The Singular Eye of Nigerian Cinematographer KC Obiajulu

There is a pensiveness at the edge of KC Obiajulu's work. The Nigerian cinematographer has an eye for commanding rapt attention as you watch his work, famously on Tolu Ajayi's Over The Bridge, Michael Omuna's striking short film Rehearsal, and most recently, Bukola Ogunsola's quietly eruptive family drama Something About The Briggs. Watching Obiajulu, you know something interesting is going to happen. You're held spellbound and uncertain as to what exactly that is or if it will be good or bad, but the composition of the visuals is so striking, so stuffed with longing, with quiet mischief that you cannot pull away.

Known for films with dark tones, both visually and thematically, Obiajulu is finally ready to try his hands at other cinematic forms. Apart from iconic music videos (notably the video to Essence by Wizkid featuring Tems) and commercials, his film roster has been chiefly tense, dramatic films with hard edges. By taking on Something About The Briggs, Obiajulu set out to apply the fundamental intrigue of his work without the often moody and reflective tone it usually takes. "I felt like making Something About The Briggs would be showing off my skill set in a different genre and to show that I can do it as well," Obiajulu tells OkayAfrica. Obiajulu adds that the story was even more compelling because he could relate to the characters and their often dysfunctional family dynamics.

Something About The Briggs is a relatively uncomplicated story about a genuinely defective family unit whose consistent history of unpleasant, tumultuous relationships plagues the youngest daughter and discourages her from seriously pursuing a relationship. The story is striking for its commentary on intergenerational abuse and its ability to be unserious yet sensitive to some of the heavy subjects it addresses. The visuals, however, are especially noteworthy, composed of bright but somber tones, movements that involve small particles of space, and unexpected angles that reveal missable details about the character. How do they set their tables or hang their art, what part of their car do they prefer to sit in, and what kind of juice do they like?

"I've had to have conversations with Nollywood producers who brought certain scripts to me, and I was like, This is not my style. But I'm beginning to open up to trying out new styles if I find the story interesting and if I find the creative freedom to work on them."

Obiajulu grew up with a mother who was a journalist, which led to his introduction to the media landscape. He would sometimes follow her to work and was inspired to pursue a career in media because of her. "I've seen my mother do her thing; she is a badass. That inspired me so much."

While still a novice on his first set, Obiajulu destroyed a piece of filming equipment, a mistake that resulted in a dismissal. But he didn't leave the premises. "I had not written one thing. I had not directed anything. And I'm here wanting to be a cinematographer because my mom was also a cinematographer, right? And I came here because I wanted to be as good as my mother, maybe even better," he says. "At that moment when I was told that I was fired, it felt like I was failing in my journey to being that person. The reason why I got fired should not have even happened in the first place. And I was quite disappointed in myself." He ended up pleading his case and returning to the fold, a testament to a self-realization that fuels his stellar, intelligently developed work.

A lot of Obiajulu's work involves lighting. There is an intentional absence of light, a technique that turns mundane, moody and serious circumstances into even graver situations. Beyond that, Obiajulu finds symmetry in how he delivers his work by insisting on collaboration instead of simply participating in a project. "Every director I have worked with recently has come with my growth in the business and the work in the art form," he says.

"Learning to have my voice and having it shine has become very important to me. I just don't want to participate; I want to collaborate with people and elevate what they've already built. Collaborating has become my style over the last few years, leading to me being selective about the projects I work on."

Obiajulu's hope for when people watch his work is that they connect directly to the emotional headspace in which he first created it. "I met someone in the past who said they can taste music. There are songs that, when I listened to them for the first time, I know exactly how they made me feel. There are books that when I read them, and films that when I watch them, I'll never forget those feelings. I'm hoping that when people watch something from me, it makes them feel a certain way."