent adverse narration from Nollywood, as regards Nigerians and the operation of the sectors in Nigeria, there is a need also to give a genuine representation of the country's situation and reflect on how these sectors have improved over time. The film 93 Days showed the resilience and dedication of the health workers in a period that was tough on everyone, especially health workers.

Research Problem

The misrepresentation of Nigeria and her people in Nollywood and the Nigerian media has affected the image of the country to a great degree that there is a dire need to redefine the irregularities and abnormalities that are now regarded as the norm by Nigerians and Non-Nigerians and portray the country in its genuine and esteemed light. Films like Kemi Adetiba’s King of Boys, Dimeji Ajibola’s Shanty Town and Niyi Akinmolayan’s The Setup among other Nollywood films show Nigeria in a bad light. So also, is Hollywood’s Neil Blomkamp’s District 9. However, films like Wedding Party 1&2, Ahuja’s Namatse Wahala and Chief Daddy for example showcase the Nigerian culture, hospitality and good neighbourliness that has been the part of the Nigerian people.

Research Questions

In an attempt for this study to meet its objectives, the questions listed below wil l be addressed .

i.        How can Nollywood films be used in creating and sustaining positive images for Nigeria?

ii.      How can Nollywood films’ themes and characterisation be used as tools of positive image creation for Nigeria?

iii.   What steps can be taken to make Nollywood films vehicle for rebranding Nigeria’s image?

iv.   How does the film 93 Days reflect the genuine nature of the Nigerian health sector?

Conceptual Clarifications


The concept of image and identity is coupled with the question, "Who am I?" and, in an organisational or social s etting, "Who are we?" (Alvesson , Ashcraft &Thomas, 2008). The answer to the question, "Who am I?" may be linked to our social identities and self-categorisations: " Whether as a Swede or a Dane, a student or a professor, a woman or a man, or any intersections between dominant categories " (Tajfel and Turner, 1979). An image is a visual or mental representation or picture of something , in this context, of an individual and society. The image of an individual or a society precedes it, forming the basis of identification. An individual's image can be referred to as the perception of such an individual by themselves and others. A society's image is also how the society is perceived by other societies. The image of an individual or a society can be positive or negative. The positive image represents the commendable facets of the individual or society, while the negative image represents the opposite . The image of an individual or a society can be gotten from their representations in media and films. " As a society' s vital intangible asset, national image is the centrepiece and an essential expression of its power" (Meng, 2020). This means that the identity of a society is conceived by its representation of itself and how other societies perceive it.


Nollywood is the film industry in Nigeria, and is, in fact, the second largest movie industry globally—in terms of output, producing about 2,500 films in a year " (Miao, 2019). This number surpasses Hollywood and is second only to India's Bollywood. A New York Times journalist, Norimitsu Onishi helped coin ed the term in 2002, when he began to notice a ton of filmmaking activity happening in Lagos, Nigeria. Though Nigeria's film industry dates back to the turn of the twentieth century, white colonial and foreign filmmakers oversaw these film productions. The Nigerian movie industry first began producing films shot on celluloid by Nigerian filmmakers after the country declared independence in 1960. Movies became a popular pastime with Nigerians, who had more disposable income in the 1970s thanks to an economic boom spurred by oil and other foreign investments. Movie theatres sprung up in Lagos, the country's largest city, showing a mix of international and homegrown films (MasterClass, 2021).

Notable names in Nollywood are Olu Jacobs, Jide Kosoko, Richard Mofe Damijo, Funke Akindele, and Rachael Oniga among others. The language of Nollywood includes English, Pidgin English and some of the Nigerian indigenous languages. Examples of Nollywood films are Sista, Battle on the Buka Street, Ijakumo: The Born Again Stripper, and Brotherhood.

Ebola Virus

Ebola virus disease (formerly called Ebola Hemorrhagic disease) is a severe, often fatal, disease in humans and non-human primates caused by the Ebola virus. I n 2014, a major outbreak of the Ebola Virus spread amongst several African countries, including Sierra Leone, Guinea, and Liberia (NB, 2015, p.1). After entering the body, it kills cells, making some of them explode. It wrecks the immune system, causes heavy bleeding inside the body, and damages almost every organ. "Th e virus is scary, but it's also rare. You can get it only from direct contact with an infected person's body fluids " (Sashira, 2014). The disease was identified in 1976 in almost simultaneous outbreaks in the Democratic Republic of the Congo (DRC) and Sudan (now South Sudan). Between 1979 and 1994, no cases or outbreaks were detected. However, since 1994, outbreaks have been recognised with increasing frequency before the general 2014 outbreak that affected many countries and resulted in over 28,000 reported cases.

Literature Review

" Steve Gukas' film, 93 Days (2016) tells the remarkable story of how Nigeria and supporting global agencies stopped the spread of Ebola in their country and, by extension, the rest of the world with extraordinary efficiency" (Redmon, 2020) The spread of the virus would have affected millions of Nigerians but due to the bravery and hard work of the health workers in Lagos, the virus was contained in just "93 days" and the effects on Nigerians was assuaged. This contrasts with the expectations of people from the health sector in Nigeria. Most people would have expected a very mediocre and belated response from the government and health workers in the country. Redmon recognises that the screenwriter and Gukas created a plot that shows and credits how the persistence of Dr Adadevoh prevented the virus from spreading more than it did. Redmon brings out samples of scenes from the film where the efforts of the health workers are represented and concludes that "pandemics do end, and they do so faster under the right conditions. Society as a whole has to commit to those conditions as quickly as they can, and they must keep to them until the ordeal passes. And pass it will " (2020).

Antony (2022) discusses the film from a trauma perspective. To her , "Trauma narrative, besides being a therapeutic technique, is also an emergent critical approach for the study of narratives related to war, disease and disability in literature, film and other art forms. There is neither a single school of criticism nor a single methodology for dealing with this evolving genre." She goes on to support her explanation with the statistics of people who are now watching pandemic-related movies. There is an increase in viewership, which prompts researchers to probe into the psychoanalytical and mythical implications of pandemic narratives.

T heoretical Framework

Jean Louis Baudry's a pparatus theory pulls much of its core values from Marxist film theory, psychoanalysis, and film semiotics. "Apparatus theory represents a form of film study and analysis which essentially concludes that film and cinema are ideological due to the nature of the mechanics in cinema and the fact that films are created as a representation of reality" (Wilson, 2023). "It is a theoretical framework examining how movies affect the audience. It examines  how cinematic technology and mechanics produce a unique viewing experience , affecting our comprehension and interpretation of the film " (Staff, 2023). This film analysis theory posits that filmmaking's process and mechanics make the representation of the subject close to real no matter how it's put together frame by frame. As a result, films are made to tell stories that the audience can relate to. Films are made for representation and ideological conditioning. The link between the film and the viewer is at the centre of apparatus theory. The goal is to describe the connection between the film's Role as absolute imagination and the viewer's perception of the item as seen in a recorded version of a real-world event. The fundamental notion applies to film in that there are sections in which reality is lacking. So, the primary idea is that a film should provide the audience with a realistic simulation of the world outside the theatre by giving them a chance to see the objects in question through a camera. Perception is the mechanism via which this takes place. (Staff, 2023).

From the apparatus film theory perspective, these extracts are made to look real so viewers can identify with them. The trajectory of the life of Dr Adadevoh is also shown as she goes from a doctor who would not compromise on her work ethic to a victim of what she fought so hard against. Although she is the hero of the Ebola virus season, she achieved such success because of the sacrifices of other doctors and the government. Some of these doctors contracted the virus; some survived (for example, Dr Ada and Dr Amos), and some did not (like Dr Adadevoh and Justina). The film is made to reinforce the hard work and sacrifices made by these people in a way that their story is not only known locally but also spreads over the shores of the continent. Viewers watch how these heroes dealt with the deleterious virus and won. The stereotypes that have been in existence about medical practitioners and the health sector will also change over time.

This theory supposes that film viewers are inactive victims who are subjected to ideology and cannot differentiate between the world of film (illusion) and the real world experienced by the viewers daily. Another tenet of this theory is ideological conditioning. Films are used to indoctrinate viewers.


The dat a for this study are collected through primary and secondary sources. The primary source is Steve Gukas' 93 days. The secondary sources include books, articles, journals, newspapers and interviews. The film producer, Bolanle -Austen Peters in an interview with Tribune online says:

We did the Ebola movie because we wanted to add value. I didn’t want to do just any movie. We told a story that needed to be told. I felt that if we did not tell that story, foreigners, as usual, could come and tell of the courage of those who fought against the Ebola virus to save all of us. For me, the story needed to be documented for prosperity. (Our Reporter -Tribune Online, 2017, para. 8)

She further justifies her reason for producing the film when she asserts that, “it is very important that we document things. 93 Days is of educational and historical significance. That is why I feel in some ways we have added a lot of value”. The co-producer and movie director, Steve Gukas before shooting the film opines that:

I knew going in, that this was a film that would not have any razzmatazz. That it would swim or sink on the strength of the performances and the look and feel. On that front, talent was in the casting. I knew we had to get actors with depth and capacity to deliver powerful yet, nuanced performances. (Offiong,2016, para.4)

On some of the challenges faced, Gukas states that:

In terms of size and scope, 93 Days has been the most challenging. It needed more money plus the huge challenge of shooting in a metropolis like Lagos. You could hardly do a two-unit move in one day because of the size of the crew and traffic. Then you put on top of that the challenge of funding and the pressure of telling a story so close to our collective memory. (Offiong, 2016, para.2)

In terms of adding to Nigeria’s image, the film was a collaboration between Nollywood and Hollywood with an International cast and crew. The writer, a non-Nigerian, Paul Rowston and the non-Nigerian cast including Alastair Mackenzie and the well-known African-American actor, Danny Glover who played Dr. Benjamin Ohiaeri, the Medical Director of First Consultant Medical Centre in the film, opines that:

93 Days symbolises the spirit of the Nigerian people and the vibrancy of the industry. From the moment we had the script, we knew we had something special. Steve (Gukas) wanted me to do a cameo role. After reading the script, I realised I needed to do more than that.

All the above contribute more to the Nigerian image positively because if a well-known International actor can take part in a Nigerian film, it comments on the mileage Nollywood has reached in portraying the Nigerian nation.                

A nalysis and Discussion

The analysis of the film is done through literary analysis and also using the Apparatus theory to explain how the movie is used to create a positive image for Nigeria.


Stanton (1965, p.14) describes a plot as a story that contains the sequences of events, but each incident is only connected by cause and effect, an event caused or led to the occurrence of other events. It can also be described as events that happen to characters or how characters make events happen (Brown, 2020). The film's plot is linear; the events start from the beginning and progress to the middle before reaching the climax. The film's plot reflects the acumen and genuine efforts of the doctors in the film. While the story progresses, the viewers are made to understand the sacrifices of the characters who are representing heroes of the Ebola Virus period in Nigeria. Reality is expressed through the interrelatedness of the sequence of events in the film. In the beginning, the Liberian diplomat demands that he be discharged from the hospital because he needs to attend to business. However, Dr Adadevoh did not agree to his discharge because she believed him to be unfit to leave. She diagnosed him with the Ebola virus and was able to protect millions of Nigerians from contracting the virus.


Theme can be described as a salient abstract idea that emerges from a literary wor k' s treatment of its subject matter or a topic recurring in many literary works. (Baldick , 2001, p. 258). A literary work can have more than one recurring theme. These themes are sometimes implied and not directly stated in the literary work. In the film, the themes are used to tell a story of strength, resilience, death and cooperation. The themes mirror the Nigerian society and the health workers as highly efficient and competent. Doctor Adadevoh and the other doctors at the First Consultants Medical Centre worked mutually with the Lagos State Government to prevent the spread of the virus. Below are extracts that show the strength of one of the Doctors at the hospital.

Extract 1:

Doctor Ada: Good morning; how are you feeling?

Justina: Weak.

Doctor Ada: It is to be expected; drink your ORS.

Justina: I can't, it's horrible.

Doctor Ada: I know, but you must, we all must.

Tina: Okay, soon.

Doctor Ada: I'm sorry about your baby. 93 Days (1:15:10)


Extract 2:

Doctor David: Doctor Henry tells me you called him

Doctor Adadevoh: He promised me he'll look after all of them.

Doctor David: You've done just fine. Your people are getting the best care they can.

Doctor Adadevoh: But not enough. Not for Evelyn, Not for Justina and her unborn baby. 93 Days (01:43:08).


Baldick describes characterisation as the representation of persons in narrative and dramatic works. This may include direct methods like attributing qualities in description or commentary and indirect methods like i nviting readers to infer qualities from characters' actions, speech, or appearance (2001, p.37). It includes the methods a writer uses to reveal a character's values, feelings and goals to readers , in this case, viewers. The characters in the film are direct, and they are created with the intention of them being the alter ego of the real persons they are representing. From the dialogues, plot and theme, viewers can understand the essence of every character in the film and how they all contribute to the development of the story. The characterisation in 93 Days makes the narration look real. It facilitates the ideological awakening or strengthening of the power of the film. Essentially, the characters fulfilled their assignments of representing those involved in the Ebola virus experience. They also contribute to the positive depiction of the health workers in Nigeria as a means of contending the false usual narrative. An extract from the film will be used to explain the accuracy of the characterisation in the film.

Extract 3

Doctor Yewande: Look, I know this is not ideal, but what is? Yaba is simply not ready.

Doctor Amos: Why not? What is the point of having an infectious disease facility if it is not equipped to deal with infectious diseases?

Doctor Yewande: Do you need me to explain the complexities of politics and funding to you, doctor? This is Nigeria, and even simple things are complicated, and there is nothing simple about...

Doctor Amos: I will tell you what is simple. Ebola has been on our doorstep...

Doctor Ohaeiri: Are we gonna cry over spilt milk, or are we gonna help clean it up? Perhaps we can surprise people by working together just this once.

Doctor Yewande: If not now, then when? Lagos state is on it. 93 Days (32:47).


The se tting i s used to identify and establish the time, place and mood of the events of the story. It helps in establishing where, when and under what circumstances the story is taking place (Brandt, 2019). It shows the period, the specific places and the physical and social environment in which a story takes place. 93 Days is set in 2014 in Lagos State, Nigeria. The setting in this film helps to promote positive representation in Nollywood. The hospital that diagnosed the first ebola case is in Lagos (First Consultants Medical Centre, Obalende) and the centre that treated the infected individuals is also in Yaba, Lagos State. The expectation is that perfect treatments for any kind of sickness can only be gotten abroad, away from Nigeria and her Doctors, but this film presents a different but genuine perspective of the health workers. Below is an extract that reflects a setting in the film.

Extract 4

Doctor Adadevoh: I called Yaba and sent some dietary advice for Justina to help with her immune system.

Doctor Ohaieri: We must tend to the living. I asked you to come see me.

Doctor Adadevoh: What do you need?

Doctor Ohaieri: I need you to take the test.

Doctor Adadevoh: Did Afolabi tell you to do this?

Doctor Ohaieri: Yes, Banky spoke with me earlier.

Doctor Adadevoh: Those two are just as bad as each other. Don't they realise how much I have to do, how busy I am? 93 Days (1:22:20).


Language is the means of expressing thoughts, emotions, and ideas. It is also a form of creativity and style. Language can be creatively used when it is modified to express certain realities. The message of a literary work is also grounded in the language used in it. The language of a literary work goes beyond the language spoken by the characters in the piece; it includes the dialogues, the choice of words of the characters and how they speak, proverbs, sarcasm, code-switching, code-mixing, and the use of indigenous languages. The language of this film is English. The Doctors communicate with their patients and colleagues in English. Also, there is the use of Nigerian indigenous terms like "Oga," which means boss (1:21:27) and "mama," which means mother (03:38) in the film. There is also a scene where the Yoruba language is used by the driver that brought Justina to Yaba; "Abi iru kileleyi bayi?" (1:14:13). Below is an extract that shows the dialogue between Doctor Adadevoh and Mr Sawyer.

Extract 5

Doctor Adadevoh: Good morning, Mr Sawyer. I am Dr Adadevoh. Dr Buchi tells me that you want to leave us already; why so soon? It seems to me like you're a very sick man.

Mr. Sawyer: I have important business.

Doctor Adadevoh: Yes. So do we, and once we are done with ours, you'll be fit and healthy and ready to do yours.

Mr. Sawyer: Just get on with it. 93 Days (08:51)


T he film is a docudrama that replicates a real-life event, which means the people, their names, their stories, and almost everything acted about them is not fictional. The screenwriter and the producer did their research, and they told the story without unnecessary modifications. The statistics of people who died and victims who survived in the movie are also in sync with what happened in Nigeria. The outcome of watching this film on viewers is either ideological awakening or strengthening. In the first case, viewers who are not conversant with dealings of Ebola virus in Nigeria due to different reasons will be in the know because each scene of the film tells a real story. From that moment onward, such viewers have a grasp of what ensued during the period. The ideology is awakened in them, and they are part of the population that knows about it. For the latter part, these people are already aware of the Ebola outbreak and dealings in the country, but watching the film strengthens what they already know.

The importance of documentation of history and memorable events is subtly expressed in the film. Ebola is now history in Nigeria, and hardly people remember what damage it could have caused if not checked by Dr. Adadevoh the lives it could have taken, with the effects it could have had on the world. Also, forgotten were the lives the disease took, especially the lives of the Doctors who were only trying to salvage the situation. It is therefore recommended that d ocumenting important events and making a biopic out of them is impressive because it gives steady accolades to those who deserve it. Such biopics will form part of history that will help future generations to recognize the sacrifices of those who lived before them, therefore educating them.

To increase more films like this that give an unvarnished truth about Nigeria positively, the Governments should appropriately fund Nollywood and put in place structures that will help Nigerian creatives to tell more stories like this. In addition, there should be more collaboration between Nollywood and other world film industries to showcase the best about Nigeria, the way Hollywood does with America. More Nollywood producers and writers are also expected to write and produce films that will show Nigeria in a positive light thereby reflecting the beauty and outstanding positive facts about the country to rebrand the country positively


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